Editing Eduard Limonov (section)

=== Moving to Paris ===
When Limonov moves to Paris, Eduard finds himself alone in the French capital, depressed, with a trunk full of 5,000 unsaleable costumes and a travelogue that is of no interest to any publisher. He starts working as a film critic, writes a collection of reviews of Werner Herzog's films but is treated badly by this during a commissioned interview. He starts writing on Télérama, hosts a weekly broadcast for a free radio, and, when Limonov's first novel comes out, invites him as a guest.

Despite a less than rudimentary knowledge of the French language, Limonov begins to make friends in the underground cultural environment. With the ways of provocation and the eccentric clothing of a sovieto-punk he becomes a charismatic character in the circuit of Parisian fashionistas. The publishing success is confirmed by the second novel "Diary of a failure" which will be followed by "Story of a domestic", two works still dedicated to his overseas experiences that complete the so-called "American trilogy".

He becomes the lover of a countess, but in the fall of 1982, during a trip to New York at the invitation of his American publisher, he meets a 25-year-old Russian singer named Natalia Medvedeva, falls madly in love with her and takes her with him to Paris. She will soon discover that she is an alcoholic and a nymphomaniac, and thus she will become a source of great pain for the writer. The relationship is turbulent, they separate and reconcile several times, eventually they will marry.

Later, he writes the "Soviet trilogy": "The Glorious Epoch" on Stalinist childhood, "Eddy Baby I love you" and "Little rogue" on his criminal youth in Kharkov, as well as countless stories about episodes that had not found space in the novels . However, the circle of readers does not expand, and the circulation of his works stands between five thousand and ten thousand copies. A publisher advises him to write a real novel, which becomes Oscar and women, but this gets negative feedback from critics and the market. And, in the meantime, he has already transcribed all the memories he had to publish.

In 1985, he meets with Jean-Edern Hallier, director of Idiot international, a provocative, quarrelsome and anti-conformist sheet, on which Limonov can express all his resentment for the cultural and political establishment, dates back to this period, and begins to write in French.