If Madame Bovary had had a child in the 21st century, Jeanne would surely have been her daughter.
In Celia Levi's latest novel, the Breton woman has all the symptoms of the Flaubertian character.
Let us judge a little: she is an eternal dissatisfied, sick romantic, naive and awkward, full of boredom and regrets, who cannot live without escaping into her dreams.
The diagnosis is final.
However, and this is what makes
La Tannerie so
modern
, the heroine is aware of her pathology, but does not seek treatment.
Because in Paris, where she goes, her illness is a way of life.
When she arrives in the capital, Jeanne dreams of becoming a bookseller.
But instead, she finds herself doing a series of fixed-term contracts as a host at the Tannerie, a former haunt of dealers and a new cultural space in Pantin where art is exhibited with
"onion peels, excrement of zebu and clay from cantal ”
not far from a migrant camp.
Behind these doors, Jeanne, sometimes a pee lady, sometimes an informant,
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