•Release date: August 11, 2015
at Le French Book
Some people collect art, others collect trouble. Marion Spicer spends her days examining auction catalogues and searching for stolen works of art. She is a top-notch investigator when it comes to eighteenth-century art. But for her it’s just a job and her life is well ordered. All this changes when she inherits a huge and very prestigious collection of pre-Columbian art from a father she never knew. There are conditions attached: she must first find three priceless statues. That is when her troubles begin. Her father’s death sparked much greed, and Marion finds herself facing the merciless microcosm of Paris art auctions and galleries, with its sharks, schemes, fences, traps, scams, and attacks. Her quest draws her into a world where people will kill for a love of beauty
An art reporter and trained gem specialist,
is known for her investigations into stolen art
and gem trafficking.
She currently works as a magazine editor,
and splits her time between Paris and Marseille.
ABOUT THE TRANSLATOR
Sophie Weiner is a freelance translator and book publishing assistant from Baltimore, Maryland. After earning degrees in French from Bucknell University and New York University, Sophie went on to complete a master’s in literary translation from the Sorbonne, where she focused her thesis on translating wordplay in works by Oulipo authors. She has translated and written for web-based companies dedicated to art, cinema, and fashion as well as for nonprofit organizations. Growing up with Babar, Madeline, and The Little Prince, Sophie was bitten by the Francophile bug at an early age, and is fortunate enough to have lived in Paris, Lille, and the Loire Valley.
Writing is Building
An art reporter and trained gem specialist based in Marseille, France, Anne-Laure Thiéblemont is known for her investigations into stolen art and gem trafficking. Her art world mystery novel, The Collector, just came out in English, published by Le French Book. Here, she talks about some of the places that have inspired her writing.
It was impossible for me to come up with an outline with an initial situation, a trigger, a story arc, and resolution. I don’t know how to project like that. Also, it bores me to think about knowing everything in advance. When I wrote The Collector, I focused on every chapter as if it were a whole story. I thought of each chapter like I would if I were painting a painting, with a setting, a frame, a scene and characters. As I went along, the chapters existed nearly independent of each other. As a result, the story could go where it wanted to go and I could focus on what I liked most, which was writing.
Afterwards, with my companion Michel, I rewrote, rearranged, cut and linked together the various parts of the story. I can still see us with the pages of the manuscript cut up on the floor, scissors and past in hand.
I’m reminded of the French writer Jean-Edern Hallier, who wrote, “Writing is building.” Maybe this approach contributed some spontaneity to the story.
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