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In 2011, Anne Ernault was interviewed by female documentary director Michelle Porte at Serge's home, where she writes daily. No writer better fits the premise of this interview than Ernault: the place where we grow up and live is the real-life context in which writing takes root. In this interview, Ernault discusses the connection between her life and writing, the birth of her desire to write, and the social, political, and mythological significance she attributes to her writing. How to look at life from a writer's perspective? Why are there works of this style? Why must we write about life? What does literature mean? Through the author's own answers to these questions in the book, readers can have a more comprehensive and in-depth understanding of her works.

She was in her fifties and began dating a man thirty years her junior. He left his girlfriend who was his own age and fell in love with her with an unprecedented passion. But this intimate romantic episode was also political, and they were constantly met with malicious looks on the streets, in restaurants and at the beach. She became the "Scandal Girl" of her youth again, but now she felt no shame at all, but a sense of relief. At some point, he can no longer stand the beauty she once was, and she's just repeating her past. Although "he was her angel, evoking the past and making it everlasting," what does this mean for the future? "Young Man" is not a simple love story, but a powerful and powerful philosophical work that has overcome classism, ageism, and sexism over the years. It is the writer's questioning of time and the meaning of writing, so naked, like a sharp knife.

"One Sunday in June, just after noon, my father wanted to kill my mother..." The book begins with this horrifying scene that happened when the author was twelve years old. The horrific event was never mentioned within the family thereafter, and Elno was forced to deal with her fear and shame alone for the rest of her life. In this book, Anne Ernault offers a powerful reflection on life experience and the power of violent memories with the emotional richness and sharp vision of a literary writer, showing how insights into life can become the driving force for writing.

Anne Ernault has always pushed the conventional boundaries of which stories are worth telling and which themes are worth exploring. In this book, she sets her sights on big box stores and supermarkets. This is a ubiquitous feature of modern life but one that has received little attention in literature. Ernault spent more than a year documenting her visits to Auchan, a large supermarket chain located in the suburbs of Paris. In her view, the supermarket is "a huge human gathering place, a real cultural landscape." Capital production, cultural production and class stratification converge here and govern our desires. Ernault uses her ruthlessly sharp observation to look at this place that we think we are familiar with, calling on us to explore those daily routines that have been ignored by us, and to peer deeper into ordinary life.

In her new book, "Memories of a Girl," Anne Ernault relives her experience as a camp counselor in Normandy during the summer of 1958 and recounts her first night with a man. When he fell in love with someone else, she realized that she had given her will to him, like a conquered person without a master. Today, 60 years later, the author finds that she can erase the intervening years and recollect the young girl she once wanted to completely forget. Bringing the indelible memory of that summer into reality, Erno discovers that the crucial and painful origins of her writing career were built on a foundation of shame, violence, and betrayal.

Out of a sense of burnout, and because he had just escaped from a marriage of more than ten years and was unable to give up the freedom he had regained, the author took the initiative to end his six-year relationship with W. One night, W called and told him that he was moving out and living with another woman. From then on, this unknown woman invaded her mind, influenced her emotions, and entered her body. She was completely possessed. The author uses the first person to unearth, expose, and dissect her own desires nakedly and frankly, presenting a female narrative voice without pretense.