This work presents Maurice Chapelan in three distinct ways: firstly, as a poet, biographer, literary critic and writer of aphorisms; secondly, as a famous newspaper grammarian; and, thirdly, as the author of romans galants, inspired by his youthful study of his paternal grandfather’s rich library of eighteenth-century literature. Although Chapelan died in 1992, many of his books are still in print and he is remembered with affection, admiration and gratitude, especially by those who used to relish his witty Divertissements grammaticaux (formerly Usage et grammaire) every week in Le Figaro littéraire, where he had become resident chroniqueur du langage in 1961. Maurice Aristide Chapelan may well have been three distinct writers, signing himself in fun as MAC, le Diable—comme Dieu en trois personnes, but these three persons had a well-defined unifying thread running through their literary output: a beauty, a simplicity and an elegance of style, revealing a love of the French language and more than a hint of libertinage.

This book, prefaced by the French novelist and essayist, Jeanne Cressanges, focuses on Maurice Chapelan’s poetry and aphorisms, which are an integral part of his œuvre. His poems encompass the whole essence of the man, his very heart and soul, whereas the aphorisms express his philosophy. Chapelan is a master of the prose poem—le poème en prose—a creator of concise poetic pieces full of rich imagery and musicality. His aphorisms, too, are often poetic, and most of his work, in every genre, contains verse and philosophy. Above all, Chapelan was a moralist and a fine practitioner of l’humour noir, which he defines as la conjuration de l’horreur par le rire. He called himself un humoraliste. Although Maurice Chapelan died in 1992 most of his books are still in print and he is remembered with affection, admiration and gratitude by those who used to relish his witty Divertissements grammaticaux in Le Figaro littéraire. He had been resident chroniqueur du langage at Le Figaro since 1961, his earlier articles appearing under the more sober heading, Usage et grammaire. He continued to write his chroniques until shortly before his death.

This book presents the third persona of Maurice Chapelan, Aymé Dubois-Jolly, and the four romans galants he published between 1978 and 1983. As its title suggests, the work considers the themes of love and laughter in the novels. Just as l’amour and l’humour have much in common, so do “love” and “laughter”. Though the love in question is almost always of the unashamedly erotic kind, often expressed in explicit terms, the whole is redeemed by its many comic elements, usually couched in perfect, elegant prose. Furthermore, we find in Dubois-Jolly’s writing more than an occasional nod to the works of the literary and philosophical giants of the eighteenth century. These romans libertins of the twentieth century will appeal to any reader who has appreciated the work of such authors as Diderot, Voltaire, Rousseau and Sade.

Is it true that French people enjoy reading grammar articles over their coffee and croissants? Can matters of language really be so interesting and absorbing? For thirty years, Aristide composed his Usage et grammaire and Divertissements grammaticaux for one of France’s foremost daily newspapers, Le Figaro. His fans avidly read his weekly chroniques de langue, corresponding with him and asking him questions, which he delighted in answering. His linguistic writings, topical, witty and elegant, are both entertaining and instructive. This book on Aristide’s work will be appreciated by lovers of the French language the world over. Although written in English, it is peppered throughout with extracts from Aristide’s weekly rubriques. Aristide stood in the long tradition of French grammarians, some purist and others relatively laxist. Bernard Pivot described him as one who was «sévère pour une faute de français, indulgent pour un français en faute».

The world-famous French singer Édith Piaf (1915-63) was never just a singer. This book suggests new ways of understanding her, her myth and her meanings over time at home and abroad, by proposing the notion of an 'imagined Piaf.

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