“The Use of Photography is a fascinating collaboration between lovers Annie Ernaux and Marc Marie, alternating entries riffing on the photographs of compositions of their clothes in various rooms, tracing the duration of an affair, kindred to the conceptual photobooks of Sophie Calle. Except this description doesn't get at the vitality of this document, its passion and melancholy, which takes on Ernaux's usual themes, this time with a surprising interlocutor—a meditation on the daily and ephemeral, mortality, the knowledge and history of the body. Not only does this 2003 text prefigure the epic meditation on photographs in The Years, but it's also where Ernaux writes, devastatingly and intimately, of her breast cancer treatment.”
– Kate Zambreno, author of Drifts and The Light Room
“This is my favorite book by Annie Ernaux. An overwhelming story about love, death, desire and illness. Everything is extraordinary here, unforgettable. We do not come out of this very intimate text unscathed.”
– Abdellah Taia, author of A Country for Dying
“In The Use of Photography, first published in 2005, Ernaux and journalist Marc Marie document their affair, through text and photos, as Ernaux is undergoing cancer treatments. A must-read for lovers of words, images, and Ernaux herself. So… everyone?”
– Jessie Gaynor, LitHub, Most Anticipated Books of 2024
“Annie Ernaux has long foregrounded physical and emotional sensations as the building blocks of her autobiographical writing. However, it is in The Use of Photography where the connection between the body and subjectivity most powerfully emerges.”
– Lisa Connell, French Forum
“All her books have the quality of saving frail human details from oblivion. Together they tell, in fragments, the story of a woman … who has lived fully, sought out pain and happiness equally and then committed her findings truthfully on paper. Her life is our inheritance.”
– Ankita Chakraborty, The Guardian
“Among the most vital works of literature produced in the last half-century.”
– Alex Shepard, The New Republic
“Beautiful writing can be a way of ‘masking power.’ Ernaux’s particular style—stripped back, forthright, unadorned—is an attempt to drop the mask, to write unsentimentally and with great dignity about class, and class mobility, and gender.”
– Lauren Elkin, Lux Magazine
“[Ernaux] has been able to endow private experience with wider significance, creating the uncanny sense among her readers… that she has spoken for them, too.”
– Sam Sacks, The Wall Street Journal
“Annie Ernaux’s work presents a breathtakingly frank, fearless, many-sided account of the female experience during the past century.”
– Liesl Schillinger, Oprah Daily
“Nobel Prize winner Ernaux (The Young Man) and French journalist Marie recount their early-2000s affair through the lens of 14 photographs in this tender and evocative memoir. The pair met in 2003, when Ernaux was recovering from surgery and undergoing chemotherapy for breast cancer. After their first few sexual encounters, Ernaux began photographing the aftermath, resulting in lush, jumbled, and erotic images punctuated with lurid red lingerie or a pair of upright shoes that seemed to suggest a ghostly presence. In alternating chapters, Ernaux and Marie analyze photographs from that period, discussing the specter of death that hung over their trysts (at one point, Ernaux bought herself a funeral plot), the sweet devotion Marie felt for his ailing “mermaid woman,” and eventually, the end of their relationship. Each author’s candor—about their sexuality as well as the importance of such an intense connection at that crossroads in their lives—is remarkable, and is enhanced rather than obscured by the framework of photographic analysis. The results are generous, steamy, and unexpectedly moving.”
– Publishers Weekly
“A Nobel Prize–winning author and her journalist lover tell the story of their affair.
In 2003, Ernaux began a passionate relationship with her co-author, Marc Marie. At the time, Ernaux had been undergoing chemotherapy treatment and was about to have surgery for breast cancer. The author soon discovered that her physical desire for Marie was matched by an equal desire to take pictures of the “material representation[s]” of their sexual encounters. When she told Marie that she was photographically recording the “[clothing] compositions…that organized themselves according to unknown laws, movements and gestures,” she learned that he had felt a desire to do the same. In this book, Ernaux pairs 14 of the more than 40 photos they took together with two essays, each produced independently of the other, by the author and by Marie. The photos record colorful “landscape[s]” left in the aftermath of encounters that took place over several months in multiple locations, including various rooms in Ernaux’s home and foreign hotels. As they describe each “scene,” the essays provide details about Ernaux and Marie’s developing relationship, like how they spent their time together on the day of the photograph or the songs they chose to represent “the elusive succession of their days.” With her trademark clarity and simplicity, Ernaux’s essays also grapple with her struggle to come to accept both her diagnosis and the physical changes brought about by her cancer treatments, like baldness, loss of body hair, and scarring. The result of the pair’s unique word-and-image collaboration is a deeply poignant yet also celebratory expression of eroticism.
Luminous and reflective writing in the face of death.”
– Kirkus Reviews
