{"id":823,"date":"2021-06-10T07:34:04","date_gmt":"2021-06-10T07:34:04","guid":{"rendered":"https:\/\/sentier-deserteur.ch\/p01\/"},"modified":"2021-06-11T06:59:54","modified_gmt":"2021-06-11T06:59:54","slug":"p01","status":"publish","type":"page","link":"https:\/\/sentier-deserteur.ch\/en\/","title":{"rendered":"P01"},"content":{"rendered":"

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\u201cCharles-Fr\u00e9d\u00e9ric Brun, known as The Deserter, is a man of heights. His travels take him among the birch trees down below and the towards the larches high up. What are his thoughts as he shelters in the tranquil woodland, his bundle perched on his shoulder? From Haute-Nendaz he can see the plain and its gentle paths, the town, its stone houses and its church towers. Ahead he sees the vineyards carpeting the hillsides, as if Autumn had stood at the foot of the mountains and thrown a sumptuous blanket of gold leaf, vermillion and crimson across the hills.<\/p>\n

Was he recalling the vineyards of Alsace and the opulence of the wine-growing villages there? Was he homesick for the country of his childhood, there in the high valleys?<\/p>\n

His painter\u2019s spirit was already sketching out an interior vision, the faces, the embroidered fabrics and flowers, always flowers. Today in his knapsack he has lots of blue, hardly any red left and some yellow for the background. Whatever. He sets himself up. He hardly needs any space. Gently, carefully, joyously, he blends the colours \u2013 with skill and with love because, after all, he is adorning a saint. He traces the contours of the picture with a confident, lavish hand.\u201d<\/p>\n

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MARIE H\u00c9RITIER<\/h3>\n

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\u2018Les couleurs du D\u00e9sert\u2019 [\u2018The Colours of the Desert\u2019], 2020<\/h4>\n

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We\u2019ll be walking alongside Charles-Fr\u00e9d\u00e9ric Brun, known as The Deserter. He was a journeyman painter of the mid-19th century, and we can walk alongside him thanks to the work of some quite different creators:
\u2192<\/span> Jean-Pierre Michelet (1873-1948), the storyteller
\u2192<\/span> Jean Giono (1895-1970), the writer
\u2192<\/span> Simon Tschopp and Daniel Varenne, graphic comic artists and storywriters (2020)\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”3_5,2_5″ _builder_version=”4.9.4″ _module_preset=”default” custom_padding=”||2px|||”][et_pb_column type=”3_5″ _builder_version=”4.9.4″ _module_preset=”default”][et_pb_text _builder_version=”4.9.4″ _module_preset=”default”]<\/p>\n

\"\" JEAN GIONO<\/span> (1895-1970)<\/strong>
Jean Giono was born on 30th March 1895 in Manosque, a small town in Haute-Provence in southern France. His father, a shoemaker, was originally from the Piedmont region of Italy and his mother, who was a laundry woman, had ancestors in the Picardy region of northern France. Giono often recreated the atmosphere of his poor and happy childhood in his writings, referring to parents who \u201cmade a great fill of tenderness\u201d. To help out with his parents\u2019 financial situation, he cut short his studies in 1911 and got a job as a messenger at a local bank. He became passionate about reading, which propelled him towards writing. He was called up for national service in January 1915, and spent thirty months on the war front as a radio operator. He returned from the war unharmed, but the horror of what he had witnessed during the Great War never left him. Giono married \u00c9lise Maurin in 1920 and they had two daughters: Aline and Sylvie. He had his first inspired by Antiquity prose poems published in a Marseille review in 1922. He made the decisive acquaintance of the painter and poet Lucien Jacques, who introduced him to the Parisian literary scene. His first two novels were published in 1929: \u201cColline\u201d (translated as \u2018Hill of Destiny\u2019) and \u201cUn de Baumugnes\u201d (translated as \u2018Lovers are Never Losers\u2019). They were enormously successful, and he quit his role in banking to live by the pen. His subsequent novels, \u201cLe Chant du monde\u201d, \u201cQue ma joie demeure\u201d (translated respectively as \u2018The Song of the World\u2019, \u2018Joy of Man\u2019s Desiring\u2019) and his non-fiction work \u201cLes Vraies Richesses\u201d (\u2018The real riches\u2019) exerted a great influence on young people of the 1930s who were anxious about another war breaking out. Giono\u2019s influence was to continue making itself felt as he agitated for peace and revolted against industrial civilisation. Between 1935 and 1939 on the Contadour plateau in the Haute-Provence region of southern France, Giono brought people together, that included admirers of his and those who militated for a radical pacifism.<\/p>\n

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There were further trials as the 1939-1945 war came along: Giono spent two months in prison in 1939 as a result of his pacifist, anti-militarist activities. When Liberation came along in 1944, Giono was arrested for alleged collaboration with the occupying forces. No charges were laid against him, and he was freed after being held for five months. Banned from publishing anything until 1947, he returned to the literary scene thanks to six months of relentless work, during which his inspiration and writing was revived. Nature was always in the background in his works, which have unusual characters as their focus. Along came a succession of sombre-toned masterpieces, in which he depicted a tragic humanity coming to grips with hardships, writing in an ironic, light tone: \u201cUn roi sans divertissement\u201d, \u201cNo\u00e9\u201d, \u201cLes \u00c2mes fortes\u201d, \u201cLes Grands Chemins\u201d, \u201cLe Moulin de Pologne\u201d (translated, respectively, as \u2018A King without Diversion\u2019, \u2018Noah\u2019, \u2018Stout Souls\u2019, \u2018The Open Road\u2019, and \u2018The Malediction\u2019). Giono found his place in the top tier of great novelists of the age in 1951, with the success of Hussard sur le toit (\u2018The Horseman on the Roof\u2019) and in 1954 he joined the Academy Goncourt. His work became more varied \u2013 alongside novels such as \u201cLe Bonheur fou\u201d, \u201cEnnemonde\u201d and \u201cL\u2019Iris de Suse\u201d (translated as \u2018The Straw Man\u2019, \u2018Ennemonde\u2019 and \u2018Iris de Suse\u2019) Giono also wrote the historical book Le D\u00e9sastre de Pavie (\u2018The Battle of Pavia\u2019) as well as a number of articles, prefaces and journalistic pieces, devoting himself to the theatre and cinema that had so enthralled him since his youth. He produced \u201cCr\u00e9sus\u201d in 1960 with the French actor Fernandel, and died on 9 October 1970 at Manosque in the Provence region of France.<\/p>\n

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JACQUES M\u00c9NY<\/h3>\n

<\/h1>\n

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President of the Association of the Friends of Jean Giono<\/h4>\n

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\"\" The Deserter by Jean Giono<\/strong>
EIn October 1964, the creator and visual artist Ren\u00e9 Creux suggested to Jean Giono that he write the story of Charles-Fr\u00e9d\u00e9ric Brun, known as \u2018The Deserter\u2019, as an introduction to the work that he wanted to publish on the output of this \u2018extraordinary illustrator\u2019. The mysterious figure appealed to Giono, and he invited Ren\u00e9 Creux to Manosque. Less than a year later, on 19 October 1965, he told Creux that he had \u201ccompleted the final sentence on the story of the Deserter\u201d, and considered that he had written a \u201cgreat piece of writing\u201d about him: \u201cI have given the Deserter the character he must have had and, as far as I could manage it, the character he in fact had.\u201d<\/p>\n

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Le D\u00e9serteur is one of Giono\u2019s final great pieces of writing. Giono died in October 1970, less than a year after completing \u201cL\u2019Iris de Suse\u201d \u2013 his final masterpiece that is the story of a desertion that owes a lot to his writing on Charles-Fr\u00e9d\u00e9ric Brun. Giono was immediately captivated by The Deserter, and that is because the character was part of the same family of people as other characters that had long filled his creative imagination and his works: wanderers, artist-healers, solitary heroes who deserted \u201cthe business of the world\u201d and those who discarded the trappings of society.<\/p>\n

Contrary to what he had mischievously told Ren\u00e9 Creux, Giono had never spent a week incognito in Le Valais following the footsteps of CharlesFr\u00e9d\u00e9ric Brun, nor had he made inquiries with his daughter and sonin-law. But he had the ability to furnish innumerable accurate and precise details in describing a landscape based on photographs and postcards. Ren\u00e9 Creux had given Giono plenty of paperwork on the subject including \u201cValais 26 itin\u00e9raires\u201d (\u2018Valais \u2013 26 itineraries\u2019) by Andr\u00e9 Beerli, which meant that the novelist could convincingly tell the story of the life and journeys of the Deserter, making of him a novelistic hero. In the shadow of the penmanship of Charles-Fr\u00e9d\u00e9ric Brun, Giono too sketched out a portrait of a solitary artist taking refuge in the heights of his work.<\/p>\n

The Swiss writer Charles-Fran\u00e7ois Landry was not wrong when he wrote: \u201cRight from the first glimpse, Giono understood what his business was, his unswerving business: the human always went far beyond the painter in this internal adventure that was The Deserter. Important as the work of The Deserter was, the deserter\u2019s life as conjured up by Giono is a work that is ten, twenty times more significant.\u201d Charles-Fr\u00e9d\u00e9ric Brun, that \u2018character of Victor Hugo\u2019 who \u2018was from the world of \u201cLes Mis\u00e9rables\u201d before it was even conceived\u201d as Giono wrote in the opening part of his story, has gone on to become a core figure in his work for all time, one of the greatest in 20th century literature. <\/p>\n

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The Deserter by Jean Giono was published in 1966, and Franco Maria Ricci published the text in Italian (see cover, above). Giono\u2019s text went on to be published in Italian, German, Polish and Romanian, and 17 different editions were published between 1966 and 2009.<\/span><\/em><\/p>\n

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JACQUES M\u00c9NY<\/h3>\n

\u00a0<\/h1>\n

\u00a0<\/h1>\n

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President of the Association of the Friends of Jean Giono<\/h4>\n

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PATOIS<\/strong>
– A c\u00e2 r\u00eb sta m\u00e0ta ? chi maton ? Whose is this girl? this boy?<\/span>
– A Lucienne de Marie-Antoinette de Pri\u00efn !
They belong to Lucienne of Marie-Antoinette of Cyprien.<\/span><\/p>\n

People from Nendaz traditionally introduced themselves using the names of parents and grandparents as a way of positioning themselves within the family\u2019s ancestry.<\/span><\/p>\n

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\"\"\u00a0Why would an illustrator \u2013 an artist working on paper \u2013 want to flee the riches of Alsace to take refuge in the mountains of central Valais?<\/p>\n

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If you were to go on a trip on foot that lasted several days, without being able to buy any-thing along the way and with just five things in your backpack, what would you choose to take?<\/p>\n

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