Le Feu Follet's Letter

A Letter to Father Christmas… And to Mommy Deerest. What if the pleasure of writing started from that very first letter we sent to Santa as a child?  Just starting to read and write, we set out on our journeys as secret and passionate authors.What if our fascination for the correspondence of writers and artists owed something to this precious memory, both intimate and common, of our own awakening to the art of writing letters? What if all letters, written as friends or lovers were rewrites of this original missive, carefully thought, beautifully crafted, duly addressed, rigorously stamped and proudly posted to a bearded recipient from the North Pole...To inaugurate this month devoted to Christmas lists and weekly suggestions for unique, personal, and precious gifts, Le Feu Follet pays tribute to beautiful letters by revealing the poetic secrets of a deeply melancholic and raw letter from a son exiled from his mother, but whose "mud" conceals the secret alchemy of Baudelairean "gold".

Composed of words and as many silences, friendship is revealed and remains a mystery. For what ? " Because. » replies the philosopher. Writers are more eloquent and from the ink poured in the name of brothers of souls were born some of the most beautiful pages of our literature. Le Feu Follet presents to you today its investigation into a luminous friendship between a woman of letters and a man in the shadows and a selection of lyrical flights between luxury friends and friends first.

To Be and Not to Be Classic. What is a classic, if not a work that continues to resist the first-class burial of the label "controlled originality": "A Classic"? The great works of literature have nothing "classic" about them, precisely. Years and centuries do not exhaust their youth and relevance. "Human brothers who live after us," you constantly rediscover us...

On April 3, 1862, Victor Hugo succeeded, from his English rock, in the feat of publishing simultaneously and in the four corners of the world the most important humanist novel of the century. However, even today, booksellers and bibliographers doubt the success of this tour de force and continue to quarrel over the precedence of one publication over another. False testimonies (from Adèle), erroneous information (from gazettes), abusive interpretations (from bibliographers), failing memory (from Hugo) and disorderly precipitation (from Meurice and Vacquerie) against a background of exacerbated rivalry (between Lacroix and Pagnerre), the he Feu Follet investigation takes you through the twists and turns of an exceptional editorial adventure, the source of one of the most tenacious bibliographical misunderstandings, wrongly attributing precedence to the Belgian edition over the French and ignoring the real difference between the Lacroix and la Pagnerre: the text supplement.Let's listen again to the voice of the master Hugo and his love for the animals that he mirrored to each character in Les Misérables: Valjean-Madeleine's good bear, Fantine the mouse, Cosette the lark and above all Javert, "this dog son of 'a female wolf "…Edition-originale.com offers you this week its literary bestiary.

"You are the only one of the Algerian writers who thought that this news, the importance of which I do not exaggerate, could reach me at a time when all my anxiety is directed toward Algeria." Thus, Camus addressed Mouloud Feraoun in the wake of his Nobel Prize in Literature, in an unpublished correspondence between the two writers. Le Feu Follet takes the opportunity of Annie Ernaux's Nobel Prize in Literature to celebrate this new recognition of French literature, sharing this story of a unique friendship and honoring the laureates of this Nobel, including the sixteen French recipients, the country with the most awards.

The Fine Arts in the 20th Century, from Henri Matisse to Enki Bilal "Pleasure, instructing through the voice of the fine arts, Will embellish life within our ramparts." — Marie-Joseph de Chénier

For this hundredth anniversary of the disappearance of Proust, the investigation of Le Feu Follet takes you to the side of Plaisirs et des Jours in search of a lost text by young Marcel, disguised as an obscure quotation on the copy of the painter Jean Béraud.

Photography immortalizes nothing and no one, and carries its share of falsehoods, but by capturing the moment, it creates intimacy with the past. By highlighting another truth, sometimes distant from the collective imagination, it introduces into the frozen history of exceptional men and women the delightful fragility of life. This week, Le Feu Follet presents its investigation into one of these moments captured in the heat of the moment: the young Picasso discovering Pompeii through the complicit lens of Jean Cocteau.

The race of history. Going against the continuous flow of current events, our selection of the week goes back the river of time and strolls along the banks of History, from the source to the estuary, to contemplate its course, its tributaries, cataracts, maelstroms and backwaters...