Patrick Modiano’s oeuvre has an odd cumulative effect: the more books you read by him, the more you like him. The novels occupy special places in his body of work, complementing each other. But, other than a few highly acclaimed near-masterpieces (Missing Person, Dora Bruder, and Pedigree), all of these feel incomplete with taken alone, and sometimes even placing them within the context of his other novels is not enough to shake this feeling. Thankfully, In The Café Of Lost Youth belongs in the former category of near-masterpieces.
Those familiar with Modiano, however, might appreciate it more. It deals with all the typical Modiano tropes and themes: a dreamy recollection of years long past, Parisian locales, possible shady dealings, a detective, a mysterious young woman. If Modiano doesn’t click for you, it’s easy to get tired of the same old tricks, but here it works. He varies the formula just enough to make it new.
The novel begins with a typical Modiano narrator, a young student with a literary bent. He describes a café he begins to frequent, the regulars there, and an odd woman who attracts him. But 25 pages in, the point of view switches. There are four different narrators in total, including a passage narrated by the intriguing young woman. This allows Modiano to avoid a pitfall he frequently has trouble with. Too often he is too vague in his endings, not so much not answering questions readers have as not even providing the framework to know which questions to ask. By switching the point of view, he manages to give satisfying solutions to problems one narrator might not know which another reveals, while still evoking the mysterious atmosphere he is so famous for.
And, much like his other novels, this is incredibly short, with around 130 pages in my edition.
Though perhaps not as great as Missing Person or Dora Bruder, this is up there as one of the author’s best. Anyone—fans, those who tried a book and weren’t wowed, newcomers—are all recommended to take a look at this.