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“... and red – proclaimed its radical elegance, and it soon had a team of contributors that included Alain-Fournier, Paul Claudel, Jean Giraudoux, Valery Larbaud, Jacques Rivière, Jean Schlumberger and Paul Valéry. Gide then proposed that they branch out into publishing ‘beautiful books’. Neither he nor his colleagues had the means to run a publishing ...”

“... academics read Sarraute (1900-99) as a standard-bearer for the so-called ‘new novel’ alongside Alain Robbe-Grillet (1922-2008), Michel Butor (1926-2016) and Claude Simon (1913-2005). I am not sure that many people read any of them for pleasure these days. (In my more cynical moments, I don’t think anyone read them with much pleasure back then ...”

“... limpid tropismes (‘inner movements’) are not here, nor the further investigations of Alain Robbe-Grillet. His 1962 story ‘La Plage’ is a good example, its present tense rinsed of all affect. Three children walk along a stretch of empty beach; nothing happens, but the nothing is full of incident. The trance-like récits of the nouveau ...”

“... narrative person. These ideas may come from her discussions with Jérôme Lindon, the publisher of Robbe-Grillet, Butor and Claude Simon, from her studies of recent French literature or from her knowing Nathalie Sarraute. She realises that there is some common ground between her writing and that of the grande dame of French literature: ‘Je cherche sans doute ...”

“... the man she found to do Givenchy à l’américaine for her. A dress was to be inspired by Alain Resnais’s new movie: ‘You must see “les Dernieres années à Marienbad”, all chanelish chiffons. I saw a picture of Bardot in one – in Match or Elle in black – but mine could be red, covered up in long sleeves – transparent.’ When she had ...”

“... rightly) to be associated with the Nouveau Roman. She felt much too superior to Claude Simon, Robbe-Grillet and Michel Butor. Nathalie Sarraute was almost the only living French writer she approved of. These were the years of Sartre’s ascendancy. MD, however, steered clear of the arch-guru and despised Camus. At the same time she ...”

“... the age of thirty he had published poetry, short stories, a number of articles and a novel. With Alain Resnais, he made Les Statues meurent aussi (1953) and the ground-breaking Nuit et brouillard (1955); he then became a major figure in the French short film industry of the 1950s and 1960s, pioneering a new genre, ‘the essay-film’, in a series of ...”

“... in 1960, by a group of ambitious young literary intellectuals, who found a first rallying cry in Alain Robbe-Grillet’s nouveau roman. These three books offer more or less concordant accounts of the early years, Forest’s being the most richly anecdotal (his is essentially a narrative history, a fine specimen of French cultural ...”