Here’s the beginning of Patrick’s review:
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those leftovers of the war simmer to a boil, is World War II. Little Grey Lies is a war novel without war, and about the inevitability of the next. War is a filter over the book, it is life in the inescapable aftermath of war, not the destruction, not the loss of life and property, but instead the constant memory, the subconscious, ongoing afflictions. In that space, it is the intricacies of personal connections, of secrets and the desire to out them, that become the conflicts.
Max, the character we spend the most time with, is a journalist and the book is both the narrative of his discovery of the story, and the story itself. In the first pages, he witnesses a procession of veterans, in memory of the Battle of Mons, England’s first encounter with the Germans during World War I. It is from this battle that the novel finds its birth: a myth of angels as archers protecting the defeated, yet heroic troops becomes a necessary faith for some, and even those who don’t believe are awed by the legend.
At the front of the procession is Colonel William Strether, who becomes the focus of Max’s London investigation. Strether is a respected man, utterly in control with every precise movement of his body. Working as a maître d’ he plays the room like a puppeteer: “he didn’t take their order but dictated it to a server standing behind him, commented on the menu, assembled the meal while making the client feel he was doing it himself.” Strether is a true Fascist believer, a powerful leader of men, even if “he rarely spoke in public, took no defined position, he waited for when he was alone with the leaders.” He doesn’t hesitate to use violence to lead his men, to train them toward order. It’s all part of his hiding a lie—one that is again a violence, though now against himself—and part of the inevitable path to the next war.
For the rest of the piece, go here.
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
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