Françoise Hardy

Françoise Madeleine Hardy was born on 17 January 1944 at the Marie-Louise Clinic in the 9th arrondissement of Paris in German-occupied France during World War II. She was born during an air raid and the windows of the clinic exploded. She related being born in this violent context to her "abnormally anxious temperament" as an adult. Her father, Étienne Dillard, was a married man who came from a wealthy family. He did little to help them financially and was an absent figure in their upbringing, At the insistence of their father, the girls went to a Catholic school called Institution La Bruyère, under the tutelage of Trinitarian nuns. Her father played piano and Hardy was introduced to piano lessons as a very young child, which she dropped after experiencing stage fright when she was required to perform on stage at the Salle Gaveau. To mark the occasion her father asked her what gift she would like and she chose a guitar, with which she began to sing her own songs. Hardy used the time left from her courses to compose songs Around this time she auditioned for record label Pathé-Marconi after seeing an ad in France-Soir. She was rejected, but was pleased that she had held the directors' attention for longer than she expected. She also felt encouraged after hearing her recorded voice, which she found "less off-key and tremulous than [she] feared". ==Music career==

1961–1962: Career beginnings Hardy went to Philips Records and was recommended to take singing lessons. The head of the program, Mireille Hartuch, was known for being selective. However, she saw Hardy enter the classroom and immediately accepted her before she could play. Upon hearing Hardy's new record deal, Hartuch presented her on the Petit Conservatoire TV show on 6 February 1962. Hardy performed her original song "La fille avec toi" on guitar, after which she was asked what the English-language "yeah! yeah!" in her lyrics meant. In early October, Hardy filmed a black-and-white music video for "Tous les garçons et les filles", directed by Pierre Badel, which appeared on the TV show Toute la chanson. Vogue quickly released two more EPs of Hardy's songs. These were later compiled, with the first EP for her debut studio album, which became known as Tous les garçons et les filles. and Hardy's first series of albums were compilations of previously released four-track 7-inch records, Hardy's debut studio album was awarded the Trophée de la Télévision and the prestigious Grand Prix du Disque award given by the Académie Charles Cros. By early 1963, 500,000 copies of "Tous les garçons et les filles" had been sold in France, She signed a new five-year contract with Vogue and an agreement with Editions Musicales Alpha, created by Wolfsohn. who created the first portrait of Françoise Hardy. (Which Hardy, artistically seduced, acquired.) In March 1963, she represented Monaco at the Eurovision Song Contest 1963, recorded in London. She performed the song "''L'amour s'en va", which came fifth in the contest. When the song was released as a single, it reached No. 5 on the French charts in June 1963. In October, Hardy released her second studio album, Le premier bonheur du jour. That month she received the "Youth" Edison Award at the Grand Gala du Disque in Scheveningen, Netherlands. Beginning in 1963, translated re-recordings of "Tous les garçons et les filles" were exported to Italian, German, and English-speaking markets. The first non-French-speaking country in which the singer found success was Italy, where the song became "Quelli della mia età''" and sold 255,000 copies. It topped the singles chart between April and October, dropping to second place between July and August behind Rita Pavone's "Cuore". At the end of the summer in Milan, she recorded new songs The single "''L'età dell'amore" / "E all'amore che penso''" also topped the Italian charts. opting to leave the poor quality of French studios and sound engineers and record her songs at Pye Records studios. Working with producer Tony Hatch in February 1964, she recorded an EP that included a cover of "Catch a Falling Star" and three adaptations of her hits "Find Me a Boy" ("Tous les garçons et les filles"), "Only Friends" ("Ton meilleur ami") and "I Wish It Were Me" ("J'aurais voulu"). Her 1965 English-language single "All Over the World" was a hit in the UK, reaching the Top 20 and staying on the charts for fifteen weeks. It was also successful in South Africa, Australia, and New Zealand, The label released her debut studio album under the title The "Yeh-Yeh" Girl From Paris! and the single "However Much", an English version of the previously released track "Et même..." Beginning in late 1967, Hardy took Wolfsohn's suggestion to release her records through her own production company, Asparagus, although Vogue continued to distribute them. She later regretted this decision, recalling in 1999: "The CEO of Vogue, Léon Cabat, was also in this production company and between them, they owned the majority of the shares. This has given rise to a lot of harassment lawsuits." In 1968, Hardy released a French cover of Vera Lynn's "It Hurts to Say Goodbye", titled "Comment te dire adieu", on the album of the same name. Its French lyrics were written by Serge Gainsbourg and it became one of her most successful releases. 1969–1976: Transition to artistic maturity In 1970 she broke with the label and signed a three-year contract with Sonopresse, a subsidiary of Hachette. She also created a new production company called Hypopotam, and founded her own music publishing company, Kundalini. In the summer of 1970, Hardy released her penultimate Italian-language single, "Lungo il mare", written by Giuseppe Torrebruno, Luigi Albertelli and Donato Renzetti. In the spring of 1971, Hardy released singer-songwriter Patrick Dewaere's single "T'es pas poli", having been impressed by his performances at the Café de la Gare in Paris. Dewaere and Hardy performed the song on several television shows to promote it, but it was not a success. Hardy made an album with Tuca after attending the Festival Internacional da Canção in Rio de Janeiro and discovering the music of Brazil and was promoted with the singles "Le martien", "Même sous la pluie" and "Rêve". Although acclaimed by the French press, the album was not a success. Following the poor commercial performance of La question, Hardy moved towards a different sound and enlisted British arranger Tony Cox to produce her next album. He wrote two of the record's twelve songs, "Message personnel" and "Première rencontre", and found the other ten, although Hardy felt they were weak. with whom Hardy signed a three-year contract, She promoted the album with appearances on French TV shows, including Dimanche Salvador, Sports en fête, Top à, La Une est à vous, Midi trente, Minuit chez vous, Tempo, ''Averty's Follies, and Domino''. It was a commercial failure which sold poorly. Berger proposed to release an album of her songs with compositions structured around a unifying concept, but Hardy declined and signed a three-year deal with Pathé-Marconi. 1977–1995: Work with Gabriel Yared and hiatus For 1977's Star, her first album released under Pathé-Marconi, Hardy enlisted Gabriel Yared as producer and arranger. The album changed Hardy's musical direction to a more danceable sound and it was a commercial success, aided by the popularity of the lead single "J'écoute de la musique saoûle", especially in its extended remixed version. Décalages, released on 2 May 1988, In 1990 Hardy wrote "Fais-moi une place" for Julien Clerc and the song was included on his album of the same name. It was included as a B-side to band's single "Country House". 1996–2021: Final albums and retirement In 1997 Hardy collaborated with French duo Air on the track "Jeanne", a B-side on their maxi-single "Sexy Boy". In 2005 Hardy received the 'Female Artist of the Year' award for her album Tant de belles choses at the Victoires de la Musique. In 2006 she received the Grande médaille de la chanson française award, given by the Académie Française in recognition of her music career. In 2012 Hardy celebrated her 50th anniversary in music with the release of her first novel and an album, both titled ''L'Amour fou''. In March 2021, Hardy announced that she could no longer sing as a result of her cancer treatments. ==Acting career==

'' Hardy had film roles, but did not embark on a serious career as an actress and did not wish to do so. She reluctantly accepted acting work offered to her in the 1960s on the advice of Jean-Marie Périer. Before casting her, Vadim tested Hardy's acting abilities by directing her in a reading of Cécile de Roggendorf's love letters to Giacomo Casanova. During the making of Château en Suède, Vadim mocked Hardy for her "infinite apathy", which marked the "beginning of her dread for filming sessions and the movie business in general". Questo pazzo, pazzo mondo della canzone (1965), Altissima pressione (1965), and Europa canta (1965). She appeared in the 1968 television special ''Monte Carlo: C'est La Rose'', hosted by Grace Kelly. Despite remaining uninterested in an acting career, Hardy accepted the role because it was well-paid. She made a cameo in Jean-Luc Godard's 1966 film Masculin féminin wearing a head-to-toe look by André Courrèges. In 1969 she starred in the television film ''L'homme qui venait du Cher'' alongside Eddy Mitchell. In the 1970s, she made brief appearances in Jean-Claude Lord's The Doves (Les Colombes) (1972) and Claude Lelouch's ''If I Had to Do It All Over Again (Si c'était à refaire)'' (1976). ==Astrological career==

Hardy also developed a career as an astrologer, having written extensively on the subject. She aligned herself with the so-called "conditionalist" school of thought, outlined by Jean-Pierre Nicola in his 1964 book, La condition solaire, which proposed a non-divinatory character for the discipline and said that it should be used while taking into account other factors such as hereditary, educational, and socio-cultural determinants. Hardy first became interested in the subject after consulting astrologer André Barbault in the mid-1960s. She took public courses, learned to draw up a birth chart and read many specialized books before meeting Catherine Aubier, who recommended her teacher to Hardy. and wrote: "[he] initiated me into an intelligent understanding of astrology and trained me to use it, by his side, to the best of my ability." As a complement to her astrological knowledge, she also took courses with graphologist Germaine Tripier, the dean of the French Society of Graphology. with fellow astrologer Béatrice Guénin. On 7 May 2003, Hardy published Les rythmes du zodiaque, which had taken over two years to write and which she intended to be "a book that would allow me to make my little contribution to modern astrology". == Writing career ==

In her later years Hardy became an author of fiction and non-fiction. She also wrote an autobiography, Le désespoir des singes... et autres bagatelles (The Despair of Monkeys and Other Trifles), which was published on 9 October 2008. It sold 250,000 copies and became a bestseller in France. The book was translated and published in Spanish by the San Sebastián-based independent publisher Expediciones Polares in 2017. An English-language edition, translated by Jon E. Graham, was published by Feral House in 2018. ''L'amour fou'' in Paris, November 2012 In 2012 Hardy published her first novel, ''L'amour fou,'' on Éditions Albin Michel. It was released in conjunction with a music album of the same name. She had begun working on the story, which dealt with an obsessive romantic relationship, thirty years before Hardy felt it was appropriate to publish the book to mark the fiftieth year of her musical career, as it told "the story that has been the matrix of almost all of my lyrics from the start". Following poor sales of the albums La pluie sans parapluie and ''L'Amour fou, Hardy decided to distance herself from music and dedicate herself to writing. This resulted in the essay Avis non autorisés (Unauthorised Opinions), released in 2015 on Éditions des Équateurs, in which she described the difficulties of reaching old age. In this book she also shared views on current affairs which were deemed "politically incorrect". In the early 2020s, after being unable to continue singing, and claiming that she had "nothing else to do", Hardy dedicated herself assembling a song book, Chansons sur toi et nous, a compilation of all of her lyrics with commentaries. Chansons sur toi et nous'' was published in 2021 on Éditions des Équateurs. ==Artistry==

Musical style Although Hardy's music covered a wide range of genres, she maintained a signature sound from the beginning of her career which was defined by breathy alto vocals and a predilection for melancholic songs. Rock & Folks Basile Farkas described her as the "queen of melancholy", and Hardy herself stated in 2012: "In music, I like above all the slow, sad melodies... Not in a way that plunges, but in a way that uplifts... I still aspire to find the heartbreaking melody that will bring tears to my eyes. A melody whose quality gives it a sacred dimension." Comparing both singers, The Guardians Keith Altham wrote in 2014: "They both sing sad songs with a simple folksy style. They both have the same shy, wistful, almost waif-like appeal about them. They both have a dramatic, 'all-alone' quality about their voices which commands sympathy and attention." Aside from original compositions, much of her 1960s repertoire consisted of versions of foreign artists that spanned a wide range of styles, including American girl-groups, early rockabilly, pre-Beatles British rock and roll, country music, folk, folk-rock and, to a lesser extent, doo-wop and soul. Hardy was known for being meticulous about her music, such as her decision to leave low-quality French studios for higher-quality studios in London. Although she is regarded as one of the greatest exponents of yé-yé, she was apart from her peers in writing much of her own material. Her compositions became less frequent, as she told Rock & Folk in 2018: "I understood that even if I did learn things, I would never be able to do as well as real melodists. That's why I thought it was best to bring in musicians whose work touched me." Hardy was also a big fan of singer and songwriter Barbara, who had inspired her to write her own compositions. Hardy said she was "completely spellbound" by these young foreign artists and began to sing and play the guitar to try to imitate them. Her 1964 album Mon amie la rose incorporated influences of Phil Spector's Wall of Sound technique, Hardy was an admirer of English folk singer-songwriter Nick Drake. She recalled: "For me, he didn't belong to a particularly British tradition... It is the soul which comes out of his songs that touched me deeply – romantic, poetic... but also the refined melodies. As well as the very individual timbre of his voice, which adds to the melancholy of the whole thing." with electric organs and "weeping" string arrangements The overall sound of her follow-up album, ''L'amitié,'' was considerably more expansive. According to Pitchfork's Hazel Cills: "It wasn't until her fifth record, ''La maison où j'ai grandi,'' that Hardy grew into a more grown-up, baroque sound, one that matched the depth of her sorrow and its complexities." which has been described as "her farewell to the yé-yé years". 1968–1974 {{Listen With Hardy's return to French recording studios 1968's Comment te dire adieu was more MOR-oriented than her previous releases. Richie Unterberger considered its music to be "perhaps even sadder and more sentimental" than usual. She developed a more mature, less-pop oriented style to reflect more of her inner. It was one of her sparsest efforts, with subdued and acoustic-flavored arrangements featuring guitar, touches of bass and subtle orchestration. Hardy's vocals have been described as "sultry" and "breathy", at times "[substituting] melodic humming in the place of singing, wordlessly articulating the emotional essence of the song." La question was also first time that Hardy had a part in choosing the string arrangements for her work. Following La question, Hardy progressed to a more folk and rock-influenced sound. This led producer Joe Boyd to suggest that Nick Drake write an album of songs for Hardy, to be produced by Tony Cox. The two singers met several times, including a visit by Drake to Hardy's recording sessions in London, but the project was never carried out. the album featured "cinematic" arrangements that emphasized acoustic guitar and light strings. In the same year, Hardy released ''Et si je m'en vais avant toi'', which incorporated influences from American blues, folk, and rock music and featured, unusually, a slightly humorous tone and catchier rhythms. The album had a sad, introspective mood and "classy, adult tone". It featured orchestral arrangements by Del Newman, who had recently worked on Elton John's Goodbye Yellow Brick Road and Cat Stevens' Tea for the Tillerman. In 1978, as disco dominated the music industry, Yared sought to adapt her sound to the era with the release of Musique saoûle, which incorporated rhythms influenced by funk music. The singer said later that she had felt uncomfortable and embarrassed when singing over dance rhythms. incorporated the use of a Synclavier synthesizer, despite the singer's wishes to avoid fashionable digital sounds in favor of an acoustic style. Pitchfork's Jazz Monroe described its music as "adult-contemporary space rock". Compared to previous albums, 2010's La pluie sans parapluie featured a "sunnier" sound, with some of its songs driven by a rhythm track of drums and bass rather than piano or strings. Her 2012 album ''L'amour fou featured half-sung, half-spoken vocals and had a "resigned, philosophical" mood, with "classy" pianos, minor chords and brushed drums as backing. The lyrics of her last album, Personne d'autre'', released in 2018, dealt with her advancing years and her own mortality. She had survived a major health crisis since the release of her previous record, and the vocal performances on the album were affected by her illness. == Live performances ==

On 11 May 1962, Hardy made her debut as a live performer alongside other young singers at the Disco Revue gala in Nancy. She performed on Christmas Eve in Brussels and undertook a successful tour in Southern France from late 1962 to early 1963. She made her first appearance at the Olympia concert venue in Paris, where she opened for Richard Anthony. Between tour dates Between 7 November and 18 December 1963, Hardy appeared again as Anthony's opening act at the Olympia in Paris and was well received by the press, who had previously criticized her stiff live performances. On 11 October, Hardy performed in Barcelona, Spain, as part of the fourth Great Gala of the Sedería Española. Hardy gave her last three live performances in Kinshasa, Congo, in June 1967. which led to her quitting live performances altogether in 1968. ==Public image==

Personality As a public figure, Hardy was renowned for her shyness and reservedness, and observers have emphasized her "anti-social nature as a celebrity". She was open in her autobiography and in interviews about her struggles with anxiety, self-doubt, loneliness and inferiority complex. Uncuts Tom Pinnock noted that "it was her refusal to play the showbusiness game that made her something of an icon." She was also disenchanted with the jet-set and high society lifestyle. William Klein and Richard Avedon for Vogue and other publications. and cool, known for her avant-garde and futuristic fashion choices. including André Courrèges, Chanel and Yves Saint Laurent. and the designer recalled that when he took her to the Paris Opera dressed in one of his tuxedos, "People screamed and hollered. It was an outrage". Hardy was an early fan of Paco Rabanne, making the Spanish designer popular by wearing his creations for photoshoots and television performances. In 1968, she modeled a plated mini-dress made of pure gold at the International Diamond Fair. Made out of 1,000 gold plaques, 300 carats of diamonds, and weighing 20 pounds, it was considered to be "the most expensive dress in the world in 1968". Rabanne's designs, including the gold dress, would become some of Hardy's most famous looks. Hardy modelled creations of the nascent prêt-à-porter industry, or "the stylistes", who rebelled against the "strictures of haute couture". She helped to launch the career of Sonia Rykiel by wearing her influential "poor boy sweater" on the cover of Elle, and was photographed by David Bailey wearing Emmanuelle Khanh's color-blocking coat for Vogue. Fashion Institute of Technology's Colleen Hill considered Hardy's style to be the most enduring of all the yé-yé girls, noting that "her nonchalance is an important part of her appeal. Hardy's fashion choices, such as her white Courrèges pantsuits and Yves Saint Laurent's first Le Smoking, were distinctly '60s and streamlined, yet they also have an edge." Hardy was also known for a pared-down style with discreet hairdos and makeup, often wearing a simple sweater and pants combination. and she was one of the first people to wear miniskirts. She also experimented with androgynous silhouettes. By the 1970s she had abandoned the image of a "fashionable young girl about town" that Périer had created for her. In 1967, teen magazine Special Pop wrote: "[Hardy] manages to attract both kids and their parents, men and women alike. More than a singer, she's becoming a universal myth with whom thousands of young girls dream of identifying." Bernard Buffet, Gabriel Pasqualini and Jean-Paul Goude. In 1965, Jacques Prévert wrote a poem dedicated to the singer titled Une plante verte, which was read as part of Hardy's performance at the Olympia. She was also the subject of a poem by Manuel Vázquez Montalbán and an open letter by Paul Guth. Belgian illustrator Guy Peellaert used Hardy as a model for the title character of his 1968 pop art and psychedelic-inspired comic Pravda la Survireuse, made in collaboration with French screenwriter Pascal Thomas. The singer was admired by Spanish artist Salvador Dalí, Hardy was also admired in the Swinging London scene Her image fascinated the young David Bowie, It began: "for françoise hardy/at the seine's edge/a giant shadow/of notre dame/seeks t' grab my foot/sorbonne students/whirl by on thin bicycles/swirlin' lifelike colors of leather spin..." In 2018, Hardy told Uncut that she had drafts of the poem that Dylan had left in a café. She said, "... I was very moved. This was a young man, a very romantic artist, who had a fixation on somebody only from a picture. You know how very young people are... I realised it had been very important for him." Noticing that Hardy was in the audience, Dylan had refused to go back on stage to perform the second half unless she went to his dressing room. She and other singers later joined Dylan at his suite in the Four Seasons Hotel George V, The singer wrote in her autobiography that she distanced herself from these remarks. This prompted her son Thomas Dutronc to write on Twitter: "But no mom, don't worry I'll invite you over to my place just in case..." Hardy later denied claims that she would be homeless and clarified that "the tragedy is the people who are losing their jobs because of offshoring and the European debt crisis|[European debt] crisis". In 2015, the singer criticized feminist activists in her essay "Avis non autorisés ...", in which she wrote: "I find them surly, ugly, that is to say not feminine for two cents. I have never been able to identify in anything with feminists. There are, however, some that I could have idealized..." During the 2017–2018 protests in France, Hardy expressed her support for President Emmanuel Macron. She said "We must let him reform France. Part of the French people don't want to see the reality and are stuck in the Marxist ideology. What I like about President Macron is that he is an idealist but not an ideologue and is firmly grounded in reality." During the 2023 French pension reform strikes, she told Le Journal du Dimanche that she was "ashamed of what was happening" in France, fearing that "repeated strikes" would deter tourists, and defended the pension reform bill. ==Legacy and influence==

Hardy was celebrated as a "French national treasure" and one of the greatest figures in French music. American critic Richie Unterberger described her as "indisputably the finest pop-rock artist to emerge from that country in the 1960s" and said he would like to see Hardy inducted into the Rock and Roll Hall of Fame. In 2011, Hardy was included in Le Petit Larousse Illustré. Long after her heyday in the 1960s, Hardy continued to be regarded as an important and influential figure in fashion history. During his time at Balenciaga, designer Nicolas Ghesquière described her in Vogue as "the very essence of French style". Hardy's musical influence is found in the work of Francophone acts such as Coralie Clément, Juliette Armanet, Keren Ann and Carla Bruni, who imitated Hardy's style for her musical debut. Writers have pointed to her influence on the music of English avant-pop group Stereolab, including similarities in Hardy's vocals and those of lead singer Lætitia Sadier. Outside the French-speaking world, she has been mentioned as an inspiration to female singer-songwriters like Caroline Polachek, Charli XCX, Angel Olsen, Candie Payne, Erin Rae, Heather Trost, Violetta Zironi, Zooey Deschanel and Cat Power. Goldfrapp, Jeremy Jay, The Chap and Xeno & Oaklander. In an article for Into Creative, Filmmaker Grant McPhee described her as 'A poster-girl for shy people and a fantasy figure for believing they too can be cool' In 2021, Rivers Cuomo of American rock band Weezer cited Hardy as one of his "sonic ideals", and side he was particularly influenced by her album Message personnel. Greg Gonzalez of American dream pop band Cigarettes After Sex called Hardy one of his biggest musical influences, stating in 2016: "La question is just so perfect, I wanted that kind of beauty." The 1971 cult album La question appeared in The Guardians "1000 albums to hear before you die". The album would gain a cult following after its release and it became regarded as Hardy's artistic peak. In 2023, Rolling Stone ranked Hardy at number 162 on its list of the 200 Greatest Singers of All Time. Personal assessment on career Hardy was critical of her first albums, Tous les garçons et les filles and Le premier bonheur du jour, despite their popularity. She said in interviews in 2018 that she "felt very frustrated because I wanted to have beautiful electric guitars... Instead, I had very bad French musicians and a terribly bad musical production." After she went to London in 1963 to record new albums, she felt able "to make another kind of music, not this mechanical music I had been trapped in." Despite the poor commercial performances of her early 1970s releases, La question, ''Et si je m'en vais avant toi, and If You Listen, Hardy felt artistically vindicated. She felt especially proud of La question, stating in 2008: "while it did not enjoy great success with the public at large, at least I can claim that it did touch another audience... Often an ambitious record can be more or less ignored when it is released but ends up having a long life." In 1996 interview with The Independent'', Hardy said she believed that most people did not know her artistry, and that she always had to talk about the 1960s and the Beatles. == Personal life ==

Family began their relationship in 1967 and married in 1981. In 1962 Hardy formed a romantic and professional relationship with Salut Les Copains photographer Jean-Marie Périer. After the birth of their only child, a son Thomas, on 16 June 1973, Hardy and Dutronc moved into in a three-story house near Parc Montsouris in the autumn of 1974. Hardy and Dutronc were married on 30 March 1981 in a private ceremony. According to Hardy, they formalized their relationship for "fiscal reasons", They never divorced and their relationship became a "special friendship". In the early 1980s, she learned that her distant father had led a double life as a closeted gay man when one of his young lovers bragged about his financial support to one of Dutronc's friends. which was not reported in the press at the time. Hardy's sister Michèle was raised without the affection of their parents, and developed suicidal and paranoid schizophrenic tendencies. which inaugurated a "hellish period" that disrupted her life. Hardy underwent further chemotherapy and immunotherapy sessions. Her health worsened, and in 2021 she made news as an advocate for the legalization of physician-assisted suicide in France. She said in interviews that if her condition became unbearable to the point where she can no longer "do the things that [her] life requires", she would resort to euthanasia, but would not have the consultation to do so. Before her death she had also experienced several falls and bone fractures. Her son announced her death on Instagram, writing "Mom is gone..." a farewell ceremony took place at Père Lachaise Cemetery at the crematorium and columbarium building. ==Selected discography==

;Astrological • Le grand livre de la Vierge (The Great Book Of The Virgin) (with Béatrice Guénin) (1979) • Entre les lignes, entre les signes (Between The Lines, Between The Signs) (with Anne-Marie Simond) (1986) • ''L'astrologie universelle (Universal Astrology)'' (1987) • Les rythmes du zodiaque (The Rhythms Of The Zodiac) (2003) ;Non-fiction • Notes secrètes: entretiens avec Eric Dumont (Secret Notes: Interviews With Eric Dumont) (1991) (interview) • Le désespoir des singes... et autres bagatelles (The Despair Of The Monkeys... And Other Trifles) (2008) (autobiography) • Avis non autorisés... (Unauthorized Reviews...) (2015) (essay) • Un cadeau du ciel... (A Gift From Heaven...) (2016) (essay) • Chansons sur toi et nous (Songs About You And Us) (2021) (songbook) ;Novels • ''L'amour fou (Crazy Love)'' (2014) ==See also==