French Roots 2: The Romans (twice)

After the Gauls – whose contribution to the French language we looked at here – come the Romans. Julius Caesar launched an invasion of what would be modern-day France in 58 BCE, and by the end of the decade, Gaul was part of the Roman Empire, in which it would remain for the next five hundred years. With them came the Latin language, and the history of the centuries that followed is one of a gradual displacement of the Gaulish language, from the administrators and traders down to the ordinary people, by the language of the conquerors. In grammar and vocabulary, Latin forms the basis of modern French, as it does for modern Spanish and, more closely still, modern Italian.

The crossed swords mark the sites of battles in Caesar’s conquest of Gaul from 58 to 51 BCE.

The Gallo-Romans spoke a language that was coloured by the older languages of their region, and continued to evolve across the centuries into the various French dialects that made up the language by the medieval period. (The spread of a single, dominant variety of French, based largely on the dialect spoken in Paris, is a much more recent story.) The point in this evolution at which people are no longer speaking Latin, but are now speaking French, is a bit of an arbitrary one. Historians of the French language often point to a document written in the year 842, the Oaths of Strasbourg as the earliest example of written French. It’s an pact between two of Charlemagne’s grandsons, Louis the German and the unfortunately nicknamed Charles the Bald, who are ganging up against their brother, Lothair. Would you like a quick look? Here’s the first sentence:

Pro deo amur et pro christian poblo et nostro cummun saluament d’ist di en auant, in quant Deus sauir et podir me dunat, si saluarai eo cist meon fradre Karlo, et in aiudha et in cadhuna cosa, si cum om per dreit son fradra saluar dift, in o quid il mi altresi fazet, et ab Ludher nul plaid nunquam prindrai qui mon uol cist mein fradre Karl in damno sit.

And here’s the same thing in modern French:

Pour l’amour de Dieu et pour le salut commun du peuple chrétien et le nôtre, à partir de ce jour, autant que Dieu m’en donne le savoir et le pouvoir, je soutiendrai mon frère Charles de mon aide et en toute chose, comme on doit justement soutenir un frère, à condition qu’il me fasse autant, et je ne prendrai jamais aucun arrangement avec Lothaire, qui, à ma volonté, soit au détriment de mondit frère Charles.

You might not totally agree that it’s right to call the top one French, but it’s definitely not Latin: the oaths actually include a Latin translation of the Old French text (as well as a German one), showing that people at the time thought of them as quite distinct languages.

What’s interesting here, though, is that precisely at this moment that French was breaking free of Latin to become a separate language in its own right, Latin was making a whole new invasion of France. This time it wasn’t being brought by Roman soldiers, but by French scholars.

In late 700s and 800s, when Charlemagne and his successors ruled much of Western Europe, there were rapid developments in literature, law, the arts, architecture and religion. (The period is sometimes called the Carolingian Renaissance.) All this new scholarship needed new, more rigorous terms, and the scholars turned to Latin to coin new words. Over the preceding centuries, the latin words fragilem (fragile), frater (brother) and proxima (near) had drifted into the French words that would become today’s frêle, frère, and proche. In the Carolingian Renaissance, though, French scholars reached back to Latin to coin more formal words like fragile, or to fill in other parts of speech like fraternel (the adjective ‘brotherly’) or proximité (the noun ‘proximity’ or ‘nearness’). French today is full of pairs like these: a noun like père which has evolved  from the Latin pater over the long centuries since Caesar’s invasion is accompanied by the adjective paternel, coined from a return to the Latin from hundreds of years later . Some other double borrowings from Latin you’ll come across are vide and vacuité (empty and emptiness, both from Latin vacuus), entier and intégrité (whole and wholeness, from Latin integer), aigu and acuité (sharp and sharpness, from Latin acutus), even hôtel and hôpital (both from Latin hospitalis), along with many others. Of course, a similar process happened in English, where we often have words of Anglo-Saxon origin (king), Norman French origin (royal), and Latin origin (regal) rubbing up alongside one another, and becoming more formal the closer we get to Latin.

So that’s Gaulish and Latin as the roots of French. There’s one further important influence to come, though, which slots in between the two Latin waves of Caesar and Charlemagne. The last one, which I’ll tell you about in a future post, is a people who not only left their mark on the French language, but also gave their name to it, as well as to the people who speak it and the country they live in. Our last French root will be the Franks.

 

 

 

 

Translating Oksa Pollock

Oksa

posted by Simon Kemp

I’ve written a couple of posts in the past on the particular challenges faced by the poor French translator of the Harry Potter saga, dealing with J. K. Rowling’s wordplay, funny names and made-up magical terms. So I was interested to come across this article by the British translator, Sue Rose, who’s had almost precisely the opposite challenge: translating the French fantasy novels in the Oksa Pollock series into English.

Here’s an extract from the article, in which she talks about finding equivalents in English for the made-up French words in Oksa’s world:

It was a hugely enjoyable challenge to introduce English teenagers to Oksa Pollock, the loveable French heroine with incredible magic powers. Being a translator is like putting on Harry Potter’s Cloak of Invisibility or wearing a layer of Oksa Pollock’s Invisibuls — you don’t want anyone to see you’re there. You need to stay out of sight so that the reader has no idea how much blood, sweat and tears have gone into the mix.

While trying to stay invisible, you also have to navigate what feels like a lengthy obstacle course! The first set of walls I had to clamber over was the names of the many adorable, quirky creatures that inhabit Oksa’s world. These were plays on words in French, which meant they couldn’t be left as they were because an English speaker wouldn’t get the joke. I’d take a long run up and launch myself at one of these walls, get half way up, then fall flat on my back. It was totally exhausting! Some of the names were really tough to beat! Here are a few examples to show how I finally overcame the obstacles they presented:

Lunatrix and Lunatrixa: the French—Foldingot and Foldingote—is a combination of “foldingue” (crazy) and “dingo” (nutcase). There are girl and boy Lunatrixes, which in the French is shown by the “e” ending for the girl, so whatever I came up with had to be able to be varied for male and female. We often add “ess” in English to a name to show they are female, as in Prince and Princess, but that didn’t work here. What I came up with was Lunatrix, which is a combination of loony (since they’re crazy little characters) and tricks (for their weird abilities and the tricks they always have up their sleeves). They also have very large, moon-like, eyes so the first part of the name sounds like “lunar”, which relates to the moon. It was then easy to add an “a” on the end to make the female form.

Croakette: the French—Grenette—combines “grenouille” (frog) and the suffix “ette” which refers to a small version of something in both French and English. I was very happy with “Croakette”, which combines “croak” (the sound a frog makes) with “ette”. I also liked the way it sounded like “croquette”, as in potato croquette.

Gargantuhen: the French—Gelinotte—refers to a type of hen of normal size, although the Gelinottes in the book are massive — six feet tall. I was delighted when I came up with Gargantuhen, which plays on the word Gargantuan (which means immense or gigantic and refers to the French author, Rabelais) and is combined here with hen.

That was only the first obstacle though. There were also the names of the amazing magical powers that Oksa and the other Runaways (who had been exiled from an incredible, invisible world somewhere within this world) could use as weapons or useful tools:

Volumiplus: the French—Chuchalotte—is based on the verb “chuchoter” which means to whisper. This power allows someone to hear the tiniest sounds clearly. What I came up with was a name that combined “volume” (which is the amount of sound) and “plus” (the idea of getting louder). Volumiplus also sounded like some of the other powers like Magnetus (which I left the same in French, as it was clear what it meant) and Alpinismus (“Varapus” in the French came from “la varappe”, which means rock-climbing. I used a combination of Alpinism, which means mountaineering in many European languages and refers to the mountain range of the Alps, with the same “us” ending).

You can read the rest here.

Bons mots: la licorne et l’écrevisse

licodam

posted by Simon Kemp

Today, we have a short piece of bilingual theatre for you:

 

LA LICORNE ET L’ÉCREVISSE

AN ETYMOLOGICAL DRAMA IN THREE ACTS

ACT ONE

A long time ago, in a castle in England. GUINEVERE, a damsel, is embroidering a needlepoint picture of a horse with a horn sticking out of its forehead.

Enter BISCLAVRET, a French knight on holiday, and ISEUT, his lady-friend.

BISCLAVRET (to Guinevere, trying out his best English): Is very nice! What is called?

GUINEVERE (without looking up): ‘Unicorn’.

BISCLAVRET: Excusing me, once again, how you say name?

GUINEVERE (with limited patience): Unicorn.

ISEUT (to Bisclavret): Qu’est-ce qu’elle a dit, l’anglaise?

BISCLAVRET : Elle dit que c’est une icorne.

ISEUT : Ah, bon ?

 

ACT TWO

A château, somewhere in France. ISEUT is busy weaving a tapestry based on a new design she saw on a recent trip to England.

Enter BRENGAINE, her maid.

BRENGAINE: Que c’est beau, madame! En fait, c’est quoi le cheval avec la corne au front?

ISEUT : L’icorne.

BRENGAINE : Ah, ça s’appelle donc une licorne ! Je vais apprendre ce mot à tous mes amis !

 

OK, so it may not have happened precisely in that way. In fact, the route taken from the Latin unicornis to the French licorne more likely travels via the Italian alicorno. Either way, though, the evolution of the French word really does come through this kind of successive mishearings, adding and subtracting letters at the beginning of the word and then crystalizing  the mistake into the accepted form of the word.

Words invented by mistake like this are surprisingly common, especially when two languages are in contact and the speakers of one language are not always entirely clear what the speakers of the other one are on about. Famously, there are place names, such as Yucatán in Mexico, which were diligently recorded by European explorers as the local name for the area, but which apparently mean  ‘What?’ or ‘What are you saying?’ in the local language. With English and French, misunderstandings have happened in both directions between the two languages…

 

ACT THREE

GUINEVERE and her friend MORGAN LE FAY are visiting ISEUT in her château. The three chums are eating crisps* and paddling in the moat.

MORGAN LE FAY (suddenly): Ugh! There are horrible things scuttling about under the water! Ow! One of them has pinched my toe! Iseut, ma chérie, comment s’appelle cette bête?

ISEUT (indistinctly, through a mouthful of crisps): L’écrevisse.

MORGAN LE FAY: Elles s’appellent les créviches?

ISEUT (already bored and not really listening): Oui, c’est ça.

GUINEVERE: What did she say it was? A cray-fish?

MORGAN LE FAY: Yeah, something like that.

GUINEVERE: Funny, looks more like a lobster to me.

*In pre-Columbian Europe, crisps were made out of thinly sliced fried turnips.

 

Again, a certain amount of dramatic licence is involved in this reconstruction. Strictly speaking, both the modern French  écrevisse and the English crayfish are descended from the Old French word, crevice. But the fish of crayfish most definitely arises from a corruption of the sound of that last syllable,‘veece’ in the French word, which someone at some point misheard as ‘fish’. And that, dear reader, is how this little fellow…

 crayfish_1516006c

…who is clearly not a fish at all, came to be known in English as a crayfish.

But what’s it really like? The Modern Languages Course

posted by Simon Kemp

Recently, Oxford University decided to make short films about every single one of its undergraduate courses, featuring students and tutors talking about what the course is about, and what it’s like to study it. They give a much better sense of what the courses are really like than you can get from a prospectus. There’s one video on modern languages, and six more about the ‘joint schools’ combining modern languages with English, history, linguistics, philosophy, Classics, or a Middle-Eastern language. I’ll post each of them over the course of the next few months, but for starters, here’s the modern languages film:

 

The full playlist of videos for all our courses is here.

Terry Pratchett, Death and Grammar

posted by Simon Kemp

As you probably know, Sir Terry Pratchett, beloved author of the Discworld novels, died on Thursday. In France — yes, he was beloved by the French as well — his death was reported by Libération as follows:

Peut-être la mort s’est-elle approchée et lui a dit «ENFIN, MONSIEUR TERRY, NOUS DEVONS CHEMINER ENSEMBLE». Car c’est ainsi, en lettres capitales, que parle la Mort, personnage récurrent de l’œuvre immense de Terry Pratchett, décédé aujourd’hui à l’âge de 66 ans.

Perhaps death approached and said to him, AT LAST, SIR TERRY, WE MUST WALK TOGETHER. That’s how Death speaks, in capital letters. Death is a recurring character in the immense series of novels written by Terry Pratchett, who died today at the age of sixty-six.

(The full article is here.)

In the comments below the online version of the article are the same expressions of sadness that have accompanied every mention of Pratchett’s death on this side of the Channel. But not all of them. The first comment is cross, as are one or two of the others. And they are cross about grammar.

Sérieusement Libé : peut-être également la mort s’est-IL approché de lui. Car pour Sir Pratchett la Mort est un mâle, un mal nécessaire.

And again:

Il fallait écrire : Peut-être la mort s’est-il approché et lui a dit «ENFIN, MONSIEUR TERRY, NOUS DEVONS CHEMINER ENSEMBLE»

What they are annoyed about is the use of the feminine pronoun, elle in the original article to refer to Death.

What’s going on? Well, la mort in French is a feminine noun, so the correct pronoun to refer to it should be elle, as in this line by the Romantic writer, Chateaubriand:

La mort est belle; elle est notre amie.

In Discworld, however, Death is most definitely male. He’s a guy with a skull face and a big scythe who rides around on a pale horse called Binky, ushering souls into the next life. Pratchett’s creation unintentionally trespasses on one of the most fraught areas of the French language: the question of what to do when the grammatical system of masculine and feminine nouns comes into conflict with the real-world existence of male and female people (as well as male and female animals, supernatural entities or symbolic personifications).

In all such cases, as Libé failed to realize, the pronoun is determined by the actual gender of the person, not by the grammatical gender of the noun.

So, for example, une star/une vedette (a movie star) and une sentinelle (a sentinel) are feminine nouns that can refer to men:

La sentinelle s’est assoupie. Il n’avait pas bien dormi la nuit précédente.

Gaspard Ulliel est une star francaise. Les anglais le connaissent surtout pour des publicités d’une marque d’après-rasage, dans lesquelles il dit: “I am nert going to be ze person I am expected to be any more.”

Feminine nouns that can apply to men are rare. (Apart from la personne, those are the only two I can think of right now.) Masculine nouns that can apply to women are far more common, and include many job titles and other roles in life, for instance:

un architecte – architect

un juge – judge

un médecin – doctor

un professeur – teacher

un témoin – witness

The same rule applies as above, so:

Mon professeur de français s’appelle Mme Vergnaud. Elle est très intelligente.

This rule, however, has turned into a feminist issue, with many women objecting to being referred to in the masculine, and with new feminine alternatives being coined, such as une avocate for a female lawyer, or une écrivaine for a woman writer. Sometimes it’s simply the article that’s at issue, as with the ongoing debate as to whether it’s acceptable to continue to refer to women government ministers as madame le ministre, or if madame la ministre is more appropriate. Here is a nice video of a male politician calling his female colleagues ‘madame le ministre’, and ‘madame le président‘ to their evident displeasure, and getting very much owned in response when they refer to him as ‘monsieur la députée’:

“Monsieur la députée”, “Madame le président” by LeHuffPost

Libération, at least, managed to sort itself out, when, a little later the same day, they published a proper article on Pratchett. Not only do they get Death’s gender right, they also add a little explanation as to who he is and what he does:

A la toute fin, la Mort, avec sa faux et son long manteau noir, vient tous nous chercher. Il (car, il a beau s’appeler «La Mort», c’est un homme, si vous ne le saviez pas) ne voulait pas forcément que tout cela soit terminé. Il n’y a pas d’intérêt particulier, c’est simplement son travail. Jeudi, Il est venu chercher, peut-être à regret, l’un de ses plus grands amis : Terry Pratchett.

At the very end, Death, with his scythe and his long black cloak, comes for us all. He (for, even if he’s called ‘La Mort’, he’s a man, in case you didn’t know), didn’t necessarily want it all to end. He doesn’t have any particular axe to grind, it’s just his job. On Thursday, he came, perhaps unwillingly, for one of his greatest friends: Terry Pratchett.

P.S. Before I saw the Pratchett grammar nerds, I was planning to use this post to urge you to go and see Suite française, a rare chance to see some French literature on the big screen (albeit an English-language Hollywood adaptation of some French literature, but we take what we can get). I was also going to tell you the story of how Suite française came to be published, which is if anything a more extraordinary story than Suite française itself. I’ll save it for the DVD, but in the meantime, here’s the trailer:

P.P.S. That first comment from the grammar nerd I quoted, the one that began, Sérieusement Libé, also contained an untranslatable pun, which the commenter no doubt thought was very clever. Did you spot it?

Magneto! Gandalf! Grandet!

Someone at the BBC likes French literature, since they’ve barely finished their dramatization of Marie NDiaye’s Trois femmes puissantes and they’re already starting on Honoré de Balzac’s nineteenth-century masterpiece, Eugénie Grandet.

And this time, they have Gandalf.

Yes, Sir Ian McKellen is currently appearing as Grandet, the monstrous father to the luckless Eugénie, in a two-part radio production that you can stream (if you’re in the UK) here.

McKellen throws himself into the role with gusto (in fact, he’s just won an award for Best Actor in an Audio Drama for the performance) as the rich, miserly wine-grower who hoards his wealth while accusing his wife and daughter of turning their home into a bordello if they light too many candles in the living room. (Candles cost money, you see.)  Eugénie puts up with his eccentric ways, while patiently waiting to be married off to one of the many provincial bourgeois families buzzing around her and the rumoured fortune that she’ll inherit on her father’s death. Then, cousin Charles from Paris turns up on the doorstep, hoping to move in with the family now that his father has lost all his money and, we shortly discover, his life. The prospect of another mouth to feed sends Grandet into a huge fit of grumpiness, but what he doesn’t yet know is that a much bigger problem is brewing up as the charming, handsome and sophisticated Charles catches his daughter’s eye.

Trouble lies ahead…

 

Eugénie Grandet is perhaps the best-loved of all Balzac’s many stories. In his prolific output and his lively storytelling he’s French literature’s closest equivalent to Charles Dickens, except that — whisper it — he’s actually better than Dickens, because all his stories take place in the same fictional universe, which means that the same characters pop up in different novels, and you can trace a single character’s life across a dozen books, now a background extra in someone else’s story, now centre-stage in their own. All Balzac’s work is available in English translation as well as in French, lots of it has been filmed (including a great version of Le Colonel Chabert with Gérard Depardieu), and it’s definitely worth your time to check some of it out.

Open Days in 2015

taylor
The Taylor Institute Library, where you get to study when you’re a student here.

 posted by Simon Kemp

If you’re considering applying to study at Oxford, then the best way to check us out is to come to one of our open days. The Modern Languages Faculty holds four open days in the course of the year, in which you can see some of our facilities, hear about all the courses we have available and ask questions of the tutors and current undergraduates.

Due to pressure of numbers, all the open days need to be booked for, which you can do online. The May 2nd day is our largest event, and usually gets fully booked, so it’s worth getting tickets early. The other three days, on July 1st and 2nd and September 18th, are smaller scale, but have the advantage of coinciding with the general university open day, for which all the colleges of the university open their doors for you to wander around the grounds and meet the tutors. (You don’t need to book in for college visits.)

Here’s our schedule for this year:

 

Open Days schedule and bookings

Open Day Date Programme Bookings Contact
Main Faculty Undergraduate Open Day 2nd May 2015 Programme Book a place | Amend a booking | Cancel a booking Nicola Gard
*Faculty Undergraduate Open Day 1st & 2nd July 2015 Registration will open in the next few months Nicola Gard
*Faculty Undergraduate Open Day 18th September 2015 Registration will open in the next few months Nicola Gard

After booking, you will receive a ticket via email. If you do not receive your ticket within 24 hours, please check the spam folder in your email system and, if it is not there, contact it-support@mod-langs.ox.ac.uk.

Due to restricted places on our Open Days and the sheer volume of students wishing to attend, if after booking a place you are then unable to attend, please do cancel your place using the ‘cancel’ option(s) above, or email the relevant contact above to cancel your place for you.

Further Information

The Modern Languages prospectus for undergraduates is available by clicking here

A general prospectus for undergraduates is available by clicking here

Further information from Undergraduate Admissions is available by clicking here

Further details on our Open Days can be found by clicking here.

We hope to see you there.

Great French Lives: Joseph-Ignace Guillotin

Joseph-Ignace Guillotin’s legacy to the French language may not be as useful an addition to your everyday vocabulary as that provided by Eugène Poubelle, but it’s perhaps more distinctively French. As well as the name for the execution device itself (la guillotine), Guillotin has also supplied us with a verb, (guillotiner, to guillotine), two further nouns (le guillotineur/la guillotineuse, who does the guillotining, and the rather less fortunate le guillotiné/la guillotinée at the business end of the device), plus, the excellent term, la fenêtre à guillotine, which sounds very much more architecturally exciting than the English sash window. Note that, like la Bastille (and unlike, say, la ville), the double-l of Guillotin and guillotine has a y-sound rather than an l-sound in French (and apparently also commonly in American English – it’s only the British that always get it wrong).

Here are three things that many people can tell you about Joseph-Ignace Guillotin:

1. He was keen on executing people.

2. He invented the guillotine.

3. He ended up getting executed himself by the device he invented.

Here, on the other hand, are three facts about Joseph-Ignace Guillotin that are actually true:

1. He was strongly opposed to the death penalty.

2. He didn’t invent the guillotine.

3. He died of natural causes in 1814.

Guillotin considered the death penalty barbarous, and was particularly sickened by the suffering inflicted by botched executions, and by the double standards that afforded more humane forms of execution to the aristocracy than to the common people.

In the immediate aftermath of the 1789 Revolution, abolition of the death penalty was most definitely not on the cards, but as an alternative measure, and a step in the right direction, he proposed to the National Assembly the following legal reform:

“Les délits du même genre seront punis du même genre de supplice, quels que soient le rang et l’état du coupable; dans tous les cas où la loi prononcera la peine de mort, le supplice sera le même (décapitation), et l’exécution se fera par un simple mécanisme.”

Crimes if the same type will be punished with the same type of penalty, regardless of the rank and estate of the guilty party: in every case where the death penalty is given out, the method will be the same (decapitation), and the execution will be carried out by simple mechanical means.

The motion was accepted, and the Assembly set about finding itself an inventor to come up a device that would fit the bill. The credit for the design and construction of the prototype guillotine goes to the trio of Jean Laquiante, Tobias Schmidt and Antoine Louis (for a short while, it seemed possible that the machine might become known as a ‘Louison’). Guillotin’s name attached to the machine as the legislator who proposed that something should be done, not as the man who created the actual solution to the problem. In fact, the naming of the device after him proved an enduring embarrassment to Guillotin and his family, so much so that the family later petitioned the government to rename the machine, and, when this was rejected, changed their own surname to avoid the association.

The story that Guillotin ended up guillotined himself is entirely mythical. There was in fact a certain Dr J. M. V. Guillotin from Lyon (no relation) who met that fate, and it’s also true that Joseph-Ignace fell foul of the Revolutionary authorities and was imprisoned for a short time during the Terror. From these two facts the myth seems to have arisen, and as usual, the truth has trouble getting in the way of a good story.

Lastly, guillotine is not the French word for that machine your school has for cutting multiple sheets of paper with very straight lines. The French call that un massicot. And yes, it’s because it was invented by a certain M. Massiquot.

Young Translators

Juvenes translatores

posted by Toby Garfitt

Why bother to expend any effort on translating from one language to another, when Google will do it for you? These days you can simply point your smartphone’s camera at any word or phrase in a sign or menu, and an app will give you its meaning. But translating literature is not quite so easy. If literary translation has always been at the heart of university language study, it is because it takes you below the surface of both language and culture. To translate even the shortest passage you have to have a developed sensitivity to nuance and register in both the languages you are dealing with, and also to the cultural connotations of the words. Is bourgeois the same as middle-class? What is ‘pride’ referring to in this particular context?

As well as the compulsory translation exercises, students of French and German at Oxford can opt to do a special “advanced translation” course in which they reflect on their own practice and on the insights of translation theory. Some of them then go on to do a master’s course in translation and/or interpreting, for instance at Bath or Edinburgh or London Metropolitan University.

Many of the Oxford tutors have published translations as well as their academic research, and some of them have won translation prizes. It is exciting to see that our undergraduates are already winning prizes before they join us. This year’s UK winner of the European Juvenes Translatores competition for 17-year-olds is Jonah Cowen, who will be coming to Magdalen College in 2016 (after a gap year) to study German and Linguistics. Here’s his video interview:

Last year’s winner, Walker Thompson, is currently at Magdalen studying German and Russian, although his winning translation was from French.

If you’re interested in entering a future competition through your school, the Juvenes Translatores website is here, and they also have a Facebook page here.

 

Bookshelf Book Club: Trois Femmes Puissantes (Three Strong Women) by Marie NDiaye

posted by Simon Kemp

One of my very favourite French authors writing today is Marie NDiaye. Her stories of ordinary people and everyday situations heading disturbingly off-kilter are like a gradual slide from reality into anxiety dreams. (If you’re familiar with the work of the British novelist Kazuo Ishiguro, like the novel or film Never Let Me Go, you have some idea of what I mean).

I was planning on putting NDiaye’s La Sorcière in the book club at some point, since it’s short and accessible, funny and terrifying by turns, and has the most chilling pair of teenage girls in it that you’re ever likely to come across. I will do at some point, but since NDiaye is currently making rather a splash in the English-speaking world with a more recent novel, let’s start instead with her 2009 best-seller, Trois Femmes puissantes (Three Strong Women).

 

Marie NDiaye

 

Trois Femmes puissantes won France’s top literary prize, the Prix Goncourt, in the year of publication, and its translation was a runner-up for the Man Booker International Prize. It’s not so much a novel as three interlinked stories. The three women of the title, Norah, Fanta and Khady Demba are connected tangentially but lead very different lives. Norah is a successful French lawyer who visits her estranged father in Senegal to find her brother accused of murdering her stepmother. Fanta’s story is seen through the eyes of her husband, haunted by another Senegalese murder and the disintegration of his marriage. And Khady Demba, glimpsed in the first story as Norah’s father’s maid, sets out in her own story to start a new life in Europe.

The plots of the three stories are less important than their atmosphere, which builds a sense of foreboding that terrible things may occur, and disorients the reader with unexplained events, such as the sudden appearance of Norah’s French family in Senegal, or hints of magic in the uncanny behaviour of birds that may or may not betray the presence of a human soul.

The particular reason for mentioning the novel now is that an adaptation of it is currently being broadcast on UK radio. BBC Radio Four has turned the book into an audio drama in two parts. If you’re based in the UK, Episode One is available to listen to here for the next four weeks, and the second and final episode will be broadcast next Sunday, and available on the iPlayer after that. I’m not entirely sure why they’ve gone for a two-part adaptation, which gives you one-and-a-half strong women per episode. If I were you, I’d reconstitute it into its three stories (each story is about 40 minutes long), and iPlayer them to yourself one by one. The adaptation is very faithful (unlike certain current BBC adaptations of great French literature we could mention…) and will give you an idea of what makes NDiaye such a major figure in contemporary French writing. It may even inspire you to seek out more of her work.

A blog for students and teachers of Years 11 to 13, and anyone else with an interest in Modern Foreign Languages and Cultures, written by the staff and students of Oxford University. Updated every Wednesday!