Writer 1879: Solitary Journey in France

Chapter 517 Lionel's New Serialized Work!

Although Lionel was not optimistic about the occupation movement, he did not want to see a group of citizens influenced by his novels actually die there.

His aim was never to secure victory for the demonstrators, because victory was simply impossible, and there was no popular support for a violent revolution in France in 1882.

This operation is designed to create a reality that politicians cannot ignore:

If you choose to suppress, you will not only be facing nameless people, but a scene that will be recorded, watched, and written into the public memory.

To some extent, Lionel and the other artists present were bearing the moral cost for the country, forcing it to abandon its usual practice of solving problems in the cheapest way possible.

That's violent suppression: send in the army, open fire, arrest people, and that's it. Low cost, high efficiency, and "effective."

But if dozens of writers, painters, and poets are watching, painting, writing, and recording... then the cost will be high.

Politicians have to consider whether they will become villains in history and be reviled by future generations. They can't afford that cost.

But this has its limits; artists can only force politicians to avoid bloodshed, not to make them completely concede.

Because complete concessions are more costly—they would shake the entire system.

They would rather bleed than pay the cost of undermining the system!

So when history was about to crush ordinary people in the most brutal way, the artists reached out together and held both sides back.

Artists cannot bear the responsibility of inciting the occupiers to die; they are not qualified to persuade them to go home.

So they could only stand there and watch, letting both sides know that someone was watching.

Lionel believes that this was the only thing they could do, and the only thing they should do, in yesterday's situation.

Before they parted ways, Zola asked one last question: "What if... what if one day there really is a struggle that can be won?"

They had organization, a program, strategies, and power. Were we just going to stand by and watch?

Lionel remained silent for a long time before speaking: "By then, we will know what to do. But now is not the time. Right now, it's just a group of people gathered together because of temporary despair, and despair itself is not a weapon."

Moreover, the struggles that truly have a chance of victory don't require us to stand on high ground; they will find their own way!

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The first large-scale citizen occupation movement in Paris after the Commune caused a shock far beyond the sentiments of a few writers.

The headline of the front-page editorial in Le Figaro was "A bloodless dialogue".

The article is quite long, detailing the standoff, the appearance of the artists, the government's response, the parliamentary resolution, and the dispersal of the crowd.

The article concludes by saying:
This is the first time that the Republic has chosen dialogue and investigation instead of silence or evasion in the face of a financial disaster.

The investigation may not yield ideal results, but at least the process has been initiated. And initiating the process itself acknowledges that citizens have the right to question and demand explanations.

The headline in Le Parisien was more direct: "The Power of Art".

The article focuses on artists, especially Lionel Sorel and his "The Old Man and the Sea".

The article writes:

When the poster of "The Old Man and the Sea" was hung on the bank's exterior wall, the movement became a clash between art and politics.

Mr. Sorel did not say a word, but his presence and his works have already given the movement a sublime significance.

This is a prime example of literature's influence on society and the nation—it provides ordinary people with a way to understand and express their own circumstances.

The newspaper La Repubblica was relatively conservative, with the headline: “The crisis has eased temporarily, but the test has just begun.”

The article reminds readers that the investigation has only just begun, and the real challenges lie ahead.

However, the article also acknowledges that the peaceful ending of the Occupy movement was "unexpected" and "provides a precedent for handling similar crises in the future."

The Gaulish newspaper was the most sarcastic, with the headline "A New Stage for Artists".

The article implies that Zola, Sorel, and others used the crisis to boost their own profile, turning serious political and economic issues into "personal performances."

Even so, the article has to admit that this "performance" did have an effect—the government dared not use force.

These newspapers circulated in cafes, pubs, and salons. People read them and discussed them…

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In the weeks following the end of the Occupy movement, the political atmosphere in Paris underwent a subtle shift as public opinion fermented.

Those ministers who remained at the Bourbon Palace and did not flee—Charles de Frésiné, Adolphe Cochebrew, and Jules Ferry—stood on the moral high ground!

Newspapers praised them highly.

In a commentary, Le Figaro wrote: "They were the ones who made no mistakes in the most dangerous moment."

This statement spread quickly.

In the political arena of the Third Republic, the assessment of "not making any mistakes" was practically a medal!
Here, politicians' usual achievement is "making fewer mistakes than others".

And now, someone is being recognized as having "not made any mistakes"?
Prime Minister Fresine cleverly took advantage of this.

In his speech to parliament, he said: "On that night, we faced a choice—to use force to maintain so-called 'order,' or to trust in the institution of the Republic and the power of dialogue and procedure?"
We chose the latter. Not out of weakness, but because of belief—belief that this country has the ability to solve its problems without bloodshed!

The lawmakers gave him a warm round of applause, and even the opposition lawmakers dared not openly criticize him.

Now, anyone who says "it should be suppressed" will be vilified as a "bloodthirsty butcher" by the newspapers the next day.

Anyone who says "too many concessions" will be questioned: "Where were you then? On a carriage to Switzerland? Or on a ship to England?"

The ministers who fled became a negative example.

Finance Minister Mathieu was the first to succumb. After the investigation committee was established, he submitted his resignation, using very euphemistic language, saying it was "due to health reasons."

The newspaper La Repubblica directly exposed the truth:
Monsieur Mathieu's health suddenly deteriorated after he saw the army lay down their guns.

Interior Minister Lefebvre held out for a week.

But voices began to emerge in the council demanding that he be summoned and questioning why the police department had been slow to respond in the early stages of the crisis.

He sensed danger and resigned.

Commerce Minister Gouen and Navy Minister Berger are still holding on, but things are very difficult.

Every time they appeared in parliament, they were met with sharp questioning. Agriculture Minister Manier tried to defend himself, saying that his trips to the countryside were to "inspect agriculture" and were "necessary for work."

But reporters quickly discovered that he hadn't gone to the agricultural province at all, but instead to a coastal resort town.

The tabloid sarcastically remarked: "Is Minister Magnier inspecting beach agriculture?"

After the power vacuum emerged, Prime Minister Frésiné quickly assumed the role of Finance Minister on the grounds of "maintaining government stability."

Kossbrück's position in the War Ministry was further solidified—because the 13th Infantry Regiment maintained restraint during the crisis, which became his achievement.

Jules Ferry was already highly respected, and now he was regarded as the "voice of reason," with countless members of parliament offering their loyalty to him.

Everyone knows that his return to the premiership is on a faster track.

"We are now indispensable!" Kosbrü said proudly at a private gathering.

Jules Ferry reminded him: "But only for now. Once the commission is fully operational, it will have its own motivations."

Those congressmen won't listen to us forever.

"We will decide the number of members on the committee!" Fressine said confidently.

Jules Ferry nodded, and even with his deepest cunning, he smiled at this moment.

The investigation committee is still just a framework; the specifics of how to conduct the investigation, who to summon, and what documents to review are still undecided.

The committee needs staff: lawyers, accountants, investigators, clerks... all these positions require personnel.

Who nominates, who appoints, and who controls?
The committee also needs to decide on the focus of its investigation: whether to focus on the fraud of the "United Corporation" or to examine the entire annuity regulatory system.
Whether to hold individuals accountable or to recommend systemic reforms depends on the focus, and the outcome will be different.

A new power game has begun, with various factions in Parliament vying for influence.

Radical Republicans wanted a thorough investigation to uncover all the scandals; moderate Republicans wanted to keep things under control and avoid destabilizing the financial system.

Conservatives want to protect bankers, but they dare not say it openly, so they can only operate in secret...

Everyone wants to get something out of this crisis: power, position, budget, reputation... everything is negotiable!

France seems to have changed a little, yet it also seems to have remained the same.

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The promises of the government and parliament crawl slowly along the tracks of law and bureaucracy.

The parliamentary "special investigation committee" was indeed established; it had a long name and a large following.

Newspapers occasionally publish news of an official being summoned, or of a committee meeting being held for the nth time.

The discussions were intense, the reports were lengthy, and the conclusions were slow to emerge.

The directors who went to London naturally did not return.

Some small banks have failed, and more banks have tightened lending.

Annuity prices stopped plummeting and the market price rebounded somewhat, but after reaching 79 francs, they began to fluctuate and have not returned to their previous levels.

The loss seems to have been frozen in time, becoming a fait accompli.

Most people have accepted this fact; the complaints are still there, but the voices are lower, and life must go on.

Those who need to go to work go to work, those who need to open shops open shops, and those who need to budget their money continue to do so frugally.

The standoff in May was like a high fever. When the fever subsided, what remained was weariness and a resigned clarity. It seemed there was no other way but to keep moving forward.

The topic was still being discussed in the salon, but it gradually shifted from "sharks" and "compensation" to more romantic and lighthearted matters.

The latest opera, a countess's scandal, or the choice of a summer vacation destination.

Occasionally, someone mentions Lionel and those artists' "condescending" testimonies, but this has gradually become just another topic of conversation and has lost its impact.

Until one morning in mid-June...

The early summer sun was lovely, casting dappled light through the leaves of the sycamore trees.

Newsboys' cries are louder than usual, usually because the newspapers have new content that will boost sales.

"Look at the newspaper! Look at the newspaper! Le Parisien! Mr. Sorel's new work has begun serialization!"

"Lionel Sorel's latest serialized novel! First release today!"

The sound traveled into the café, the bakery, and the apartment with its windows open.

Pedestrians on the street paused for a moment, their hands holding newspapers frozen in mid-air.

Again?
In a coffee shop, several regulars were having breakfast.

Just as the shouts came in, a bespectacled man had put a piece of buttered bread into his mouth.

He stopped chewing and exchanged a glance with the person across the table.

"Sorel? A new novel?"

"How long has it been since things calmed down?"

"Good heavens, what is he planning now?"

"Last Christmas it was 'The Café,' this year it's 'The Sun Also Rises,' and also 'The Old Man and the Sea'..."

"Wasn't he great before? He wrote things that made people happy. What happened to him now?"

"I heard that he often hangs out with Zola and his group, so it's no wonder he's influenced by them."

Despite their complaints, both of their hands unconsciously reached for the coin...

Soon, a copy of Le Parisien was spread out on the tablecloth.

At first, the bespectacled gentleman was uneasy, fearing that Lionel would once again stab him in the heart.

But soon, he slammed his hand on the table and exclaimed in admiration:
"This is what a novel should be! This is what a story should be! This is the real Sorel!"

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(End of this chapter)