[ti:] | |
[ar:] | |
[al:] | |
[00:00.00] | It's a highly unusual legal situation |
[00:03.05] | where the author of a piece of fiction is taken to court |
[00:06.20] | because the action takes place in a particular locality, |
[00:09.62] | and the owners of that locality |
[00:11.54] | feel their name has been dragged through the mud. |
[00:14.20] | Yet that's what's happened in the case of Lalie Walker's book, |
[00:17.50] | Aux Malheurs des Dames. |
[00:18.93] | The Marché Saint-Pierre, |
[00:20.70] | where the murder story unfolds, |
[00:22.29] | is a well-known fabric store near Montmartre. |
[00:24.93] | In the book, |
[00:26.20] | staff members go missing as voodoo dolls |
[00:28.90] | are pinned to the walls |
[00:29.92] | and rumours swirl around the behaviour of the shop's managers. |
[00:33.52] | In their plea, |
[00:35.51] | the real-life owners of the Marché Saint-Pierre |
[00:37.95] | say it's a registered trade mark |
[00:40.00] | and that no one can write about it without prior permission. |
[00:43.45] | They say their image has been seriously harmed by the book, |
[00:46.96] | and they want damages of two million euros - |
[00:49.40] | more than two and a half million dollars. |
[00:51.90] | The author Lalie Walker is mystified. |
[00:54.59] | "If you can't set stories in real-life places," she says, |
[00:58.41] | "then you might as well just give up." |
ti: | |
ar: | |
al: | |
[00:00.00] | It' s a highly unusual legal situation |
[00:03.05] | where the author of a piece of fiction is taken to court |
[00:06.20] | because the action takes place in a particular locality, |
[00:09.62] | and the owners of that locality |
[00:11.54] | feel their name has been dragged through the mud. |
[00:14.20] | Yet that' s what' s happened in the case of Lalie Walker' s book, |
[00:17.50] | Aux Malheurs des Dames. |
[00:18.93] | The Marche SaintPierre, |
[00:20.70] | where the murder story unfolds, |
[00:22.29] | is a wellknown fabric store near Montmartre. |
[00:24.93] | In the book, |
[00:26.20] | staff members go missing as voodoo dolls |
[00:28.90] | are pinned to the walls |
[00:29.92] | and rumours swirl around the behaviour of the shop' s managers. |
[00:33.52] | In their plea, |
[00:35.51] | the reallife owners of the Marche SaintPierre |
[00:37.95] | say it' s a registered trade mark |
[00:40.00] | and that no one can write about it without prior permission. |
[00:43.45] | They say their image has been seriously harmed by the book, |
[00:46.96] | and they want damages of two million euros |
[00:49.40] | more than two and a half million dollars. |
[00:51.90] | The author Lalie Walker is mystified. |
[00:54.59] | " If you can' t set stories in reallife places," she says, |
[00:58.41] | " then you might as well just give up." |
ti: | |
ar: | |
al: | |
[00:00.00] | It' s a highly unusual legal situation |
[00:03.05] | where the author of a piece of fiction is taken to court |
[00:06.20] | because the action takes place in a particular locality, |
[00:09.62] | and the owners of that locality |
[00:11.54] | feel their name has been dragged through the mud. |
[00:14.20] | Yet that' s what' s happened in the case of Lalie Walker' s book, |
[00:17.50] | Aux Malheurs des Dames. |
[00:18.93] | The Marché SaintPierre, |
[00:20.70] | where the murder story unfolds, |
[00:22.29] | is a wellknown fabric store near Montmartre. |
[00:24.93] | In the book, |
[00:26.20] | staff members go missing as voodoo dolls |
[00:28.90] | are pinned to the walls |
[00:29.92] | and rumours swirl around the behaviour of the shop' s managers. |
[00:33.52] | In their plea, |
[00:35.51] | the reallife owners of the Marché SaintPierre |
[00:37.95] | say it' s a registered trade mark |
[00:40.00] | and that no one can write about it without prior permission. |
[00:43.45] | They say their image has been seriously harmed by the book, |
[00:46.96] | and they want damages of two million euros |
[00:49.40] | more than two and a half million dollars. |
[00:51.90] | The author Lalie Walker is mystified. |
[00:54.59] | " If you can' t set stories in reallife places," she says, |
[00:58.41] | " then you might as well just give up." |