In the world of publishing, as in the building at 7, rue Bernard-Palissy, in the heart of Saint-Germain-des-Prés, in Paris, certain climbs are made by narrow stairs, with uneven steps. Since January, the office on the third floor of this address, which has housed Editions de Minuit since 1951, has been occupied by a new director, Thomas Simonnet, 48. In the room where Irene Lindon officiated, who took over from her father, Jérôme, on his death in 2001, the walls are lined with hundreds of books.
The catalog of the house is a national monument which includes three Goncourt prizes (Marguerite Duras, Jean Rouaud and Jean Echenoz), two Nobel prizes for literature (Samuel Beckett and Claude Simon), a Nobel peace prize (Elie Wiesel) and dozens of other outstanding authors: Alain Robbe-Grillet, Jacques Derrida, Marie NDiaye, Jean-Philippe Toussaint, Laurent Mauvignier, Tanguy Viel…
For his first literary comeback in this position, Thomas Simonnet will add his stone to the building with his first two publications as director of Minuit. Indoorsthe first novel by a 24-year-old writer, Claire Baglin, who had sent her manuscript by post, and the latest book by writer and playwright Yves Ravey, Taormine. A new voice that brings the reader into the back room of a fast food restaurant and the controlled novel of a seasoned writer. Pure midnight.
Discreet and arduous selection process
The enthronement of Thomas Simonnet followed the decision of Irène Lindon to sell, after seven decades of independence, the family jewel to Madrigall, the holding company of the Gallimard group. While on the side of Editis and Hachette the merger desired by Vincent Bolloré caused a stir before being abandoned, everything happened, on this side of the left bank, without scandal or trumpet. If the stakes are less financial and political, the change at the head of Minuit remains a symbol in the world of French letters. The selection process was discreet, but arduous, with several interviews with Irene Lindon, long discussions on manuscripts and the house’s emblematic works.
After politely declining our interview requests since the beginning of the year, Thomas Simonnet agreed to see us one morning in July. “It’s more pleasant to talk to each other now that I have titles to defend”, he slips. Tall, slightly awkward silhouette, shy smile, greige trousers, white shirt and soft, controlled voice (“I speak a little slowly because I think at the same time”he apologizes), Thomas Simonnet is the Epinal image of the Germanopratin publisher.
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