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After La grammaire est une chanson douce, Les Chevaliers du Subjonctif and La révolte des accents, Erik Orsenna continues the grammatical adventures of his heroine Jeanne and her brother Tom. Here we see them discover the art of punctuating their lives…
Jeanne is now sixteen. Since she began exploring grammar she has grown older and bolder. She is now the ringleader for an illicit trade: pupils on the island pay her to do their homework. In time she becomes a ghost writer for politicians, drafting their speeches. It is at this point, when her clientele embraces the political world, that she is struck by the importance of punctuation. With the help of her musician brother, Tom, she learns the basics of music and rhythm to perfect the speeches she writes. For what is a speech if not a sort of song where the music, tone and rhythm play as much a part as the words? Jeanne takes a very distinctive interest in her research… because she falls in love. And wasn’t punctuation invented to express our feelings, mark out the rhythms of our hearts and define our emotional nuances?
So how do you punctuate a text? How do you bring life to life? And what if, instead of merely experiencing it, we danced it?

Erik Orsenna, member of the Académie française, won the Goncourt prize for L’exposition coloniale (Seuil, 1988); his works include Longtemps (Fayard, 1998), Madame Bâ (Stock, 2002) and more recently Voyage au pays du coton (Fayard, 2007), La Chanson de Charles Quint (Stock 2008) and L’avenir de l’eau (Fayard, 2008).