Patrick Modiano
La ronde de nuit (1969)
Le narrateur du roman travaille pour la Résistance en même temps que pour la Gestapo française. Les personnages principaux du roman sont inspirés des deux personnages vrais, dirigeants de la Gestapo. Le Khédive a des traits d'Henri Lafont (écrit Laffont par Modiano dans La Place de l'Étoile) et Philibert a des traits de Pierre Bonny. Les deux étaient des collaborateurs, membres de la Gestapo française. Le bureau 3 bis square Cimarosa dans le roman est inspiré du 93, rue Lauriston, où Lafont et Bonny avaient leur bureau, choisi pour la cour et le sous-sol, où les membres de la Gestapo torturaient des prisonniers, afin que les voisins ne puissent pas les entendre.
The bridge of Arts
Opposite the apartment, the Pont des Arts allows you to pass in a few strides from the left bank to the right bank. Modiano will cross this symbolic border very early to join his mother who plays au Fountain Theater. And to discover new neighborhoods.
"Passing on the right bank, I had the feeling of entering a space of freedom but also of disturbing adventure. It is linked to very specific memories of a police station, which was installed in the square courtyard of the Louvre, just before rue de Rivoli. For me, it symbolizes a kind of customs post. We reached the left bank by the very provincial Pont des Arts, which was rather charming. On the other hand, I could not access the left bank right, at least in my imagination as a 14-year-old child who still thought he was breaking the law, that by crossing this dark and threatening customs guarded by policemen in caps..."
The bridge of Arts
Opposite the apartment, the Pont des Arts allows you to pass in a few strides from the left bank to the right bank. Modiano will cross this symbolic border very early to join his mother who plays au Fountain Theater. And to discover new neighborhoods.
"Passing on the right bank, I had the feeling of entering a space of freedom but also of disturbing adventure. It is linked to very specific memories of a police station, which was installed in the square courtyard of the Louvre, just before rue de Rivoli. For me, it symbolizes a kind of customs post. We reached the left bank by the very provincial Pont des Arts, which was rather charming. On the other hand, I could not access the left bank right, at least in my imagination as a 14-year-old child who still thought he was breaking the law, that by crossing this dark and threatening customs guarded by policemen in caps..."