Carregue numa fotografia para ir para os Livros Google.
A carregar... L'échappéepor Valentine Goby
Nenhum(a) A carregar...
Adira ao LibraryThing para descobrir se irá gostar deste livro. Ainda não há conversas na Discussão sobre este livro. L'échappée is one of those rare novels that, even as its individual elements move slowly and in many ways evolve predictably, are nonetheless so compelling that I found myself turning the pages frantically to find how how Goby explores her themes and how I would react to them. The novel revolves around the story of a young Breton girl who, during the early 1940s when the Germans occupied France, finds herself working in a hotel in the town of Rennes. There she encounters a German military man who is also a professional pianist -- Joseph Schimmer -- and falls in love. Is it with the music that she discovers through him? with the idea of something new and different from her narrow existence? (Madeleine has never even seen the sea, after all...) Or is it with Joseph, himself? This is no conventional romance, although the fascination that Joseph Schimmer (he is always referred to using his first and family name in that manner) holds for Madeleine is set against the contrast of her rather bleak life, toiling in a hotel and cycling back and forth to her farming village on weekends. (The reader later discovers what, in Madeleine's past, might lend itself to this kind of restlessness.) It's a narrative that takes place in the shadows, and Goby's rather oblique and opaque writing reflect this. The first part of the book deals with the relationship between Madeleine and Joseph Schimmer, whom "Mado" is unable (due to her naivete?) to see as anything more than simply a man an d a musician. The second half of the books deals with its consequences, both for Madeleine and their daughter Anne, in the aftermath of the war when they must make their way in a world that despises the fact of her 'collaboration' with Schimmer, made visible in the very blonde Anne and in the tattoo that the French resistance carve into Madeleine's breast: both mark her for life, inside and outside. For her part, Anne, far from concealing her parentage, parades it publicly... This is a novel of ideas and characters, not events or external drama, dealing with the idea of escape and demarcation lines; addressing the relationships between mothers and daughters; exploring the issue of identity, of being an outsider, of how life's experiences can leave you scarred in myriad ways. Goby concludes by presenting three different scenarios for the way Anne's later life plays out -- each of which is equally plausible to the reader. There are no easy answers for anyone in this book. There's a certain emotional distance between the characters and the events and the reader, which can become frustrating; at the same time, the story and characters are remarkably vivid. This is a beautiful novel -- almost an elegy -- that really deserves translation into English and a wider audience... sem críticas | adicionar uma crítica
Não foram encontradas descrições de bibliotecas. |
Current DiscussionsNenhum(a)
Google Books — A carregar... GénerosSistema Decimal de Melvil (DDC)843Literature French French fictionClassificação da Biblioteca do Congresso dos EUA (LCC)AvaliaçãoMédia:
É você?Torne-se num Autor LibraryThing. |
Valentine Goby a un style, c'est indéniable. Elle entre parfois trop dans les détails descriptifs, à grands renforts de verbes et de détails minutieux, quitte à perdre la vue globale. Cela permet toutefois de "coller" à Madeleine, ses affres et ses tourments. J'ai trouvé la première partie du roman bien écrite, après un début difficile. Sans doute est-ce lié à tout l'univers musical déployé, univers qui lance le lecteur dans Liszt, Mozart, Satie. La seconde partie, plus pénible, retrace sobrement la descente aux enfers, la semi-clandestinité, les années d'opprobres. Je suis plus réservé sur la troisième et dernière partie qui fait entrer dans le récit trois fins différentes imaginées. J'aurais sans doute préféré un parti pris plus affirmé de l'auteur, estimant que je préfère un choix, même douteux, de l'écrivain, au fait de prendre moi-même position. L'écrivain doit garder la main jusqu'au bout, pas le lecteur. Toutefois, il est permis de rêver aux différents destins de Madeleine et de sa fille et imaginer pour elle une fermeture progressive des blessures, mais jamais leur effacement.
Un roman au thème original, sans grands effets de manche, mais au style affirmé et soigné. ( )