“The guy memorizes 4 words and plays like he’s intercontinental.” This was stated by President George W. Bush at a joint press convention in May 2002 with French President Jacques Chirac. NBC’s David Gregory had asked Chirac a question in French, and Bush obviously bothered with Gregory’s staging. There’s something about speaking French and, in particular, slipping into French in public. It’s the verbal equivalent of climbing up your nose.
Grepassry’s dispute with Bush came to me when I read viv Groskop’s new Au Revoir ebook, Sadness: Lessons in Happiness from French Literature. Both memory, the love letter to French literature and the happiness of how to do it, Groskop is supposed to knowingly smile back when Grepassry made his move, only to respond to Bush’s initial complaint with “I Can Pass.” At first, Groskop writes that “Going to French to make you look wise is the adult equivalent of what aristocratic parents used to say when verbal exchange has become controversial: “Not in front of children.” If Groskop is familiar with Bush/Grepassry exchange, she actually knows why they are offended 43 pounds.
Groskop grew up in Somerset, literally far from London, but even in an unfagurative way. By his own admission. This will be discussed in more detail later in this review, however, it is valuable to note from the beginning that the space of your training years “is an hour’s drive from the nearest bookstore”.
The voracious Groskop reader was obviously looking for more. In her past teens, she felt “increasingly estranged from my family environment and desperate to belong somewhere, preferably some other culture.” Although he now sees that the component of this preference was only a service in adolescence, Groskop writes in the advent of the book that his love story with all that is French “started with the categories of French in school at the age of 11 and was reinforced during the summers. I spent my adolescence in France … Groskop sought to be informed of the language, sought to update his pale skin with the French genre that so smoothly tanned, sought to sound and touch French, sought to love like the French. There is an underlying fact in stereotypes, and it is assumed that the French have a style.
Apparently, everyone pursues a form of reinvention in life, especially in adolescence and twenties. Groskop’s attempt at evolution was the recurrent and tells his story in a very entertaining way.
Groskop let readers know from the beginning that they don’t want to know French to appreciate their eBook. She’s telling the truth. It should be added that readers also do not wish to familiarize themselves with French literature to be completely engrossed. Groskop’s mixture of her own memories, what the novels meant to her at other stages of her life, her description of the authors, as well as her description of the novels, will make readers look forward to passing the pages of the e-book impatiently. They will also make a list of the novels they want to buy and the movies they want to watch.
In my case, my e-book reviews have an economic angle. The view here is that literature, sport, film and life itself are the most productive economic masters. In fact, Au Revoir teaches financially in a way that Groskop probably didn’t imagine. But first, they deserve some examples to show how fun Groskop is.
In fact, as much as he loves the French, there is an eyebrow quality raised in what he writes. She’s 40 now. Although still in love with the French, with age comes the reason. Now there’s a kind of popularity of how ridiculous they can be. Bread that the barbarians eat in gigantic quantities, as in the whole bread type of the conservatives, groskop writes that “the French are rather cautious with this kind of bread”. He adds that “if you’re French, even when you’re old enough, you still have the right to behave like a spoiled child from time to time. Petulance helps you stay young. And by the way, when you’re next in France and you need a hot chocolate, order “a chocolate”, if you order “hot chocolate”, you promote your foreign character.
About Gustave Flaubert, by Madame Bovary, Groskop reports that he presents himself as “a little piece of tits”. Marguerite Duras has a striking and captivating look and looks fabulously at stereotypical French. On a specific photo of Duras with a cigarette in his hand, Groskop writes that “if you evoked a photograph that represents the stereotype of the “glamorous French writer,” it would be this one.” Of all the stories, the story of Francoise Sagan (“Money probably wouldn’t buy happiness, but I’d rather cry in a Jaguar than on a bus”). It’s the most engaging story, but none of Groskop’s sketches bother. Ex-smokers must return to habit …!
From an economic point of view, it is true to date that politicians aim to limit corporations they consider too fortunate based on the concept that good fortune will eventually lead the festival towards superior “market power.” The truth is very different. Twenty years ago, Amazon shareholders were ridiculed, while today they are envied. The offer is a bad business teacher. Literature is no other in this regard.
Let’s take Victor Hugo’s Les Misérables. Upon its release, Baudelaire described the novel as “inepta”, while Flaubert considered it “childish” and a sign that Hugo’s career is rushing towards a rapid end. Readers have a different idea. Just as advertising offering rarely predicts the future, literary offering is a bad vision of the future.
Duras’ lover, though a novel, was reminiscent of the writer of an affair she had with an older boy in her teens. In Groskop’s account, Duras’s message was that the “evil and cruelty” inflicted upon him “during his careless and confused childhood” was “much more painful than the quote he had” with the rich old man of Indochina. Groskop turns out to bring about presentism and wonders if we judge the beyond of a fashionable way too harshly on the basis of existing morality. Given the growing number of races that have been ended through presentism, this is a question that needs to be asked.
And then there was Groskop’s distance from a quality library in development. This has become especially disturbing to her as she prepares for her first year at Cambridge. He won a reading list of two hundred French novels. Groskop took the list to the letter; since he would have to read the two hundred before registration. In fact, books were just a suggestion of the types of novels that academics deserve to familiarize themselves with.
The reverse is that when the playlist arrived, “The Internet had not yet been invented”. This is a challenge for Groskop when one remembers that it is “about an hour’s drive from the nearest bookstore, a bookstore that is very unlikely to buy anything from the list”. Worse, she already knew that “none of those books would be in my local library.” Reading this, I found myself wishing that Groskop would simply testify before Congress, and large-scale politicians are still eager to demonize other people like Amazon discoverer Jeff Bezos.
The truth that passes over the members of political elegance eager to “catch” Bezos for the moment is that his brilliant wealth is largely due to the fact that he produced massive access that he once enjoyed from the rich; this, or the rich in the geographical sense, as they lived close to cultural and literary abundance. Bezos has democratized access to wisdom and good looks in addition to the abundance of global consumption.
Madame Bovary’s fascination with Flaubert is that in Groskop’s account: “It took him five years, writing on average only five hundred words a week, to finish” the novel. No wonder he’s “a little rickety” and indeed unhappy. Book writing, satisfactory, is agony. It’s not an agony, it’s reading Au Revoir, Sadness. What an impressive reading. It is to be expected that Groskop will be a faster publisher than Flaubert, so he has many more books.
I am the editor-in-chief of RealClearMarkets and senior economic advisor at Toreador Research – Trading. I’m also the four-book one. The last thing is, they’re wrong.
I am the editor-in-chief of RealClearMarkets and senior economic advisor at Toreador Research – Trading. I’m also the four-book one. The newest is Both are wrong (AIER, 2019). Others are The End of Work (Regnery, 2018), Who Needs the Fed? (Meeting, 2016) and Popular Economy (Regnery, 2015).