The year is 1918, the war on the Western Front all but over. An ambitious officer, Lieutenant Henry D'Aulnay-Pradelle, sends two soldiers over the top and then surreptitiously shoots them in the back to incite his men to attack the German lines. When another of D'Aulnay-Pradelle's soldiers, Albert Maillard, reaches the bodies and discovers how they died, the lieutenant shoves him into a shell hole to silence him. Albert is rescued by fellow soldier, the artist Edouard Pericourt, who takes a bullet in the face. The war ends and both men recover, but Edouard is permanently disfigured, and fakes his death to prevent his family from seeing him as a cripple. In gratitude for Edouard's rescue, Albert becomes the injured man's companion and caregiver. Finding that the postwar gratitude for the soldiers' service is nothing more than lip-service to an empty idea, the two men scramble to survive, ultimately devising a scam to take money for never-to-be-built war memorials from small towns. Meanwhile, Lieutenant Pradelle has married Edouard's sister Madeline and is running a scam of his own that involves the exhumation of war victims. In this sorrowful, heart-searching novel, the interwoven lives of these three men create a tapestry of the human condition as seen through the lens of war, revealing brutality and compassion, heroism and cowardice, in equal measure."

Sur les ruines du plus grand carnage du XXe siècle,deux rescapés des tranchées, passablement abîmés, prennent leur revanche en réalisant une escroquerie aussi spectaculaire qu'amorale. Des sentiers de la gloire à la subversion de la patrie victorieuse, ils vont découvrir que la France ne plaisante pas avec ses morts... Fresque d'une rare cruauté, remarquable par son architecture et sa puissance d'évocation, Au revoir là-haut est le grand roman de l'après-guerre de 14, de l'illusion de l'armistice, de l'État qui glorifie ses disparus et se débarrasse de vivants trop encombrants, de l'abomination érigée en vertu. Dans l'atmosphère crépusculaire des lendemains qui déchantent, peuplée de misérables pantins et de lâches reçus en héros, Pierre Lemaitre compose la grande tragédie de cette génération perdue avec un talent et une maîtrise impressionnants. Adapté au cinéma par Albert Dupontel (César de la meileure adaptation pour P.Lemaitre et A.Dupontel; César du meilleur réalisateur à A.Dupontel)

February, 1927. The great and the good of Paris gather to attend the funeral of the powerful millionaire, Marcel Péricourt. His daughter, Madeleine, is poised to take charge of his financial empire, but it seems fate has other plans for her. Her young son, Paul, with one unexpected and tragic act, will place Madeleine on the path to ruin and degradation. Faced with the adversity of men, the greed of her time, the corruption and the ambition of her associates, Madeleine will have to deploy reserves of intelligence, determination and also a Machiavellian instinct to survive and rebuild her life. This task is made all the more difficult in a France that can only watch, helpless, as the first flames of the inferno that will soon ravage Europe begin to take hold.

"Tremendous and enjoyable" - La Libre Belgique "A great success" - La Croix April, 1940. Louise Belmont runs, naked, down the boulevard du Montparnasse. To understand the tragic scene she has just experienced, she will have to plunge into the madness of the 'Phoney War', when the whole of France, seized by the panic of a new World War, descends into chaos. Alongside bistro-owner Monsieur Jules, new recruit Gabriel and small-time crook Raoul, Louise navigates this period of enormous upheaval and extraordinary twists of fate, for as the Nazi's advance, the threat of German occupation will uncover long-buried secrets and make strange bedfellows. With his characteristic wit and verve, Pierre Lemaitre chronicles the greatness and decline of a people crushed by circumstance. In Mirror of Our Sorrows, the final novel in the Paris between-the-wars trilogy, is an incandescent tale that is both burlesque and tragic. Translated from the French by Frank Wynne