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在萨冈访谈录中(见《书城》1998年第11期《采访是白痴的对话》一文),采访人尼科尔·维斯尼亚克试图诱使她多谈一些个人的私生活,萨冈就是回避。她说:“我憎恨谈自己,因为几年来我听人家谈我谈得太多了,也就对自己是什么,自己在人家眼里又是什么,再也不感到兴趣……”她还声明自己不愿写回忆录。可是事隔两月,普龙(Plon)出版社出版了萨冈最新的作品《在肩膀后面》,这不是一部回忆录,但是萨冈稍稍开始谈到自己,尤其是她自己的作品。她在书中逐一点评了从1954年到1994年的大小作品(唯独不包括最后一部《失落的镜子》)。她说起这些作品的由来,评论家与读者的看法,以及有关的传说轶事。萨冈是法国当今文坛的奇才,她的小说一出,批评家对它从封面到后记都要仔细剖析。他们要寻找其中的破绽、败笔、赘疣和可笑的章节。但是每次都为她的清新文笔、简洁故事、生动描写所折服。萨冈在评说自己时毫不矫饰和吹嘘,毕竟她1 9岁时已享盛名,她又是个聪明人,虚荣在她的身上已经无隙可乘。她说自己的作品时好时坏,并没有写出像普鲁斯特、陀斯妥也夫斯基或司汤达那样的杰作,但是总还是健康,从某方面来说富于同情心。
In an interview with Sagang (see Book City, Issue 11, 1998, “Interview is an Idiot Dialogue”), interviewer Nicole Visnick tries to lure her to talk a bit about personal privacy, Sagan Is to avoid. She said: “I hate to talk about myself, because in recent years I have heard people talk to me too much, and what I am, what I see in the eyes of others, I am not interested anymore ...” “She Also stated that they do not want to write a memoir. But in the next two months, Plon Press published Sagan’s latest work, Behind the Shoulders, which is not a memoir, but Sagan begins to talk a bit about her, and especially her own work. In the book, she reviews the works from 1954 to 1994 (except for the last ”Missing Mirror"). She talked about the origin of these works, the critics and readers, as well as the anecdotes about the legends. Sagan is the Wizards of France’s contemporary literary world, her novels come out, critics from the cover to the postscript should be carefully analyzed. They want to find the flaws, flaws, warts and ridiculous chapters. But every time for her fresh writing, simple story, vivid description impressed. Sagan did not pretend and boast about her own words, after all, she was very famous at the age of ninety-nine, and she was a wise man. Vainness had gone a long way in her body. She said that when her work was good and bad, she did not write such masterpieces as Proust, Dostoyevsky or Stendhal, but she was still healthy and sympathetic in some ways.