{"id":7964397,"date":"2026-02-12T17:57:05","date_gmt":"2026-02-12T17:57:05","guid":{"rendered":"https:\/\/villa-albertine.org\/va\/?post_type=app_professional&p=7964397"},"modified":"2026-02-17T19:08:24","modified_gmt":"2026-02-17T19:08:24","slug":"books-discover-the-2025-recipients-of-the-albertine-translation-fund","status":"publish","type":"app_professional","link":"https:\/\/villa-albertine.org\/va\/professionals\/books-discover-the-2025-recipients-of-the-albertine-translation-fund\/","title":{"rendered":"View the 2025 Recipients of the Albertine Translation Fund"},"content":{"rendered":"\n

Villa Albertine works alongside Albertine Foundation, the Institut fran\u00e7ais, and the Ministry for Europe and Foreign Affairs to promote French and Francophone literature, and to encourage English-language translations across all genres, including fiction, nonfiction, children\u2019s books, comics, and poetry.<\/p>\n\n\n\n

Created in 2022 with the support of the Florence Gould Foundation, the Albertine Translation Fund brings French-language books that highlight the richness and diversity of the contemporary French and Francophone literary landscape to American readers. Grants are awarded by a panel of experts who consider the quality of both the original French-language work and its English translation.<\/p>\n\n\n\n

While the majority of these titles have found an American publisher, some remain available for rights acquisition\u2014they are marked with *<\/strong>.<\/p>\n\n\n\n

To learn more about the next cycle of the grant and our activities across the U.S., sign up for our monthly newsletter<\/strong> here<\/a>. <\/p>\n\n\n\n

Sign to learn more about French-related events in NYC<\/strong> here<\/a>. <\/p>\n\n\n\n

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Doan Bui, La Tour (Grasset, 2022)*<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Doan Bui\u2019s debut novel is set in Les\u00a0Olympiades, a large housing complex in Paris\u2019 Chinatown. This is where the\u00a0Truongs, a family of\u00a0boat people who fled Vietnam after the fall of Saigon,\u00a0live. From Victor, who adores Victor Hugo and the imperfect subjunctive, to his daughter Anne-Ma\u00ef, forty and single after a childhood spent dreaming of being \u201ctruly\u201d French, their story unfolds within this\u00a0modern\u00a0Tower of Babel, alive with a thousand languages and eccentric figures: an exiled Romanian pianist turned nanny; an undocumented Senegalese reader of Proust and con artist; and a conspiracy-obsessed man convinced he is the reincarnation of Michel Houellebecq\u2019s dog.<\/span>\u00a0<\/span><\/p>\n

Published in 1978, Georges Perec\u2019s\u00a0<\/span>Life: A User\u2019s Manual<\/span><\/i>\u00a0appeared just as Les\u00a0Olympiades\u00a0were being built. How would Perec describe\u00a0the Paris of\u00a0today? Bui offers\u00a0explores this question, composing a meticulous\u00a0portrait of contemporary France,\u00a0from the 1998 World Cup to the 2015 attacks,\u00a0rendered\u00a0with dark, incisive humor.<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

Doan Bui<\/span><\/b>\u00a0is a journalist and writer. An award-winning reporter for\u00a0<\/span>l’Obs<\/span><\/i>, she received the Albert Londres Prize in 2013. Her debut novel\u00a0<\/span>La Tour<\/span><\/i> (2022) was shortlisted in Goncourt Premier Roman and Prix Orange, and won the Prix Litt\u00e9rature de l’Exil. The book was also adapted into a multimedia performance.\u00a0 Bui was a 2025 Villa Albertine resident.\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Mathias Enard, La Perfection du tir (Actes Sud, 2023 | New Directions, forthcoming)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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In his debut novel, the acclaimed author Mathias\u00a0\u00c9nard\u00a0tells the story of a young sniper who,\u00a0in the midst of\u00a0a civil war, becomes obsessed with mastering the art of the perfect shot,\u00a0his only source of joy in a world overshadowed by cruelty and violence. His life takes a turn when the young Mirna is hired as a domestic helper to care for his ailing mother.\u00a0<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

Mathias\u00a0Enard\u00a0<\/span><\/b>is an award-winning French novelist. He is the author of\u00a0<\/span>Compass\u00a0<\/span><\/i>(winner of the Prix Goncourt, the Leipzig Prize, and the Premio von\u00a0Rezzori, and shortlisted for the 2017 Man Booker International Prize),\u00a0<\/span>The Deserters, The Annual Banquet of the Gravediggers\u2019 Guild, Tell\u00a0Them of Battles, Kings, and Elephants<\/span><\/i>, among many others. He has spent many years in the\u00a0Middle East and is also a translator from Persian and Arabic.\u00a0<\/span>He\u00a0currently\u00a0lives\u00a0in Barcelona.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Edouard Glissant, Tout-monde (Gallimard, 1993 | University of Nebraska Press, forthcoming)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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One-World\u00a0<\/span><\/i>(<\/span>Tout-monde<\/span><\/i>, 1993) is an epic, postmodern novel that follows the narrator Mathieu\u00a0B\u00e9luse, the literary avatar of\u00a0Glissant, through time and space. From Martinique to France, and across the world, the novel outlines a subaltern history of Martinique, writes an auto-ethnographic history of the Caribbean, and projects a world future in which cultural genesis\/genius and affiliations are open and not tied to national circumscription. The novel exemplifies\u00a0Glissant’s\u00a0ideas about the poetics of relation and extrapolates this trajectory into the idea that would dominate his thinking during the last twenty years of his life, namely, the idea of an interconnected One-World.\u00a0<\/span>\u00a0<\/span><\/p>\n

The unforgettable female character and spiritual medium\u00a0Myc\u00e9a\u00a0makes another appearance in\u00a0Glissant’s\u00a0work, and\u00a0Glissant\u00a0uses the techniques of auto-fiction to include many contemporaries as characters. The work’s impressive scope matches that of famous postmodern novels such as\u00a0<\/span>Infinite Jest<\/span><\/i>,\u00a0<\/span>Gravity’s Rainbow<\/span><\/i>, and\u00a0<\/span>The Underworld<\/span><\/i>. This novel, too, should be considered an integral postmodern novel of the Americas in line with those by Foster Wallace, Pynchon, and DeLillo, as we work to expand the geographic limits of our American cultural interpolations. Its style is serpentine, which embodies the aesthetics of\u00a0Glissant’s\u00a0famous “detour” and “drift.” Its tone is in equal\u00a0proportions\u00a0poetic, philosophical, and novelistic.\u00a0<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

\u00c9douard\u00a0Glissant<\/span><\/b>\u00a0has been recognized as one of the most important writers and thinkers in the French and Francophone world. Along with other writers from the French West Indies,\u00a0Glissant\u00a0inaugurated a radical interrogation of the French literary canon from the margins of the traditionally Paris-centered literary world. Several of his<\/span>\u00a0<\/span><\/i>novels and essays have been published in English, including\u00a0<\/span>Mahagony<\/span><\/i>\u00a0(University of Nebraska Press, 2021),\u00a0<\/span>The Fourth Century\u00a0<\/span><\/i>(Bison, 2001), and\u00a0<\/span>The Overseer’s Cabin\u00a0<\/span><\/i>(Bison, 2011).<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Scholastique Mukasonga, Ce que murmurent les collines (Gallimard, 2014 | Archipelago Books, forthcoming)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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In\u00a0<\/span>Murmurs from the Hills,\u00a0<\/span><\/i>the stories collected\u00a0teem\u00a0with detail: from the thin cord that a character Viviane wears around her waist, to the rattling of a black iron bridge that a family must cross, exiled\u00a0from their home,\u00a0to the swirls in the murky riverbeds where mothers bathe their children to protect them from danger.\u00a0<\/span>\u00a0<\/span><\/p>\n

A collection of short stories that\u00a0showcases\u00a0Mukasonga’s\u00a0talents as a weaver of tales. In these stories, she threads memory to memory \u2013 culling the depths of her own life alongside tales of the Rwandan people. By parsing through official records, old maps, letters, and newspapers,\u00a0Mukasonga\u00a0renders the hillsides of Rwanda as a bright tapestry. Here,\u00a0Mukasonga\u00a0deepens and enriches her practice of re-contextualizing old tales which risk falling into oblivion.\u00a0<\/span>\u00a0<\/span><\/p>\n

—<\/span>\u00a0<\/span><\/p>\n

Born in Rwanda in 1956,\u00a0<\/span>Scholastique\u00a0Mukasonga<\/span><\/b> experienced from childhood the violence and humiliation of the ethnic conflicts that shook her country. In 1960, her family was displaced to the polluted and under-developed Bugesera district of Rwanda, and later forced to flee to Burundi. She settled in France in 1992, only two years before the brutal genocide of the Tutsi swept through Rwanda, killing 37 of her family members. In 2006, Gallimard published her autobiographical account <\/span>Inyenzi\u00a0ou\u00a0les Cafards<\/span><\/i>\u00a0(<\/span>Cockroaches<\/span><\/i>), which marked\u00a0her\u00a0entry into literature.\u00a0She is the author\u00a0of\u00a0several award-winning novels,\u00a0memoirs,\u00a0and short story collections, six of which were previously published by Archipelago Books.\u00a0<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Camille Neveux, Le Verger de Damas (JC Latt\u00e8s, 2024)*<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Translated by Maren Baudet-Lackner \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Syria, 1995. Seven-year-old Aissa dreads going to school, where violence and state propaganda rule, until he discovers the teachings of a reformist sheikh, awakening him to freedom and human rights. Sixteen years later, he helps lead the uprising that sparks the Syrian Revolution. But a tragic first protest forces him into exile in France, carrying a dark secret.<\/span>\u00a0<\/span><\/p>\n

Lebanon, today. Twelve-year-old\u00a0Nermine, living in exile across the border, rebels against the conservative society that raised her. When she uncovers a secret on her mother\u2019s phone, she,\u00a0headstrong like her uncle Aissa,\u00a0will stop at nothing to uncover the truth haunting her family.<\/span>\u00a0<\/span><\/p>\n

Set against the Syrian Revolution and the Arab Spring, this multi-generational drama explores exile, rebellion, and the enduring weight of family secrets.<\/span>\u00a0<\/span><\/p>\n

—<\/span>\u00a0<\/span>\u00a0<\/span><\/p>\n

I<\/span>nternational correspondent\u00a0<\/span>Camille Neveux<\/span><\/b>\u00a0spent fifteen years covering the Middle East and the Arab world for major French news outlets. She holds a degree in Classical Arabic from INALCO and lives outside Paris with her husband, who grew up in\u00a0Darayya, Syria, and their three children.\u00a0<\/span>An Orchard in Damascus\u00a0<\/span><\/i>is her first\u00a0novel\u2014the story of her husband\u2019s family.<\/span> To<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Walid Hajar Rachedi, Qu\u2019est-ce que j\u2019irais faire au paradis (Emmanuelle Collas, 2022)*<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Translated by Alexandra Hudson \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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When Malek, 17, travels to Lille to visit his cousin Ali, newly arrived from Algeria, he meets Atiq, a young Afghan in exile. Atiq is searching for his twin brother Wassim, hoping to stop him from taking justice into his own hands \u2014 against the Americans, against Fate itself.<\/span>\u00a0<\/span><\/p>\n

This encounter awakens in Malek a desire to see the world with his own eyes, to no longer rely on secondhand stories. On his way to the Arab world, in Tarifa, he meets Kathleen, a young Londoner he falls in love with. Her father, a humanitarian worker, disappeared upon returning from Afghanistan. In Paris, Kabul, Granada, London, Algiers, Cairo, it\u2019s always the same story Malek tells and hears: the tale of a fantasized elsewhere that no longer exists, or perhaps never did: nostalgia, a lost Paradise.<\/span>\u00a0<\/span><\/p>\n

Rachedi\u2019s debut novel takes readers on a journey across continents, ending in London, where destinies collide on the eve of the 2004 U.S. presidential election.<\/span>\u00a0<\/span><\/p>\n

—<\/span>\u00a0<\/span><\/p>\n

Walid Hajar Rachedi<\/span><\/b>\u00a0is a novelist and narrative essayist working across\u00a0fiction and cultural reportage.\u00a0\u00a0<\/span>Qu\u2019est\u2011ce\u00a0que\u00a0j\u2019irais\u00a0faire au\u00a0paradis\u00a0?<\/span><\/i> was shortlisted for the 2022 Goncourt Prize in the debut novel category. He is co\u2011founder and director of Frictions, an online media platform renowned for its long\u2011form narrative podcasts. Rachedi<\/span>\u00a0was a 2025\u00a0 Villa Albertine resident.\u00a0<\/span><\/p>\n

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Yves Ravey, Taormine (Editions de Minuit, 2022 | New York Review of Books, 2026)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Unhappy couple Melvil and Luisa are on holiday in Sicily in\u00a0a last-ditch\u00a0effort to save their broken marriage, but one wrong turn off the highway leaves them stranded in a thunderstorm in the middle of nowhere. The road is\u00a0muddy,\u00a0it\u2019s\u00a0late,\u00a0they hit something indeterminate in the dark.<\/span>
\nThe next day, the local newspaper reports that a child from a refugee camp was hit by a car and fatally injured. Melvil and Luisa hasten to find a garage in Taormina to repair their rental and hide evidence of their\u00a0possible involvement, but the repairs are costlier than expected, the police are sniffing around, tensions between the couple are rising, and soon their money will run out\u2026<\/span>\u00a0<\/span><\/p>\n

An elegantly laconic modern noir, brimming with the\u00a0darkest of\u00a0dark humor,\u00a0<\/span>Taormina\u00a0<\/span><\/i>presents a keen-eyed commentary on migration, police corruption, and the mediocrity and self-absorption of the middle class.<\/span>\u00a0<\/span><\/p>\n

—<\/span>\u00a0<\/span><\/p>\n

Yves\u00a0Ravey<\/span><\/b>\u00a0has published some twenty spell-binding novels since 1989,\u00a0for the most part with\u00a0the prestigious Les \u00c9ditions de Minuit. His novel\u00a0<\/span>Le\u00a0drap<\/span><\/i>\u00a0won the Prix Marcel-Aym\u00e9 in 2004.\u00a0He lives in\u00a0Besan\u00e7on, France.\u00a0<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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I. Backouche, S. Gensburger and E. Le Bourhis, Appartements t\u00e9moins…\u202f (La D\u00e9couverte, 2025 | Rutgers University Press, forthcoming)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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lPublished in France on the occasion of the 80th anniversary of the end of the Second World War and the return of survivors, this book recounts, street by street, the spoliation carried out by French and German authorities and ratified by the restored French Republic. It tells the story of tens of thousands of Jewish Parisians and tenants who, replaced by non-Jews, lost the right to live in their own homes. The authors reveal the covetousness surrounding these apartments and retrace a little-known history that exposes the complicity of a large part of Parisian society in the disappearance of the Jews.<\/span>\u00a0<\/span><\/p>\n

In twenty-six short chapters and a narrative style grounded in newly discovered archives, this book sheds new light on the Occupation,\u00a0representing\u00a0a significant renewal in the study of the Holocaust in France.<\/span>\u00a0<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

I<\/span>sabelle\u00a0Backouche<\/span><\/b>\u00a0is a lecturer and Director of Studies of the Urban History Chair at Ecole des\u00a0hautes\u00a0\u00e9tudes\u00a0en\u00a0sciences\u00a0sociales\u00a0(EHESS).\u00a0<\/span>Sarah\u00a0Gensburger\u00a0<\/span><\/b>is a full research professor in political science, a sociologist of memory and an historian of the Holocaust at French National Center for Scientific Research (CNRS) and Sciences Po Paris.\u00a0<\/span>Eric Le\u00a0Bourhis<\/span><\/b>\u00a0is associate professor at\u00a0Institute\u00a0for Oriental Languages and Civilizations (INALCO, Paris) and researcher at the Europe-Eurasia Research Center.<\/span> \u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Pierre Charbonnier, Vers l\u2019\u00e9cologie de guerre (La D\u00e9couverte, 2024 | Polity Press, forthcoming) <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Translated by Andrew Stephen Brown \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Pierre Charbonnier challenges the philosophical foundations of political ecology associated with pacifism and\u00a0universalism, explaining\u00a0why peace after 1945 was built at the expense of the environment, and why this peace is no longer sustainable.\u00a0He argues that\u00a0are now living in the \u201cecology of war.\u201d<\/span>\u00a0<\/span><\/p>\n

The daring hypothesis underlying this book is that the only thing more dangerous now than war for nature and climate is peace. He retraces an environmental history of peace that culminated in the current crisis,\u00a0in which ensuring population security and respecting planetary limits appear contradictory. We are the heirs of an intellectual and political history that has repeated the axiom that creating the conditions for peace requires exploiting nature, exchanging resources, and providing sufficient prosperity for all. In this logic, for\u00a0envy, conflict, and the desire for war to disappear, it was first necessary to fight against the scarcity of natural resources. We also needed a universal language for humankind: the language of science, technology, and development.<\/span>\u00a0<\/span><\/p>\n

These ideas, rooted in the eighteenth century, found full expression in the mid-20<\/span>th<\/span>\u00a0century<\/span>, which saw\u00a0the development of fossil fuel infrastructures,\u00a0coupled with a pacifist and universalist discourse designed to undermine the causes of war by liberating productivity. What was called \u201ccarbon peace\u201d was based on the idea that trade between nations, and in particular trade in energy resources, was necessary to\u00a0preserve peace.\u00a0In the\u00a021<\/span>st<\/span>\u00a0century, this paradigm has become\u00a0obsolete, since\u00a0we must guarantee peace and security\u00a0while\u00a0considering\u00a0planetary limits.<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

Pierre Charbonnier<\/span><\/b>\u00a0is a researcher at the CNRS, a member of the Centre\u00a0d\u2019\u00e9tudes\u00a0europ\u00e9ennes, and a Professor at Sciences Po, Paris. His acclaimed\u00a0book\u00a0<\/span>Affluence and Freedom: An Environmental History of Political Ideas<\/span><\/i>\u00a0was published by Polity Press in 2021.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Malika Rahal, Alg\u00e9rie 1962\u202f: Une Histoire populaire\u202f(La D\u00e9couverte, 2022 | Verso Books, forthcoming)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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In Algeria, the year 1962 marked both the end of a war and a difficult transition to peace.\u00a0Bringing to a close\u00a0a long era of French colonization marked by violence and alienation, it also saw the emergence of an Algerian state primarily concerned with ensuring its own stability and the survival of its population. While in many formerly colonized countries, 1962 has come to symbolize the year of independence for\u00a0their\u00a0peoples, in France it is known\u00a0above all through\u00a0the experiences of the\u00a0<\/span>pieds-noirs<\/span><\/i>\u00a0and the\u00a0Harkis. In Algeria, historiography of the year 1962 has\u00a0largely been\u00a0reduced to the political crisis within the FLN (National Liberation Front), which was torn by internal conflicts, while little is known about the experiences of ordinary Algerians who remained in the country at the time.<\/span>\u00a0<\/span><\/p>\n

This book makes an unprecedented and essential contribution to the history of Algeria and its independence, drawing on popular sources and personal accounts to offer a complex and vivid portrait of life in the country at the time.<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

Malika Rahal<\/span><\/b>\u00a0is a historian\u00a0specializing in\u00a0contemporary Algerian history. She is the director of the\u00a0<\/span>Institut\u00a0d\u2019histoire\u00a0du temps\u00a0pr\u00e9sent\u00a0<\/span><\/i>in Paris.\u00a0With Fabrice\u00a0Riceputi,\u00a0she launched\u00a0a research project entitled \u201cMille\u00a0autres\u201d,\u00a0on forced disappearance during the battle of Algiers.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Pierre Rosanvallon, Les institutions invisibles\u202f(Le Seuil, 2024 | Polity Press, forthcoming)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Translated by Catherine Porter \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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eWe share the instinctive feeling that institutions are an essential part of how our societies operate, mixed with a vague understanding of what they are or how they work. Retracing the long story of our relationship to the concept of \u201cthe institution\u201d, the leading historian and political scientist Pierre Rosanvallon focuses on their invisibility, even as they function as vehicles of authority, trust and legitimacy. Institutions address and shape what we have in common, binding economic, social and political needs in durable fashion. But they are invisible in that they are not defined by rules or status, and nor do they have the ability to constrain. Rather, they are built upon the nature and quality of relationships between individuals, or between individuals and organizations. Authority, trust and legitimacy thus intertwine within a system.<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Rosanvallon\u2019s\u00a0conceptual framework broadens the analysis of contemporary societies while\u00a0situating it\u00a0within a renewed comparative history. At the same time, it\u00a0opens up\u00a0new avenues for action aimed at overcoming\u00a0the intellectual\u00a0perplexity and the imaginative dearth that\u00a0fuel\u00a0a form of fatalism in which populist illusions thrive today.<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

Pierre\u00a0Rosanvallon\u00a0<\/span><\/b>is Professor of Modern and Contemporary History of Politics, Coll\u00e8ge de France. His works are dedicated to French political history and democracy, the role of the\u202fstate\u202fand the question of\u202fsocial justice\u202fin contemporary societies. He has published widely in English, especially with Princeton University Press, Columbia University Press and Cambridge University Press.\u00a0<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Vanessa Springora, Patronyme (Grasset, 2025 | Polity Press, forthcoming)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Translated by Jody Gladding \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Following the death of her father, who passed away on the day her memoir\u00a0<\/span>Consent\u00a0<\/span><\/i>was published, Vanessa\u00a0Springora\u00a0sets out on the trail of family legends, questioning the heritage of her name, fraught with mystery and the unspoken. As she prepares to appear on TV to discuss\u00a0<\/span>Consent<\/span><\/i>, she gets a call from the police, who\u00a0asks\u00a0her to come and\u00a0identify\u00a0the lifeless body of her father, Patrick, whom she had not seen in ten years. Patrick, a toxic and complicated father figure, died an isolated man. While clearing out his apartment, she is shocked to discover photos of her paternal grandfather, Josef, wearing Nazi insignia, a revelation that prompts her to explore this enigmatic parent further. So begins an obsessive quest to understand the story of her Czech grandfather, a member of the Sudeten German minority. From Nazi collaborator to American employee after the Liberation, Josef changed sides, names, and identities, before being granted refugee status in France.\u00a0<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

Vanessa\u00a0Springora<\/span><\/b>\u00a0is a French publisher, writer, and film director. She is the author of the memoir\u00a0<\/span>Consent<\/span><\/i>, which recounts the sexual abuse she experienced beginning at age 14 from the author Gabriel\u00a0Matzneff, then 49. The book became a bestseller and prompted changes to the French age of consent. Born and raised in Paris,\u00a0Springora\u00a0holds a degree in Modern Literature from the Sorbonne University. She started her career at the\u00a0Institut\u00a0national de\u00a0l’audiovisuel\u00a0as a writer and director before joining the publishing world at \u00c9ditions Julliard in 2006, where she was named director in 2019.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Jennifer Tamas, Au NON des femmes… (Le Seuil, 2023 | University of Delaware Press, forthcoming)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Translated by Elisabeth Lyman\t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Nothing seems more incongruous than to draw on the society of the\u00a0<\/span>Ancien\u00a0R\u00e9gime<\/span><\/i>\u00a0to think about female refusal. Assigned to the duty of “reserve” by treatises on civility and to silence or “feigned resistance” by codes of seduction, the\u00a0heroines\u00a0of classical literature would have nothing to\u00a0transmit\u00a0to us, especially not the power to say “no”. However, in their own way, the women of the Grand Si\u00e8cle resisted, they disobeyed, and traces of these obscured battles\u00a0remain. Under the images of sleeping princesses celebrated by the entertainment industry are hidden powerful refusals, obscured by centuries of patriarchal interpretations.\u00a0<\/span>\u00a0<\/span><\/p>\n

Jennifer Tamas unearths them with subtlety, tracking down the expression of the feminine under the male gaze and skillfully listening to the murmurs of recalcitrant voices. Inviting dissident figures from centuries past, from Little Red Riding Hood to Berenice, she invigorates feminist discourse and finds in Marilyn Monroe the secret of Helen of Troy. She thus reveals, not without a touch of irreverence, a magnificent tradition, too long silenced.\u202f<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

Jennifer Tamas\u00a0<\/span><\/b>is an<\/span>\u00a0<\/span><\/b>Associate Professor of French at Rutgers University. She\u00a0holds a\u00a0Ph.D\u00a0in French Literature from Stanford University\u00a0and\u00a0<\/span>a PhD in French Stylistics from Paris-Sorbonne University.\u00a0<\/span>She specializes in early modern theater and gender studies, examining how classical culture influences contemporary social norms.\u00a0She is the recipient of the 2025 Presidential Outstanding Faculty Scholar\u00a0Award at\u00a0Rutgers University.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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H\u00e9l\u00e8ne Gaudy, Je Veux Manger Mon Fr\u00e8re (E\u0301ditions Cambourakis, 2023 | Levine Querido, 2025)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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Translated by Julia Grawemayer \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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It’s\u00a0dinnertime at Oskar’s house, and his parents have lots of luscious suggestions: chicken skewers? A peanut stew?\u00a0Maybe he’d\u00a0like a shrimp ragout?\u00a0<\/span>\u00a0<\/span><\/p>\n

But Oskar would prefer something off the menu \u2014 he wants to eat his brother!<\/span>\u00a0<\/span><\/p>\n

With lush illustrations from Simone Rea, H\u00e9l\u00e8ne Gaudy’s tale is a charming read-aloud packed to the gills with wordplay\u00a0that’s\u00a0perfect for bedtime.<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>—<\/span><\/b>\u00a0<\/span><\/p>\n

He\u0301le\u0300ne\u00a0Gaudy\u00a0<\/span><\/b>has written five novels (including\u00a0<\/span>Un monde sans rivages<\/span><\/i>, selected for the 2019 Goncourt Prize, and\u00a0<\/span>Archipels<\/span><\/i>, finalist for the 2024 Goncourt Prize), and several children\u2019s books.\u00a0The illustrator\u00a0<\/span>Simone Rea<\/span><\/b>\u00a0graduated from the Academy of Fine Arts in Rome, specializing in illustration. He has taken part in various exhibitions and competitions in Italy and abroad.\u00a0<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Claude Ponti, Le Fleuve\u202f(L\u2019Ecole des Loisirs, 2018 | Elsewhere Editions, 2026)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tChildren's Literature\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Translated by Margot Kerlidou and Alyson Waters \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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In two floating villages on the river Longo live the Oolongs and the\u00a0Dongdings, sailing where their whim or the current takes them. The Oolongs are known for the delicious roots, fruits, and flowers they gather; all day long, they harvest\u00a0fidgetpeas\u00a0and\u00a0flexipods,\u00a0feverlily\u00a0stems and\u00a0liverleaves. The\u00a0Dongdings\u00a0pick\u00a0healiherbs,\u00a0and\u00a0prepare powerful potions that help them feel their best. For Lu Cha (an Oolong boy) and Ali Roo (a\u00a0Dongding\u00a0girl), life on the Longo is chockfull of charm\u2026\u00a0but somewhere, far beyond the\u00a0shiverbanks\u00a0and the\u00a0boobam\u00a0brambles, all is not what it seems.\u00a0<\/span>\u00a0<\/span><\/p>\n

In Claude Ponti\u2019s wonderfully detailed illustrations and sparkling wordplay, young readers will find a faraway world of pleasure, fright, and friendship.\u202f<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>—<\/span><\/b>\u00a0<\/span><\/p>\n

Claude Ponti<\/span><\/b>\u00a0is one of France\u2019s most celebrated children\u2019s writers and illustrators. His works create captivating fictional universes through wordplay and illustrations of incredible detail and beauty. Ponti found his vocation as a children\u2019s author with the birth of his daughter, Ad\u00e8le, for whom he created his first picture book,\u00a0<\/span>L\u2019Album\u00a0d\u2019Ad\u00e8le<\/span><\/i>. He has since won\u00a0numerous\u00a0awards, including the 2006 Prix\u00a0Sorci\u00e8res\u00a0Sp\u00e9cial\u00a0for his lifetime achievement.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Delphine Panique, Creuser Voguer (Corn\u00e9lius, 2023 | New York Review Comics, forthcoming)<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tGraphic Novels\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Translated by Devorah Fischler \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Delphine\u00a0Panique\u2019s\u00a0graphic novel tells the story of\u00a0migrant workers,\u00a0women\u00a0who\u00a0do labor no one else wants to, far from their homes and families.\u00a0<\/span>In ten stories, each\u00a0representing\u00a0its own journey,\u00a0Delphine\u00a0Panique\u00a0introduces us to an unfamiliar world whose customs and workings, however\u00a0quaint they may seem,\u00a0ultimately reflect\u00a0the structures of our own society and the\u00a0ways\u00a0it wears down the people who sustain it.\u00a0Flippa,\u00a0Plopine, and\u00a0Raoula\u00a0each have their own story, yet they are united\u00a0in their experience as\u00a0seasonal workers, which\u00a0takes them away from homes\u00a0and families\u00a0for\u00a0months at a time. Unseen, unacknowledged, and unprotected, they are the invisible\u00a0women\u00a0whose fate\u00a0most people are indifferent to. Still, a life force guides them,\u00a0from which\u00a0emerges\u00a0pride,\u00a0affection, solidarity, and sometimes revolt.<\/span>\u00a0<\/span><\/p>\n

With deliberately understated means, Delphine\u00a0Panique\u00a0makes\u00a0tangible\u00a0the most complex joys and sorrows, the subtlest emotions. Avoiding heavy-handedness or spectacle, she offers a moving portrait of women\u00a0whose labor is disregarded\u00a0by society,\u00a0but\u00a0whose humanity\u00a0remains\u00a0stubbornly alive.<\/span>\u00a0<\/span><\/p>\n

—<\/span><\/b>\u00a0<\/span><\/p>\n

Delphine\u00a0Panique<\/span><\/b>\u00a0has been publishing comics and graphic novels since 2013. Her work is known for its unique departures from realism and perceptive treatment of gender.\u00a0Panique\u2019s\u00a0most recent full-length graphic novel,\u00a0<\/span>Creuser\u00a0Voguer<\/span><\/i>, was a 2023 Official Selection of the\u00a0Angoul\u00eame\u00a0International Comics Festival and continues to garner critical acclaim.\u00a0<\/span>Creuser\u00a0Voguer<\/span><\/i>\u00a0is her first book translated in English.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n<\/div>\n