Lionel took a week-long leave, citing "mental distress," and Dean Durian readily approved it.
The Dean, known for his strictness, even asked with concern:
"Is a week enough? If you feel unwell, you can continue to rest; you can submit the leave request when you return..."
If students who had suffered his cane's discipline heard this, they would probably think they were hallucinating.
Lionel did not dislike attending classes at the Sorbonne, but too many controversies revolved around him.
Not only did he attract attention at school, but numerous reporters were also gathered outside the Sorbonne's entrance.
Lionel's leave allowed him to escape the turmoil, and the school could also breathe a sigh of relief.
Dean Henri Patin also did not want Lionel to appear at the Sorbonne anytime soon.
Baroness Alekseyevna's messenger had delivered a message: the Sorbonne must either return 300,000 francs or hand over Lionel.
Dean Henri Patin's stance was naturally: the donation has already been deposited into the Sorbonne's foundation; it cannot be returned even if His Majesty the Emperor were resurrected.
As for Lionel, he's not even at the school, how can I hand him over?
So Lionel, who had just finished his Easter holiday, started another vacation after less than a week of classes, and the duration of this holiday was unknown.
Unable to find Lionel, the reporters grilled the Sorbonne's faculty and students.
For example, Young Master Albert de Rohan.
As soon as he stepped out of his carriage, he proactively approached the reporters:
"Hey, are you looking for Léon?
That's my good brother, and a friend of the Rohan family!
From the first moment I saw him at the Sorbonne, I knew he was a talented lad!
He exudes the simple, natural essence of the Alps, and his mind holds an endless treasure trove of ideas!
Alright, I have to go to class...
What, you want an exclusive interview?
Ha, that'll have to wait until after class at noon.
Today, I can tell you the story of Lionel and me venturing into the underground world!"
The most eager person to find Lionel was Paul Pigot, editor-in-chief of "Le Petit Parisien."
The immense success of the reports about Lionel, along with widespread praise from readers for "My Uncle Jules," had caused "Le Petit Parisien"'s single-issue sales to surpass 700,000 copies in one fell swoop, setting a record.
Paul Pigot naturally wanted to continue such glory.
Since Lionel had proven himself to be the key that unlocks the sales ceiling, he certainly didn't want Lionel to insert himself into other newspapers' keyholes.
After unremitting efforts, Lionel finally agreed to meet him at the Charpentier Bookstore.
The Charpentier Bookstore is on the first floor of Charpentier's Publishing House and mainly sells books published by the house, functioning more like a showroom.
Literati like Zola would often come here to chat.
Because Monsieur Charpentier not only prepared fine cigars, cigarettes, coffee, tea, and pastries for them but would even invite them to dine at nearby restaurants.
When Paul Pigot arrived, Lionel was chatting with Maupassant, Huysmans, Paul Acylak, and a few other young men in the reception area.
The bookstore's owner, Monsieur George Charpentier, and his wife, Marguerite Charpentier, watched these young people with a smile from the side.
"'My Uncle Jules' was truly a story you came up with on the spur of the moment after seeing that old oyster shucker on the boat?"
Huysmans asked, looking incredulous.
"I don't believe it!" Paul Acylak exclaimed with a questioning sigh.
"I can testify, I was standing right beside Léon then.
He first threw 10 sous to that old sailor, and then called him 'Uncle Jules'..."
Maupassant said triumphantly, his mustache twitching.
Paul Pigot did not interrupt them.
After greeting Monsieur Charpentier, he found an armchair in the corner and sat down.
After Maupassant finished recounting the legendary scene of Lionel improvising "My Uncle Jules" on the boat, he was as proud as if he were the author of the novel himself.
Paul Acylak, like Maupassant that day on the boat, covered his forehead with a somewhat "despairing" gesture:
"My God, with Lionel emerging from our ranks, who will remember anyone else later?"
Huysmans' focus was on the novel itself:
"Léon, you've chosen a 'child's perspective' again this time, just like in 'The Old Guard'—you seem to enjoy observing the world through the eyes of children?"
Lionel nodded:
"What is perfectly normal in the eyes of an adult can have a completely different meaning in the eyes of a child.
Therefore, seeing the adult world through a child's eyes always brings a certain sense of absurdity.
I like the conflict these absurdities create with the reader's common sense."
Maupassant, holding a pipe in one hand and supporting his chin with the other, was pensive:
"Actually, 'Letter from an Unknown Woman' also has a child's perspective—the psychological descriptions when the 'unknown woman' recounts seeing 'L' for the first time..."
Their discussion continued for almost twenty minutes before coming to an end.
Paul Pigot seized the opportunity to step forward and shake Lionel's hand:
"Hello, Monsieur Sorel, I'm Paul Pigot of 'Le Petit Parisien'."
That single sentence made Maupassant, Huysmans, and the others' eyes gleam with envy.
Although "Le Petit Parisien" was only founded in 1876, in just three years it had become a major newspaper selling over 300,000 copies daily, and publishing one's work in it was something many writers dreamed of.
As the editor-in-chief of "Le Petit Parisien," Paul Pigot's personal visit certainly meant he wanted to discuss a "big deal" with Lionel.
Indeed, he quickly revealed his intention:
"Monsieur Sorel, on behalf of 'Le Petit Parisien,' I sincerely invite you to become our newspaper's 'columnist.'
Whether it's short stories, essays, poems, or reviews, they can all be given priority for publication by our newspaper."
These words almost made flames shoot out of the young writers' eyes!
Having a regular column in a newspaper was usually a privilege reserved for great writers and scholars, and it was a shortcut to financial freedom in that era.
Dumas the Elder, the King of Serialized Fiction, used this method to build the "Château de Monte Cristo," enjoyed nightly festivities there for 20 years, and still left behind a substantial inheritance.
But Paul Pigot hadn't finished speaking; he immediately added:
"However, if you have a novel that can be serialized in 'Le Petit Parisien,' the manuscript fees can be preferential..."
Maupassant: "..."
Huysmans: "..."
Paul Acylak: "..."
Even George Charpentier straightened up and looked at Lionel.
Long-form serializations were different from short stories, essays, poems, or reviews; they were true cash cows, even a panacea that could save a newspaper's sales.
When "The Three Musketeers" began serialization in Paris's "Le Siècle" in 1844, it directly doubled the newspaper's sales.
George Charpentier had the weekly magazine "Modern Life" in his hands, which also needed a boost in sales; and his publishing house, Charpentier's Publishing House, needed a bestseller even more.
But his reserve prevented him from giving in to the impulse to "compete" for him, wanting to hear Lionel's reaction first.
Lionel pondered for a moment, then nodded:
"Your invitation is a great honor, and it would be impolite to refuse—I still prefer to write novels, long ones."
Charpentier felt a bit disappointed, while Paul Pigot was overjoyed:
"Oh, can you tell us what you intend to write?"
Then he cautiously offered a suggestion:
"I know you're good at writing from a child's perspective...
But a novel is different from a short story; our readers might prefer to see the adventurous lives of adults..."
Lionel frowned slightly, but quickly relaxed his expression:
"I apologize, but this novel will still unfold from a child's perspective... Its protagonist is a child."
Paul Pigot was a bit embarrassed but tried hard to persuade him:
"Monsieur Sorel, I know your pursuit of art, but..."
Lionel ignored him and continued, unconcerned by his words:
"This child is named 'Benjamin Button,' born during the Revolution.
From the moment he was born, he had the appearance of an eighty-year-old man, with a full head of white hair and a face full of wrinkles..."
(End of Chapter)
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