Patrick Modiano was born in the Boulogne-Billancourt suburb of Paris near the end of the Nazi occupation of France. He studied at the Lycée Henri-IV and the Sorbonne. As a teenager he took geometry lessons with the writer Raymond Queneau, who would play a key role in his development. He has written more than thirty works of fiction, including novels, children’s books, and the screenplay for Louis Malle’s film Lacombe, Lucien. In 2014, Modiano won the Nobel Prize in Literature.

Chris Clarke was born and raised in British Columbia, Canada, and lives and works in and around New York City. His published translations include work by Oulipo members Raymond Queneau and Olivier Salon. He currently teaches French and is translating a novel by Pierre Mac Orlan, which will be published in 2016.

[M]odiano at his height. In 1950s Paris, a young woman nicknamed Louki haunts a café called the Condé, casting a decided allure yet remaining mysterious and unknowable. A young hanger-on, the husband she abandoned, the detective searching for her—all try to grasp her and fail. Not unexpectedly, Modiano withholds her secret life to the end.” —Library Journal, starred review

“In the Café of Lost Youth is a kind of suspense story. It is a story about the many facets of a single woman but also, unquestionably, a story about the multiple worlds within Paris, a city that, as much as any individual human being, remains essentially unknowable. It casts a near hypnotic spell.” —Douglas Kennedy, L’Express

“Every area described is also imbued with layers of emotion. . . . Readers are left haunted by the cityscape Modiano paints.” —Henri Astier, The Times Literary Supplement

“Modiano’s books develop a different tone, one more mellow and melancholic, somewhere between sepia and film noir, more akin to the photographs of Henri Cartier-Bresson than to the work of other writers.” —Rachel Donadio, The New York Times

“[An] edge of mystery, of indirection, motivates [Modiano’s work] like an animating force...a vivid air of the conditional, which is, of course, the whole idea. For Modiano, memory, experience are fluid, fleeting, and even the stories we tell ourselves are subject to change. Our lives flicker past us like the afterimage of a photo; eventually, our attempts at constancy must fall away.”—David Ulin, Los Angeles Times

“Modiano is a pure original. He has transformed the novel into a laboratory for producing atmospheres, not situations—where everything must be inferred and nothing can be proved.”—Adam Thirwell, The Guardian

“Like W.G. Sebald, another European writer haunted by memory and by the history that took place just before he was born, Modiano combines a detective’s curiosity with an elegist’s melancholy.”—Adam Kirsch, The New Republic