Lola is a thirty-something living in Paris like so many other. Well, not entirely.
Charles Denner’s words in François Truffaut’s L’homme qui aimait les femmes have never been so apt: women’s legs are compasses that bestride the globe in every sense. Lola bestrides Paris, half needy and half a contemporary Amazon, faintly reminiscent of Jacques Demy’s Lola, and every time her longing becomes stronger than the power of reason, the man succumbs, the hunter turned prey, even the ugliest, even the most repulsive. When the act is over, bang, she cuts one of his nails. Lola is a nightmare dressed as a daydream but with warlike impulses. She looks like something from a Manga with her red mouth and big eyes, and from a Lars Van Trier film with her contradictory appeal and her urge to turn everything upside down. But why? We will gradually find out.
Until Lola falls in love, but is she really designed for love? And what if passion brought the dream to an end?
Julie Estève was born in Paris in 1979. After studying law and history of art, she wrote for several magazines and exhibition catalogues. Moro-sphinx is her first novel.