By Delphine de Vigan
« l. a. douleur de Lucile, ma mère, a fait partie de notre enfance et plus tard de notre vie d’adulte, l. a. douleur de Lucile sans doute nous constitue, ma sœur et moi, mais toute tentative d’explication est vouée à l’échec. L’écriture n’y peut rien, tout au plus me permet-elle de poser les questions et d’interroger l. a. mémoire.
La famille de Lucile, los angeles nôtre par conséquent, a suscité tout au lengthy de son histoire de nombreux hypothèses et commentaires. Les gens que j’ai croisés au cours de mes recherches parlent de fascination ; je l’ai souvent entendu dire dans mon enfance. Ma famille incarne ce que los angeles joie a de plus bruyant, de plus spectaculaire, l’écho inlassable des morts, et le retentissement du désastre. Aujourd’hui je sais aussi qu’elle illustre, comme tant d’autres familles, le pouvoir de destruction du Verbe, et celui du silence.
Le livre, peut-être, ne serait rien d’autre que ça, le récit de cette quête, contiendrait en lui-même sa propre genèse, ses errances narratives, ses tentatives inachevées. Mais il serait cet élan, de moi vers elle, hésitant et inabouti. »
Dans cette enquête éblouissante au cœur de l. a. mémoire familiale, où les souvenirs les plus lumineux côtoient les secrets and techniques les plus enfouis, ce sont toutes nos vies, nos failles et nos propres blessures que Delphine de Vigan déroule avec strength.
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Extra resources for Rien ne s'oppose à la nuit
But, dear reader, that isn’t to say this will be a ‘fluffy’ book. I want to tell things as I saw them: relay the funny stories and recall the many wonderful characters and friends that have enriched my life. ). Why give them the publicity, I say? No, I’d far rather fill these pages with words about me. This is, after all, a book about me: a suave, modest, sophisticated, talented, modest, debonair, modest and charming individual–of whom there is much to write. Throughout my tenure as James Bond, there were many wonderful scripts to work with, and one of my favourite lines from any Bond film came from Tom Mankiewicz, who wrote the screenplay for The Man With the Golden Gun.
He asked. Damn it! He’d called my bluff. An exemption card was issued to people beyond the obligatory call-up age of eighteen to prove they had a valid reason not to be in the armed forces. I smiled awkwardly and having found my identity card, handed it to him hoping he would–being a red-blooded male like myself, fond of a kiss and a cuddle–take it surreptitiously and not reveal my little deception to Lovely-Lips. ’ he said. ’ I knew it was getting late! Too damned late for the Lovely-Lips to remain inviting!
However, with renewed encouragement from my darling wife Kristina, my daughter Deborah and my dear friend Leslie Bricusse, I have decided it is now indeed time to make time and stop making excuses. When, on the eve of my eightieth birthday in October 2007, I announced that I was starting work on my story again, I was adamant that it would be a fun book with no recycled scandal, tittle-tattle or dirtdishing–the expected inclusion of which had worried me so much when I tackled my earlier version.