1962: Je voulais être une femme

Paris, Buchet / Chastel, 377 pages.

” … Et c’est ainsi que je vais dans la vie, avançant par à-coups, grondant et crachant le feu ; tantôt fuyant un hôtel et un salaud, tantôt écoutant une clarinette, tantôt épongeant les vomissuresd’un ivrogne ; mais toujjours plongeant dans l’intimité des maisons aux fenêtres éclairées ou sombres, ou à l’intérieur des terres ou je passe, et dont j’apprends les nerfs, les fibres végétales, les os de pierre et le pelage qui exprime une âcre et délicieuse odeur de feuilles, ce regard dont la seule mort pourra éteindre la curiosité et peut-être l’assouvir. … “

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1962: Les Sept Fils de l’étoile

Hachette, coll. le rayon fantastique n°88, 307 pages.

Perhaps for the first time in the history of science fiction (ed. note: 1962), the hero – the spaceship pilot – is a woman!

Tellur has received his mission from the old mage of a planet thought to be insignificant. Seven worlds are on his agenda, seven stars each with a civilization that prefigures the future of human civilization.

An extraordinary odyssey for this young woman. Seven planets. Six loves and seven children of mystery and prodigy… for destiny to be fulfilled…

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1962: L’Échiquier du Temps

Hachette, coll. le rayon fantastique n°99, 261 pages.

In the 30th century, other thinking races in the galaxy joined Humanity to form the great “anthropomorphic” confederation, centered on the planet Phaedra.

But one race, born of monstrous crossbreeding, possesses, along with thought, the most hideously opposite form to that of Man.

Is Fausta, the young Barbarian, an Earthling of the old race, destined to triumph over the horrific threat posed by these Saurionnides, enemies of the human kinds?

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1962: L’Amazone bleue

Hachette, coll. Bibliothèque verte n°208, 249 pages.

Françoise was very influenced by the venerable Hugo, and, in particular, his vision of the Vendée wars. This is why, while siding with the Republic, it paints a picture that is not Manichean. She also moves certain protagonists of her story from one camp to another, whose figurehead is a young woman who fights and plots, finding herself wherever the destiny of France is at stake. (Vincent)

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1962: Les Plus Belles Lettres de Flaubert

Paris, Calmann-Lévy, 1962, 158 pages.

Françoise saw in Flaubert the first of the bourgeois writers (with time and money) to have introduced what she considers to be the cardinal value of his class in literature:: investment in time (time is money).

If she doesn’t forget his misogyny and the atrocious pages he wrote against the defeated Paris Commune, she gives him credit for having devoted his time to trying to tear himself away from the mediocre thinking of his time and class (whether he succeeded is another story, editor’s note), and she distinguishes him from his contemporaries in that he was in epidermal rejection of the world (unlike Sand, Balzac, Stendhal…).

Françoise, Flaubertian? Certainly not. But she recognizes its literary merits and considers it an interesting textbook case. (Vincent)

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1961 : Sputero’ sulle vostre tombe

Éditions Cino Del Duca, 258 pages.

A translation of J’irai cracher sur vos tombes. In 1946, published by Éditions du Scorpion, a book by Vernon Sullivan bearing this title. Deemed scandalous, it was then the subject of a lawsuit brought by a Cartel for social and moral action, which revealed that its real author was Boris Vian. He will be sentenced to 15 days in prison, quickly pardoned, for insulting morality. A few days before his death, he gave Françoise permission to write a new version of his novel under this title, whose scandalous scent and the taste for American thrillers at the time made it a literary success. (Vincent)

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