Joël Dicker est né à Genève en 1895. La Vérité sur l'Affaire Harry Quebert est son deuxième roman. Il y dépeint une Amérique qu'il connaît bien pour y avoir beaucoup voyagé et longuement séjourné.
Après une formation au cours Florent puis à l'école de comédiens du Théâtre des Amandiers de Nanterre, Thibault de Montalembert joue au cinéma et au théâtre sous la direction de metteurs en scène prestigieux : Costa Gavras, A. Deplechin, R. Wargnier, J. Doillon, P. Chéreau, A. Arias... Il lit à voix haute, P. Michon, P. Grimbert, P. Senges ou E. Carrière, dans le cadre de festivals.
©2012 Editions de Fallois / L'Age d'Homme; 2013 Audiolib (P)2013 Audiolib
A propos de ce titre
Prix Goncourt des Lycéens 2012 Prix et Grand Prix du Roman de l'Académie française 2012 et Prix de la Vocation Bleustein-Blanchet.
La presse en parle
"Si vous mettez le nez dans ce gros roman, vous êtes fichu. Vous ne pourrez pas vous empêcher de courir jusqu'à la six centième page."
Bernard Pivot, Le Journal du Dimanche
Yes and No.
I was impressed by the narrator's rendition of the book.
I was disappointed by the book, which I longed to read for a long time with all the dithyrambic critics and litterary prize. I found it an unconvincing crime book - but a beautiful love story. It is filled with so many repetitions the reading soon becomes annoying.
A deep voice, an outstanding and clear diction that conveys meaning.
He gives the many characters their own voice and their own identity.
Absolutely. Reworked to reduce the outrageous number of repetitions, it seems to me a 10-20 hour series could be even better than the book.
I had high hopes for this book given its international success but was so disappointed by all of the clichés and banalities - the dialog between the characters was terrible and made me want to fast-forward through them. Living in New England didn't help, as the characters were mostly caricatures. The principal love story was never believable as there was never any meaningful dialog between them - other than I will love you forever and I love you like I have ne er loved before. These hackneyed declarations are repeated ad nauseated. And although the book started recreating the 33 year old events based on interviews with the-witnesses, by the half-way mark we were privy to conversations between characters who had long been dead so what is the justification for knowing their thoughts and words. Maybe that is permissible in modern literature but it seems lazy to me.
I can see how this book managed to find a large audience among adolescents (as it turns out, that is the selection criterion for the Prix Goncourt *des lycéens*), but I would caution anyone drawn to the "Goncourt" name to lower their expectations. This is a very badly paced—repetitive and rambling—page-turner, without finesse in language, dialogue, or character development. And despite the many red herrings the author threw our way, at least this reader could identify the perpetrator in the first third of this needlessly drawn-out story.
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