Forbidden fruit: Trierweiler and Hollande in 2002, three years before "the kiss in Limoges". Photo: Paris Match/Getty Images
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It started with a kiss: Valerie Trierweiler’s memoir

Jane Shilling finds a blend of syrup and venom in this kiss-and-tell book by François Hollande’s former partner. 

Thank You for This Moment 
Valérie Trierweiler; translated by Clémence Sebag
Biteback, 298pp, £18.99

Among the candidates competing to stand in the 2012 French presidential election François Hollande had two distinct advantages: he wasn’t the right-wing incumbent, Nicolas Sarkozy, with his eventful marital history and high-maintenance pop-star third wife, Carla Bruni. And he wasn’t Dominique Strauss-Kahn, Hollande’s rival for the Socialist candidacy until his campaign was inconveniently interrupted by his arrest in New York on a charge of attempted rape (subsequently dismissed, but not before all sorts of lurid allegations had emerged).

By contrast with these two flamboyant figures, Hollande was the most unobtrusive of high-fliers: a graduate of the elite French civil-service academy, Éna, he looked, with his receding hairline, ill-fitting suits and rimless specs, like a blamelessly dull provincial accountant.

His private life seemed blameless, too. For over 30 years he had shared his life and raised four children with his partner, the beautiful and ambitious Socialist politician Ségolène Royal, who lost to Sarkozy in the 2007 presidential election. After the high-octane tohu-bohu of Sarko and Strauss-Kahn, Hollande must have looked deliciously dull. But that was before Valérie Trierweiler entered the Élysée Palace.

Trierweiler’s kiss-and-tell-memoir of her nine-year relationship with Hollande, which ended abruptly this January when it emerged that the French president was having an affair with the actress Julie Gayet, sold almost half a million copies in the month after its publication in France. Though positively reticent by Anglo-Saxon standards (there are, mercifully, no Tony Blair-style revelations of bedroom action) it is still explosive stuff in a nation where the extramarital shenanigans of politicians such as François Mitterrand and Jacques Chirac were common knowledge, but discreetly hidden in plain sight.

But Trierweiler has a notorious tendency to speak her mind – never more than in the “Tweetgate” affair of 2012, when she caused a scandal by tweeting her support for the man standing against Hollande’s former partner, Royal, for an MP’s seat.

In her memoir, she blames her outspoken­ness on her working-class background. She was born Valérie Massonneau in Angers in 1965, the fifth child of a disabled father and a mother who bore six children by the age of 20. Trierweiler studied at the University of Nanterre and the Sorbonne, and at a party held to celebrate Mitterrand’s victory in the 1988 election, the then president’s roving eye fell on the pretty 23-year-old.

“I believe we have met,” Mitterrand said. They hadn’t, but by convoluted means the exchange led to her landing a job on the influential weekly Paris-Match. “François Mitterrand had impacted my fate . . .” she writes. “How could I have imagined that one day I would be with another president?

How indeed? At Paris-Match Valérie got to know a fellow journalist, Denis Trierweiler. “Even before we were in a relationship, I had dreamt he would be the father of my children.” Dispensing with her first husband, Franck Thurieau, who barely gets a mention in the memoirs, she set about living the dream: “I had no other plans than to build both my personal life and my career – François Hollande was not part of either of these plans. I even changed my surname . . . I wanted to show that I belonged to my husband.”

Despite this wifely devotion, by 2000 the rumours that she was having an affair with Hollande were strong enough to trouble Royal, who confronted Trierweiler and Hollande as they were enjoying a discreet lunch. “Caught red-handed. I hope I’m not interrupting anything,” she hissed, according to Trierweiler, who replied that they were discussing the Tour de France. “My aplomb,” Trierweiler notes, “irritated and impressed her in equal measures.”

Hollande apparently used to tease Trierweiler about her humble origins by calling her Cosette, after the guileless waif in Victor Hugo’s Les Misérables, and throughout her memoir she presents herself as a bewildered provincial innocent, propelled by unsought-for love into a cruelly sophisticated world of political manipulation. Although she was frequently in contact with Hollande in the early 2000s, “I was not yet aware of the electromagnetic field that sparked between the two of us as soon as we were together.”

When it happened, it was apparently all Royal’s fault: “The intervention of a woman who feared our love above all else no doubt played a part in it becoming a possibility in my eyes.”

After that it all gets a bit complicated. The chronology of her book zips bafflingly back and forth between the aftermath of her brutally curt dismissal as First Girlfriend and the brief flowering and melancholy, long, withdrawing roar of her affair, which finally achieved lift-off with The Kiss in Limoges on Thursday 14 April 2005 (“That date will always mean something to me”).

She had accompanied Hollande on a business trip to Limoges, after which he asked her to join him at a meeting in Tulle. She refused: “I knew what ‘come to Tulle with me’ meant.” Instead, over a modest dinner of waffles and a crêpe, “We spoke about our relationship for the first time . . . What passed between us in that moment is indescribable, it was like a scene from a film. A kiss like no other kiss I’d ever shared with anyone.”

The upshot was, as she coyly puts it, that “François did not drive back to Tulle that evening”. Alas, “the kiss in Limoges was the starting point of a downward spiral”. First Royal decided to stand as a presidential candidate, insisting that Hollande support her campaign. When she lost, she chucked him out. “I can easily imagine,” Trierweiler muses, “that during that period François behaved with Royal as he did with me during his affair with Julie Gayet – which is to say that he was the king of doublespeak, ambiguity and perpetual lies.”

At last it was Hollande’s turn to run for the presidency. After his election in 2012, Trierweiler became – depending whether you believe her version or the spiteful gossip of the Élysée aides and journalists who unaccountably took to briefing against her – either his rock or a millstone around his political neck.

Certainly she had an unerring knack for a gaffe. Among many lulus, the one that stands out is the moment at his post-election celebrations when Hollande kissed Royal and Trierweiler jealously demanded that he kiss her, too, “on the mouth”. The eagle-eyed press lip-read, identified the words, and gleefully published them.

Trierweiler complains that, as president, Hollande became a different man from the one with whom she fell “crazy in love”. Before taking high office, he was tender, funny, a lover who “knew how to waste time”. Afterwards, she claims, he became a chilly, duplicitous, tyrannical rotter who said nasty things about disabled people and the poor, calling them les sans dents, or “the toothless”, and blamed her for everything, especially his lack of popularity.

“Everything I have written in this book is true,” she asserts, claiming that she was deliberately drugged to stop her from turning up at a presidential event in Tulle shortly after the break-up. Since then she has divided her time between good works, fending off the president’s pleas for forgiveness (he texts her up to 20 times a day, she claims) and composing this memoir with its inimitable blend of syrup and venom.

Rambling, self-justificatory and lachry­mose, it reads like a transcript of one of those drunken post-break-up conversations you have with your best friend late at night, and wish you hadn’t in the morning. Then again, it has made Trierweiler extremely rich and compounded Hollande’s political travails by making him appear not just cold and duplicitous, but ridiculous.

Halfway through a five-year term beset with scandal and failure, with unemployment rising and his approval ratings at a record low, the last thing Hollande needed was this most unflattering of intimate portraits, in which he appears as a cross between Iago and Mr Bean. Largely untroubled by infidelity, the French electorate may prove to be less forgiving of pusillanimity when it comes to the presidential elections in 2017. 

Jane Shilling is a book critic for the Telegraph and the author of two books: The Fox in the Cupboard and The Stranger in the Mirror, a memoir of middle age, published in 2011. She writes on books for the New Statesman. 

This article first appeared in the 04 December 2014 issue of the New Statesman, Deep trouble

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On the trail of Keith Jarrett's melodies

Lose focus for a second and you can quickly drop the thread of Jarrett's complex improvisational techniques.

“So, this is a piano,” said Keith Jarrett, sitting down at the one that had been placed centre stage for him in the Royal Festival Hall on 20 November. Blowing on his hands to warm them, he acted as if he had never encountered such an instrument before, raising a chuckle from the hundreds of fans who had turned out to see the man in the flesh. For 40 years, Jarrett has been giving concerts like this – alone with the piano, playing his improvised music to a room full of rapt devotees. Notoriously grumpy – and now as well known for his tirades against cameras and coughing audience members as for his early days playing with Miles Davis – he has an almost eerie focus onstage, relieving the tension only very occasionally with his barbed observations about the excellence of the instrument, or the shuffling in the auditorium.

Jarrett gave us a series of short pieces, each rendering separate and distinctive musical ideas. He began with an intricately woven flash of notes in both hands, criss-crossing the melodies that were by turns dark and haunting, or light and dancing. At particularly complex moments, when his arms were crossed over and the notes were flowing from his fingers faster than anyone could imagine them into existence, he leaned his ear down towards the keys, as if physical closeness could help his ideas more swiftly become sound.

A couple of folk-inflected ballads followed; heart-achingly sweet melodies picked out above rumbling, sour arpeggios. Like Glenn Gould, the Canadian pianist best known for his recordings of Bach’s Goldberg Variations, Jarrett can’t help adding vocalisations as he plays, which are all the more evident in his quieter compositions. He rose and fell from his stool; we heard his guiding hum along with the melody, as well as the odd strangled shout, yelp and grunt. He might insist on absolute silence from the audience but his own noises seem completely uninhibited as the music spins around him.

Although notorious for his curmudgeonly attitude to his fans, Jarrett was mostly restrained in this outing, allowing himself just one short, sweary outburst about killing a “f***ing camera”. At the age of 70 and with the power to sell out his concerts in just a few hours, you do wonder how much of the persona is genuine and how much of it is just giving the audience what it expects. A case in point came near the end, when he yielded to clamouring and gave a surprisingly simple and straightforward rendition of “Danny Boy”, an encore that long-time fans know well.

Given that this recital was under the auspices of the London Jazz Festival, there was surprisingly little in Jarrett’s programme that could easily be identified as jazz. One piece, full of brisk rhythms and chunky chords, gradually revealed itself to be based on a modified 12-bar blues structure and another had haunting overtones surely pulled from the classic American songs of the first half of the 20th century. Indeed, this musical ghosting becomes a major preoccupation when you see Jarrett live. It is too easy to distract yourself in trying to follow the auditory trail he has laid for you – was that a bit of Debussy, or Bach, or Glass just then? – and lose the thread of what he plays next. The improvisational technique might have more in common with jazz but now, 40 years on from his bestselling live recording The Köln Concert, it’s difficult to characterise Jarrett’s output as anything other than contemporary classical music.

If it needs a classification, that is. At one point, I became convinced that a particular piece was a Jarrett riff on Beethoven’s Bagatelle No 25 in A Minor – or Für Elise, as it is more commonly known. I was sure it was all there: the extended opening trill, the rising arpeggios in the left hand, the melody cascading from treble to bass and back again. Except, by the time I surfaced from my musing, there was no trace of Beethoven to be heard. A clashing, almost violent melody was dangling over a long drone in the bass. If you try too hard to pin down Jarrett’s music, it moves on without you.

Caroline Crampton is web editor of the New Statesman.

This article first appeared in the 26 November 2015 issue of the New Statesman, Terror vs the State