Jayne Tuttle

‘Jayne Tuttle’s two linked actor-in-Paris memoirs, Paris or Die and My Sweet Guillotine, start merrily and step off the edge into calamity, in writing that is joltingly alive, beautiful and terrifying.’ HELEN GARNER, THE AGE / SYDNEY MORNING HERALD BEST READS OF 2022

A portrait of living, loving and working in Paris that’s full of light and shade, setbacks, joys and often simple pleasures … the writing as crisp and evocative as ever, only this time from a more mature narrator whose portrait of Paris rings with authenticity.’ THE AGE / SMH (PICK OF THE WEEK)

‘A beautiful and riveting account of recovery and rebuilding.’ SUNDAY TIMES

‘ …vividly rendered … an astute observer of both French culture and her own life.’ THE WEST-AUSTRALIAN

‘A love letter to a maddening - and dangerous - city.’ CANBERRA TIMES

'Ugly, yet beautiful..’ AUSTRALIAN WOMEN’S WEEKLY

‘This book will remind you of why you love Paris, how odd so much about Paris is, if you stop to think about it. Such beautiful writing, such interesting self-examination: nothing self-absorbed about the self-examination. Gripping.’ JOHN MAYTHAM, CAPE TALK.

‘Jayne Tuttle’s writing is irresistible – at once totally enchanting and gripping. A writer who has perfected her craft.’ CERIDWEN DOVEY

‘Jayne Tuttle is the real deal. She is all nerve endings and astute noticing. We don’t have anyone else in this country writing memoir quite like Jayne.’ CLAIRE THOMAS

‘Poignant moments sit comfortably alongside bawdy humour, singing descriptions and a cast of characters that are immediately recognisable, often endearing, occasionally shocking. Much like the city itself, Tuttle shows the reader many different faces; each as compelling as the last.’ EMILY CLEMENTS

’In the tradition of Hemingway's A Moveable Feast, Jayne Tuttle gives us another desirous, quivering, sensual, hyper-creative and literally delicious version of Paris, but this time through the eyes of a young WOMAN artist. Thematically, it is a feast too. Jayne explores love, death, grief, creativity, how languages are learnt and change us, and more.’ LEE KOFMAN