Nicolas Bouvier (6 March 1929 in Lancy – 17 February 1998) was a 20th-century Swiss traveller, writer, picture editor and photographer. He studied in Geneva in the 1950s and lived there later between his travels.
Life
Bouvier was born at Grand-Lancy near Geneva, the youngest of three children. He grew up in "a Huguenot milieu, rigorous and enlightened at the same time, intellectually very open, but where the entire emotional aspect of existence was strictly monitored." He passed his childhood in a house where, in his words, "the paper-cutter counted for more than the bread-knife", a double reference to his librarian father ("one of the most amiable beings I should ever have met") and his mother, "the most mediocre cook west of Suez". He grew up indifferent to gastronomy and a hardy traveller as well as an avid reader. Between the ages of six and seven, he devoured Jules Verne, Curwood, Stevenson, Jack London and Fenimore Cooper. "At eight years, I traced with my thumbnail the course of the Yukon in the butter of my toast. Already waiting for the world: to grow up and clear off."
From 1946, various escapades (Bourgogne, Tuscany, Provence, Flanders, the Sahara, Lapland, Anatolia) got him started on the path of the voyager. Nevertheless, he enrolled at the University of Geneva in the faculty of Letters and Law, indulged an interest in Sanskrit and medieval history, and thought about pursuing a doctorate (which he did not in the end take up) doing a comparative study of Manon Lescaut and Moll Flanders.
His travels all over the world incited him to recount his experiences and adventures, the most famous works being L'Usage du monde and Le Poisson-scorpion. His work is marked by a commitment to report what he sees and feels, shorn of any pretence of omniscience, leading often to an intimacy bordering on the mystical. His journey from Geneva to Japan was in many ways prescient of the great eastward wave of hippies that occurred in the sixties and seventies - slow, meandering progress in a small, iconic car, carefully guarded idiosyncrasy, a rite of passage. Yet, it differs in that the travelogues this journey inspired contain deep reflections on man's intimate nature, written in a style very much aware and appreciative of the traditions and possibilities of the language he uses. (He wrote mainly in French, though he does mention writing a series of travel articles in English for a local journal during his stay in Ceylon.)
"To reach the heart of this man, one must return to the slim volume that contains all his poems," wrote Bertial Galand, Bouvier's editor. The work in question is Le dehors et le dedans, a collection of texts written for the most part on the road and published for the first time in 1982. This is the only book of poetry by Bouvier, who nevertheless said in an interview, "Poetry is more necessary to me than prose because it is extremely direct, brutal - full-contact!"
At the end of the 1950s, the World Health Organization asked him to find images on the eye and its diseases. Thus Bouvier discovered, "through the chances of life", his profession of "image searcher," which perhaps appealed to him because "images, like music, speak a universal language," as suggested by Pierre Starobinski in his preface to Le Corps, miroir du Monde - voyage dans le musée imaginaire de Nicolas Bouvier. Another posthumous work, Entre errance et éternité, offers a poetic look at the mountains of the world. The iconographer commented on some of his finds in a series of articles for Le Temps stratégique, collected together as Histoires d'une image.