The Use of Photography Audiobook By Annie Ernaux, Marc Marie, Alison L. Strayer - translator cover art

The Use of Photography

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Winner of the 2022 Nobel Prize in Literature.

An account of Annie Ernaux’s love affair with journalist Marc Marie while she was undergoing treatment for cancer, and their combined project to document images and memories.

Love and death cohabit in The Use of Photography, with alternating chapters by the two authors. First published in France in 2005, the book recounts a passionate love affair between Ernaux and the journalist and author Marc Marie, after the two met in January 2003. Ernaux had been receiving intensive chemo for breast cancer during the prior three months and had lost all her hair from the treatments. At the end of January, she had surgery, followed by radiation therapy.

The affair took place in different locations, and Ernaux describes how, shortly after it began, she found herself entranced each morning by the sight of clothes strewn about, chairs out of place and the remains of their last meal of the evening still on the table—and how painful it felt to put things back in order afterward. She went and got her camera, and began to take photographs of the scenes of disarray. When she told Marc Marie what she had done, he said he had felt the same desire.

The Use of Photography is one of the quintessential Ernaux books—told through words in Ernaux’s inimitable style, which is adopted here by both authors.

©2024 Annie Ernaux, Marc Marie (P)2024 Dreamscape Media
Biographies & Memoirs Genre Fiction Literary Fiction Photography Art & Literature Women Authors

Critic reviews

'A must-read for lovers of words, images, and Ernaux herself. So… everyone?' (Jessie Gaynor)

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In The Use of Photography, Annie Ernaux transforms photography into something far more intimate than documentation. It becomes a method of witnessing love under the shadow of illness. The images, taken in the aftermath of encounters between Ernaux and her lover, are deceptively simple: clothes scattered, rooms left in quiet disarray. Yet they are charged with presence, as if the bodies that have just departed still haunt the frame.

What makes the work absorbing is its emotional precision. Ernaux writes and sees as a woman artist and lover living with breast cancer, and this condition subtly permeates every image and reflection. The photographs do not illustrate the illness directly; instead, they register time differently, each moment of intimacy edged by awareness of fragility and finitude. Love here is not abstract or idealized; it is urgent, physical, and transient.

The male perspective, offered through her lover Marc Marie, exists within the work but never overtakes it. His voice functions as a counterpoint, attentive, supportive, and grounded, yet it is Ernaux’s gaze that defines the project’s emotional and intellectual center. This dynamic quietly subverts traditional narratives of desire and authorship: the woman’s experience is neither objectified nor interpreted from the outside, but articulated from within.

What lingers most is the tension between presence and absence. The photographs capture what has just happened, but also what is already gone. In this way, The Use of Photography becomes less about images themselves and more about memory, trace, and the impossibility of holding onto lived experience. Ernaux does not seek to preserve love; she exposes its impermanence, and in doing so, renders it more real.

Experiential and pensive point of view

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