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Notre-Dame restoration work begins as Paris cathedral on track to reopen in 2024

France's Notre-Dame cathedral is finally ready to undergo restoration work more than two years after a blaze ravaged the heritage landmark, and remains on course to reopen in 2024, authorities said Saturday, following months of painstaking work to secure the building.

Notre-Dame restoration work begins as Paris cathedral on track to reopen in 2024

The great mediaeval edifice survived the inferno on April 15th, 2019, but the spire collapsed and much of the roof was destroyed.

The focus until now had been on making the cathedral safe before restoration work could begin, which included the strenuous task of removing 40,000 pieces of scaffolding that were damaged in the blaze.

“The cathedral stands solid on its pillars, its walls are solid, everything is holding together,” said Jean-Louis Georgelin, head of the public entity tasked with rebuilding the cathedral.

Scaffolding in the interior of the building as the restoration phase begins. Photo by Thomas SAMSON / POOL / AFP

“We are determined to win this battle of 2024, to reopen our cathedral in 2024. It will be France’s honour to do so and we will do so because we are all united on this goal.”

The aim is to celebrate the first full service in the cathedral on April 16th, 2024 – five years after the fire – despite delays caused by the pandemic and the lead that spread during the blaze.

The Notre-Dame spire, a later addition to the medieval building, was completely destroyed in the blaze. Photos by AFP

Authorities will now call for tenders to select the companies to carry out the restoration work.

The cathedral’s interior walls and floors will also undergo “a thorough cleaning process” later this month.

Notre-Dame’s famous Grand Organ is already being restored, with its 8,000 pipes dismantled and sent to organ builders all over France.

It is expected to be put together again in October 2023, said Georgelin, the former head of France’s armed forces who was appointed by President Emmanuel Macron to oversee rebuilding efforts.

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HISTORY

‘Lost’ manuscript of pro-Nazi French author published 78 years later

A book by one of France's most celebrated and controversial literary figures arrives in bookstores this week, 78 years after the manuscript disappeared

'Lost' manuscript of pro-Nazi French author published 78 years later

It is a rare thing when the story of a book’s publication is even more mysterious than the plot of the novel itself.

But that might be said of Guerre (War) by one of France’s most celebrated and controversial literary figures, Louis-Ferdinand Celine, which arrives in bookstores on Thursday, some 78 years after its manuscript disappeared.

Celine’s reputation has somehow survived the fact that he was one of France’s most eager collaborators with the Nazis.

Already a superstar thanks to his debut novel Journey to the End of the Night (1932), Celine became one of the most ardent anti-Semitic propagandists even before France’s occupation.

In June 1944, with the Allies advancing on Paris, the writer abandoned a pile of his manuscripts in his Montmartre apartment.

Celine feared rough treatment from authorities in liberated France, having spent the war carousing with the Gestapo, and giving up Jews and foreigners to the Nazi regime and publishing racist pamphlets about Jewish world conspiracies.

For decades, no one knew what happened to his papers, and he accused resistance fighters of burning them. But at some point in the 2000s, they ended up with retired journalist Jean-Pierre Thibaudat, who passed them – completely out of the blue – to Celine’s heirs last summer.

‘A miracle’
Despite the author’s history, reviews of the 150-page novel, published by Gallimard, have been unanimous in their praise.

“The end of a mystery, the discovery of a great text,” writes Le Point; a “miracle,” says Le Monde; “breathtaking,” gushes Journal du Dimanche.

Gallimard has yet to say whether the novel will be translated.

Like much of Celine’s work, Guerre is deeply autobiographical, recounting his experiences during World War I.

It opens with 20-year-old Brigadier Ferdinand finding himself miraculously alive after waking up on a Belgian battlefield, follows his treatment and hasty departure for England – all based on Celine’s real experiences.

His time across the Channel is the subject of another newly discovered novel, Londres (London), to be published this autumn.

If French reviewers seem reluctant to focus on Celine’s rampant World War II anti-Semitism, it is partly because his early writings (Guerre is thought to date from 1934) show little sign of it.

Journey to the End of the Night was a hit among progressives for its anti-war message, as well as a raw, slang-filled style that stuck two fingers up at bourgeois sensibilities.

Celine’s attitude to the Jews only revealed itself in 1937 with the publication of a pamphlet, Trifles for a Massacre, which set him on a new path of racial hatred and conspiracy-mongering.

He never back-tracked. After the war, he launched a campaign of Holocaust-denial and sought to muddy the waters around his own war-time exploits – allowing him to worm his way back into France without repercussions.

‘Divine surprise’
Many in the French literary scene seem keen to separate early and late Celine.

“These manuscripts come at the right time – they are a divine surprise – for Celine to become a writer again: the one who matters, from 1932 to 1936,” literary historian Philippe Roussin told AFP.

Other critics say the early Celine was just hiding his true feelings.

They highlight a quote that may explain the gap between his progressive novels and reactionary feelings: “Knowing what the reader wants, following fashions like a shopgirl, is the job of any writer who is very financially constrained,” Celine wrote to a friend.

Despite his descent into Nazism, he was one of the great chroniclers of the trauma of World War I and the malaise of the inter-war years.

An exhibition about the discovery of the manuscripts opens on Thursday at the Gallimard Gallery and includes the original, hand-written sheets of Guerre.

They end with a line that is typical of Celine: “I caught the war in my head. It is locked in my head.”

In the final years before his death in 1961, Celine endlessly bemoaned the loss of his manuscripts.

The exhibition has a quote from him on the wall: “They burned them, almost three manuscripts, the pest-purging vigilantes!”

This was one occasion – not the only one – where he was proved wrong.

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