La façon dont un homme écrit, sa façon de parler, de marcher, d'agir, autant de détails uniques et dont le secret est impénétrable. Le point essentiel, et c'est si évident qu'on l'oublie le plus souvent, ce n'est pas s'interroger sur ces problèmes, mais d'écouter ce qu'un homme a à dire, de laisser ses paroles vous toucher, vous transformer, vous amener à vous réaliser plus pleinement.
Secrets of Women ’(Ingmar Bergman, 1952). °°°
“Nous, m'ont dit les voyages ;
Laisse-nous t'emporter vers de lointaines fleurs.”
Mais, toute éprise encore de mes premiers ombrages,
Les ombrages nouveaux n'ont caché que mes pleurs.
Qui me consolera ? - Qui me consolera ?
Pascal Obispo - Le secret perdu
Summer in a new suburb outside Paris. Nothing to do but look at the ceiling. Marie, Anne and Floriane are 15. Their paths cross in the corridors at the local swimming pool, where love and desire make a sudden, dramatic appearance.
It is tale of two teenage girls who develop an intense and dangerous friendship. Charlie is a 17-year-old girl tortured by doubt, disillusionment and solitude. When the beautiful and self-confident Sarah arrives and the two become inseparable, Charlie is thrilled to feel alive, fulfilled and invincible in their intense friendship. But as Sarah tires of Charlie and begins to look elsewhere for a new friend, their friendship takes an ominous turn.
There was little chance, in the year 1971, that Carole, a Paris Spanish teacher and feminist militant, would ever meet Delphine, the daughter of a couple of Limousin farmers. But they did meet and not only did they come across each other but they fell passionately in love as well. Unfortunately, Delphine’s father fell victim to a stroke, and the young woman had no other choice but to go back home to help her mother run the family farm. Carole, who was so smitten by Delphine, couldn’t stand the estrangement and decided to join her lover at the farm. But could feminism and lesbianism easily be transferred to the countryside and its standards of the time…?
Adèle’s life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and ultimately finds herself through love and loss.
Two young women find themselves struggling to survive in Paris, street-wise Nathalie, a stripper, and naïve Sandrine, a barmaid. Together, they discover that sex can be used to their advantage, and pleasure.
The girl Mélanie Prouvost is an aspirant pianist and her parents make her application to the Conservatory. During the entrance exam, she begins with a great performance but she is distracted by one member of the admittance board, Ariane, and she fails. Years later, Mélanie, unrecognized by Ariane, becomes her page turner. And thus begins her carefully planned revenge against the woman that destroyed her dreams.
Le Petit Prince (1943) is a novel by Antoine de Saint Exupéry, translated into English as The Little Prince.
🌟 1. Les grandes personnes ne comprennent jamais rien toutes seules, et c’est fatigant, pour les enfants, de toujours et toujours leur donner des explications.
Grown-ups never understand anything by themselves, and it is tiresome for children to be always and forever explaining things to them.
🌟 2. Quand le mystère est trop impressionnant, on n’ose pas désobéir.
When a mystery is too overpowering, one dare not disobey.
🌟 3. La preuve que le petit prince a existé c’est qu’il était ravissant, qu’il riait, et qu’il voulait un mouton. Quand on veut un mouton, c’est la preuve qu’on existe.
The proof that the little prince existed is that he was charming, that he laughed, and that he was looking for a sheep. If anybody wants a sheep, that is a proof that he exists.
🌟 4. Mais les graines sont invisibles. Elles dorment dans le secret de la terre jusqu’à ce qu’il prenne fantaisie à l’une d’elles de se réveiller…
But seeds are invisible. They sleep deep in the heart of the earth’s darkness, until some one among them is seized with the desire to awaken.
🌟 5. Il ne faut jamais écouter les fleures. Il faut les regarder et les respirer. La mienne embaumait ma planète, mais je ne savais pas m’en réjouir.
One never ought to listen to the flowers. One should simply look at them and breathe their fragrance. Mine perfumed all my planet. But I did not know how to take pleasure in all her grace.
🌟 6. Tu as des cheveux couleur d’or. Alors ce sera merveilleux quand tu m’aura apprivoisé! Le blé, qui est doré, me fera souvenir de toi. Et j’aimerai le bruit du vent dans le blé…
You have hair that is the color of gold. Think how wonderful that will be when you have tamed me! The grain, which is also golden, will bring me back the thought of you. And I shall love to listen to the wind in the wheat…
🌟 7. On ne connaît que les choses que l’on apprivoise, dit le renard. Les hommes n’ont plus le temps de rien connaître. Il achètent des choses toutes faites chez les marchands. Mais comme il n’existe point de marchands d’amis, les hommes n’ont plus d’amis. Si tu veux un ami, apprivoise-moi!
“One only understands the things that one tames,” said the fox. “Men have no more time to understand anything. They buy things all ready made at the shops. But there is no shop anywhere where one can buy friendship, and so men have no friends any more. If you want a friend, tame me…”
🌟 8. Le langage est source de malentendus.
Words are the source of misunderstandings.
🌟 9. Voici mon secret. Il est très simple : on ne voit bien qu’avec le coeur. L’essentiel est invisible pour les yeux.
And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.
🌟 10. C’est le temps que tu as perdu pour ta rose qui fait ta rose si importante.
It is the time you have wasted for your rose that makes your rose so important.
🌟 11. Tu deviens responsable pour toujours de ce que tu as apprivoisé. Tu es responsable de ta rose…
You become responsible, forever, for what you have tamed. You are responsible for your rose…
🌟 12. - Les enfants seuls savent ce qu’ils cherchent, fit le petit prince. Ils perdent du temps pour une poupée de chiffons, et elle devient très importante, et si on la leur enlève, ils pleurent…
“Only the children know what they are looking for,” said the little prince. “They waste their time over a rag doll and it becomes very important to them; and if anybody takes it away from them, they cry…”
🌟 13. Ce qui embellit le désert, dit le petit prince, c’est qu’il cache un puits quelque part…
“What makes the desert beautiful,” said the little prince, “is that somewhere it hides a well…”
🌟 14. Dessine-moi un mouton!
Draw me a sheep!
🌟 15. Quand on a terminé sa toilette du matin, il faut faire soigneusement la toilette de la planète.
When you’ve finished getting yourself ready in the morning, you must go get the planet ready.
🌟 16. J'aime bien les couchers de soleil. Allons voir un coucher de soleil…
I am very fond of sunsets. Come, let us go look at a sunset…
🌟 17. On ne sait jamais!
“One never knows!”
🌟 18. Il faut exiger de chacun ce que chacun peut donner, reprit le roi. L'autorité repose d'abord sur la raison. Si tu ordonnes à ton peuple d'aller se jeter à la mer, il fera la révolution. J'ai le droit d'exiger l'obéissance parce que mes ordres sont raisonnables. Alors mon coucher de soleil ? rappela le petit prince qui jamais n'oubliait une question une fois qu'il l'avait posée. Ton coucher de soleil, tu l'auras. Je l'exigerai. Mais j'attendrai, dans ma science du gouvernement, que les conditions soient favorables.
“One must command from each what each can perform,” the king went on. “Authority is based first of all upon reason. If you command your subjects to jump into the ocean, there will be a revolution. I am entitled to command obedience because my orders are reasonable.” “Then my sunset?” insisted the little prince, who never let go of a question once he had asked it. “You shall have your sunset. I shall command it. But I shall wait, according to my science of government, until conditions are favorable.”
🌟 19. C'est véritablement utile puisque c'est joli.
It is truly useful since it is beautiful.
🌟 20. ‘Où sont les hommes ?’ reprit enfin le petit prince. 'On est un peu seul dans le désert.’ 'On est seul aussi chez les hommes’, dit le serpent.
“Where are the people?” resumed the little prince at last. “It’s a little lonely in the desert…" "It is lonely when you’re among people, too,” said the snake.
🌟 21. Vous êtes belles, mais vous êtes vides…. On ne peut pas mourir pour vous.
You’re beautiful, but you’re empty…. No one could die for you.
🌟 22. Les hommes ont oublié cette vérité, dit le renard. Mais tu ne dois pas l’oublier. Tu deviens responsable pour toujours de ce que tu as apprivoisé.
“Men have forgotten this truth,” said the fox. “But you must not forget it. You become responsible, forever, for what you have tamed.”
🌟 23. Mais les yeux sont aveugles. Il faut chercher avec le cœur.
But the eyes are blind. One must look with the heart…
Today in ‘James Le Lacheur is an incredible Scorpius’:
-When Albus was sorted, Scorpius just lit up. Just beaming all across his face. So delighted to have his friend in the same house as him.
-In the third year train ride, there was a moment where Scorpius reached out to grab Albus’s hand, then he seemed to think better of it.
-There were so many tears, real tears, in both the staircase ballet and the library scene. During the library scene speech Scorpius completely broke. Every single time I see James do a library scene she delivers the best one I’ve ever seen.
I feel privileged to have seen James’s first show as Scorpius, and to now be seeing her (probably) last as well.
Combeferre probably let Feuilly come in without much fight because he was surprised; he had expected, of course, to see one of his friends before the day was over- he’d been too sharp earlier, and too fast to leave, for them not to have understood he was genuinely upset over their behaviours, but he’d thought Enjolras or Courfeyrac would come, or perhaps Prouvaire. Not Feuilly.
Now they stood awkwardly in the middle of Combeferre’s kitchen, as Combeferre tried to remember when he had last used his tea cups, and where they might be hiding now. Feuilly looked pensive, his head bent down, his hands pressing his hat, almost nervously. Combeferre kept waiting for his annoyance to come back - but Feuilly had been the only one not to speak against that women’s group, earlier - though, Combeferre tried to remember, he hadn’t spoken in its favour either.
“You said good things,” said Feuilly at last. “About those women, and their obvious interest in our cause.”
“I said the truth, no more,” corrected Combeferre. “It pains me to think that my dearest of friends, who are so far ahead in so many things, cannot seem to understand this.”
“They might learn, with you as a teacher,” said Feuilly. He looked preoccupied and hopeful all at once. Combeferre stared a moment.
“Do you… Agree with me, Feuilly? About women being able to join our group, or at the very least work with us?”
There was a pause, and then Feuilly looked right back at him, and offered him a guarded smile.
“Do you, Combeferre?” He asked instead. “Do you truly? I have known men before who defended women’s rights as you do, but felt immediately uncomfortable when those same women tried to speak for themselves and took actions on their own.”
“I dare hope,” said Combeferre, “that I am better than those men. And if I happen not to be, I want to think that the women i know will be able to tell me.”
Feuilly’s smile grew bigger, and gentler. He took a step forwards, then stopped, breathed out slowly, and put his hat on the table, reaching for his waistcoat with trembling fingers.
“I trust you,” he said, slowly. “And If you must know, I agree with you more than most, about women joining the cause.”
Combefeferre froze, opened his mouth, and then closed it again when Feuilly added, quietly, as he took off his waistcoat, revealing for the first time underneath a white shirt, and the hint of curves that shouldn’t have been there-
“My friend, I must tell you a secret I’ve been keeping for a very, very long time now…”
According to Le Carré’s agent, Jonny Geller of Curtis Brown, the book
was written in “a fever” over the past 12 months. Though Geller refused
to reveal details of the plot, he said that it would “close George
Smiley’s story”, which began in 1961 with Le Carré’s debut novel, Call
for the Dead: “When I received the draft I had to keep starting it again
and pinching myself that I was in the company of all these great
characters from the Circus,” he said. “It really is going to be one of
his finest, if not his finest, novel.”
In the meantime, now would be the perfect occasion to read or reacquaint yourself with le Carré’s classic novels featuring Smiley—