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A Native American woman escaped from Sing Sing in the American novelist’s “Real World.”
He has the face of a cowboy and the nonchalant attitude that characterizes them, “As time goes by, I am more and more lonely”. Dressed in a denim shirt and leather jacket, Jim Fergus has a keen eye, always re-enchanted by the Arizona landscape when he takes his dogs out at dawn. “A soft light rests on the mountains, the rivers”one of the settings that the American writer born in 1950 evokes in his fable, the real world. “The Real World” is a paradise according to Native American mythology, on the border between “the fantastic [et] what we call the truth”in which Molly McGill finds herself who has escaped from Sing Sing prison.
As a child, Jim Fergus already loved tranquility, lugged from wide open spaces to wide open spaces in the summer by his father at the wheel of his camper van. “We crossed the West and its reserves that I knew from John Ford’s films. I thought the Indians lived free, I was shocked to see the misery of their daily lives.” It is probably out of concern to tell the truth about these stolen lands that he goes to live on a Cheyenne reservation in Montana. He draws A Thousand White Women (1998), first part of his trilogy, translated in France two years later, where he tells the story of married American women
