Nicole-Lise Bernheim, Mersonne ne m’aime (French, 1978)
I have wondered if I should mention this book in this blog, and if so, how. It is not that this book presents anything remotely shameful, on the contrary. But it is completely, fully untranslatable, and if I attempt to explain how funny it is, I will get lost in a flurry of explanations that will be completely un-funny. This book is quintessentially French, and will surely never be translated into English. Anyway, here am I.
This book found its way into my husband’s hands in mysterious ways, as he has very eclectic reading tastes. He then had a good laugh and put it on my nightstand as soon as he’d finished it. It reminds me of another great parody mystery set in the 1970s, The seventh function of language by Laurent Binet, but the difference is that Binet’s book was published in 2015, while this one was published in the late 1970s. Far from being nostalgic, it really speaks of contemporary trends and characters and makes fun of them. I don’t think it was a huge bestseller at the time and now only few copies are still to be found.
Set in Paris in the 1970s, it is a feminist humorous sketch, in a domain that often takes itself very, very seriously. It portrays famous feminist figures and organizations, and it makes fun of it with endless puns and silly situations. Simone de Beauvoir is here renamed Brigitte de Savoir (meaning “knowledge”), the structuralist philosopher Michel Foucault makes a cameo as Foulcan (Get-the-F-out), etc. Even more sacrilegious, the book starts with the murder of said Brigitte de Savoir, whose lifeless body is discovered by a lowly female traffic warden who wanted to issue a ticket on her car.
Beyond name dropping of famous 1970s figures that have or have not remained famous nowadays, the book is not so much about a traditional mystery plot but about playing with words. Any word containing a reference to the patriarchy is replaced by a feminine equivalent. As you may know “père” in French means “father”, but “per” is a very common syllable, to be found in “person” for example. The title itself is a transformation from father to mother in the sentence “no per-son loves me”. The reading experience is not very fluid, but it is indeed memorable.
Last week, I listened to a Radiolab podcast episode about Facebook’s “Supreme court” that would give an advice on what is acceptable or not. Humor, especially when it addresses the topic of gender, is often challenged in those instances, because what one person finds funny may not be another person’s tastes. In my opinion, this book is very daring in its humor, but also radically feminist and completely respectful, a rare combination when it comes to sensitive topics.