Writer 1879: Solitary Journey in France

Chapter 218 (Bonus Chapter for 1000 Votes) Murder Case!
Lionel analyzed slowly and methodically: "First, as you just listed, there are quite a few such 'marginal writers'."

Even without me, Lionel Sorel, they would still have to contend with Daudet and other more famous writers.

If I were removed, how much would the chances of any of them being selected increase? Negligible.

To risk inciting the Gauls to spread rumors was a completely disproportionate investment of resources.

Lionel held up a second finger: "Secondly, and more importantly, the statement that 'Lionel has a chance to be selected' is very specific."

While the editorial committee's preliminary discussion list cannot be considered top secret, it is certainly not something an unsuccessful writer could easily know.

For him to know that Count Rohan was inclined to recommend me, he would need a very inside source. What are the chances that a marginal figure would possess such crucial inside information?

Lionel's two questions, like cold water, extinguished the nascent fervor of the crowd's condemnation.

A silence fell over the living room.

Yusman frowned, clearly realizing the flaw in his speculation.

Maupassant scratched his long beard, looking puzzled: "So... who could it be? Someone who wants you to suffer, and also has the ability to get inside information..."

"My God, this sounds like something out of a bureaucrat's job in our department!"

Lionel smiled slightly, put down his wine glass, and said in a playful tone, "Perhaps we can try a different approach to this game."

Don't treat this as a personal attack with unclear motives. Let's treat it... as a murder case.

Several people looked interested and exclaimed in unison, "A murder case?"

Lionel's eyes gleamed with cunning: "Yes, suppose that rumor is the 'murder weapon,' and I am the 'corpse.'"

So, how do we find the killer?

He first looked at Zola, who pondered, "Looking for a motive... If you're 'dead,' who benefits?"

Lionel snapped his fingers: "Correct! Who benefits? Emile, you've got it. When we can't find the obvious culprit, we look at who might not be the prime suspect in this case, but who ultimately benefits the most?"

Often, the answer lies hidden within.

He successfully shifted the focus of the crowd's attention from "who hates me" to "who benefits from my failure".

This is naturally a more macro-level perspective, and one that is closer to the truth.

The atmosphere in the living room became even more focused, as Lionel's "reasoning game" instantly sparked the writers' imaginations.

Huysmann was the first to follow the line of thought: "Beneficiaries... If you are completely excluded from the French Reader because of a scandal, or even if your reputation is damaged, who will benefit?"
Other great writers who are definitely on the list? Like Mr. Hugo? No, his status doesn't need to be solidified by excluding you.

Daudet? He's as upright as a birch tree, not that kind of person at all... and it wouldn't affect his interests much anyway.

Alexi went on to speculate: "Or perhaps some ideological adversary? Those extreme conservatives? They hate that you support education reform, they hate that your 'Choir' stole the spotlight."

Smearing your name will dampen the arrogance of the republicans.

Lionel nodded: "Paul, this is an interesting direction. The conservatives have motives; they really don't like me."

But how effective are their personal attacks against me in stopping the massive undertaking of secularizing education?
Would Minister Ferry change the entire textbook compilation policy just because I'm involved in a controversy? Of course not.

Given his personality, he would probably force Count Rohan to resign and then find another uncontroversial deputy minister to continue the process.

Everyone fell into deep thought again, realizing that neither "jealous colleagues" nor "ideological enemies" could seem to explain all the doubts.

After a long while, Lionel finally spoke slowly: "Let's get back to the question of 'benefit'."

Putting aside personal grudges and ideological differences, and thinking purely from a perspective of interests—if my work is included in the "French Reader," who will feel threatened?

Or conversely, if I'm completely ousted because of a scandal, who will reap the most tangible and direct benefit?

He paused for a moment before continuing, "Besides bringing unparalleled honor and potential fame to the author, what other more practical and significant benefits does having a work selected for a nationally unified textbook bring that we might have overlooked before?"

César tentatively replied, "Payment? But the payment for articles in 'The French Reader' is usually not high, is it?"

Ennick agreed: "Yes, compared to newspaper serializations and single-volume sales, the royalties from being included in textbooks are almost negligible." Lionel chuckled inwardly upon hearing this; this was precisely the advantage brought about by information asymmetry—France had never had a nationally unified French textbook before.

He was well aware of the enormous and lasting influence that a living writer's works could have once they became required reading for millions of students across the country.

The indirect commercial value will be astonishing.

However, the underlying mechanisms were still a vague and unclear area for French writers in 1880.

Earlier French textbooks for primary and secondary schools mainly selected texts from the "Bible", "biographies of saints", "moral stories", and ancient Latin classics.

Very few works by modern or contemporary writers are selected, not even Voltaire.

As for teaching materials, supplementary teaching aids, required extracurricular reading lists, Paris Secret Exam Papers, five years of college entrance exams and three years of past exam papers... I've never even heard of them.

However, it seems that he is not the only person with such a business mind in this era.

Lionel didn't point it out directly, but instead continued to guide the conversation: "The royalties may be insignificant. But what about the influence?"

Just imagine, tens of thousands of children will read your works every year, their teachers will explain them, and related reference materials and analytical articles will emerge endlessly...

What a tremendous boost this continuous exposure and authoritative recognition would be to the sales and reputation of all an author's works!

He paused, looking at the knowing expressions on everyone's faces, and then threw out a key point: "And behind all this, besides the authors, who else is closely tied to these works and can also reap huge benefits from them?"

Huysmann's eyes suddenly lit up, as if he had caught something: "The publisher...you mean, Charpentier?"

These words struck the living room like a bolt of lightning.

Everyone was stunned for a moment, then their expressions changed to one of sudden realization!

Yes! Lionel Sorel's works, whether it's "Letter from an Unknown Woman," "Old Man Milon," or the ongoing "The Curious Case of Benjamin Buton," are all published by George Charpentier!

Although the other short stories were serialized in Le Petit Parisien, they will probably end up on Charpentier's bookshelf when they are finally collected and published.

If Lionel's works are included in textbooks, "Charpentier's Bookshelf" will surely experience a huge leap in sales and popularity!
Georges Charpentier's position in the publishing world will be further solidified, and he may even surpass his competitors!
Conversely, if Lionel were to be disgraced, the one who would suffer the most, besides Lionel himself, would undoubtedly be Charpentier, who had invested a huge amount of resources in him!
So, who would least like to see Charpentier go further with Lionel?
Who most wants Lionel to fall, thus dealing a blow to Charpentier?
The entire reasoning process became clear under Lionel's guidance.

Excitement shone on everyone's faces, as if a mystery had truly been solved.

Maupassant slapped his thigh: "My God! It must be the work of 'Kalman-Levi' or that old miser Ezel!"
Seeing that "Charpentier's bookshelf" was gaining momentum thanks to you, they couldn't sit still!

Damn it, Lionel, you should really write detective novels, like Edgar Allan Poe!

Yusman and others nodded in agreement: "That's right, this reasoning is consistent with the logic of 'who benefits'."

The real goal in attacking you is to severely damage Charpentier. This is far more direct and far dirtier than any intellectual struggle.

Zola's expression was serious: "If that's the case, Lionel, you've almost become a victim of the commercial war!"

However, just as everyone was about to accept this "truth" and begin to condemn those unscrupulous publishers, Lionel suddenly laughed.

He laughed easily, as if he wasn't the one who had guided everyone step by step to deduce the "real culprit."

He waved his hand, interrupting everyone's indignation: "Gentlemen, gentlemen, please note that what we just played was merely a reasoning game based on the principle of 'benefit'."

It makes logical sense, and may even be close to the truth. But we have no evidence.

All of this is just our speculation and deduction in this warm living room.

His words were like a bucket of cold water, calming the excited crowd down. Yes, it was all just speculation.

Lionel stood up and delivered his concluding remarks: "So, let's leave this game here for now. As for the truth..."

He shrugged, his tone becoming lighter: "Perhaps tomorrow, I'll visit Mr. Charpentier and have a cup of coffee with him."

Before leaving, Lionel's last words were full of meaning: "Gentlemen, this 'textbook war' is not over yet; it has only just begun."

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(End of this chapter)