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In front of the door to his prison, a mangy dog barks night and day.

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Miles from where he is being held, in the French countryside, an intelligent young woman works the land, waiting and hoping. And a military investigating officer, whose principles have been sorely shaken by the war, must complete his last assignment before returning home.

The Red Collar by Jean-Christophe Rufin review: dignified and compassionate

Three characters. In their midst, a dog holds the key both to their futures and to this intriguing plot.

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Full of poetry and life, The Red Collar is at once a pleasingly straightforward narrative about the human spirit and a profound work about loyalty and love. He has written numerous bestsellers, including The Abyssinian , for which he won the Goncourt Prize for a debut novel in He also won the Goncourt Prize in for Brazil Red. This double Prix Goncourt winner is that rare thing, particularly in France: an old-style storyteller drawn to historical fiction.

Rufin, a subtle satirist, has always cited Dumas and Victor Hugo as his major literary influences. He led the French humanitarian mission to Bosnia.

The Red Collar by Jean-Christophe Rufin review: dignified and compassionate

An astute observer, he has a natural feel for description, but his defining gift is probably characterisation. He creates convincing individuals who talk in pitch-perfect dialogue. The Abyssinian captivates even readers not usually drawn to historical fiction. Much the same may be said of his other Prix Goncourt winner, Brazil Red ; , which tells the story of an ill-fated attempt by French expeditionary forces in to colonise Brazil.

Satirical in tone, it suggests that, had history worked out differently, modern Brazil may well have been speaking French instead of Portuguese. It is easy to imagine the sweaty faces, the prevailing airlessness and the laconic communal resentment. Dujeux has no relief staff and has taken to sleeping in his clothes on a straw mattress in his office. The new arrival stares disapprovingly.

There is no concession to a formal greeting. Still the officer persists, speculating about the animal. Rufin watches as his characters interact with each other. Social class defines and separates the men.

When the major asks if Dujeux served, the jailer stands a little taller and starts to describe how he was wounded on the Marne. But the younger man cuts him off, leaving no doubt that he is more interested in the dog outside.

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The narrative proceeds to the central story, that of the prisoner, Morlac, who pretends to be sleeping. Hugues Lantier du Grez. The major prides himself on his conversational approach to interrogation. The prose is measured and exact. In the exchanges between the major, whose pomposity and polite curiosity are tempered by empathy, the prisoner emerges as angry and candid but also as deeply hurt.

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To the major this cannot happen; he suspects that although a mess exists, he, the major, alone can fix it. The dialogue develops into an evasive sparring match. Film Expand the sub-menu. TV Expand the sub-menu. Awardsline Expand the sub-menu. Box Office Expand the sub-menu. Business Expand the sub-menu.

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