Aurélien Bellanger makes a strong impact with his new novel, The Last Days of the Socialist Party, published on August 19, 2024, by Seuil editions. This nearly 500-page novel presents a politico-historical fresco. It quickly sparked strong reactions due to its barely veiled satire of certain French intellectuals. These intellectuals are accused of betraying the ideals of the left by dangerously flirting with the far right.
The novel follows the character Grémond, an obscure apparatchik of the Socialist Party who takes advantage of the climate of fear created by the Islamist attacks of 2015 to rise to the top of power. Supported by two philosophers, Frayère and Taillevent, Grémond founds the December 9 Movement, imposing an Islamophobic discourse under the guise of secularism. This ideology, according to the novel, ultimately leads to the triumph of the far right in France. The satire does not hide its targets. Grémond clearly evokes Laurent Bouvet, co-founder of the Republican Spring. Taillevent resembles Raphaël Enthoven, and Frayère is inspired by Michel Onfray.
Bellanger does not hesitate to play with the limits of fiction. By using real characters and events, he blurs the boundaries between reality and fiction. The result is a work that seems to comment directly on current political events, particularly the rise of the far right. This approach has not failed to provoke outraged reactions, especially from those who recognize themselves in the characters. Raphaël Enthoven, father of Carla Bruni’s son and ex-husband of Justine Lévy, for example, has strongly criticized the book, calling it "necrophilic and deceitful."
In the face of criticism, Bellanger claims his right to satire. In an interview with France Inter, he explains that his novel aims to capture the "spirit of the times." He defends the use of caricature and exaggeration as legitimate means to explore complex ideas and provoke reflection. For Bellanger, The Last Days of the Socialist Party is above all an attempt to understand how the French left could drift towards a form of neo-racism, embodied by a small group of influential intellectuals.
Despite the controversies, the novel has been praised by part of the left. Its audacity and ability to tackle taboo subjects have been recognized. But it also raises questions about the writer’s responsibility in dealing with real characters. The way fiction can influence public debate is also questioned. Can we really talk about fiction when the events described seem so close to reality?
This debate illustrates the current tensions within the French left, which is torn between increasingly opposing currents. By choosing to make politics the heart of his novel, Bellanger does not just observe these tensions. He exacerbates them, brings them to light, and in doing so, forces his readers to confront difficult questions. The novel thus becomes not only a mirror of our time but also a tool to understand its deep mechanisms.
Aurélien Bellanger has always had a talent for capturing the paradoxes of French society, and The Last Days of the Socialist Party is no exception. By mixing reality and fiction, satire and political reflection, he signs here a remarkable work for the literary season. However, this work could also leave scars in the public debate. The right to satire is a precious freedom. However, it comes with the responsibility not to turn fiction into a sharp weapon. The reader is left to judge the balance Bellanger has achieved between these two poles.