Jean-Hugues Villacampa, Tête en l'ère
One cannot but be enthusiastic about Rêves de Gloire. Throughout the major part of the novel you turn the pages without a moment’s loss of interest, carried along as you are by the user-friendly narrative skill of Roland C. Wagner. The burning question of Algeria (there again, family experience; I had my fill of it…) is dealt with judiciously, with profound empathy and, you can feel, a lot of personal investment. As for the alternative story of rock, it is quite simply (yet again the word “simply” is hardly suitable) jubilatory. So yes, unreservedly yes, Rêves de Gloire is a (bloody) good book and definitely worth a detour. It is, from what I have already read, by far Roland C. Wagner’s best work, and it deserves to become part of an ideal French science fiction library straight away. A great, very great novel.
Claude Ecken, L'écran Fantastique
The complicity we read between the lines and the vision he shares with the reader are both sufficient to maintain a lively rhythm throughout the novel. We never feel bored or distracted.
Labyrinthes - Bookshop specialising in classical, young adult, science fiction, thriller and art literature
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Victor Montag, Le Républicain Lorrain
RCW’s tour de force is to draw benefit from this uchronia in order to create a kind of alternative version, which is remarkably detailed and true (you understand what I mean), of the history of … alternative communities in the 1960s and 1970s, based very, very loosely on non-violence, rock, love of LPs and LSD… and making the Kasbah of a uchronic Algiers one of the centres of these imaginary communities! Or rather, his tour de force is to make all that seem perfectly plausible! I wonder if anyone other than RCW could have managed to do such a thing! […]
This monumental novel is remarkable for several reasons: for its polyphonic aspect, where we move continually from one character to another, from one time to another, from one story line to another; for its meticulous construction, which isn’t apparent at first sight, but superb when we notice it or when we read the novel again; for the characters; for the musical culture it reveals and finally by the depth of knowledge of international history, which the author plays about with, not gratuitously (even if I’m sure that he has had a lot of fun with certain unexpected elements!), but to make us think, as he himself says. […]
Roland Wagner has a special style, whose principal characteristic is, I think, an almost transparent lightness of touch, especially in comparison with certain of his fellow writers who give me the impression that they want to show their readers just how well they can write. There is none of that with Wagner, never any grandiloquence, nor any useless convoluted vocabulary, but an ever present delicate irony, which has a tendency to mask the excellence of the French, appropriate vocabulary and turns of phrase adapted to the situation and the character speaking at the time. Altogether outstanding writing, which may be totally overlooked except by the attentive reader.
Far from being unrealistic, since the novel is very sombre, Roland C. Wagner expertly unravels his uchronia. Many points of view are encompassed: from the fascist to the indolent hippie (a Vautrien) through the National Liberation Army (ALN) soldier and the fellagha from the Aurès Mountains, there is a rich mosaic of characters. If the protagonist (not far removed from the author?) gets us hooked on a story of rock with thriller overtones, the other implicit threads are just as fascinating, all things being linked: from the Vautrien movement and the madness of the first moments to disillusion, from the revolutionary movement to the effects of fashion; world geopolitics with a alternative cold war; homage to Camus… In short a solid, dense, absorbing, captivating and fluid novel. A masterpiece that you can read and reread in the sun with a drink of anisette in your hand.
An interview with Roland C. Wagner:
Ouest France
Rèves de Gloire by Roland Wagner - why this novel is essential for non-French readers:
The uchronia (or "divergent worlds") genre is very fashionable in France. We are used to Heliot, Bordage and Mauméjean (to name but three!), but suddenly we come across an author we weren't expecting, principally known for his short stories and hilariously excellent series, The Future Mysteries of Paris. In truth Roland Wagner has already committed uchronia, H.P.L. (1890 - 1991), where Lovecraft lives to the age of a hundred and one, which allows him to have turbulent exchanges with P.K. Dick and R. Heinlein. With Rêves de Gloire, Wagner rather explores French mythology, if one can say such a thing: at the beginning of the sixties, the moment when France really ceased to be a colonial empire, when it left Algeria.
General de Gaulle is assassinated in 1960. France moves towards growing political instability which drives it towards an authoritarian regime, practically a dictatorship, upheld by the military. The Algerian war comes to an end when it is given independence, but three enclaves are retained by France. The first (Bougie) is returned six months later. The second (Oran) is also returned, which serves as a firewall, because it is hoped to keep the Algérois region, consisting essentially of the town of Algiers. The initial divergence leading to this parallel world is however more international: the Americans and the Russians were neck and neck in the space race; the Russian capsule crashed on the dark side of the moon, and it was thought that the Americans had got there first; the Russians then set out to conquer Mars, using not a little of their funds destined for the leftist freedom movements (among which were the Algerian FLN, which naturally enough changes the balance of power in Algeria) and in the narrator's beginning of our present 21st century, the USSR still exists.
It is against this solid backdrop that Rêves de Gloire takes place. But if the title temptingly suggests that imperialist nostalgia is still alive and kicking in France, that's not what it's about. Roland Wagner not only rewrites History but also "lesser" history (as, if not more, important) - cultural history.
In fact a whole generation of rebellious youth that knows it's destined for the Algerian war through compulsory military service not only deserts, but finds itself driven, even deported by the government to the "colonies", i.e. in the French enclaves and, when these have been ceded to Algeria, to the Algérois region. This young generation named "vautriens" (indolent hippies...) have experienced their Woodstock in Biarritz, and Tim(othy) Leary has supplied them with "Glory", the drug he brought with him from America. And they like, listen to and play music, a lot of music. Their high concentration in the Algérois region produces an explosion of "sex, drugs & rock'n'roll" so familiar to us, but brilliantly transposed to places and more especially to a culture which isn't - certainly on this side of the Atlantic.
Having perfectly learnt the lesson taught to him by Dick in The Man in the High Castle, Wagner shows us his divergent world through the wrong end of the binoculars, through the eyes of ordinary individuals: "vautriens", pragmatic and communitarian idealists (the major revelation of Glory is that God doesn't exist), practically destitute cannon-fodder, Algerian freedom fighters, hard-nosed French soldiers, ex-patriot pieds-noirs, Harki, Muslim, Christian, Jew, all that colourful fauna crammed into Algiers, especially since it has become the last French enclave to receive all the people who couldn't or wouldn't make it back to France. There is the occasional first name or surname but all the characters are anonymous narrators of their own little piece of history and, which is admirable, in general we don't get lost in this intermingling of voices, each having its own particular characteristics.
We don't get lost - anyway not a great deal lost - in the time framework. This is a long backward movement structured, on the one hand, by a flexible toing and froing between the different moments that illustrate the march towards Algerian independence, and on the other, by the start of the secession of the Algérois region, which will become a free Commune - as the Vautriens move in. In fact the whole book beats to a rhythm of psychodelic music presented in musicographical notes in which figure names, both well-known and unknown (Johnny Halliday died young in a terrorist attack in Algeria, his lead guitarist is a West Indian Jimi Hendrix type, Dieudonné Laviolette, the musicians of the Silver Beetles have become session musicians...), thus assuring movement between the different realities which is both the special delight yet also the challenge of the uchronia genre.
In fact Reves de Gloire is the title of an extremely rare LP by the Glorious Fellaghas, a legendary band playing psychodelic music, and the main narrator obsessively collects and sells records. This character is built up through clues left by several of the anonymous narrators, but what is important is that someone is looking for this record and killing the owners of it. This fake thriller framework - very loose - is a plotline for the novel.
There are so many more details I would like to reveal from this rich and complex novel - for example, the IT revolution and P2P systems exist, and Wagner has invented "alternative" terms ("use the vole to click on..." for example, which gives our "mouse" a touch of the bizarrely comic, or "mini-file systems"). We could also mention the autobiographical aspect, both real - Wagner is well-known in the French Sci-Fi milieu as a musician and a heavy smoker, and imaginary: he was born in Bab El Oued, in Algeria, therefore, but in 1960; the references to the 1968 revolutions are not his personal experience even if he describes the libertarian and communitarian winds of change of those years very well. And finally the mise en abyme of the novel, since in the two brief scenes that frame the novel, at the beginning and at the end, we meet none less than Albert Camus who didn't have an argument with a plane tree on a road in the Yonne in 1960, and plans to write... a uchronia on the history of Algeria.
You will have understood that this is a great novel, certainly the best that Roland Wagner has ever written. We may however wonder what readers in Quebec might get out of it, were they rock and pop fans and knowing about the European history of the second half of the last century. But because of this perhaps, there is a supplementary interest for us here: a picture of social and political dynamics nourished by a fresh vision of the world, liberal ideas maturing over a generation to culminate in independence through collective enthusiasm, and peacefully. Each reader can nurture their own nostalgic uchronia.
Élisabeth Vonarburg, Solaris, autumn 2011