Ouvre ton jeu avec Marie-Claude Barrette - Le MarieClub en balado | Les envies de Grégoire Delacourt

Episode Date: April 23, 2025

Marie-Claude rencontre Grégoire Delacourt, auteur du succès La liste de mes envies. Il nous partage son expérience d’écriture et la manière dont son œuvre continue de résonner chez les lecteurs, en France comme à l’international. La liste 2 mes envies, la suite de son premier roman, s'avère aussi prenante que son prédécesseur.🔗 Pour un accès illimité à tout le contenu du MarieClub, rendez-vous sur le marie-claude.com. Abonnez-vous pour ne rien manquer des prochaines entrevues exclusives. Activez la cloche pour être alerté des nouvelles vidéos!Rejoignez le Marie-Club et découvrez du contenu inédit chaque mois.

So, hello everyone. Today we meet a French author and I'm really happy because I didn't think I would meet him in chair and in osse. I did shows, among other things, on a book called The List of My Desires. It was a show that had worked really well. We said to ourselves, if we had all the money we needed, what would we really do? It allows us to ask much deeper questions than we might think at first sight. And then Grégoire de la Cour is in Quebec because he was received at the book fair in Montreal. So we took advantage of this presence and

he presents us the list of my wishes 2, so obviously the rest of the first book. Hello Grégoire Delacour. Hello, my Claude. It's really an honor to have you. It's an honor to be received by you. It's nice to say that. Paris, New York, New York, Montreal, to see you. It's not a common thing, because it's a privilege that I have, and I often tell people I meet, or to the viewers, or to the people who watch us here, because reading a book and saying, I'm going to talk to the author, I'm going to be able to ask him questions, try to say, I'm going to talk to the author, I'm going to be able to ask him questions,

try to understand, or just be admirable in front of that. It's a privilege of life that is... I never would have thought one day to know that. I've always read a lot and it's a privilege that always renews itself. That's great. So now you're in New York too for the institute? No, no, I live in New York. Oh, you live in New York? Half the time, for five years, yes. And why do you live in New York. Oh, you live in New York? Half the time, for five years.

And why do you live in New York? Because of a woman, you know, when I like, I like. So it's not love in New York, it's love. It's love from an American who loves New York and I said, if you love New York, we'll go there. So I stopped everything and I went to New York and I don't speak English, so it's very funny.

And you still don't speak English? A little bit, what time is it? That's it. And you manage to get along? I only speak to her. I look at her with love. So I speak with my heart, you see. It's enough for me. And how long has this relationship been going on? Uh... 25 years.

Oh! It's a beautiful relationship. But you haven't always live those 25 years. No, no, we worked in Paris before, but when we stopped working, I looked at them and said, but you came to France, we met in France. Maybe now it's my turn to go home. I wanted to be free, I wanted to live my life differently, my relationship with her, my relationship with myself, etc.

And I liked the idea of writing in French in New York. And all of a sudden, there was a notion of exile. There was a notion, a difference that we no longer write from home. We see the world, we see people, we see perfumes, we hear music differently. And deep down, I like that, to write from further away. It allows you to be closer. Do you discover angles of yourself that have not yet been explored? Yes, I think so.

Because it's being foreign too? I am foreign. There is a title of a Coppola film that I like, Sofia Coppola, there it's a translation that I like. I am there, I am lost in the translation of the world. I am like in a war, like in an airport, I like it. There are all the languages ​​of the, and I try to describe my language, to describe my universe, the world and to share it. I think it's destabilizing and reassuring at the same time.

Does it allow you to put your essence in perspective, in your own sense? Yes, I believe. I wrote very intimate and very strong things in strong things about me, about life in New York that I might not have written in France. Because of the impudence, because of the language, precisely. There I wrote a foreign language, which is French, but I wrote a new French. So I like it, yes. And what do you miss about France? It's very stupid, but at the moment not much.

Because I think there are a lot of problems there. No, there are friends, there is an art of living, there are my children, there is the street baguette of the Martyrs, of course. There are a few small restaurants that I like, but I don't miss it. I live there four or five months a year. So I don't know, I live between the two. You have the ideal world. You are in a beautiful life. You started writing, in any case the first book, I think it's at 50 years old that you published it.

Yes, at 51. At 51 years old. For a writer, there are some who start very early. You started in the middle of your life somewhere. I would like that, the middle. I'm positive. I would come back in 50 years with my idea of Bueller. No, actually, I always wrote, since I worked in advertising very early, I needed to make a living very early, because I had met a woman,

and I had to save a life for the two of us, so I stopped my studies, and I went into advertising. I liked the idea of working with words, because words are a free material, it's given to everyone. They are in the dictionary, they are open, they are there, we take the words, we put them in an order, and it was fun for me to take something free, the words, and sell them. I found something quite funny, which I liked, which I thought was good, and I loved advertising. I loved, you know, words are like silks, we rub them and it makes a fire or not. And I loved that.

It's in a very short time... The power of words. Yes. And how we use them, it has a different impact. How we put them together in an order that we didn't expect to say something that touches you very, very quickly, that's advertising. And little by little, year after year, I said to myself, I'd like to write for myself, and not just for others. But since I had to work, I had a lot of children, a lot of stuff,

I had to take my time. Because writing takes a lot of time, it's not made to make money, it's something very intimate. And above all, you have to have a kind of impudence, a kind of carelessness, unconsciousness, to say, I'm going to write, but you're sick, what are you going to write? So to find a story on which we're going to spend a year, two years writing, and very slowly, at the end of the quarantine, around 50 years, I said, that's it, that's it, I

think I'm going to dare to write, and I quietly followed it, it took me two years to write the first book, it came out, it worked very well, I continued. The first book, right. It was The Writer of the Family, which came out in 2011. We had prizes, it sold very well. And the next book was the list of my desires, the first one. And then, everything fell on me. It was a great international success. It was incredible, incredible.

Everyone was talking about this book. How did you take it? Because it's still intimate, the act of writing, and all of a sudden it explodes. What's extraordinary is that when you write, you're alone in your kitchen, in your room, in your thing, with your doubts, with your questions, with sentences you don't know if you should put the point there, or do I continue the sentence a little bit because we like it. And then all of a sudden you find yourself in the middle of the world, who has read your book, you are part of something that is no longer yours.

And at the same time it's a great encouragement. I mean, people said, we loved it, they came to see me, but how did you do it? And then it's a woman who speaks, how did you become a woman? And where did it come from? And all of a sudden, we realize that we touched people, but touched in the heart. And that's extraordinary. And I took it as encouragement.

But as I was telling you, I was working in advertising, I continued to work. So for me, it was a little thing next door. It was a little thing from the weekend. I didn't get it. I didn't understand that it was a little thing next door, it was a little thing from the weekend, I didn't think about it. I didn't understand that it was a big success. It was great. You didn't do it with that pressure.

No, it didn't change my life. Well, I had a tax control afterwards, obviously. But there was no... I didn't say to myself, that's it, I'm here. I said, great, I touched people, now what do I do? Then I continued to write another book. But there was no, I didn't say, that's it, I'm somewhere. No, I'm encouraged, I'm carried, and I want to continue writing, not to disappoint, and above all to go into the hearts of people. That's what upsets me.

When there are people who come to see you and who can cry. I had people, you know, in the salons you also go to, there is the queue, people are there, and all of a sudden, I had that in Paris two years ago, there was a young woman, she was pretty, by the way, well, it has nothing to do with it. And she looks at me, and I look at her, because we're sitting behind, we look a little stupid, we're in a queue, and then she starts crying, and I said, what's going on? It's to see you, it's to see the person who wrote what has been touching me for so long, and then you say to yourself, wow, something is happening. That's what writing is. It's connecting, it's giving the other a word that he doesn't necessarily have.

How many times have people told me, with L'Enfant Réparé, Grégoire, you wrote my story. It's mine, it's not theirs, but it's become theirs. And that's magic. So I like that magic. L'Enfant Réparé, could that have been your first book? No, no, no, because L'Enfant Réparé came late-ce que ça aurait pu être votre premier livre? Non, non, non, parce que L'Enfant Réparé, c'est venu tard dans ma vie, la compréhension de ce qui m'est arrivé, et je crois que l'écrivain de la famille raconte déjà L'Enfant Réparé.

Tous mes livres racontent cette histoire. Mais il fallait enlever comme des plures, des couches... Un oignon, il fallait enlever les couilles. Pour arriver au cœur de ce drame, dans le fond, que vous avez vécu. Et comprendre dans tous mes livres pourquoi il y avait un enfant abîmé, To get to the heart of this drama that you lived. And understand in all my books why there was an injured child. And I always wrote the adult in relation to the injured child. Until one day I realized that I was not the adult of the books, but the child. And finally there was a permanence of pain like that, very very far away,

which was growing in me, which was growing in me. And in fact I wrote 9 books before writing L'enfant Réparé, which is a story that tells what happened to me when I was little with my father. And a journalist, I remember when the book was released in Geneva in a show, told me, Grégoire, how many books have you written before? I said nine. He told me, I ask the question in another way, how many books have you written before giving birth to this one? Well, nine. And I understood.

I had to read nine books to give birth to the child I had been, this little dead child I carry. Which has a link with the nine months of gestation. And I gave birth to my childhood, damaged, and I put it back to the light of day, to life, and we got to be in peace. And that's magic, literature. Did you know from the start that you were going to publish this book? I never know if the book will be published or not. Because you wrote this specific book, which is very personal, where you show all your great vulnerability.

You reveal yourself completely. But I had revealed myself in some previous books, but I was hidden by the novel, by the Romanesque form. The story is the perfect conjunction of the real and the truth. The novel is only the truth, the real, we don't care. But the story, when we read a story, like the writer, we are not in the same state. Because there, you have your face, you're known, you know who you are,

and you put yourself in the place of the child you were. No, when I wrote it, I didn't know if it would be published. I didn't know if I published it. I didn't know. When I wrote it, I wrote, I forgot everything. I didn't read, I didn't know. And then it's the editor who says, in this text, there is the ability to touch people, to be a book. First, is it a book? Is it well written? There is also all this work in relation to writing. And there it was difficult because I told intimate things about myself.

I knew that my children would be led to read it. I knew that my father's wife was still alive, I had to read it until... A book can't break people's heads. A book must love people. It must even love bastards. Because we have to understand them. I didn't say forgive, I said try to understand them.

And I wrote it in this spirit of benevolence and repair. In fact, it's called the repaired child, the damaged child. I love the title, I find it very powerful. Earlier you talked about advertising, but this title, the child repaired, has hope. And already we know before we start with the title that there will be a light at the end of it. So the child has been broken, we also understand this gravity. The title says a lot. Yes, and that's what I wanted to tell you. I wanted to tell you a story of birth, of rebirth.

It's a war that I'm telling myself. And the word war, there's a verb that I find very beautiful in French, which is guérir. And in guérir, there's war, which ends with a laugh. So there's a victory. And I like that. To heal is to end a war with a laugh. And your relatives, how did they receive you? It's complicated. First of all, I don't have many relatives anymore, they are all pretty dead. There is a part of my family a little further away who doesn't talk to me anymore,

because we don't have the right to say these things in the north of France yet. So it's terrible for me because it still means that the children, the victims, the damaged have to shut their mouths again, and I don't want that. I mean, we have to protect them, love them, and it doesn't matter, it happened. What do we do with it, and how can we help and love others? So there was that, and then there are my children. I think that two out of four did not read it, because there is something with this book that can scare a child, to say, I don't want to know that from my father, I don't want to,

or I'm not ready, not ready right away. And two who have read it, with which there is an immense reconciliation, because they have finally understood who I was, my sufferings, my joys, why their mother and I were complicated. They have the other side of the book, which is the other side of the book. I read with which there is a huge reconciliation because they finally understood who I was, my sufferings, my joys, why their mother and I were complicated. They have the other side of the story. They have my intimate, they see me not only as a father but as a human being, as a flesh, of suffering, victorious too, repaired.

And it creates a relationship, now they are adults, my children, I have a relationship with these two who have read, extraordinary, because we are in something adult, there are no more little whispers, little whispers, the papana. It's like missing pieces in your puzzle and you have offered them. After that, we offer, when we give a story, a story of this depth that the child has repaired, I can imagine the feedback. Indeed, I imagine all the messages you have received. It's enormous. It's enormous. I was at the book fair for a year with this book, and there was a big debate, there were 200, 300 people.

It was a beautiful moment, a beautiful meeting and I cried all the time, I cried all the time, the book had just come out, it's complicated, even if I talk about it for a little while, I could start crying because at the same time it's tears that are dripping, it's tears that also make joy and life grow. And at the end of the meeting, a man got up and said, Grégoire, thank you for telling my story. I was not five years old, I had told ten. He was not my father, he was my uncle. Then a woman got up and said, thank you.

I was twelve years old, he was my big brother. And about twenty people got up. I think there were 200 people in tears, but tears of... Like a family party where we cry of happiness, but we don't know yet that it's happiness. We know that we are not alone. There is liberation. And this book has been linked to being a thread.

The lines we write are threads, the words we read are threads, the letters are threads. And all of this, we have tinkered with something. Do you describe, it seems, that there is something therapeutic? Of course, writing and reading. And reading, yes. Reading, we also look in the books we read, things that will repair us, re-inflate us,

we have a grief of love, we will read more such books to continue a little bit to believe that it is possible to love. And I think it works in both directions. Because to get up like that in a meeting, for the people who lived that moment, they will never forget. As much the victims as those who were there. The witnesses, of course. There was something that was written, among other things, in that book.

It was, write these periods, it's opening up tombs, write this meeting. That's it, yeah. That's it, that shock. That's what scares me in writing. I think it takes maturity to get there. You have to be ready to read it. You have to be ready to write it, you have to be ready to give it.

Absolutely. We were talking about a few seconds ago, about impudence, insouciance. There's that. There's accepting to vent. To put those things on the table, the guts. And think that we're not going to be judged, to think that this is going to be received by someone and that it will do him good. If we look at ourselves writing, if we say, I can't say that, we're going to think that... No, if we start thinking about what we're going to think about when we write,

we're not writers, we're actors or presenters, or a weatherman. But writing is a certain type of book, of course. It's sharing, it's intimate. It's creating a sort of hope, of the flesh, of the viscera, of the heart, with someone you don't know. And it's like, I'm going to write an island, a space, where we are human beings, we are the same, we have our sufferings, we're going to be victorious from that. That's what writing is.

It's also putting yourself in danger, of course. And the strength of writing is to take the time to be victorious at that. That's what writing is. It's also putting yourself in danger, of course. And the strength of writing is to take the time to choose the right words. Oh, that's a big job. But it's also very enjoyable. Yes. It's like cooking, you know. I often compare writing to cooking.

You have to know the dish we're going to make and who we're going to give it to. If it's for children, older people, people who have more water. I don't care, but it's not innocent either. You have to have some intolerance. Yes, but it's important to know that we're going to do something, we're going to give something important, which is food, which is something necessary. Writing is the same, here's the dish I want to make, and then we're going to look for the ingredients and the words,

and we're going to taste it, we're going to exchange them, we're going to put them back in, and then we're going to say, no, I'm not going to put that in, and then we're going to make the dish again because we want it to be perfect. And that's a time of sensuality that is magnificent in writing. And even when I wrote books or hard scenes in some of my books, I've always had a huge physical pleasure in writing. I think that Goya, when he makes his wall of rifles, when he finds the red blood of the guy who is dying,

I think he is delighted, he is happy to say, oh, it's the perfect red. Because that's what we're looking for when we write, it's that enjoyment of having found the thing that... When you put the pen down, it's a... And when the reader says the sentence in your book, as you just said, on writing, it's dangerous to open graves, you don't see it because I have a big butt, but there's a huge smile on my face. Because I'm glad this sentence is in your head.

Yes, I find it very powerful, like this one too. The day I learned that I was a victim, I felt alive. You have to live to say it. But I think that for victims, a sentence like that, because there is something that could be seen as the opposite. Being a victim, being alive, and to juxtapose the two, it brings reflection. And this reflection, I find that reflection brings hope too.

It's important. To never forget that we are still alive. Yes, and it's not our fault. It's not us who are the bad guys in this story. It's not us. It's not the victims. We are alive. We survived that too.

We have the chance to be alive. We have to live with that. That's how it is. There are people who live, they lack an arm, they lack half of their faces, and they keep on living. We live with pain, an inner massacre,

not visible, painful because it is not visible, so it is unknown. We see it with abused girls who complain every day, saying, where is it? I tell them, at a time, where is it? I'll tell you. The problem is that I don't have... there's no trace. There's no stigma.

It's a perfect crime. And I know that I'm alive now. That there's all this humiliation in me, and that it's up to me to do something beautiful, to direct them to something important. Writing helps me, it also helps others, but I think that all art, all language creation, because that's what writing is about, is important, and that all children who suffer a little, you have to make them work on painting, music,

anything, so that they can say things in their own way, because we only have the words of the great. And the words of the great are not the words that we understand. It's okay, no. Well, well, too bad. An adult, he won't understand, he won't say, why isn't it okay? We don't want the misfortune of others, it's by matter. An adult will not understand, he will not say, why is it not going well? We don't want the misfortune of others, it's by understanding the misfortune of others. So we have to speak the language of the great and we don't listen to the great anymore. So we have to create a language.

When Nikkei Tsinfal, the artist, took this pseudonym, which means a lot, Nikkei Tsinfalus, it means anyway, and that she does these sculptures with huge bellies, because it's the belly that is the place of our suffering, our tomb, it's there. We start to look at why she has big bellies, with her children's stuff a little. And in fact, it's a woman who's saying what her father was doing.

But she can't say it. If she says, dad, she makes me say, stop. And by seeing that, she created a language, she created something. I try to do the same. Well, I'm an emo, because I I don't have any artistic talent, or a dancer, or a sculptor. But it's trying to create a language that makes others hear. It's wonderful what you're saying.

But no! I find it wonderful, because we know how many people want to repair themselves. They don't always have the tools, they don't understand the path. To be able to say it, to write it, to share it, it's good, it gives you tools. So to come back to, to start talking about the list of my desires, the second, it's a great reflection, the second book. The first one, to make a summary for those who haven't read it. There are still some? Well, maybe.

We'll pretend there were a few. In fact, it's Jocelyne who earns 18 million euros at the lottery. We can imagine that 18 million, that changes a life. That's not bad. It changes a life, and in her case, she decides to wait before she puts down the famous check because she wants to know, precisely, what are her desires. You're going to tell me because I'm telling you your story. And finally, in book one, her husband Jocelyn, so she calls him Joe,

it's Jocelyn Jocelyn, he takes the check without telling him and he spends 3 million dollars, which makes her not happy. She has a betrayal, already a first betrayal following this money that she did not even deposit, she did not even start spending a penny and already there are consequences that will follow. And all this for... well, finally he will die. She leaves him. She leaves him. She leaves him. She's leaving. She's leaving. She's not forgiving him. She's going to live with someone. Well, before she lives, there's a little idyll.

Here's a little idea. It's like she wants to see what could happen. She leaves him because, well, the train... Already there is a separation. She didn't spend a penny. And she was fine with that man. Everything was fine. She had her mercy. I said, it was fine. And then, finally, the list of my desires

starts. She's alone. And she hasn't spent money yet. And we find her again three years later. To say to herself, what have I done? What meaning do I given to this money? I found that very powerful because I thought we were going to start, Jocelyne would say, I live now in a castle in the South. I mean, I imagined another life.

And then saying, well, maybe I regret it, no, she's not even there. And she wants to give meaning to the lives of others, in a way. And what is really interesting is that there is a group of words. So someone who says, well, I've always been rich and I've never had to choose. It's worse, that's the heiress. Yes, he is... It's a tragedy. Exactly. And she who listens to that, saying,

so what did you want to say through the book, The Lies of My Desires? First, after I wrote The Child is Prepared, which we have long discussed, I wrote another book, which takes place on a night, a love story, I had an absolute passion for a night. But symbolically, it's a night that goes from the night to dawn, and it's all this writing work, where I come back to the, I'm a writer. I'm a writer. I'm a writer. I'm a writer.

I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer.

I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer.

I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm a writer. I'm's something that I'm frustrated about that hasn't ended at my place, it's Jocelyn. Ten years ago, because ten years earlier the book was released, I left it by the sea in southern France. She listens to Mozart with her boyfriend while watching the sea, she has 13 million in her bag. And I left it there for ten years. I said to myself, it's still this bastard.

We don't leave people like that. In addition, I like him, he's a character that I like. He's a character that has marked the readers a lot, a character that we saw in the cinema, that we saw in the theater, that was played here in an original creation. And that was Marc-Chantal Perron. Yes, Marc-Chantal who is great and whom I salute by the way. And I said to myself, I'm going to take her back.

What has she become with her money? What has she learned? What have I learned from success? Because it's a metaphor for the success of the book too. And I said to myself, I'm going to accompany her, I'm going to make a new path. And we meet her three years later, she has her 15 million, what is she going to do with it? And finally she's a little upset because she still doesn't need that money. She's happy, she loves her life, she has her children, she has her friends, she has her shop. She's not going to buy a Ferrari, a helicopter, a huge diamond. And she asks herself, what is the point of this money?

What can I do to make myself happy? And she realizes that one cannot be happy if the others are not. Because being happy alone does not exist. We are crazy. So she says, how can my money do good without charity, without being stupid and giving? How can I help people build something with my money? So yes, there are the groups of words, because that was a Romanesque idea that I find wonderful, based on anonymous alcoholics.

That is to say that every week millionaires meet anonymously meeting with little bums and very modest cookies, which is funny, to talk about their misfortune. Because they have no one to talk to. Who do you want to tell, for example, you earn 15 million on the car, you go to work, and then you say, oh, I didn't start my car, go to the store, you go to the restaurant, at the time of paying, everyone looks elsewhere, we wait for it to be you. Anyway, you're screwed. You can't talk about your problems anymore because you have money.

So I imagined these anonymous winners who can talk. It's very joyful. Until the day they realize, as you said, Marie-Claude, of the heir who tells them, but you have a life ahead. A life where you were loved for yourself. Me, never. I've been since I was very little, young, I was the heir of my family, I was very fortunate. You could enjoy that, you could find it. She understands all that and she will decide with her money

to make others happy, to allow them to realize their lives. She says, I want people to live standing up. That is, she will try to allow people to realize dreams from which they will be able to live economically. live standing up. That is to say, she will try to allow people to make dreams from which they will be able to live economically, to have money to live, so to realize. And often these are people who have a little bit of a crazy project, and the banks do not trust, no one trusts, and these are great people. And we do not help others enough, we are quite selfish, we are quite etc. And she will jump into it with a lot of joy.

In addition, she will meet people, she will question her sexuality, her body, because she is 50 years old, and it is scary to find love again. She has a body, she no longer has confidence in her body, she has been betrayed by someone. It's hard to find that taste, that impudence. I remember my mother, who inspired Jocelyn's character a lot, when she had... My father was a curious guy, let's say,

and at one point, with my brother, we said to him, divorce, we were young, and we had to dare to say that to his mother. We will always love you, make your life again, and all. And she told us, she was 40 or 45 years old, she said to us, boys, I would never dare to stand in front of a man again. And I found that terrible, terrible.

And it came back to me much later when I was writing the list of my desires saying, how many women suffer from being betrayed, disliked, sometimes humiliated, even in love, and all of a sudden, to say no, two years later, I found betrayed, disliked, sometimes humiliated, even in love. And suddenly, in a year or two, I found someone, my body has changed, I had children,

and they said, I have three children, they have passed, they have pierced my body, my body is not the same anymore, it has no more this grease of 20 years, and yet I am beautiful. And to be beautiful, someone has to see me beautiful. Because men sometimes see ugly. They see something else than our bodies of women. And so there is that too in this book, which is the most intimate level. And then there is the third level, which is amusing because in France,

I know less about the law here in Montreal, in Quebec, we can't give our money. Here, if I'm not mistaken, anyway, a few years ago, it was, I think, $100,000. We were allowed to give $100,000 to someone. In France, we can't even. But no, I didn't give it when... I can't. If I want to give you $100,000 or $200, I can't. The state will take 60% to 80% in Belgium.

Yes, it makes you say, why do you want to give money? When you don't do it. Well, that's the funny and absurd side of. Generosity is not as simple as being generous. It's not as well received. And when she tries to give her money, we mentioned the supermarket scene earlier, she realizes that it's difficult to just give a little butter in someone's spinach. There are two things, it's that she wants to pay, she says to someone,

well, she says to the couple, I'm going to pay what you have, and the man says, for a moment we forgot something. Finally, he comes back with something that costs 695 euros. And his wife, she says, yes, we want to add a sound barrier. And there, finally, it's the equivalent of everything, maybe, of $ 1,300 in Canadian. And there, when she comes to pay, she can just give, I think add a sound barrier. And now, it's the equivalent of maybe $1,300 in Canadian dollars. And now, when she comes to pay, she can just give, I think, a thousand euros. Yes, she can't pay more in cash. She can't pay. So now she's limited.

So even when she wants to help, and I thought she was going to judge them, say, well, let's see, you... No. Okay, you want to add more? I'm going to add more. It's going to be that. And there are others that don't know. We see how people react differently to this money.

But especially in the face of generosity or free when you are given something, there are people instead of saying, I just need a glass of water. No, I want water, I want beer, I want everything. People also have a demarcation, they lack a lot of this kind of loving humanity that we share a little bit.

No, if it's free, I can have it. And it's tragic, this scene, because at the end there is a guy who is all waiting in the same box because she pays for everyone's shopping. He wants to buy a birthday cake and a toy for his daughter. And he puts it on the table, and for once he has no money left. And the guy is devastated. He says, but I can't even buy a cake for his daughter, and poor Josine, she doesn't have any money left.

And the guy collapsed and said, I couldn't even buy a cake for my little one, and the asshole in front of him left with only his beer bottle. Well, yes, but that's how it is. It's horrible. We see social injustice just in a line of waiting. So that's very revealing. And at the same time, we see that no matter what, each of the relationships is tainted by this lot that she won.

It doesn't mean that it's all negative in her environment, but there is a positioning. It forces a positioning. She is seen as someone who has money, who has no more problem, who has nothing, who is almost no longer human. And there are people, including her, who will meet a great type of anonymous winner, she will be cheated on, maybe. Because people are convinced, they want their share. They are cannibals, people, they want. I saw a documentary on Netflix, I believe, on Liliane Betancourt, the woman of the founder or the daughter of the founder of L'Oréal.

She was a billionaire. And obviously, the documentary is tragic, it shows all these agro-fans who are running around. In particular, there are some. There are some. And she spent about a billion, let's say, now I don't know if it's true, around Bagné, the artist. The photographer, painter, writer, well, that's it.

And everyone said, but it's disgusting, they're stealing and everything. But he made her laugh. That's all. He had the consent. Yes, he took her to Venice and laughed. He took her to see exhibitions,. He took her to see exhibitions. She laughed, she found herself pretty, she found herself just fine. It's worth a billion or ten dollars, I don't care. He did her good.

And in his own way, she did what she could, what she had with money. So she gave him that. But I find that we sometimes blame things a little too quickly. I don't know if he asked him, he stole it. He gave it to him, he said, I take it. It's true that if you give me the Picasso you have at your house, Marie-Claude, it's not sure that I say no. But after that, we can't judge that.

What's important is that he found these two people, no matter who has money. Someone laughed, made the other alive. of that too, starting with the state. But the state is what attracts her the most. That's the revolt. Ah, it's revolting. But it's revolting. It's revolting. It's not paying taxes that's revolting, that's what they do. Yes, exactly.

Paying is good, it's nice. I pay my taxes, I'm happy. But that's what they do, it's a waste sometimes. I find that the list of people who are involved in the revolution is very interesting. It's revolting. It's not about paying taxes that revolts, it's what they do. Yes, exactly. Paying is good, it's nice. I pay my taxes, I'm happy. But that's what they do, it's a waste sometimes. I find that the list of my desires of them brings a reflection. Personal. Faced with that, you know, what do I really want? And she says it at some point, it's very touching when she says, but I had everything before. I loved my husband. My nursery started to go well.

I had friends. I laughed. I had everything. I was loved. Yes, I was loved. I was loved for myself. Exactly. And not for what it represents. For the desire of others, of me. It's what they want to take from me. Money, the power of money is incredible. Because it changes the vision of others, of me, of what they want to take from me. Money, the power of money is incredible. Because it changes the vision of a person.

It's power, there are two things you say that are just, it's power and money. I think power itself already makes it crazy. People want a piece of your power. And when you have power and money, then it's destructive. It's terrible, terrible. And we see it, then what's good is his father, because we didn't talk about it, but I liked to re-edit the story of his father, that I had invented in the first volume, we'll say, because in writing, you have things to write, you write, and then you say, she has a huge

secret, she won 18 million, she can tell it to no one. Because people talk about you. And then I invent the father who has a disease, I don't know, every six minutes he loses his head. So she has six minutes to tell him't know, every six minutes he loses his head. So she has six minutes to tell him the truth, after six minutes he says, but who are you? And like that his secret is well kept. And there the relationship goes much, much further and she is beautiful, I find the relationship with her father. And I believe that it also comes from in my heart, somehow, the relationship with my father, after the child is repaired, there is something to appease.

Now I want to let go too. You have to create a friend. de père après l'enfant réparé, il y a quelque chose d'apaisé. Maintenant je veux laisser partir aussi mon propre père. Il faut que ça crée un ami. Le laisser partir, parce qu'on n'est pas que le mal qu'on fait, on a aussi un côté bien, il faut pas oublier qu'il y a un côté aussi, mon père c'est un mec bien pour des gens quoi, voilà. Et ça je peux pas le nier. Et donc là ça m'intéressait que jusqu'au bout avec son père, elle a cette relation privée, secrète où elle peut tout lui dire, And so, I was interested in the fact that, until the end, with her father, she has this private, secret relationship, where she can tell him everything, where she will never be judged. Because deep down, that's it.

Being free is not being judged by others. It's when you're judged, that you become a victim, that you become guilty, that you become despicable, because others judge you. But we didn't judge. Normally, we didn't judge. And when we don't understand each other differently, we react. Yes, we have to accept the others, who they are. I didn't judge. And when we don't think differently, we react. Yes, we have to accept the others, I didn't judge. And here, it's a pure relationship, there's no judgment.

And there's humor. Yes, it's very funny. With his father, the ending of that, when there's the reading of the will, we won't reveal it, but there's something, anyway. No, I think we laugh a lot during the book, because there are very funny scenes, we mention the supermarket scene, it's quite funny, but because humor also allows me to go through serious things

without being a teacher, without being moral. And I like it because life is like that, you laugh and then you cry, we take a slap, then we take a kiss, salty, sweet, hot, cold. You laugh at the table, and then there's a line, and then we say, oh, she's dead, shit. And it's in the same second, it's in the same laugh that's not over, you learn a bad news.

That's it. And this book is written like life, that is, it also between the revolting, the very funny, the tender, the loving, the angry, theiness, of the suspense, because life is like that. Before having children, I was always looking for that happiness that was there, that was there until I understood at one point, at the table, my son pouring his glass of milk, everything was fine, and then the catastrophe, his sister is full of milk, we finally stop the meal. And then, after that, happiness comes in a pinch. You just have to seize it when it's there and say, you have to take advantage of it because you don't know when it will stop.

And the laugh. And especially when it will stop, so we try to pull it a little bit. Yes, we try to pull it. Sometimes the pinch is longer, we are more stretched, but the goal is not to always look for that. Otherwise we will always be disappointed and we will not see the little tip that is presented to us. The little beauty, the little thing, the little gift. Because when it's there, you have to take advantage of it. And this book, in any case, I strongly recommend it because it is easy to read at the same time, and you have to stop. I think it's a book that brings reflection, and we really get attached to Jocelyne.

I would like to know how her story continues. Well, see you in ten years! Yes, see you in ten years! And is the next one already on the work table? The next book? Yes, the next book. Yes, yes, yes. I started something very, very different from everything, very strange, very good. I like it, but it has nothing to do with it. It's not a story, it's a novel.

No, it's a bit crossed out of a lot of things. I can't talk about it because I finished my first G before 3. Oh! Oh yes, really. It's a scoop. How do you feel when you finish a first G? Well, I can't wait to read it. I haven't read it.

But it must be... After that, it's the refinement... I don't know, I have to read it. It could be complete already like that. Yes, I don't know. I have to read it. I write, I don't read. So now that I've written, I'll be able to read it. How do you feel when you read one of your books for the first time?

If I want to turn the page to know what's going on, that's good. I've always had that. Because when I read, I read. I haven't been able to write. I read. I want to be hooked on the story. When I say violence, it's positive for me in terms of writing. I want writing to shake me, to shake me. I see that writing is pushing me, it's pushing me. I have a husband and I say, wow, what a beautiful sentence. I remember this sentence from, I think it's Eliette Abécassis in one of her books,

which is called A Couple, I think, or something like that. Recently, at Gracé, she wrote this sentence that shook me. And it's rare to have a sentence that jumps out at you when you read it. She wrote, they make love, and love makes them. you when you read it. She wrote, they make love and love makes them. I've never read it. Obviously, I could have written it, but I didn't think about it. To reverse the thing that makes love, but it's also love that makes them. And I love that in a book.

So when I read my books, I hope I've seen the text of sentences that... Boom! Because for me, there are no books, there are no such things. I'm not going to say that I'm a poet, but I'm going to say that I'm a poet. I'm not going to say that I'm a poet, but I'm going to say that I'm a poet. I'm not going to say that I'm a poet. I'm not going to say that I'm a poet. I'm not going to say that I'm a poet. I'm not going to get some salad.

Well, can we say it in a way that it's nice to go and pick up a salad? I don't know why it's raining. But this poetry is important to me. It's a gift we make, it's a gift we give to others. It's politeness, a well-written book. A book has to be polite. Because when we are polite, we can say a lot of things, we can say a lot of things, we can shake people, we can say, wake up, but don't let yourself be done, etc.

Or love it more, tell him you love it. I remember when I wrote, after I wrote, we only see happiness. The actor who will create the play and play the play later, when he read the book, he finished at 4 am, he said to me, you know what I did? I took my phone, I called my son, it was in the middle of the night, he was asleep just to tell him I loved him. Because I read your book and I realize that we don't tell people enough that we love them.

That's it. So I want to know when I finish the text that I wrote, if there are things like that in it. If yes, then maybe I'll give it to my publisher. But she doesn't even know that I wrote it. She doesn't know. No one knows. Do you have a reading committee? No, no, no, no. It's a scoop. No, no, there is no reading committee. No, I'm going to tell my wife when I've read it, if I find it correct. And then, by politeness, it's because she's malignant, not in writing, because she's American,

so she's not on the language, she's not going to get me married, as they say. But in psychology, she helped me. As I write a lot of women in my books, sometimes it's a bit long, because I'm happy. She says to me, no, it's okay, we women, we understood what you said. So I reduce, but it's only in that language. And at the same time, I'll send it to my publisher if I like my reading. So we have a scoop. Yes.

Like that. You see? And how do you prepare to meet your readers and readers? I don't prepare, I give myself. I am an open heart. I love it. I love people. I don't understand that people move to come see me, to talk because of a book.

I find it so magical that I give them everything. I take the time it takes and I have very have very strong relationships with the readers when they come. I came to the show twice a few years ago, I loved it. But these relationships are very strong. You realize that someone came to see you for a book, to see you, to touch you, to... They look like these books. It's important too, there are betrayals, sometimes there are lies,

there are people who don't look like their books. I love that. And then I feed myself with them, they tell me stuff, then I go home and I find my solitude as a writer. So it's like that, an extremely strong moment for me, the meeting with the readers. And I give a lot, a lot, they know it. Thank you, Grégoire de la Cour. What a great meeting.

Really, you are extremely generous. It's you, it's you who allowed that. Thank you. Thank you, so thank you to everyone for being there.