#10 Dominique Manotti / Affairs of State

Dominique Manotti, Affairs of State, translated from the French by Ros Schwarz and Amanda Hopkinson (London: EuroCrime 2009 [2001]). A breathtaking exposé of political power games and corruption in 1980s Paris  4 stars


Opening sentence: Outside, it’s sunny, summer’s round the corner, but the offices of the RGPP, the Paris police intelligence service, are dark and gloomy with their beige walls, grey lino, metallic furniture and tiny north-facing windows overlooking an interior courtyard.

In one way, Affairs of State is less a crime novel than a tale of power and corruption, in which murders are inevitable as the stakes for political survival rise. In another, though, this is a crime novel through and through, in the sense that it dissects a bewildering range of criminal behaviour and leaves the reader looking at the world of politics through somewhat jaundiced eyes.

The spider at the centre of the web is François Bornand, a special advisor to the French President, who is guilty of all manner of corruption and decadence in the mid-1980s: the sinking of the Greenpeace ship Rainbow Warrior, lucrative arms deals with Iran, and a never-ending consumption of high-class call girls.

Bornand is the ultimate survivor, and when information about his illicit activities threatens to reach the press, he uses a maverick security unit based at the Elysée, the very heart of the French political establishment, to protect his empire. As the bodies pile up, the novel focuses less on the puzzle of who commits each crime (readers are privy to the identities of all the murderers), than on the investigative efforts of the police and intelligence service, who would like nothing more than to bring Bornand down. In the process, we are shown the fascinating journey of rookie policewoman Noria Ghozali, who starts out at the periphery of the investigation, but makes the crucial shift into intelligence work by the end of the novel. Like one of the murder victims, Ghozali is of Arab extraction, and her battle for acceptance within the police force and wider society allows Manotti to examine French attitudes to gender and race in an uncompromising and very effective way.

What’s particularly fascinating about the novel is how closely it dares to reference the reality of French politics in the 1980s. The original title of the novel is Nos fantastique années fric, or ‘our fantastic years of dosh’, and Manotti sets out to critique what she describes in her afterword as ‘this decade in which money came to represent, for an entire political class, an end and a value in itself’. Particular venom is reserved for the Socialists who came to power with Mitterrand and who ‘assumed and practiced their new religion with the zeal of neophytes’.  A professor of economic history in Paris, Manotti demonstrates an acute understanding of the corrupting influence of money in political life – and this is really the novel’s central theme. Bornand appears to be a composite of several politicians of the time, outwardly respectable but tainted by a Vichy past, and bears a particularly marked resemblance to one individual (as I learned from Véronique Desnain’s paper at the Belfast ‘States of Crime’ conference). Manotti sails remarkably close to the wind here, and I salute her bravery in doing so.

That having been said, there are elements of the narrative that are overly melodramatic, especially towards the end of the novel. But I suspect these are designed as symbolic indicators of corruption more than anything else – and they didn’t overly detract from the power of the narrative.

One lovely extra detail: it’s noted on the inside front cover that ‘this book is supported by the French Ministry of Foreign Affairs’!

 A film of the novel, entitled Une affaire d’État, was released in 2009.

Mrs. Peabody awards State of Affairs an intrigue-filled 4 stars.

6 thoughts on “#10 Dominique Manotti / Affairs of State

  1. I thought this novel excellent, too. Very well translated by Ros Schwartz and Amanda Hopkinson – they do such a great job on the Manotti vernacular. I have to say, give me a Manotti over a Vargas any day! (Though I have only read two). I agree re the melodramatic end (disappointingly simplistic, “crime” novels are often spoiled by the perceived need for a climax, resolution and ends being tied up I think). I also felt the female detective faded out towards the end and I’d liked to know more about her. But these are quibbles, I throroughly enjoyed the seamy side of French politics, seemed very authentic. Thanks for the little addition there about the model for Bonnard, fascinating. I wonder if any of them is DSK?

  2. I was wondering about DSK myself.
    I like the political and social points that Manotti is making in this book about money, power, murder, lack of conscience, corruption, etc., and I probably agree with most of them.
    However, I found it a bit hard to follow a plot line other than non-stop action. I would have liked much more about the woman police officer myself. I think I need a bit more character development and a bit less of an high-speed murder, chase scenario.
    I’m contentedly going back to Vargas’ An Uncertain Place, with a slower pace, more character development, introspection and a large dollop of humor. And definitely picking up my latest Camirelli or Rex Stout (Nero Wolfe) to get a bit of distraction and humor.
    I think I felt like I had my finger in a socket while reading Manotti’s book or felt like I’d had 5 cups of coffee.

    • I take your point about the plot, Kathy, and the 5 cups of coffee effect! And I know that Maxine was of the same view about the underdevelopment of the female police officer, and that it would have been good to see more of her. I meant to check out whether Noria featured in any other of Manotti’s novels – it felt like it could have been the beginning of a series for her, which would have been interesting. Haven’t read the Vargas yet – looking forward to it very much.

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