Summary
Highlights
François Bégaudeau explains that the idea for “Désertion” stemmed from a real-life encounter with a young man who fought with Kurdish forces in Syria. He clarifies that while the conflict against ISIS was ideologically consensual, his novel explores an often-overlooked narrative: the motivations of young French volunteers joining the Kurdish cause, rather than those radicalized by ISIS.
Bégaudeau critiques the term 'radicalization,' viewing it as a pathological label often misused politically. He argues that his protagonists, particularly Steve, do not exhibit ideological or psychological radicalization; their journey is opaque and nuanced, contrasting with prevalent media narratives that emphasize sudden, dramatic shifts. He emphasizes the 'slow sedimentation' of social factors leading to their decisions.
The author discusses his deliberate choice to portray characters like Steve with limited linguistic articulation. He believes this makes their stories more compelling, as their motivations and emotional states must be conveyed through actions and situations rather than explicit dialogue. This intentional 'opacity' allows for deeper reader engagement and interpretation.
Bégaudeau explains that his writing style, characterized by minimal punctuation and an uninterrupted narrative flow, aims for a raw realism. He seeks to capture the immanent humor and pathos of life, particularly in the interactions of his characters. He draws a distinction between literary production (where the author's voice is absent) and essays (where it's present), expressing his aspiration for the 'text to speak for itself' in his novels.
While not directly influenced by Prévert, Bégaudeau acknowledges a shared 'anarchist confraternity' in their work. He cites influences like Kafka, Flaubert, and Beckett, valuing writers who engage in a 'battle with words' and prioritize precision over grandiosity. He discusses the 'anti-event' in modern literature, a concept exemplified by Buzati's 'The Tartar Steppe,' where characters experience a sense of waiting rather than dramatic action, mirroring Steve's experiences at the front.
Bégaudeau challenges traditional narrative arcs that demand characters to change or learn definitively from their experiences. He suggests that Steve's return from Syria is marked by a mundane continuity rather than profound transformation. He underlines the 'scandal' of life simply going on, emphasizing the persistence of everyday concerns over grand historical events, which he sees as the true hero of his narratives.
Bégaudeau reflects on the emotional power of ordinary details in his novel, where small, seemingly insignificant moments evoke deep feelings. He explains his approach to emotion, contrasting it with overt, manipulative attempts to stir feelings. He believes that true emotion in art often arises from sobriety and unexpected, subtle observations, often through 'anodyne' details rather than dramatic events.
Bégaudeau introduces his latest essay, 'Du Mépris' (On Contempt), which explores the contemporary use of the accusation of 'class contempt.' He links it to criticisms of 'Désertion,' where some accused him of social contempt for his characters' tastes. He dissects the politicization of this accusation, noting its appropriation by the far-right, and examines the concept of 'cultural contempt,' especially regarding popular art versus industrial art.
Bégaudeau answers a series of rapid-fire questions, revealing preferences for a general victorious strike over his masterpiece, 'yellow vests' over 'Nuit debout' for their spontaneous nature and thought-provoking impasses, Godard over Truffaut without hesitation, and the end of money over the end of ego for its experimental potential.