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賮賳 丕賱禺爻丕乇丞
L'Alg茅rie dont est originaire sa famille n'a longtemps 茅t茅 pour Na茂ma qu'une toile de fond sans grand int茅r锚t. Pourtant, dans une soci茅t茅 fran莽aise travers茅e par les questions identitaires, tout semble vouloir la renvoyer 脿 ses origines. Mais quel lien pourrait-elle avoir avec une histoire familiale qui jamais ne lui a 茅t茅 racont茅e ? Son grand-p猫re Ali, un montagnard kabyle, est mort avant qu'elle ait pu lui demander pourquoi l'Histoire avait fait de lui un " harki ". Yema, sa grand-m猫re, pourrait peut-锚tre r茅pondre mais pas dans une langue que Na茂ma comprenne. Quant 脿 Hamid, son p猫re, arriv茅 en France 脿 l'茅t茅 1962 dans les camps de transit h芒tivement mis en place, il ne parle plus de l'Alg茅rie de son enfance. Comment faire ressurgir un pays du silence ? Dans une fresque romanesque puissante et audacieuse, Alice Zeniter raconte le destin, entre la France et l'Alg茅rie, des g茅n茅rations successives d'une famille prisonni猫re d'un pass茅 tenace. Mais ce livre est aussi un grand roman sur la libert茅 d'锚tre soi, au-del脿 des h茅ritages et des injonctions intimes ou sociales.
441 pages, Paperback
First published August 8, 2017
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About the author
Alice Zeniter
34听books312听followersAlice Zeniter is a French novelist, translator, scriptwriter, dramatist and director.
She has won a Prix Renaudot young adult award for her third novel, Juste avant l'Oubli, and a Prix Goncourt young adult for her fourth novel, L'Art de Perdre.
Zeniter published her first novel, Deux moins un 茅gal z茅ro, at the age of 16. Her second novel, Jusque dans nos bras, was published in 2010 and translated in English as Take This Man.
Her latest novel, L'Art de Perdre, won multiple prizes and awards.
She has won a Prix Renaudot young adult award for her third novel, Juste avant l'Oubli, and a Prix Goncourt young adult for her fourth novel, L'Art de Perdre.
Zeniter published her first novel, Deux moins un 茅gal z茅ro, at the age of 16. Her second novel, Jusque dans nos bras, was published in 2010 and translated in English as Take This Man.
Her latest novel, L'Art de Perdre, won multiple prizes and awards.
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September 26, 2018
L鈥檃rt de perdre est un livre tout simplement EX-CEP-TION-NEL. Et je ne sais pas vraiment par o霉 commencer pour exprimer ce que j鈥檈n pense.
Il s鈥檃git d鈥檜n livre qui parle, non pas de l鈥橝lg茅rie, mais je dirais de l鈥檃lg茅rianit茅 r茅elle ou fantasm茅e en France. Un sujet dont tout le monde parle mais dont personne ne sait vraiment de quoi il s鈥檃git (ce qui veut dire que personne ne sait vraiment de quoi il parle ce que je savais d茅j脿). Il se subdivise en trois parties racontant les affres de trois g茅n茅ration : celle qui a connu la guerre, celle qui a beaucoup trim茅 pour s鈥檌nt茅grer et rompre quelque part avec ses parents et celle qui a tout oubli茅, le regrette et souhaite inconsciemment en savoir un peu plus sur ses racines.
Le livre donne une vision tr猫s 茅clairante de situations dont j鈥檃vais une id茅e compl猫tement fausse. Par exemple, les harkis. Fort de mes cours d鈥檋istoires de quatri猫me, je pensais, de mani猫re tout 脿 fait simpliste, qu鈥檜n harki est quelqu鈥檜n qui, au cours de la guerre d鈥橝lg茅rie, pour diverses raisons, avait combattu les armes 脿 la main avec l鈥檃rm茅e fran莽aise dans les maquis alg茅riens pour les vider des combattants du FLN. Pas du tout, c鈥檈st beaucoup moins simple comme cela et le livre le d茅montre par l鈥檈xemple de mani猫re 茅clatante. Pareil pour les rapatri茅s de 1962 et la fa莽on dont ils furent 芦 accueillis 禄 dans les camps si on peut appeler cela un accueil. L脿 encore, le livre fait une 艙uvre p茅dagogique absolument salutaire, nous expliquant les choses, en nous 茅clairant sur un sujet dont j鈥檌gnorais tout mais qui gagne vraiment 脿 锚tre connu. C鈥檈st un livre qui 芦 rend intelligent 禄 dans la mesure o霉 il tord le cou 脿 des id茅es re莽ues bien ancr茅es pour notre plus grand b茅n茅fice.
Mais ce n鈥檈st pas tout. Le c么t茅 historique pr茅cis du livre n鈥檈st qu鈥檜n by-product, car l鈥櫯搖vre est avant tout une formidable saga romanesque, avec des personnages attachants, aux destin茅es, pour certains d鈥檈ntre eux, tragiques et avec lesquels on n鈥檃 aucun mal 脿 s鈥檌dentifier. Je parle des personnages principaux (Ali, Hamid, Na茂ma) bien s没r, mais aussi de la myriade de personnages secondaires (le lieutenant du FLN, l鈥檕ncle Mohammed, Rachida l鈥檃lg茅rienne 芦 lib茅r茅e 禄 etc etc鈥�), personnages criants de v茅rit茅, qu鈥檕n a l鈥檌mpression pour certains d鈥檃voir d茅j脿 rencontr茅s quelque part et qui contribuent par l脿 脿 rendre le livre encore plus bouleversant.
Et enfin, pour finir, mentionnons le style absolument d茅licieux d鈥橝lice Zeniter. Le livre est 茅crit dans une langue magnifique, un style 茅rudit et fluide 脿 la fois. On y mentionne la po茅sie la plus 茅litiste et les films de super h茅ros sans que cela ne fasse jamais plaqu茅, toujours 脿 propos, pour illustrer un fait, un 茅tat d鈥櫭e ou une p茅rip茅tie du r茅cit. Il y a d鈥檌nnombrables petits passages ou des personnages font des r茅flexions sur la soci茅t茅, la mani猫re dont les choses 茅voluent, r茅flexions lumineuses dont la clairvoyance n鈥檃 rien 脿 envier 脿 celle d鈥檜n George Orwell (une r茅f茅rence absolue pour moi !). Des exemples ? Le petit la茂us du prof qui explique 脿 Na茂ma que ses 茅l猫ves issus de l鈥檌mmigration se plaignent du racisme alors que ce sont eux qui manifestent une attitude beaucoup plus raciste que celles dont ils se plaignent. Aussi 鈥� un passage que j鈥檃i beaucoup aim茅 鈥� lorsque Rachida, l鈥檃lg茅rienne de Tizi-Ouzou, d茅plore que les jeunes alg茅riennes de maintenant s鈥檃uto-imposent, en m锚me temps qu鈥檈lles s鈥檈n plaignent, les contraintes 茅dict茅es par les islamistes (cheveux dissimul茅s, ne pas boire d鈥檃lcool, tenue 芦 d茅cente 禄) alors que rien, ni la loi, ni m锚me la pression sociale (dans les grandes villes) ne les emp锚che de faire ce qu鈥檈lle veulent vraiment. De nombreux micro-passages au cours de ces cinq-cents pages o霉 on se dit 芦 Ah oui c鈥檈st vrai, c鈥檈st ce que je ressens m锚me si je n鈥檃i jamais r茅ussi 脿 le formuler correctement 禄.
En conclusion, un livre absolument bouleversant, salutaire, qu鈥檕n n鈥檃rrive pas 脿 oublier m锚me longtemps apr猫s l鈥檃voir referm茅.
Il s鈥檃git d鈥檜n livre qui parle, non pas de l鈥橝lg茅rie, mais je dirais de l鈥檃lg茅rianit茅 r茅elle ou fantasm茅e en France. Un sujet dont tout le monde parle mais dont personne ne sait vraiment de quoi il s鈥檃git (ce qui veut dire que personne ne sait vraiment de quoi il parle ce que je savais d茅j脿). Il se subdivise en trois parties racontant les affres de trois g茅n茅ration : celle qui a connu la guerre, celle qui a beaucoup trim茅 pour s鈥檌nt茅grer et rompre quelque part avec ses parents et celle qui a tout oubli茅, le regrette et souhaite inconsciemment en savoir un peu plus sur ses racines.
Le livre donne une vision tr猫s 茅clairante de situations dont j鈥檃vais une id茅e compl猫tement fausse. Par exemple, les harkis. Fort de mes cours d鈥檋istoires de quatri猫me, je pensais, de mani猫re tout 脿 fait simpliste, qu鈥檜n harki est quelqu鈥檜n qui, au cours de la guerre d鈥橝lg茅rie, pour diverses raisons, avait combattu les armes 脿 la main avec l鈥檃rm茅e fran莽aise dans les maquis alg茅riens pour les vider des combattants du FLN. Pas du tout, c鈥檈st beaucoup moins simple comme cela et le livre le d茅montre par l鈥檈xemple de mani猫re 茅clatante. Pareil pour les rapatri茅s de 1962 et la fa莽on dont ils furent 芦 accueillis 禄 dans les camps si on peut appeler cela un accueil. L脿 encore, le livre fait une 艙uvre p茅dagogique absolument salutaire, nous expliquant les choses, en nous 茅clairant sur un sujet dont j鈥檌gnorais tout mais qui gagne vraiment 脿 锚tre connu. C鈥檈st un livre qui 芦 rend intelligent 禄 dans la mesure o霉 il tord le cou 脿 des id茅es re莽ues bien ancr茅es pour notre plus grand b茅n茅fice.
Mais ce n鈥檈st pas tout. Le c么t茅 historique pr茅cis du livre n鈥檈st qu鈥檜n by-product, car l鈥櫯搖vre est avant tout une formidable saga romanesque, avec des personnages attachants, aux destin茅es, pour certains d鈥檈ntre eux, tragiques et avec lesquels on n鈥檃 aucun mal 脿 s鈥檌dentifier. Je parle des personnages principaux (Ali, Hamid, Na茂ma) bien s没r, mais aussi de la myriade de personnages secondaires (le lieutenant du FLN, l鈥檕ncle Mohammed, Rachida l鈥檃lg茅rienne 芦 lib茅r茅e 禄 etc etc鈥�), personnages criants de v茅rit茅, qu鈥檕n a l鈥檌mpression pour certains d鈥檃voir d茅j脿 rencontr茅s quelque part et qui contribuent par l脿 脿 rendre le livre encore plus bouleversant.
Et enfin, pour finir, mentionnons le style absolument d茅licieux d鈥橝lice Zeniter. Le livre est 茅crit dans une langue magnifique, un style 茅rudit et fluide 脿 la fois. On y mentionne la po茅sie la plus 茅litiste et les films de super h茅ros sans que cela ne fasse jamais plaqu茅, toujours 脿 propos, pour illustrer un fait, un 茅tat d鈥櫭e ou une p茅rip茅tie du r茅cit. Il y a d鈥檌nnombrables petits passages ou des personnages font des r茅flexions sur la soci茅t茅, la mani猫re dont les choses 茅voluent, r茅flexions lumineuses dont la clairvoyance n鈥檃 rien 脿 envier 脿 celle d鈥檜n George Orwell (une r茅f茅rence absolue pour moi !). Des exemples ? Le petit la茂us du prof qui explique 脿 Na茂ma que ses 茅l猫ves issus de l鈥檌mmigration se plaignent du racisme alors que ce sont eux qui manifestent une attitude beaucoup plus raciste que celles dont ils se plaignent. Aussi 鈥� un passage que j鈥檃i beaucoup aim茅 鈥� lorsque Rachida, l鈥檃lg茅rienne de Tizi-Ouzou, d茅plore que les jeunes alg茅riennes de maintenant s鈥檃uto-imposent, en m锚me temps qu鈥檈lles s鈥檈n plaignent, les contraintes 茅dict茅es par les islamistes (cheveux dissimul茅s, ne pas boire d鈥檃lcool, tenue 芦 d茅cente 禄) alors que rien, ni la loi, ni m锚me la pression sociale (dans les grandes villes) ne les emp锚che de faire ce qu鈥檈lle veulent vraiment. De nombreux micro-passages au cours de ces cinq-cents pages o霉 on se dit 芦 Ah oui c鈥檈st vrai, c鈥檈st ce que je ressens m锚me si je n鈥檃i jamais r茅ussi 脿 le formuler correctement 禄.
En conclusion, un livre absolument bouleversant, salutaire, qu鈥檕n n鈥檃rrive pas 脿 oublier m锚me longtemps apr猫s l鈥檃voir referm茅.
December 7, 2018
In un mondo che pretende che tutti primeggino, c鈥櫭� bisogno di libri che insegnino anche l鈥檃rte di perdere.
Un antidoto alla banalizzazione etnica e culturale in corso nel mondo globalizzato, sempre pi霉 radicalizzato su posizioni inconciliabili, inizia come una fiaba e finisce per essere anche un racconto generazionale che mostra il progressivo cambiamento valoriale che si verifica tra padri e figli.
Recensione completa qui:
Un antidoto alla banalizzazione etnica e culturale in corso nel mondo globalizzato, sempre pi霉 radicalizzato su posizioni inconciliabili, inizia come una fiaba e finisce per essere anche un racconto generazionale che mostra il progressivo cambiamento valoriale che si verifica tra padri e figli.
Recensione completa qui:
May 31, 2022
"The Art of Losing" is a postcolonial novel telling the story of a Kabyle Berber family. Berbers are an ethnic minority, 17% against 83% of the Arab population and live mainly in mountainous areas. Algeria is huge, the second largest African country, there are all sorts of landscapes, not only plains, in which the action of the "Outsider" unfolds.
The way of life until the middle of the last century was completely patriarchal (and it still is). Kabyles were conscripted into the French army and regularly participated in wars, neither the First nor the Second World did not bypass them. But returning to their mountains with orders, they continued the life they had led since childhood. Except for receiving a pension from the occupation government. Everything changes with the heyday of the national liberation movement, when the fighters of the FNL (National Liberation Front) come to the village and explain that taxes now need to be paid to them, and not to the French, that whoever continues to receive a pension is a traitor and, accordingly, we will cut like sheep.
And then everything became bad, so bad that it was impossible to imagine. With the departure of the French, a civil war began, a massacre in which the "henchmen of the occupiers" and their families were threatened with death and there was no one to protect them. And the only way to escape was to jump into the void empty-handed - emigration to a country for which they fought at one time, with which they considered themselves connected, This novel is not the easiest and carefree reading at all. but the story of the escape is downright bleeding pages.
And the filtration camp, in which the native narrators, Naima lived for the next three years, is such a concentrated humiliation. disenfranchisement, the inability to feel like a full-fledged person. And monstrous statistics about the average length of stay of refugees in such camps - more than ten years. Their family was lucky: his father's job at a factory in Normandy, housing, the boy's studies at a normal school - not one where teachers gave up on the educational process, unable to overcome the barrier of trilingualism, and students draw flowers in the classroom. Hamit had a hard time, but he studied and went to college. And he left his family, striving to integrate more firmly into the brave new world.
Alice Zeniter's book is about how the daughter and granddaughter of migrants in the second generation live and feel. How difficult it is to sit between two chairs when the old motherland rejected you, and the new one did not fully accept you. How scary it is to be considered an Islamic terrorist, how you hate them for what they do, and how paradoxically you rush to the defense when they - and in fact, your kind and yourself - are spoken ill of.
袚写械 褌褘, 屑芯褟 褉芯写懈薪邪?
袚芯胁芯褉懈褕褜, 胁芯蟹胁褉邪褖邪泄褋褟 胁 褋胁芯泄 写芯屑?
携, 斜褘褌褜 屑芯卸械褌, 胁械褉薪褍褌褜褋褟 懈 褉邪写邪...
孝邪屑 谐邪写褞泻邪 卸懈胁褢褌 锌芯写 斜褉械胁薪芯屑,
袠 褌褉械胁芯卸懈褌褜 谐邪写褞泻褍 薪械 薪邪写芯.
袨胁 小械褉谐械械胁邪
效褌芯 褟 蟹薪邪谢邪 芯斜 袗谢卸懈褉械? 袦芯褟 锌芯写褉褍谐邪 卸懈谢邪 褌邪屑 写胁邪 谐芯写邪 胁 褋械褉械写懈薪械 褋械屑懈写械褋褟褌褘褏, 泻芯谐写邪 褋褌褉邪薪邪 胁褋褌邪胁邪谢邪 薪邪 褋芯褑懈邪谢懈褋褌懈褔械褋泻懈泄 锌褍褌褜 褉邪蟹胁懈褌懈褟, 袗谢械薪泻懈薪褘 褉芯写懈褌械谢懈, 褏懈屑懈泻懈, 锌芯屑芯谐邪谢懈 薪邪谢邪卸懈胁邪褌褜 锌褉芯懈蟹胁芯写褋褌胁芯. 袧邪 褎芯褌芯谐褉邪褎懈褟褏 褌械褏 谢械褌 芯薪邪 褌邪泻邪褟 蟹芯谢芯褌懈褋褌芯-褕芯泻芯谢邪写薪邪褟, 芯斜谢懈褌邪褟 褋芯谢薪褑械屑. 袙褋锌芯屑懈薪邪械褌 薪械胁械褉芯褟褌薪褘械 褎褉褍泻褌褘, 泻芯褌芯褉褘械 屑芯谐谢懈 褋械斜械 锌芯蟹胁芯谢懈褌褜 写邪卸械 褋芯胁械褌褋泻懈械 褋锌械褑懈邪谢懈褋褌褘, 芯褌褔邪褟薪薪芯 褝泻芯薪芯屑懈胁褕懈械 薪邪 胁褋械屑, 褔褌芯斜褘 锌褉懈胁械褋褌懈 写芯屑芯泄 胁薪械褕褌芯褉谐芯胁褋泻懈械 褔械泻懈. 袗 褋 屑械褋褌薪褘屑懈 芯薪邪 褌邪屑, 泻芯薪械褔薪芯, 薪械 芯斜褖邪谢邪褋褜.
袘褘谢 械褖械 "袩芯褋褌芯褉芯薪薪懈泄" 袣邪屑褞, 锌芯屑薪懈褌械: 褉邪褋褋泻邪蟹褔懈泻-褎褉邪薪褑褍蟹 褍斜懈胁邪械褌 薪邪 锌谢褟卸械 邪褉邪斜邪, 薪芯 锌褉懈谐芯胁邪褉懈胁邪褞褌 械谐芯 蟹邪 褌芯, 褔褌芯 薪械 锌谢邪泻邪谢 薪邪 锌芯褏芯褉芯薪邪褏 屑邪褌械褉懈? 袠... 袠 胁褋械. 袛芯 泻薪懈谐懈 袗谢懈褋 袟械薪懈褌械褉 褟 写褍屑邪谢邪, 褔褌芯 褋褌褉邪薪邪 褝褌芯 褋褌邪斜懈谢褜薪邪褟 懈 斜谢邪谐芯锌芯谢褍褔薪邪褟, 胁 褋褉邪胁薪械薪懈懈 薪械 褌芯谢褜泻芯 褋 褋芯褋械写褟屑懈 锌芯 屑邪褌械褉懈泻褍, 薪芯 懈 褋 斜芯谢褜褕懈薪褋褌胁芯屑 袘谢懈卸薪械胁芯褋褌芯褔薪褘褏. 袗 锌褉芯斜谢械屑褘, 褋芯锌褉芯胁芯卸写邪胁褕懈械 泻褉褍褕械薪懈械 泻芯谢芯薪懈邪谢褜薪芯泄 褋懈褋褌械屑褘, 芯斜芯褕谢懈 袗谢卸懈褉 褋褌芯褉芯薪芯泄, - 写褍屑邪谢邪.
袧械褌, 薪懈泻芯屑褍 薪械 斜褘谢芯 谢械谐泻芯, 懈 薪懈谐写械 薪械 芯斜芯褕谢芯褋褜 斜械蟹 泻褉芯胁懈. "袠褋泻褍褋褋褌胁芯 褌械褉褟褌褜" 锌芯褋褌泻芯谢芯薪懈邪谢褜薪褘泄 褉芯屑邪薪, 褉邪褋褋泻邪蟹褘胁邪褞褖懈泄 懈褋褌芯褉懈褞 褋械屑褜懈 泻邪斜懈谢褜褋泻懈褏 斜械褉斜械褉芯胁. 袘械褉斜械褉褘 褋芯褋褌邪胁谢褟褞褌 褝褌薪懈褔械褋泻芯械 屑械薪褜褕懈薪褋褌胁芯, 17% 锌褉芯褌懈胁 83% 邪褉邪斜褋泻芯谐芯 薪邪褋械谢械薪懈褟 懈 卸懈胁褍褌 锌褉械懈屑褍褖械褋褌胁械薪薪芯 胁 谐芯褉薪褘褏 芯斜谢邪褋褌褟褏. 袗谢卸懈褉 芯谐褉芯屑薪褘泄, 胁褌芯褉邪褟 锌芯 锌谢芯褖邪写懈 邪褎褉懈泻邪薪褋泻邪褟 褋褌褉邪薪邪, 褌邪屑 胁褋褟泻懈械 械褋褌褜 谢邪薪写褕邪褎褌褘, 薪械 褌芯谢褜泻芯 褉邪胁薪懈薪薪褘械, 胁 泻芯褌芯褉褘褏 褉邪蟹胁芯褉邪褔懈胁邪械褌褋褟 写械泄褋褌胁懈械 "袩芯褋褌芯褉芯薪薪械谐芯".
校泻谢邪写 卸懈蟹薪懈 写芯 褋械褉械写懈薪褘 锌褉芯褕谢芯谐芯 胁械泻邪 斜褘谢 褋芯胁械褉褕械薪薪芯 锌邪褌褉懈邪褉褏邪谢褜薪褘屑 (写邪 芯薪 懈 褌械锌械褉褜 褌邪泻芯泄). 袣邪斜懈谢褘 锌褉懈蟹褘胁邪谢懈褋褜 胁芯 褎褉邪薪褑褍蟹褋泻褍褞 邪褉屑懈褞 懈 褉械谐褍谢褟褉薪芯 褍褔邪褋褌胁芯胁邪谢懈 胁 胁芯泄薪邪褏, 薪懈 袩械褉胁邪褟, 薪懈 袙褌芯褉邪褟 袦懈褉芯胁褘械 薪械 芯斜芯褕谢懈 懈褏 褋褌芯褉芯薪芯泄. 袧芯 胁芯蟹胁褉邪褖邪褟褋褜 胁 褋胁芯懈 谐芯褉褘 褋 芯褉写械薪邪屑懈 芯薪懈 锌褉芯写芯谢卸邪谢懈 褌褍 卸懈蟹薪褜, 泻邪泻褍褞 胁械谢懈 褋 写械褌褋褌胁邪. 袪邪蟹胁械 褔褌芯 锌芯谢褍褔邪褟 芯褌 芯泻泻褍锌邪褑懈芯薪薪芯谐芯 锌褉邪胁懈褌械谢褜褋褌胁邪 锌械薪褋懈褞. 袙褋械 懈蟹屑械薪褟械褌褋褟 褋 褉邪褋褑胁械褌芯屑 薪邪褑懈芯薪邪谢褜薪芯-芯褋胁芯斜芯写懈褌械谢褜薪芯谐芯 写胁懈卸械薪懈褟, 泻芯谐写邪 斜芯泄褑褘 肖袧袨 (肖褉芯薪褌邪 薪邪褑懈芯薪邪谢褜薪芯谐芯 芯褋胁芯斜芯卸写械薪懈褟) 锌褉懈褏芯写褟褌 胁 写械褉械胁薪褞 懈 芯斜褗褟褋薪褟褞褌, 褔褌芯 薪邪谢芯谐懈 褌械锌械褉褜 薪褍卸薪芯 锌谢邪褌懈褌褜 懈屑, 邪 薪械 褎褉邪薪褑褍蟹邪屑, 褔褌芯 泻褌芯 锌褉芯写芯谢卸懈褌 锌芯谢褍褔邪褌褜 锌械薪褋懈褞 - 褌芯褌 锌褉械写邪褌械谢褜 懈 褋芯芯褌胁械褌褋褌胁械薪薪芯 - 斜褍写械屑 褉械蟹邪褌褜 泻邪泻 斜邪褉邪薪芯胁.
袗 写邪谢褜褕械 胁褋械 褋褌邪谢芯 锌谢芯褏芯, 薪邪褋褌芯谢褜泻芯, 褔褌芯 懈 胁芯芯斜褉邪蟹懈褌褜 薪械谢褜蟹褟 斜褘谢芯. 小 褍褏芯写芯屑 褎褉邪薪褑褍蟹芯胁 薪邪褔邪谢邪褋褜 谐褉邪卸写邪薪褋泻邪褟 胁芯泄薪邪, 褉械蟹薪褟, 胁 泻芯褌芯褉芯泄 "锌褉懈褏胁芯褋褌薪褟屑 芯泻泻褍锌邪薪褌芯胁" 懈 懈褏 褋械屑褜褟屑 谐褉芯蟹懈谢邪 褋屑械褉褌褜 懈 薪械泻芯屑褍 斜褘谢芯 懈褏 蟹邪褖懈褌懈褌褜. 袠 械写懈薪褋褌胁械薪薪芯泄 胁芯蟹屑芯卸薪芯褋褌褜褞 褋锌邪褋褌懈褋褜 褋褌邪谢 锌褉褘卸芯泻 胁 锌褍褋褌芯褌褍 褋 锌褍褋褌褘屑懈 褉褍泻邪屑懈 - 褝屑懈谐褉邪褑懈褟 胁 褋褌褉邪薪褍, 蟹邪 泻芯褌芯褉褍褞 胁 褋胁芯械 胁褉械屑褟 胁芯械胁邪谢懈, 褋 泻芯褌芯褉芯泄 褋褔懈褌邪谢懈 褋械斜褟 褋胁褟蟹邪薪薪褘屑懈 协褌芯褌 褉芯屑邪薪 胁芯芯斜褖械 薪械 褋邪屑芯械 谢械谐泻芯械 懈 斜械蟹蟹邪斜芯褌薪芯械 褔褌械薪懈械. 薪芯 懈褋褌芯褉懈褟 斜械谐褋褌胁邪 - 锌褉褟屑芯-褌邪泻懈 泻褉芯胁芯褌芯褔邪褖懈械 褋褌褉邪薪懈褑褘.
袗 褎懈谢褜褌褉邪褑懈芯薪薪褘泄 谢邪谐械褉褜, 胁 泻芯褌芯褉芯屑 褉芯写薪褘械 褉邪褋褋泻邪蟹褔懈褑褘, 袧邪懈屑褘 锌褉芯卸懈谢懈 褌褉懈 褋谢械写褍褞褖懈褏 谐芯写邪, 褌邪泻芯械 泻芯薪褑械薪褌褉懈褉芯胁邪薪薪芯械 褍薪懈卸械薪懈械. 斜械褋锌褉邪胁懈械, 薪械胁芯蟹屑芯卸薪芯褋褌褜 芯褖褍褌懈褌褜 褋械斜褟 锌芯谢薪芯褑械薪薪褘屑 褔械谢芯胁械泻芯屑. 袠 褔褍写芯胁懈褖薪邪褟 褋褌邪褌懈褋褌懈泻邪 芯 褋褉械写薪械屑 褋褉芯泻械 锌褉械斜褘胁邪薪懈褟 斜械卸械薪褑械胁 胁 褌邪泻懈褏 谢邪谐械褉褟褏 - 斜芯谢褜褕械 写械褋褟褌懈 谢械褌. 袠褏 褋械屑褜械 锌芯胁械蟹谢芯: 褉邪斜芯褌邪 芯褌褑邪 薪邪 蟹邪胁芯写械 胁 袧芯褉屑邪薪写懈懈, 卸懈谢褜械, 褍褔械斜邪 屑邪谢褜褔懈泻邪 胁 薪芯褉屑邪谢褜薪芯泄 褕泻芯谢械 - 薪械 褌邪泻芯泄, 谐写械 褍褔懈褌械谢褟 屑邪褏薪褍谢懈 薪邪 褍褔械斜薪褘泄 锌褉芯褑械褋褋 褉褍泻芯泄, 薪械 胁 褋懈谢邪褏 锌褉械芯写芯谢械褌褜 斜邪褉褜械褉邪 褌褉械褏褗褟蟹褘褔懈褟, 懈 褍褔械薪懈泻懈 薪邪 褍褉芯泻邪褏 褉懈褋褍褞褌 褑胁械褌芯褔泻懈. 啸邪屑懈褌褍 锌褉懈褕谢芯褋褜 褌褟卸械谢芯, 薪芯 芯薪 胁褘褍褔懈谢褋褟 懈 锌芯褋褌褍锌懈谢 胁 泻芯谢谢械写卸. 袠 芯褋褌邪胁懈谢 褋械屑褜褞, 褋褌褉械屑褟褋褜 锌褉芯褔薪械械 懈薪褌械谐褉懈褉芯胁邪褌褜褋褟 胁 写懈胁薪褘泄 薪芯胁褘泄 屑懈褉.
袣薪懈谐邪 袗谢懈褋 袟械薪懈褌械褉 芯 褌芯屑, 泻邪泻 卸懈胁械褌 懈 褔褌芯 褔褍胁褋褌胁褍械褌 写芯褔褜 懈 胁薪褍褔泻邪 屑懈谐褉邪薪褌芯胁 胁芯 胁褌芯褉芯屑 锌芯泻芯谢械薪懈懈. 袣邪泻 褌褉褍写薪芯 褋懈写械褌褜 屑械卸 写胁褍褏 褋褌褍谢褜械胁, 泻芯谐写邪 褋褌邪褉邪褟 褉芯写懈薪邪 芯褌胁械褉谐谢邪 褌械斜褟, 邪 薪芯胁邪褟 写芯 泻芯薪褑邪 薪械 锌褉懈薪褟谢邪. 袣邪泻 褋褌褉邪褕薪芯, 褔褌芯 锌褉懈褔懈褋谢褟褌 泻 懈褋谢邪屑褋泻懈屑 褌械褉褉芯褉懈褋褌邪屑, 泻邪泻 薪械薪邪胁懈写懈褕褜 懈褏 蟹邪 褌芯, 褔褌芯 芯薪懈 写械谢邪褞褌, 懈 泻邪泻, 锌邪褉邪写芯泻褋邪谢褜薪芯 斜褉芯褋邪械褕褜褋褟 薪邪 蟹邪褖懈褌褍, 泻芯谐写邪 芯 薪懈褏 - 邪 锌芯 褋褍褌懈 芯 褌械斜械 锌芯写芯斜薪褘褏 懈 褌械斜械 褋邪屑芯泄 - 谐芯胁芯褉褟褌 锌谢芯褏芯.
袧邪懈屑邪 褋芯胁褋械屑 褎褉邪薪褑褍卸械薪泻邪, 褉邪斜芯褌邪械褌 胁 谐邪谢械褉械械 褋芯胁褉械屑械薪薪芯谐芯 懈褋泻褍褋褋褌胁邪 懈 蟹邪写邪薪懈械 褕械褎邪 胁褘褋褌褉芯懈褌褜 褝泻褋锌芯蟹懈褑懈褞 邪谢卸懈褉褋泻芯谐芯 褏褍写芯卸薪懈泻邪 胁芯褋锌褉懈薪懈屑邪械褌 斜械蟹 褝薪褌褍蟹懈邪蟹屑邪. 袗 泻芯谐写邪 褍蟹薪邪械褌 芯 薪械芯斜褏芯写懈屑芯褋褌懈 锌芯械蟹写泻懈 薪邪 懈褋褌芯褉懈褔械褋泻褍褞 褉芯写懈薪褍, 懈 胁芯胁褋械 锌褉懈褏芯写懈褌 胁 褍卸邪褋. 孝邪屑 写芯 褋懈褏 锌芯褉 褍斜懈胁邪褞褌 懈 斜械褉褍褌 胁 蟹邪谢芯卸薪懈泻懈 褔谢械薪芯胁 褋械屑械泄 "褍械褏邪胁褕懈褏". 袠 胁褋械-褌邪泻懈 械褏邪褌褜 锌褉懈写械褌褋褟.
小懈谢褜薪邪褟, 褋胁芯械胁褉械屑械薪薪邪褟, 懈薪褌械褉械褋薪邪褟 泻薪懈谐邪. 啸芯褌褟 谢械谐泻芯泄 褟 械械 薪械 薪邪蟹胁邪谢邪 斜褘
The way of life until the middle of the last century was completely patriarchal (and it still is). Kabyles were conscripted into the French army and regularly participated in wars, neither the First nor the Second World did not bypass them. But returning to their mountains with orders, they continued the life they had led since childhood. Except for receiving a pension from the occupation government. Everything changes with the heyday of the national liberation movement, when the fighters of the FNL (National Liberation Front) come to the village and explain that taxes now need to be paid to them, and not to the French, that whoever continues to receive a pension is a traitor and, accordingly, we will cut like sheep.
And then everything became bad, so bad that it was impossible to imagine. With the departure of the French, a civil war began, a massacre in which the "henchmen of the occupiers" and their families were threatened with death and there was no one to protect them. And the only way to escape was to jump into the void empty-handed - emigration to a country for which they fought at one time, with which they considered themselves connected, This novel is not the easiest and carefree reading at all. but the story of the escape is downright bleeding pages.
And the filtration camp, in which the native narrators, Naima lived for the next three years, is such a concentrated humiliation. disenfranchisement, the inability to feel like a full-fledged person. And monstrous statistics about the average length of stay of refugees in such camps - more than ten years. Their family was lucky: his father's job at a factory in Normandy, housing, the boy's studies at a normal school - not one where teachers gave up on the educational process, unable to overcome the barrier of trilingualism, and students draw flowers in the classroom. Hamit had a hard time, but he studied and went to college. And he left his family, striving to integrate more firmly into the brave new world.
Alice Zeniter's book is about how the daughter and granddaughter of migrants in the second generation live and feel. How difficult it is to sit between two chairs when the old motherland rejected you, and the new one did not fully accept you. How scary it is to be considered an Islamic terrorist, how you hate them for what they do, and how paradoxically you rush to the defense when they - and in fact, your kind and yourself - are spoken ill of.
袚写械 褌褘, 屑芯褟 褉芯写懈薪邪?
袚芯胁芯褉懈褕褜, 胁芯蟹胁褉邪褖邪泄褋褟 胁 褋胁芯泄 写芯屑?
携, 斜褘褌褜 屑芯卸械褌, 胁械褉薪褍褌褜褋褟 懈 褉邪写邪...
孝邪屑 谐邪写褞泻邪 卸懈胁褢褌 锌芯写 斜褉械胁薪芯屑,
袠 褌褉械胁芯卸懈褌褜 谐邪写褞泻褍 薪械 薪邪写芯.
袨胁 小械褉谐械械胁邪
效褌芯 褟 蟹薪邪谢邪 芯斜 袗谢卸懈褉械? 袦芯褟 锌芯写褉褍谐邪 卸懈谢邪 褌邪屑 写胁邪 谐芯写邪 胁 褋械褉械写懈薪械 褋械屑懈写械褋褟褌褘褏, 泻芯谐写邪 褋褌褉邪薪邪 胁褋褌邪胁邪谢邪 薪邪 褋芯褑懈邪谢懈褋褌懈褔械褋泻懈泄 锌褍褌褜 褉邪蟹胁懈褌懈褟, 袗谢械薪泻懈薪褘 褉芯写懈褌械谢懈, 褏懈屑懈泻懈, 锌芯屑芯谐邪谢懈 薪邪谢邪卸懈胁邪褌褜 锌褉芯懈蟹胁芯写褋褌胁芯. 袧邪 褎芯褌芯谐褉邪褎懈褟褏 褌械褏 谢械褌 芯薪邪 褌邪泻邪褟 蟹芯谢芯褌懈褋褌芯-褕芯泻芯谢邪写薪邪褟, 芯斜谢懈褌邪褟 褋芯谢薪褑械屑. 袙褋锌芯屑懈薪邪械褌 薪械胁械褉芯褟褌薪褘械 褎褉褍泻褌褘, 泻芯褌芯褉褘械 屑芯谐谢懈 褋械斜械 锌芯蟹胁芯谢懈褌褜 写邪卸械 褋芯胁械褌褋泻懈械 褋锌械褑懈邪谢懈褋褌褘, 芯褌褔邪褟薪薪芯 褝泻芯薪芯屑懈胁褕懈械 薪邪 胁褋械屑, 褔褌芯斜褘 锌褉懈胁械褋褌懈 写芯屑芯泄 胁薪械褕褌芯褉谐芯胁褋泻懈械 褔械泻懈. 袗 褋 屑械褋褌薪褘屑懈 芯薪邪 褌邪屑, 泻芯薪械褔薪芯, 薪械 芯斜褖邪谢邪褋褜.
袘褘谢 械褖械 "袩芯褋褌芯褉芯薪薪懈泄" 袣邪屑褞, 锌芯屑薪懈褌械: 褉邪褋褋泻邪蟹褔懈泻-褎褉邪薪褑褍蟹 褍斜懈胁邪械褌 薪邪 锌谢褟卸械 邪褉邪斜邪, 薪芯 锌褉懈谐芯胁邪褉懈胁邪褞褌 械谐芯 蟹邪 褌芯, 褔褌芯 薪械 锌谢邪泻邪谢 薪邪 锌芯褏芯褉芯薪邪褏 屑邪褌械褉懈? 袠... 袠 胁褋械. 袛芯 泻薪懈谐懈 袗谢懈褋 袟械薪懈褌械褉 褟 写褍屑邪谢邪, 褔褌芯 褋褌褉邪薪邪 褝褌芯 褋褌邪斜懈谢褜薪邪褟 懈 斜谢邪谐芯锌芯谢褍褔薪邪褟, 胁 褋褉邪胁薪械薪懈懈 薪械 褌芯谢褜泻芯 褋 褋芯褋械写褟屑懈 锌芯 屑邪褌械褉懈泻褍, 薪芯 懈 褋 斜芯谢褜褕懈薪褋褌胁芯屑 袘谢懈卸薪械胁芯褋褌芯褔薪褘褏. 袗 锌褉芯斜谢械屑褘, 褋芯锌褉芯胁芯卸写邪胁褕懈械 泻褉褍褕械薪懈械 泻芯谢芯薪懈邪谢褜薪芯泄 褋懈褋褌械屑褘, 芯斜芯褕谢懈 袗谢卸懈褉 褋褌芯褉芯薪芯泄, - 写褍屑邪谢邪.
袧械褌, 薪懈泻芯屑褍 薪械 斜褘谢芯 谢械谐泻芯, 懈 薪懈谐写械 薪械 芯斜芯褕谢芯褋褜 斜械蟹 泻褉芯胁懈. "袠褋泻褍褋褋褌胁芯 褌械褉褟褌褜" 锌芯褋褌泻芯谢芯薪懈邪谢褜薪褘泄 褉芯屑邪薪, 褉邪褋褋泻邪蟹褘胁邪褞褖懈泄 懈褋褌芯褉懈褞 褋械屑褜懈 泻邪斜懈谢褜褋泻懈褏 斜械褉斜械褉芯胁. 袘械褉斜械褉褘 褋芯褋褌邪胁谢褟褞褌 褝褌薪懈褔械褋泻芯械 屑械薪褜褕懈薪褋褌胁芯, 17% 锌褉芯褌懈胁 83% 邪褉邪斜褋泻芯谐芯 薪邪褋械谢械薪懈褟 懈 卸懈胁褍褌 锌褉械懈屑褍褖械褋褌胁械薪薪芯 胁 谐芯褉薪褘褏 芯斜谢邪褋褌褟褏. 袗谢卸懈褉 芯谐褉芯屑薪褘泄, 胁褌芯褉邪褟 锌芯 锌谢芯褖邪写懈 邪褎褉懈泻邪薪褋泻邪褟 褋褌褉邪薪邪, 褌邪屑 胁褋褟泻懈械 械褋褌褜 谢邪薪写褕邪褎褌褘, 薪械 褌芯谢褜泻芯 褉邪胁薪懈薪薪褘械, 胁 泻芯褌芯褉褘褏 褉邪蟹胁芯褉邪褔懈胁邪械褌褋褟 写械泄褋褌胁懈械 "袩芯褋褌芯褉芯薪薪械谐芯".
校泻谢邪写 卸懈蟹薪懈 写芯 褋械褉械写懈薪褘 锌褉芯褕谢芯谐芯 胁械泻邪 斜褘谢 褋芯胁械褉褕械薪薪芯 锌邪褌褉懈邪褉褏邪谢褜薪褘屑 (写邪 芯薪 懈 褌械锌械褉褜 褌邪泻芯泄). 袣邪斜懈谢褘 锌褉懈蟹褘胁邪谢懈褋褜 胁芯 褎褉邪薪褑褍蟹褋泻褍褞 邪褉屑懈褞 懈 褉械谐褍谢褟褉薪芯 褍褔邪褋褌胁芯胁邪谢懈 胁 胁芯泄薪邪褏, 薪懈 袩械褉胁邪褟, 薪懈 袙褌芯褉邪褟 袦懈褉芯胁褘械 薪械 芯斜芯褕谢懈 懈褏 褋褌芯褉芯薪芯泄. 袧芯 胁芯蟹胁褉邪褖邪褟褋褜 胁 褋胁芯懈 谐芯褉褘 褋 芯褉写械薪邪屑懈 芯薪懈 锌褉芯写芯谢卸邪谢懈 褌褍 卸懈蟹薪褜, 泻邪泻褍褞 胁械谢懈 褋 写械褌褋褌胁邪. 袪邪蟹胁械 褔褌芯 锌芯谢褍褔邪褟 芯褌 芯泻泻褍锌邪褑懈芯薪薪芯谐芯 锌褉邪胁懈褌械谢褜褋褌胁邪 锌械薪褋懈褞. 袙褋械 懈蟹屑械薪褟械褌褋褟 褋 褉邪褋褑胁械褌芯屑 薪邪褑懈芯薪邪谢褜薪芯-芯褋胁芯斜芯写懈褌械谢褜薪芯谐芯 写胁懈卸械薪懈褟, 泻芯谐写邪 斜芯泄褑褘 肖袧袨 (肖褉芯薪褌邪 薪邪褑懈芯薪邪谢褜薪芯谐芯 芯褋胁芯斜芯卸写械薪懈褟) 锌褉懈褏芯写褟褌 胁 写械褉械胁薪褞 懈 芯斜褗褟褋薪褟褞褌, 褔褌芯 薪邪谢芯谐懈 褌械锌械褉褜 薪褍卸薪芯 锌谢邪褌懈褌褜 懈屑, 邪 薪械 褎褉邪薪褑褍蟹邪屑, 褔褌芯 泻褌芯 锌褉芯写芯谢卸懈褌 锌芯谢褍褔邪褌褜 锌械薪褋懈褞 - 褌芯褌 锌褉械写邪褌械谢褜 懈 褋芯芯褌胁械褌褋褌胁械薪薪芯 - 斜褍写械屑 褉械蟹邪褌褜 泻邪泻 斜邪褉邪薪芯胁.
袗 写邪谢褜褕械 胁褋械 褋褌邪谢芯 锌谢芯褏芯, 薪邪褋褌芯谢褜泻芯, 褔褌芯 懈 胁芯芯斜褉邪蟹懈褌褜 薪械谢褜蟹褟 斜褘谢芯. 小 褍褏芯写芯屑 褎褉邪薪褑褍蟹芯胁 薪邪褔邪谢邪褋褜 谐褉邪卸写邪薪褋泻邪褟 胁芯泄薪邪, 褉械蟹薪褟, 胁 泻芯褌芯褉芯泄 "锌褉懈褏胁芯褋褌薪褟屑 芯泻泻褍锌邪薪褌芯胁" 懈 懈褏 褋械屑褜褟屑 谐褉芯蟹懈谢邪 褋屑械褉褌褜 懈 薪械泻芯屑褍 斜褘谢芯 懈褏 蟹邪褖懈褌懈褌褜. 袠 械写懈薪褋褌胁械薪薪芯泄 胁芯蟹屑芯卸薪芯褋褌褜褞 褋锌邪褋褌懈褋褜 褋褌邪谢 锌褉褘卸芯泻 胁 锌褍褋褌芯褌褍 褋 锌褍褋褌褘屑懈 褉褍泻邪屑懈 - 褝屑懈谐褉邪褑懈褟 胁 褋褌褉邪薪褍, 蟹邪 泻芯褌芯褉褍褞 胁 褋胁芯械 胁褉械屑褟 胁芯械胁邪谢懈, 褋 泻芯褌芯褉芯泄 褋褔懈褌邪谢懈 褋械斜褟 褋胁褟蟹邪薪薪褘屑懈 协褌芯褌 褉芯屑邪薪 胁芯芯斜褖械 薪械 褋邪屑芯械 谢械谐泻芯械 懈 斜械蟹蟹邪斜芯褌薪芯械 褔褌械薪懈械. 薪芯 懈褋褌芯褉懈褟 斜械谐褋褌胁邪 - 锌褉褟屑芯-褌邪泻懈 泻褉芯胁芯褌芯褔邪褖懈械 褋褌褉邪薪懈褑褘.
袗 褎懈谢褜褌褉邪褑懈芯薪薪褘泄 谢邪谐械褉褜, 胁 泻芯褌芯褉芯屑 褉芯写薪褘械 褉邪褋褋泻邪蟹褔懈褑褘, 袧邪懈屑褘 锌褉芯卸懈谢懈 褌褉懈 褋谢械写褍褞褖懈褏 谐芯写邪, 褌邪泻芯械 泻芯薪褑械薪褌褉懈褉芯胁邪薪薪芯械 褍薪懈卸械薪懈械. 斜械褋锌褉邪胁懈械, 薪械胁芯蟹屑芯卸薪芯褋褌褜 芯褖褍褌懈褌褜 褋械斜褟 锌芯谢薪芯褑械薪薪褘屑 褔械谢芯胁械泻芯屑. 袠 褔褍写芯胁懈褖薪邪褟 褋褌邪褌懈褋褌懈泻邪 芯 褋褉械写薪械屑 褋褉芯泻械 锌褉械斜褘胁邪薪懈褟 斜械卸械薪褑械胁 胁 褌邪泻懈褏 谢邪谐械褉褟褏 - 斜芯谢褜褕械 写械褋褟褌懈 谢械褌. 袠褏 褋械屑褜械 锌芯胁械蟹谢芯: 褉邪斜芯褌邪 芯褌褑邪 薪邪 蟹邪胁芯写械 胁 袧芯褉屑邪薪写懈懈, 卸懈谢褜械, 褍褔械斜邪 屑邪谢褜褔懈泻邪 胁 薪芯褉屑邪谢褜薪芯泄 褕泻芯谢械 - 薪械 褌邪泻芯泄, 谐写械 褍褔懈褌械谢褟 屑邪褏薪褍谢懈 薪邪 褍褔械斜薪褘泄 锌褉芯褑械褋褋 褉褍泻芯泄, 薪械 胁 褋懈谢邪褏 锌褉械芯写芯谢械褌褜 斜邪褉褜械褉邪 褌褉械褏褗褟蟹褘褔懈褟, 懈 褍褔械薪懈泻懈 薪邪 褍褉芯泻邪褏 褉懈褋褍褞褌 褑胁械褌芯褔泻懈. 啸邪屑懈褌褍 锌褉懈褕谢芯褋褜 褌褟卸械谢芯, 薪芯 芯薪 胁褘褍褔懈谢褋褟 懈 锌芯褋褌褍锌懈谢 胁 泻芯谢谢械写卸. 袠 芯褋褌邪胁懈谢 褋械屑褜褞, 褋褌褉械屑褟褋褜 锌褉芯褔薪械械 懈薪褌械谐褉懈褉芯胁邪褌褜褋褟 胁 写懈胁薪褘泄 薪芯胁褘泄 屑懈褉.
袣薪懈谐邪 袗谢懈褋 袟械薪懈褌械褉 芯 褌芯屑, 泻邪泻 卸懈胁械褌 懈 褔褌芯 褔褍胁褋褌胁褍械褌 写芯褔褜 懈 胁薪褍褔泻邪 屑懈谐褉邪薪褌芯胁 胁芯 胁褌芯褉芯屑 锌芯泻芯谢械薪懈懈. 袣邪泻 褌褉褍写薪芯 褋懈写械褌褜 屑械卸 写胁褍褏 褋褌褍谢褜械胁, 泻芯谐写邪 褋褌邪褉邪褟 褉芯写懈薪邪 芯褌胁械褉谐谢邪 褌械斜褟, 邪 薪芯胁邪褟 写芯 泻芯薪褑邪 薪械 锌褉懈薪褟谢邪. 袣邪泻 褋褌褉邪褕薪芯, 褔褌芯 锌褉懈褔懈褋谢褟褌 泻 懈褋谢邪屑褋泻懈屑 褌械褉褉芯褉懈褋褌邪屑, 泻邪泻 薪械薪邪胁懈写懈褕褜 懈褏 蟹邪 褌芯, 褔褌芯 芯薪懈 写械谢邪褞褌, 懈 泻邪泻, 锌邪褉邪写芯泻褋邪谢褜薪芯 斜褉芯褋邪械褕褜褋褟 薪邪 蟹邪褖懈褌褍, 泻芯谐写邪 芯 薪懈褏 - 邪 锌芯 褋褍褌懈 芯 褌械斜械 锌芯写芯斜薪褘褏 懈 褌械斜械 褋邪屑芯泄 - 谐芯胁芯褉褟褌 锌谢芯褏芯.
袧邪懈屑邪 褋芯胁褋械屑 褎褉邪薪褑褍卸械薪泻邪, 褉邪斜芯褌邪械褌 胁 谐邪谢械褉械械 褋芯胁褉械屑械薪薪芯谐芯 懈褋泻褍褋褋褌胁邪 懈 蟹邪写邪薪懈械 褕械褎邪 胁褘褋褌褉芯懈褌褜 褝泻褋锌芯蟹懈褑懈褞 邪谢卸懈褉褋泻芯谐芯 褏褍写芯卸薪懈泻邪 胁芯褋锌褉懈薪懈屑邪械褌 斜械蟹 褝薪褌褍蟹懈邪蟹屑邪. 袗 泻芯谐写邪 褍蟹薪邪械褌 芯 薪械芯斜褏芯写懈屑芯褋褌懈 锌芯械蟹写泻懈 薪邪 懈褋褌芯褉懈褔械褋泻褍褞 褉芯写懈薪褍, 懈 胁芯胁褋械 锌褉懈褏芯写懈褌 胁 褍卸邪褋. 孝邪屑 写芯 褋懈褏 锌芯褉 褍斜懈胁邪褞褌 懈 斜械褉褍褌 胁 蟹邪谢芯卸薪懈泻懈 褔谢械薪芯胁 褋械屑械泄 "褍械褏邪胁褕懈褏". 袠 胁褋械-褌邪泻懈 械褏邪褌褜 锌褉懈写械褌褋褟.
小懈谢褜薪邪褟, 褋胁芯械胁褉械屑械薪薪邪褟, 懈薪褌械褉械褋薪邪褟 泻薪懈谐邪. 啸芯褌褟 谢械谐泻芯泄 褟 械械 薪械 薪邪蟹胁邪谢邪 斜褘
February 10, 2025
螤蠋蟼 纬蔚谓喂苇蟿伪喂 渭喂伪 蠂蠋蟻伪; 螌蟺蠅蟼 慰蟿喂未萎蟺慰蟿蔚: 螠苇蟽伪 蟽蟿慰 伪委渭伪.
螣 渭苇蟽慰蟼 (渭畏 螕维位位慰蟼) 维谓胃蟻蠅蟺慰蟼 尉蔚蠂谓维蔚喂 蠈蟿喂 畏 螕伪位位委伪, 渭蔚蟿维 蟿畏谓 伪蟺蔚位蔚蠀胃苇蟻蠅蟽萎 蟿畏蟼 伪蟺蠈 蟿畏 谓伪味喂蟽蟿喂魏萎 螕蔚蟻渭伪谓委伪 蟽蠀谓苇蠂喂蟽蔚 谓伪 位蔚喂蟿慰蠀蟻纬蔚委 伪蟺慰喂魏喂慰魏蟻伪蟿喂魏维 魏伪喂 谓伪 魏伪蟿苇蠂蔚喂 伪蟺苇蟻伪谓蟿蔚蟼 蔚魏蟿维蟽蔚喂蟼 蟿畏蟼 螔慰蟻蔚委慰蠀 螒蠁蟻喂魏萎蟼, 萎 芦螚 蔚位蔚蠀胃蔚蟻委伪 蔚委谓伪喂 魏维蟿喂 蟺慰位蠉 魏伪位蠈 纬喂伪 谓伪 蟿慰 蟺伪蟻伪蠂蠅蟻慰蠉渭蔚 未蠅蟻蔚维谓 蟽蔚 位伪慰蠉蟼 谓蠈蟿喂伪 伪蟺蠈 蟿畏 螠蔚蟽蠈纬蔚喂慰禄.
螚 螡伪蠆渭维, 蟿蟻委蟿畏蟼 纬蔚谓喂维蟼 渭蔚蟿伪谓维蟽蟿喂蟼 (sic), 螕伪位位委未伪 渭蔚 蟿伪 蠈位伪 蟿畏蟼, 渭苇蠂蟻喂 魏伪喂 渭蔚 蟺伪谓蟿蟻蔚渭苇谓慰 纬魏蠈渭蔚谓慰, 蔚委谓伪喂 伪位纬蔚蟻喂谓萎蟼 魏伪蟿伪纬蠅纬萎蟼 魏伪喂 魏维谓蔚喂 渭喂伪 尾慰蠀蟿喂维 蟽蟿畏谓 喂蟽蟿慰蟻委伪 蟿畏蟼 慰喂魏慰纬苇谓蔚喂维蟼 蟿畏蟼, 纬喂伪 蟿畏谓 慰蟺慰委伪 魏伪谓蔚委蟼 未蔚谓 蟿畏蟼 渭委位畏蟽蔚 蟺慰蟿苇. 螕喂伪 蟿慰谓 蟺伪蟺蟺慰蠉 蟿畏蟼 螒位委, 蟺慰蠀 蠂伪蟻伪魏蟿畏蟻委蟽蟿畏魏蔚 芦蟽蠀谓蔚蟻纬维蟿畏蟼 蟿蠅谓 螕维位位蠅谓禄 (蟺喂魏蟻萎 蔚喂蟻蠅谓蔚委伪, 渭蔚蟿维 伪蟺蠈 蠈蟽伪 苇魏伪谓伪谓 慰喂 螕维位位慰喂 蟽蟿慰蠀蟼 蟽蠀谓蔚蟻纬维蟿蔚蟼 蟿蠅谓 螕蔚蟻渭伪谓蠋谓鈥�) 魏伪喂 伪谓伪纬魏维蟽蟿畏魏蔚 谓伪 蠁蠉纬蔚喂 伪蟺蠈 蟿畏谓 螒位纬蔚蟻委伪 尾喂伪蟽蟿喂魏维, 蟽蟿喂纬渭伪蟿喂蟽渭苇谓慰蟼 蠅蟼 蟺蟻慰未蠈蟿畏蟼, 纬喂伪 谓伪 魏伪蟿伪位萎尉蔚喂 芦尉苇谓慰蟼 尾鈥� 魏伪蟿畏纬慰蟻委伪蟼禄 蟽蟿畏 谓苇伪 蟿慰蠀 蠂蠋蟻伪. 螕喂伪 蟿慰谓 蟺伪蟿苇蟻伪 蟿畏蟼 蟺慰蠀 苇味畏蟽蔚 3 蠂蟻蠈谓喂伪 蟿畏蟼 蟺伪喂未喂魏萎蟼 蟿慰蠀 畏位喂魏委伪蟼 蟽蔚 纬魏苇蟿慰 蟿畏 未蔚魏伪蔚蟿委伪 蟿慰蠀 鈥�60.
螝伪喂 蟺维谓蠅 伪蟺鈥� 蠈位伪 委蟽蠅蟼 魏维谓蔚喂 渭喂伪 尾慰蠀蟿喂维 蟽蟿畏谓 委未喂伪 蟿畏蟼 蟿畏谓 蟿伪蠀蟿蠈蟿畏蟿伪, 蔚谓 渭苇蟻蔚喂 蔚蟺喂位慰纬萎 魏伪喂 蔚谓 渭苇蟻蔚喂 魏位畏蟻慰谓慰渭喂维.
韦蟻蠀蠁蔚蟻蠈 蠈蟺慰蠀 渭蟺慰蟻蔚委, 蟽魏位畏蟻蠈 魏伪喂 蟻蔚伪位喂蟽蟿喂魏蠈 蠈蟺慰蠀 伪蟺伪喂蟿蔚委蟿伪喂, 蟿慰 尾喂尾位委慰 胃蠀渭委味蔚喂 蟽蟿慰谓 螆位位畏谓伪 伪谓伪纬谓蠋蟽蟿畏 蠈蟿喂 未蔚 味萎蟽伪渭蔚 渭蠈谓慰 蔚渭蔚委蟼 蟿蟻伪纬蠅未委蔚蟼 魏伪喂 未喂蠂伪蟽渭慰蠉蟼. 螒蟺位蠋蟼 纬喂伪 魏维蟺慰喂慰 位蠈纬慰, 蟿慰 芦慰喂魏蠈蟺蔚未慰 魏伪喂 伪蟺慰喂魏委伪 螘位位维蟼禄 胃蔚蠅蟻慰蠉蟽蔚 蠈蟿喂 渭喂伪蟼 魏伪喂 尾蟻委蟽魏蔚蟿伪喂 蟽蟿喂蟼 尾蠈蟻蔚喂蔚蟼 伪魏蟿苇蟼 蟿畏蟼 螠蔚蟽慰纬蔚委慰蠀, 蠂蟻萎味蔚喂 魏伪喂 未喂伪蠁慰蟻蔚蟿喂魏萎蟼 伪谓蟿喂渭蔚蟿蠋蟺喂蟽畏蟼 伪蟺蠈 蟿慰蠀蟼 芦魏蟻伪蟿伪喂慰蠉蟼禄. 螣蟺慰委伪 蟺位维谓畏 魏伪喂 苇蟺伪蟻蟽畏.
螤苇蟻伪 伪蟺蠈 芦慰喂魏慰纬蔚谓蔚喂伪魏萎 蟽维纬魏伪禄 畏 韦苇蠂谓畏 蟿畏蟼 螒蟺蠋位蔚喂伪蟼 蔚委谓伪喂 慰喂 蠅未委谓蔚蟼 蟿慰蠀 蟿慰魏蔚蟿慰蠉 蟿畏蟼 螒位纬蔚蟻委伪蟼 魏伪喂 蟿畏蟼 位畏胃伪蟻纬喂魏萎蟼 渭蔚蟿维尾伪蟽畏蟼 蟿畏蟼 伪位纬蔚蟻喂谓萎蟼 蟽蠀谓蔚委未畏蟽畏蟼 伪蟺蠈 蟿慰谓 渭蔚蟿伪谓维蟽蟿畏 蟺蟻蠋蟿畏蟼 纬蔚谓喂维蟼 蟽蟿畏谓 蔚谓蟽蠅渭伪蟿蠅渭苇谓畏 蟺位苇慰谓 蠅蟼 纬伪位位委未伪 渭蔚蟿伪谓维蟽蟿蟻喂伪 蟿畏蟼 3畏蟼, 伪魏蠈渭畏 魏喂 伪谓 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 芦蟺慰蠀蟿维谓伪禄, 伪蟺蠈 蟽蠀纬纬蔚谓蔚委蟼 蟺慰蠀 未蔚谓 苇蠂慰蠀谓 蟺伪蟿萎蟽蔚喂 蟺慰蟿苇 蟺蠈未喂 蟽蟿畏谓 芦蟺伪位喂维 蟺伪蟿蟻委未伪禄, 蔚蟺蔚喂未萎 蟽蠀渭蟺蔚蟻喂蠁苇蟻蔚蟿伪喂 蠈蟺蠅蟼 魏维胃蔚 维位位畏 螕伪位位委未伪. 螝维胃蔚 纬蔚谓喂维 伪蟺蠈 蟿喂蟼 蟿蟻蔚喂蟼 蟺慰蠀 伪谓蟿喂蟺蟻慰蟽蠅蟺蔚蠉慰谓蟿伪喂 蟽蟿慰 尾喂尾位委慰 伪谓蟿喂渭蔚蟿蠅蟺委味蔚蟿伪喂 蟽蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 喂蟽蟿慰蟻喂魏蠈 蟺位伪委蟽喂慰, 魏伪喂 苇蠂蔚喂 蟿喂蟼 未喂魏苇蟼 蟿畏蟼 蟺蟻慰魏位萎蟽蔚喂蟼, 蟺蟻喂谓 蠀蟺慰蠂蠅蟻萎蟽蔚喂 蟽蟿慰 蠁蠈谓蟿慰 纬喂伪 谓伪 伪谓伪未蠀胃蔚委 畏 蔚蟺蠈渭蔚谓畏.
螝伪喂, 魏蠀蟻委蠅蟼, 蔚委谓伪喂 渭喂伪 蠈渭慰蟻蠁畏 魏伪喂 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 喂蟽蟿慰蟻委伪, 蟺慰蠀 未喂伪尾维味蔚蟿伪喂 蠂蠅蟻委蟼 谓伪 魏慰蠀蟻维味蔚喂. 螝维蟿喂 蟽畏渭伪谓蟿喂魏蠈 蟽蟿喂蟼 渭苇蟻蔚蟼 渭伪蟼, 渭苇蟻蔚蟼 蔚魏未慰蟿喂魏萎蟼 蠀蟺蔚蟻蟺伪蟻伪纬蠅纬萎蟼 伪蟽畏渭伪谓蟿慰蟿萎蟿蠅谓.
螣 渭苇蟽慰蟼 (渭畏 螕维位位慰蟼) 维谓胃蟻蠅蟺慰蟼 尉蔚蠂谓维蔚喂 蠈蟿喂 畏 螕伪位位委伪, 渭蔚蟿维 蟿畏谓 伪蟺蔚位蔚蠀胃苇蟻蠅蟽萎 蟿畏蟼 伪蟺蠈 蟿畏 谓伪味喂蟽蟿喂魏萎 螕蔚蟻渭伪谓委伪 蟽蠀谓苇蠂喂蟽蔚 谓伪 位蔚喂蟿慰蠀蟻纬蔚委 伪蟺慰喂魏喂慰魏蟻伪蟿喂魏维 魏伪喂 谓伪 魏伪蟿苇蠂蔚喂 伪蟺苇蟻伪谓蟿蔚蟼 蔚魏蟿维蟽蔚喂蟼 蟿畏蟼 螔慰蟻蔚委慰蠀 螒蠁蟻喂魏萎蟼, 萎 芦螚 蔚位蔚蠀胃蔚蟻委伪 蔚委谓伪喂 魏维蟿喂 蟺慰位蠉 魏伪位蠈 纬喂伪 谓伪 蟿慰 蟺伪蟻伪蠂蠅蟻慰蠉渭蔚 未蠅蟻蔚维谓 蟽蔚 位伪慰蠉蟼 谓蠈蟿喂伪 伪蟺蠈 蟿畏 螠蔚蟽蠈纬蔚喂慰禄.
螚 螡伪蠆渭维, 蟿蟻委蟿畏蟼 纬蔚谓喂维蟼 渭蔚蟿伪谓维蟽蟿喂蟼 (sic), 螕伪位位委未伪 渭蔚 蟿伪 蠈位伪 蟿畏蟼, 渭苇蠂蟻喂 魏伪喂 渭蔚 蟺伪谓蟿蟻蔚渭苇谓慰 纬魏蠈渭蔚谓慰, 蔚委谓伪喂 伪位纬蔚蟻喂谓萎蟼 魏伪蟿伪纬蠅纬萎蟼 魏伪喂 魏维谓蔚喂 渭喂伪 尾慰蠀蟿喂维 蟽蟿畏谓 喂蟽蟿慰蟻委伪 蟿畏蟼 慰喂魏慰纬苇谓蔚喂维蟼 蟿畏蟼, 纬喂伪 蟿畏谓 慰蟺慰委伪 魏伪谓蔚委蟼 未蔚谓 蟿畏蟼 渭委位畏蟽蔚 蟺慰蟿苇. 螕喂伪 蟿慰谓 蟺伪蟺蟺慰蠉 蟿畏蟼 螒位委, 蟺慰蠀 蠂伪蟻伪魏蟿畏蟻委蟽蟿畏魏蔚 芦蟽蠀谓蔚蟻纬维蟿畏蟼 蟿蠅谓 螕维位位蠅谓禄 (蟺喂魏蟻萎 蔚喂蟻蠅谓蔚委伪, 渭蔚蟿维 伪蟺蠈 蠈蟽伪 苇魏伪谓伪谓 慰喂 螕维位位慰喂 蟽蟿慰蠀蟼 蟽蠀谓蔚蟻纬维蟿蔚蟼 蟿蠅谓 螕蔚蟻渭伪谓蠋谓鈥�) 魏伪喂 伪谓伪纬魏维蟽蟿畏魏蔚 谓伪 蠁蠉纬蔚喂 伪蟺蠈 蟿畏谓 螒位纬蔚蟻委伪 尾喂伪蟽蟿喂魏维, 蟽蟿喂纬渭伪蟿喂蟽渭苇谓慰蟼 蠅蟼 蟺蟻慰未蠈蟿畏蟼, 纬喂伪 谓伪 魏伪蟿伪位萎尉蔚喂 芦尉苇谓慰蟼 尾鈥� 魏伪蟿畏纬慰蟻委伪蟼禄 蟽蟿畏 谓苇伪 蟿慰蠀 蠂蠋蟻伪. 螕喂伪 蟿慰谓 蟺伪蟿苇蟻伪 蟿畏蟼 蟺慰蠀 苇味畏蟽蔚 3 蠂蟻蠈谓喂伪 蟿畏蟼 蟺伪喂未喂魏萎蟼 蟿慰蠀 畏位喂魏委伪蟼 蟽蔚 纬魏苇蟿慰 蟿畏 未蔚魏伪蔚蟿委伪 蟿慰蠀 鈥�60.
螝伪喂 蟺维谓蠅 伪蟺鈥� 蠈位伪 委蟽蠅蟼 魏维谓蔚喂 渭喂伪 尾慰蠀蟿喂维 蟽蟿畏谓 委未喂伪 蟿畏蟼 蟿畏谓 蟿伪蠀蟿蠈蟿畏蟿伪, 蔚谓 渭苇蟻蔚喂 蔚蟺喂位慰纬萎 魏伪喂 蔚谓 渭苇蟻蔚喂 魏位畏蟻慰谓慰渭喂维.
韦蟻蠀蠁蔚蟻蠈 蠈蟺慰蠀 渭蟺慰蟻蔚委, 蟽魏位畏蟻蠈 魏伪喂 蟻蔚伪位喂蟽蟿喂魏蠈 蠈蟺慰蠀 伪蟺伪喂蟿蔚委蟿伪喂, 蟿慰 尾喂尾位委慰 胃蠀渭委味蔚喂 蟽蟿慰谓 螆位位畏谓伪 伪谓伪纬谓蠋蟽蟿畏 蠈蟿喂 未蔚 味萎蟽伪渭蔚 渭蠈谓慰 蔚渭蔚委蟼 蟿蟻伪纬蠅未委蔚蟼 魏伪喂 未喂蠂伪蟽渭慰蠉蟼. 螒蟺位蠋蟼 纬喂伪 魏维蟺慰喂慰 位蠈纬慰, 蟿慰 芦慰喂魏蠈蟺蔚未慰 魏伪喂 伪蟺慰喂魏委伪 螘位位维蟼禄 胃蔚蠅蟻慰蠉蟽蔚 蠈蟿喂 渭喂伪蟼 魏伪喂 尾蟻委蟽魏蔚蟿伪喂 蟽蟿喂蟼 尾蠈蟻蔚喂蔚蟼 伪魏蟿苇蟼 蟿畏蟼 螠蔚蟽慰纬蔚委慰蠀, 蠂蟻萎味蔚喂 魏伪喂 未喂伪蠁慰蟻蔚蟿喂魏萎蟼 伪谓蟿喂渭蔚蟿蠋蟺喂蟽畏蟼 伪蟺蠈 蟿慰蠀蟼 芦魏蟻伪蟿伪喂慰蠉蟼禄. 螣蟺慰委伪 蟺位维谓畏 魏伪喂 苇蟺伪蟻蟽畏.
螤苇蟻伪 伪蟺蠈 芦慰喂魏慰纬蔚谓蔚喂伪魏萎 蟽维纬魏伪禄 畏 韦苇蠂谓畏 蟿畏蟼 螒蟺蠋位蔚喂伪蟼 蔚委谓伪喂 慰喂 蠅未委谓蔚蟼 蟿慰蠀 蟿慰魏蔚蟿慰蠉 蟿畏蟼 螒位纬蔚蟻委伪蟼 魏伪喂 蟿畏蟼 位畏胃伪蟻纬喂魏萎蟼 渭蔚蟿维尾伪蟽畏蟼 蟿畏蟼 伪位纬蔚蟻喂谓萎蟼 蟽蠀谓蔚委未畏蟽畏蟼 伪蟺蠈 蟿慰谓 渭蔚蟿伪谓维蟽蟿畏 蟺蟻蠋蟿畏蟼 纬蔚谓喂维蟼 蟽蟿畏谓 蔚谓蟽蠅渭伪蟿蠅渭苇谓畏 蟺位苇慰谓 蠅蟼 纬伪位位委未伪 渭蔚蟿伪谓维蟽蟿蟻喂伪 蟿畏蟼 3畏蟼, 伪魏蠈渭畏 魏喂 伪谓 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 芦蟺慰蠀蟿维谓伪禄, 伪蟺蠈 蟽蠀纬纬蔚谓蔚委蟼 蟺慰蠀 未蔚谓 苇蠂慰蠀谓 蟺伪蟿萎蟽蔚喂 蟺慰蟿苇 蟺蠈未喂 蟽蟿畏谓 芦蟺伪位喂维 蟺伪蟿蟻委未伪禄, 蔚蟺蔚喂未萎 蟽蠀渭蟺蔚蟻喂蠁苇蟻蔚蟿伪喂 蠈蟺蠅蟼 魏维胃蔚 维位位畏 螕伪位位委未伪. 螝维胃蔚 纬蔚谓喂维 伪蟺蠈 蟿喂蟼 蟿蟻蔚喂蟼 蟺慰蠀 伪谓蟿喂蟺蟻慰蟽蠅蟺蔚蠉慰谓蟿伪喂 蟽蟿慰 尾喂尾位委慰 伪谓蟿喂渭蔚蟿蠅蟺委味蔚蟿伪喂 蟽蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 喂蟽蟿慰蟻喂魏蠈 蟺位伪委蟽喂慰, 魏伪喂 苇蠂蔚喂 蟿喂蟼 未喂魏苇蟼 蟿畏蟼 蟺蟻慰魏位萎蟽蔚喂蟼, 蟺蟻喂谓 蠀蟺慰蠂蠅蟻萎蟽蔚喂 蟽蟿慰 蠁蠈谓蟿慰 纬喂伪 谓伪 伪谓伪未蠀胃蔚委 畏 蔚蟺蠈渭蔚谓畏.
螝伪喂, 魏蠀蟻委蠅蟼, 蔚委谓伪喂 渭喂伪 蠈渭慰蟻蠁畏 魏伪喂 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 喂蟽蟿慰蟻委伪, 蟺慰蠀 未喂伪尾维味蔚蟿伪喂 蠂蠅蟻委蟼 谓伪 魏慰蠀蟻维味蔚喂. 螝维蟿喂 蟽畏渭伪谓蟿喂魏蠈 蟽蟿喂蟼 渭苇蟻蔚蟼 渭伪蟼, 渭苇蟻蔚蟼 蔚魏未慰蟿喂魏萎蟼 蠀蟺蔚蟻蟺伪蟻伪纬蠅纬萎蟼 伪蟽畏渭伪谓蟿慰蟿萎蟿蠅谓.
May 23, 2022
I was excited to read this from the cover and blurb but actually found it flat, dry, and unengaging, I'm afraid. The book follows a typical structure of a family saga as it explores three generations of an Algerian family who have a complicated relationship with France: themes of colonialism, immigration and integration make this timely but I don't feel that this either says anything original, or says it in an imaginative way.
There's lots of flat 'telling', very little dramatic 'showing', and it's hard to feel anything for the characters as they're so distant - great chunks of exposition make this feel like a historical text rather than a novel. Sorry, but I wanted to engage with the characters face to face: in this book it's like they're behind triple screens of glass.
Verdict: interesting material but not a style of writing or storytelling that works for me. I might check out the original French.
There's lots of flat 'telling', very little dramatic 'showing', and it's hard to feel anything for the characters as they're so distant - great chunks of exposition make this feel like a historical text rather than a novel. Sorry, but I wanted to engage with the characters face to face: in this book it's like they're behind triple screens of glass.
Verdict: interesting material but not a style of writing or storytelling that works for me. I might check out the original French.
September 5, 2020
Al contrario di quanto credessi prima di iniziare la lettura, il titolo di questo libro si riferisce non tanto (o non solo) alla perdita intesa come sconfitta, ma piuttosto all'atto di rinuncia o smarrimento di qualcosa di caro. Rinuncia che la famiglia protagonista del romanzo trasforma in una vera e propria arte, o meglio una filosofia di vita: nel corso di tre generazioni si lascer脿 infatti alle spalle case, possedimenti, comunit脿, lingue e soprattutto una patria, l鈥橝lgeria.
Un susseguirsi di perdite, questo, non solo sofferto e combattuto ma spesso anche desiderato: perch茅 in un mondo che non accetta contraddizioni e pluralismi, rifiutare una parte scomoda della propria identit脿 pu貌 essere rassicurante o addirittura inevitabile. 脠 cos矛 per Al矛, che rinuncia al ruolo di patriarca autoritario per rassegnarsi ad una vita di sfruttamento e dare鈥攕i spera鈥攗n futuro migliore ai suoi figli; ed 猫 cos矛 anche per suo figlio Hamid, che rigetta le sue radici algerine nel tentativo di integrarsi al meglio nella sua patria d鈥檃dozione. Il ciclo delle perdite per貌 si pu貌 interrompere, e Na茂ma 猫 decisa a farlo: anche se suo padre non le ha insegnato l鈥檃rabo e non le ha raccontato nulla della sua infanzia, infatti, lei si sente algerina; ma come si pu貌 appartenere ad un paese di cui non si conosce quasi nulla?
脠 per rispondere a questa domanda che la ragazza inizia un viaggio a ritroso, dalla Parigi dei giorni nostri fino alla Cabilia degli anni Cinquanta, volto a ricostruire la travagliata storia dei suoi nonni, genitori e zii.
In un percorso a fortune alterne, la famiglia attraversa settant鈥檃nni di storia della Francia coloniale e post-coloniale, riuscendo con meticolosa precisione a trovarsi sempre dalla parte sbagliata di ogni conflitto. Bollati prima come traditori della patria, poi come immigrati indesiderati e infine come potenziali terroristi, i familiari di Na茂ma sopravvivono tenacemente ad ogni rivoluzione e cambio di governo, determinati a preservare, se non la propria integrit脿 culturale, almeno quella fisica.
Tra fughe, complotti, grandi amori e segreti inconfessabili, tre generazioni di immigrati senza patria si susseguono in un鈥檈terna lotta contro una societ脿 impietosa e assolutista, la cui storia viene sempre scritta (e riscritta) dai vincitori. L鈥檃rte di perdere 猫 un romanzo potente e necessario, non solo perch茅 riporta alla luce pagine dimenticate del Novecento, ma soprattutto per il modo onesto e ficcante in cui descrive i drammi interiori degli europei di seconda generazione.
Un susseguirsi di perdite, questo, non solo sofferto e combattuto ma spesso anche desiderato: perch茅 in un mondo che non accetta contraddizioni e pluralismi, rifiutare una parte scomoda della propria identit脿 pu貌 essere rassicurante o addirittura inevitabile. 脠 cos矛 per Al矛, che rinuncia al ruolo di patriarca autoritario per rassegnarsi ad una vita di sfruttamento e dare鈥攕i spera鈥攗n futuro migliore ai suoi figli; ed 猫 cos矛 anche per suo figlio Hamid, che rigetta le sue radici algerine nel tentativo di integrarsi al meglio nella sua patria d鈥檃dozione. Il ciclo delle perdite per貌 si pu貌 interrompere, e Na茂ma 猫 decisa a farlo: anche se suo padre non le ha insegnato l鈥檃rabo e non le ha raccontato nulla della sua infanzia, infatti, lei si sente algerina; ma come si pu貌 appartenere ad un paese di cui non si conosce quasi nulla?
脠 per rispondere a questa domanda che la ragazza inizia un viaggio a ritroso, dalla Parigi dei giorni nostri fino alla Cabilia degli anni Cinquanta, volto a ricostruire la travagliata storia dei suoi nonni, genitori e zii.
In un percorso a fortune alterne, la famiglia attraversa settant鈥檃nni di storia della Francia coloniale e post-coloniale, riuscendo con meticolosa precisione a trovarsi sempre dalla parte sbagliata di ogni conflitto. Bollati prima come traditori della patria, poi come immigrati indesiderati e infine come potenziali terroristi, i familiari di Na茂ma sopravvivono tenacemente ad ogni rivoluzione e cambio di governo, determinati a preservare, se non la propria integrit脿 culturale, almeno quella fisica.
Tra fughe, complotti, grandi amori e segreti inconfessabili, tre generazioni di immigrati senza patria si susseguono in un鈥檈terna lotta contro una societ脿 impietosa e assolutista, la cui storia viene sempre scritta (e riscritta) dai vincitori. L鈥檃rte di perdere 猫 un romanzo potente e necessario, non solo perch茅 riporta alla luce pagine dimenticate del Novecento, ma soprattutto per il modo onesto e ficcante in cui descrive i drammi interiori degli europei di seconda generazione.
August 23, 2018
J鈥檃i ador茅 cette lecture et je suis totalement ravie d鈥檃voir pu d茅couvrir Alice Zeniter ! Tr猫s bien 茅crit et pertinent.
May 23, 2022
"How is a country born? And who brings it into the world?
In certain parts of Kabylia, there is a folk tradition some call 'the sleeping child.' It explains how a woman can give birth even though her husband has been gone for years: according to tradition, having been fathered by the husband, the child then dozes off in the womb and does not emerge until much later.
Algeria is like that sleeping child: it was conceived long ago, so long ago that no one can agree on a date, and for years it slept, until the spring of 1962."
The Art of Losing is a multigenerational family saga done right.
What is immediately apparent about Zeniter's novel is just how extraordinarily well-written it is. Its writing is not flowery or ornate, but it is so refreshingly and psychologically perceptive. More than anything, I think it really speaks to the level of insight that Zeniter has when it comes to her characters and the way they view their respective worlds. That is to say, Zeniter's writing is striking because she is able to recognize and home in on what it is that's striking about her characters and their milieux: the ways in which these milieux inform each other, refracted and reflected over the generations. Beyond this, Zeniter just has a remarkable facility with figurative language; her language is economic yet poetic, direct yet evocative.
"This is the reason why - to Na茂ma and to me - this part of the story seems like a series of quaint photographs (the oil press, the donkey, the mountain ridge, the burnouses, the olive groves, the floodwaters, the white houses clinging like ticks to steep slopes dotted with rocks and cedar trees) punctuated by proverbs; like picture postcards of Algeria that the old man might have slipped, here and there, into his infrequent accounts, which his children then retold, changing a few words here and there, and which his grandchildren's imaginations later embroidered, extrapolated and redrew, so they could create a country and a history for their family."
More than the writing, I think the biggest strength of The Art of Losing is not just the way it presents three complex and interesting characters representing three different generations of a family, but also the way that it is able to interweave insights and experiences from those generations throughout the novel. We get three different sections in this novel, pertaining to these three different generations: there is Ali, who is the patriarch of his family in Algeria; then Hamid, who is Ali's eldest son, and who comes of age in France after spending his childhood in Algeria; and then Na茂ma, who is Hamid's daughter, and who was born and raised in France. Each of these characters is nuanced and compelling in their own right, and each presents different issues pertaining to their own particular social and political environments.
As a patriarch who bears responsibility for his immediate and extended family, Ali is under immense pressure, and this means that he has to make some very difficult decisions to protect his family during the Algerian war for independence. In his perspective, we learn about his relationship to and feelings towards the French colonialists in Algeria, as well as the ways in which his sense of self becomes threatened when his position as a patriarch becomes destabilized and ultimately undermined. At the forefront of this section is a portrayal of French colonialism in Algeria, of the violence of war, and of the difficulty of "picking a side" when neither side can ever guarantee you safety or prosperity or, indeed, anything at all.
"For his part, Ali believes History has already been written, and, as it advances, is simply unfurled and revealed. All the actions her performs are not opportunities for change, but for revelation. Mektoub: 'it is written.' He does not know quite where: in the clouds, perhaps, in the lines on his hand, in miniscule characters inside his body, perhaps in the eye of God."
Then we get Hamid's perspective, which I personally found the most interesting. Having been traumatized from his childhood experiences during the Algerian war, Hamid arrives in France with no knowledge of how to speak, read, or write the French language. Through him, we explore what it's like to bear two (seemingly contradictory) cultural identities--to be both Algerian and French--and to try to navigate these identities in his familial, social, academic, and romantic lives. We also become increasingly aware of the rift that grows between him and his family, the amount of pressure he is under as the eldest son for whom the family has sacrificed a lot, and from whom a lot is expected.
Finally, we have Na茂ma, a character who, though she "has roots" in Algeria, struggles to understand what that exactly means to her. Na茂ma wants to understand her heritage, but she is constantly shut out from it; it is not something her father, Hamid, wants to discuss. And so in her perspective we delve into how she comes to terms with this: how she must do her own research to learn more about Algeria, how she tries to reconcile fragmented and scattered accounts of her family with the history she is able to gather through various secondary sources. We also get a lot about how Na茂ma 's Algerian heritage relates to her identity, how the way her identity is perceived and the way she herself perceives it both force her to continually interrogate her place in French society.
"From this point there will be no more vignettes, no more brightly colored images that have faded over time to the sepia of nostalgia. From here on, they have been replaced by the twisted shards that have resurfaced in Hamid's memory, refashioned by years of silence and turbulent dreams, by snippets of information Ali has let slip only to contradict, when asked, what he has said, by snatches of stories that no one can have witnessed and which sound like images from war movies. And between these slivers - like caulk, like plaster oozing between the cracks, like the silver coins melted in the mountains to create settings for coral trinkets, some as large as a palm - there is Na茂ma's research, begun more than sixty years after they have left Algeria, which attempts to give some shape, some structure to something that has none, that perhaps never had."
Zeniter is so precise in the way that she unravels all these characters' experiences for us, and so what we get in the end is a novel that feels so richly populated by its characters' inner lives. It's a novel about the generations of a family, and it really feels like what Zeniter has portrayed here is a family, one whose members are interconnected in many ways yet broken apart in others; one with a history that feels substantial and real, with all the gaps and fragments and myths that constitute any family's cumulative and growing history. It's a very self-aware novel in this way: it calls attention to gaps in the story, to dramatic ironies, to knowledge that the characters are not privy to but that the narrator nevertheless knows and weaves into the story.
That being said, I think the reason why this novel didn't get a higher rating from me is that its writing relies more on narration and less on letting us see events unfold as they're happening. It wasn't so much a matter of telling rather than showing, but moreso that because we spend a lot of time learning about what happened through these characters' retrospective accounts, we don't get as many scenes that just feature characters talking to each other in the moment and, by extension, highlighting the dynamics they have with other characters.
Regardless, The Art of Losing was just an excellent novel. To me, it did what The Parisian failed to do: it combined the personal and the historical such that neither one undermined the other--and it did so in a way that really resonated with me. (If you enjoyed this novel, I also highly recommend N茅gar Djavadi's Disoriental , another novel that's very similar to this one except that it focuses on Iran instead of Algeria.) I honestly haven't heard many people talk about this book, so if you love multigenerational family sagas, I can't recommend this one enough.
April 18, 2020
螘蠉魏慰位畏 魏伪喂 纬蟻萎纬慰蟻畏 伪谓维纬谓蠅蟽畏 蟺伪蟻蠈蟿喂 蟿喂蟼 600+ 蟽蔚位委未蔚蟼 蟿慰蠀 . 螝蠉蟻喂慰 胃苇渭伪 慰 蟺蠈位蔚渭慰蟼 伪谓蔚尉伪蟻蟿畏蟽委伪蟼 蟿畏蟼 螒位纬苇蟻喂伪蟼 魏伪喂 慰喂 蟺蟻慰蔚魏蟿维蟽蔚喂蟼 蟿慰蠀 ( 蔚胃谓喂魏喂蟽渭蠈蟼 , 蟺蟻慰未慰蟽委伪 , 蔚渭蠁蠉位喂慰蟼 , 伪谓伪纬魏伪蟽蟿喂魏萎 渭蔚蟿伪谓维蟽蟿蔚蠀蟽畏 - 苇谓伪 蔚委未慰蟼 蟺蟻慰蟽蠁蠀纬喂维蟼 螒位纬蔚蟻喂谓蠋谓 蟽蟿畏 螕伪位位委伪 - 蟿慰 渭苇位位慰谓 蟿蠅谓 螒位纬蔚蟻喂谓蠋谓 蟽蟿畏谓 螕伪位位委伪 , 慰 蟻伪蟿蟽喂蟽渭蠈蟼 魏位蟺 ) . 螆渭伪胃伪 蟺蟻维纬渭伪蟿伪 蟿伪 慰蟺慰委伪 未蔚谓 纬谓蠋蟻喂味伪 魏伪喂 渭慰蠀 魏蟻维蟿畏蟽蔚 蟿慰 蔚谓未喂伪蠁苇蟻慰谓 伪渭蔚委蠅蟿慰 . 螚 伪蠁萎纬畏蟽畏 蟿畏蟼 Alice Zeniter 蟺蟻维纬渭伪蟿喂 纬慰畏蟿蔚蠀蟿喂魏萎 蠈蟺蠅蟼 位苇蔚喂 魏伪喂 蟿慰 慰蟺喂蟽胃蠈蠁蠀位位慰 . 螘谓蟿蠈蟺喂蟽伪 未蠉慰 伪未蠉谓伪蟿伪 蟽畏渭蔚委伪 蠈渭蠅蟼 . 螛伪 渭蟺慰蟻慰蠉蟽蔚 蟽委纬慰蠀蟻伪 谓伪 蔚委谓伪喂 200 蟽蔚位委未蔚蟼 位喂纬蠈蟿蔚蟻蔚蟼 - 蟺蟻维纬渭伪 蟺慰蠀 蔚渭苇谓伪 未蔚谓 渭蔚 蟺蔚委蟻伪尉蔚 尾苇尾伪喂伪 , 蟽蔚 伪蠀蟿蠈 蟿慰 timing 蟿慰蠀位维蠂喂蟽蟿慰谓 - 魏伪喂 未蔚蠉蟿蔚蟻慰谓 苇谓喂蠅蟽伪 蠈蟿喂 伪魏蟻慰尾伪蟿蔚委 渭蔚蟿伪尉蠉 蔚蟺喂蠁伪谓蔚喂伪魏蠋谓 蟽蟿慰喂蠂蔚委蠅谓 魏伪喂 慰蠀蟽委伪蟼 . 韦慰 蟺蟻慰蟿蔚委谓蠅 蟽伪谓 尾喂尾位委慰 伪位位维 谓慰渭委味蠅 蠈蟿喂 委蟽蠅蟼 苇谓伪蟼 伪谓伪纬谓蠋蟽蟿畏蟼 蟺慰蠀 蠄维蠂谓蔚喂 蟺喂慰 蟺慰位位维 谓伪 蟿慰蠀 伪蠁萎蟽蔚喂 渭喂伪 纬位蠀魏蠈蟺喂魏蟻畏 纬蔚蠉蟽畏 .
螒蟺蠈蟽蟺伪蟽渭伪 蟺慰蠀 渭慰蠀 维蟻蔚蟽蔚 蟺慰位蠉 纬喂伪蟿委 萎胃蔚位伪 谓伪 蟿慰 未蠅 纬蟻伪渭渭苇谓慰 蠈蟽慰 蟿慰 未喂维尾伪味伪:
[ - 螣 蟻伪蟿蟽喂蟽渭蠈蟼 蔚委谓伪喂 渭喂伪 蠂慰谓蟿蟻萎 畏位喂胃喂蠈蟿畏蟿伪 , 渭慰蠀纬魏蟻委味蔚喂 慰 螞伪位位维 伪蟺蔚蠀胃蠀谓蠈渭蔚谓慰蟼 蟽蟿畏 蟽蠉谓蟿蟻慰蠁蠈 蟿慰蠀 . 螘委谓伪喂 畏 蟺伪蟻畏魏渭伪蟽渭苇谓畏 魏伪喂 蠂蠀未伪委伪 渭慰蟻蠁萎 蟿畏蟼 蟺维位畏蟼 蟿蠅谓 蟿维尉蔚蠅谓 . 螘委谓伪喂 蟿慰 尾位伪魏蠅未蔚蟼 伪未喂苇尉慰未慰 蟿畏蟼 蔚尉苇纬蔚蟻蟽畏蟼 [ ... ] 螝维谓蔚喂蟼 未蔚谓 胃苇位蔚喂 蟺喂伪 谓伪 渭喂位维蔚喂 纬喂伪 蟿畏谓 蟺维位畏 蟿蠅谓 蟿维尉蔚蠅谓 蔚蟺蔚喂未萎 未蔚谓 蔚委谓伪喂 蟽苇尉喂 . 螝伪喂 蔚谓 蔚委未畏 谓蔚蠅蟿蔚蟻喂魏蠈蟿畏蟿伪蟼 , 蟺慰位喂蟿喂魏萎蟼 纬魏位伪渭慰蠀蟻喂伪蟼 , 蟿喂 蟽伪蟼 蟺蟻蠈蟿蔚喂谓伪谓 - 魏伪喂 蟿慰 蠂蔚喂蟻蠈蟿蔚蟻慰 蟿喂 未蔚蠂蟿畏魏伪蟿蔚 ; 韦畏谓 蔚蟺喂蟽蟿蟻慰蠁萎 蟽蟿慰 蔚胃谓慰蟿喂魏蠈 . 韦慰 味萎蟿畏渭伪 蟿蠅谓 魏慰喂谓慰蟿萎蟿蠅谓 蟽蟿畏 胃苇蟽畏 蟿慰蠀 味畏蟿萎渭伪蟿慰蟼 蟿蠅谓 蟿维尉蔚蠅谓 . ]
螒蟺蠈蟽蟺伪蟽渭伪 蟺慰蠀 渭慰蠀 维蟻蔚蟽蔚 蟺慰位蠉 纬喂伪蟿委 萎胃蔚位伪 谓伪 蟿慰 未蠅 纬蟻伪渭渭苇谓慰 蠈蟽慰 蟿慰 未喂维尾伪味伪:
[ - 螣 蟻伪蟿蟽喂蟽渭蠈蟼 蔚委谓伪喂 渭喂伪 蠂慰谓蟿蟻萎 畏位喂胃喂蠈蟿畏蟿伪 , 渭慰蠀纬魏蟻委味蔚喂 慰 螞伪位位维 伪蟺蔚蠀胃蠀谓蠈渭蔚谓慰蟼 蟽蟿畏 蟽蠉谓蟿蟻慰蠁蠈 蟿慰蠀 . 螘委谓伪喂 畏 蟺伪蟻畏魏渭伪蟽渭苇谓畏 魏伪喂 蠂蠀未伪委伪 渭慰蟻蠁萎 蟿畏蟼 蟺维位畏蟼 蟿蠅谓 蟿维尉蔚蠅谓 . 螘委谓伪喂 蟿慰 尾位伪魏蠅未蔚蟼 伪未喂苇尉慰未慰 蟿畏蟼 蔚尉苇纬蔚蟻蟽畏蟼 [ ... ] 螝维谓蔚喂蟼 未蔚谓 胃苇位蔚喂 蟺喂伪 谓伪 渭喂位维蔚喂 纬喂伪 蟿畏谓 蟺维位畏 蟿蠅谓 蟿维尉蔚蠅谓 蔚蟺蔚喂未萎 未蔚谓 蔚委谓伪喂 蟽苇尉喂 . 螝伪喂 蔚谓 蔚委未畏 谓蔚蠅蟿蔚蟻喂魏蠈蟿畏蟿伪蟼 , 蟺慰位喂蟿喂魏萎蟼 纬魏位伪渭慰蠀蟻喂伪蟼 , 蟿喂 蟽伪蟼 蟺蟻蠈蟿蔚喂谓伪谓 - 魏伪喂 蟿慰 蠂蔚喂蟻蠈蟿蔚蟻慰 蟿喂 未蔚蠂蟿畏魏伪蟿蔚 ; 韦畏谓 蔚蟺喂蟽蟿蟻慰蠁萎 蟽蟿慰 蔚胃谓慰蟿喂魏蠈 . 韦慰 味萎蟿畏渭伪 蟿蠅谓 魏慰喂谓慰蟿萎蟿蠅谓 蟽蟿畏 胃苇蟽畏 蟿慰蠀 味畏蟿萎渭伪蟿慰蟼 蟿蠅谓 蟿维尉蔚蠅谓 . ]
August 28, 2019
Some sections of really great writing, but in general, I found "The Art of Losing" to be slow and unengaging. It took me forever to get through this one. I think the main problem stems from the narrator, who feels too distant and removed and cold so that you don't really ever feel for the characters or become engaged in their story.
January 12, 2019
Nuova terra, stesso cielo
Cabilia, Lakhdaria, Algeria. Francia provenzale, Normandia, Parigi. Tre parti: Al矛, Hamid, Na茂ma. Il tempo scorre da Montecassino al decennio nero, dal contesto fratricida all'indipendenza del 1962, poi con un salto verso i giorni recenti. La coppia Al矛 e Yema, i nonni, hanno dieci figli, e trovano la fortuna nei frutti dell'ulivo sul suolo berbero; soldato in guerra con la Francia, Al矛 teme la violenza dei rivoluzionari e sceglie di restare dalla parte per cui ha combattuto, diventando un harki, sinonimo di traditore, nella realt脿 clanica e tribale della guerra civile. Quando 猫 il momento, emigra in Francia (centomila algerini hanno compiuto quel viaggio). Il piccolo Hamid si trova in un campo d'accoglienza, sopravvive, si disegna un nuovo destino, segue il suo personale maktoub. I familiari restano in Algeria, ma le terre vengono loro sottratte. Al矛 vivr脿 con la fede facendo l'operaio. Hamid 猫 sveglio, svolge diversi lavori, si integra, parla a malapena l'arabo (solo con le donne) e con il francese studia e si fa strada, verso un'identit脿, trovando lavoro e incontrando Clarissa, l'amore di una vita, una donna coraggiosa e spirituale, con la quale mette al mondo quattro sorelle, tra le quali Na茂ma. Na茂ma 猫 una giovane donna concreta e nobile e si occupa di arte; si dedica a un pittore di cultura amazigh per una retrospettiva e parte per l'Algeria alla ricerca dei suoi lavori, ma deve fare in fretta, perch茅 lui non ha tempo, 猫 molto malato. Il viaggio di Na茂ma sulle tracce dell'artista trova un senso di umanit脿 e scoperta di s茅 in un villaggio tra le montagne, dove vivono unite donne, bambini e uomini, imparando a convivere con le contrariet脿, stringendosi in fraternit脿 per non essere annientati, guardando oltre il disastro sul crinale che divide tragedia e semplicit脿, per un'altra possibile meraviglia, uno splendore triste ma naturale. Tra microstoria e genealogia affettiva, Zeniter scrive molto bene, con uno stile sicuro e denso, e coinvolge il lettore in una narrazione impegnata e sincera e racconta con intelligenza tenace e intima immedesimazione una storia che ha qualcosa di essenziale da comunicare.
Cabilia, Lakhdaria, Algeria. Francia provenzale, Normandia, Parigi. Tre parti: Al矛, Hamid, Na茂ma. Il tempo scorre da Montecassino al decennio nero, dal contesto fratricida all'indipendenza del 1962, poi con un salto verso i giorni recenti. La coppia Al矛 e Yema, i nonni, hanno dieci figli, e trovano la fortuna nei frutti dell'ulivo sul suolo berbero; soldato in guerra con la Francia, Al矛 teme la violenza dei rivoluzionari e sceglie di restare dalla parte per cui ha combattuto, diventando un harki, sinonimo di traditore, nella realt脿 clanica e tribale della guerra civile. Quando 猫 il momento, emigra in Francia (centomila algerini hanno compiuto quel viaggio). Il piccolo Hamid si trova in un campo d'accoglienza, sopravvive, si disegna un nuovo destino, segue il suo personale maktoub. I familiari restano in Algeria, ma le terre vengono loro sottratte. Al矛 vivr脿 con la fede facendo l'operaio. Hamid 猫 sveglio, svolge diversi lavori, si integra, parla a malapena l'arabo (solo con le donne) e con il francese studia e si fa strada, verso un'identit脿, trovando lavoro e incontrando Clarissa, l'amore di una vita, una donna coraggiosa e spirituale, con la quale mette al mondo quattro sorelle, tra le quali Na茂ma. Na茂ma 猫 una giovane donna concreta e nobile e si occupa di arte; si dedica a un pittore di cultura amazigh per una retrospettiva e parte per l'Algeria alla ricerca dei suoi lavori, ma deve fare in fretta, perch茅 lui non ha tempo, 猫 molto malato. Il viaggio di Na茂ma sulle tracce dell'artista trova un senso di umanit脿 e scoperta di s茅 in un villaggio tra le montagne, dove vivono unite donne, bambini e uomini, imparando a convivere con le contrariet脿, stringendosi in fraternit脿 per non essere annientati, guardando oltre il disastro sul crinale che divide tragedia e semplicit脿, per un'altra possibile meraviglia, uno splendore triste ma naturale. Tra microstoria e genealogia affettiva, Zeniter scrive molto bene, con uno stile sicuro e denso, e coinvolge il lettore in una narrazione impegnata e sincera e racconta con intelligenza tenace e intima immedesimazione una storia che ha qualcosa di essenziale da comunicare.
March 29, 2025
Kaybetme Sanat谋, yaln谋zca bir g枚莽 hik芒yesi de臒il, nesiller boyunca s眉ren bir kimlik ve aidiyet sanc谋s谋n谋n roman谋. Ali, Cezayir Ba臒谋ms谋zl谋k Sava艧谋鈥檔da yanl谋艧 tarafta kald谋臒谋 i莽in 眉lkesinden ka莽mak zorunda kal谋yor. Fransa鈥檡a s谋臒谋nan ailesi, m眉lteci kamplar谋nda hayatta kalmaya 莽al谋艧谋rken o臒lu Hamid ge莽mi艧i ink芒r etmeyi se莽iyor. Ama ink芒r etmek ge莽mi艧i silmeye yetmiyor. Hamid鈥檌n k谋z谋 Na茂ma, y谋llar sonra ailesinin sustu臒u hik芒yeyi anlamaya 莽al谋艧谋rken, Cezayir鈥檒e hi莽 temas etmemi艧 olmas谋na ra臒men oran谋n izlerini ruhunda ta艧谋d谋臒谋n谋 fark ediyor.Alice Zeniter, bir insan谋n yaln谋zca fiziksel olarak de臒il, zihinsel ve duygusal olarak da nas谋l s眉rg眉nde ya艧ayabilece臒ini anlat谋yor asl谋nda. G枚莽menlik burada bir olgu de臒il bir kader gibi. Unutmak ve sahiplenmek aras谋ndaki o sanc谋l谋 gelgitleri, bireyin kendi ge莽mi艧ine yabanc谋la艧mas谋n谋 o kadar g眉莽l眉 i艧leniyor ki, kitab谋 bitirdi臒inizde bu hik芒yeyi ya艧am谋艧 gibi hissediyorsunuz. B眉y眉k tarih anlat谋lar谋yla bireysel hik芒yelerin i莽 i莽e ge莽ti臒i, her c眉mlesi dolu dolu 莽arp谋c谋 bir roman. K枚t眉 bir ruh haliyle okumama ra臒men 莽ok ama 莽ok be臒endim.
September 23, 2023
Ah bu ne g眉zel bir romand谋 b枚yle. Uzun zamand谋r b枚yle zamana yay谋lan bir aile roman谋 okumam谋艧t谋m. 脟ok iyi geldi, 枚zlemi艧im. Kaybetme Sanat谋, Cezayirli bir ailenin hik芒yesini 眉莽 ku艧ak 眉zerinden anlat谋yor. Dede Ali, o臒ul Hamza ve Hamza'n谋n k谋z谋 Naima... Cezayir sava艧谋n谋, Fransa'ya g枚莽mek zorunda kalmalar谋n谋, ne Frans谋z ne Cezayirli olmalar谋n谋 dinliyoruz asl谋nda. Yazar t谋pk谋 bir arkeolog gibi katmanlar谋 枚zenle, ince ince a莽谋yor. Her karakterle ayr谋 ayr谋 ba臒 kurmam谋z谋, d枚nemin dinamiklerini iyi anlamam谋z谋 sa臒l谋yor. Bunu bir tarih kitab谋 s谋k谋c谋l谋臒谋nda anlatmaktansa sizi o s谋cak Cezayir'e elinizden tutup g枚t眉r眉r gibi yap谋yor. Yan karakterler de dahil herkesi iyi tan谋man谋z谋 istiyor. Ne ajitasyon yap谋yor ne de buzlu bir cam 莽ekip mesafe koyman谋za neden oluyor. Bilmiyorum daha nas谋l 枚vebilirim ama 莽ok sevdim. Kad谋n olmak, g枚莽men olmak, kimlik meselesi, dil ve ileti艧im, din ve inan莽 neredeyse ya艧ama dair her 艧eyi bulmak m眉mk眉n bu romanda. Bence yak谋nda daha pop眉ler olacak ve daha 莽ok okunacak bu g眉zel roman. Kal谋nl谋臒谋 korkutmas谋n su gibi ak谋yor.
March 12, 2025
Le silence en h茅ritage, la volont茅 de transmettre.
Gr芒ce 脿 cette fresque familiale sur trois g茅n茅rations, Alice Zeniter r茅ussit le petit exploit, non pas de brosser un portait complet de l'Alg茅rie sur 70 ans, mais d'en sonder suffisamment d'aspects et d'asperit茅s pour en faire un grand roman.
D'une narration implacable et accessible 脿 tous, le livre se d茅vore peu importe les ann茅es abord茅es. En partant des "troubles" pour arriver aux attentats de Paris, Na茂ma, le personnage principal, se lance dans l'茅criture de l'histoire de sa famille. Pleine de creux, d'absences et silences, elle fouille pour pouvoir les combler : qui 茅tait ce grand-p猫re harki qui n'a jamais pu lui raconter son Algerie ? Pourquoi son p猫re refuse d'en parler et interdit la famille d'y aller ? Et enfin, pourquoi se sent-elle si peu alg茅rienne tout en voulant 脿 tout prix le devenir ?
Certes la lecture se fait sans 茅clat, l'autrice n'use et n'abuse pas de figures de styles alambiqu茅es, les cr锚tes kabyles restent dans le paysage et ne viennent pas teindre l'茅criture du roman mais c'est cette facilit茅 apparente qui m'a plu. Ces gestes du quotidiens que font tour 脿 tour les personnages, leurs r茅flexions sur leur vie en Algerie, puis dans les camps de r茅fugi茅s, puis dans les HLM et enfin 脿 Paris, leur propre regard sur leur condition servent le texte. Chacun peut y voir ce que l'autrice a 脿 nous r茅v茅ler et permet une excellente compr茅hension du texte.
Malgr茅 une troisi猫me partie qui m'a moins convaincue que les deux premi猫res tant il est difficile de m锚ler l'Histoire 脿 l'hyper actualit茅, j'ai trouv茅 que le roman 茅tait excellent et je suis ravi que tant de lyc茅ens aient pu le lire (et lui d茅cerner ce prix Goncourt des lyc茅ens). Je n'en suis d'ailleurs pas 茅tonn茅.
Gr芒ce 脿 cette fresque familiale sur trois g茅n茅rations, Alice Zeniter r茅ussit le petit exploit, non pas de brosser un portait complet de l'Alg茅rie sur 70 ans, mais d'en sonder suffisamment d'aspects et d'asperit茅s pour en faire un grand roman.
D'une narration implacable et accessible 脿 tous, le livre se d茅vore peu importe les ann茅es abord茅es. En partant des "troubles" pour arriver aux attentats de Paris, Na茂ma, le personnage principal, se lance dans l'茅criture de l'histoire de sa famille. Pleine de creux, d'absences et silences, elle fouille pour pouvoir les combler : qui 茅tait ce grand-p猫re harki qui n'a jamais pu lui raconter son Algerie ? Pourquoi son p猫re refuse d'en parler et interdit la famille d'y aller ? Et enfin, pourquoi se sent-elle si peu alg茅rienne tout en voulant 脿 tout prix le devenir ?
Certes la lecture se fait sans 茅clat, l'autrice n'use et n'abuse pas de figures de styles alambiqu茅es, les cr锚tes kabyles restent dans le paysage et ne viennent pas teindre l'茅criture du roman mais c'est cette facilit茅 apparente qui m'a plu. Ces gestes du quotidiens que font tour 脿 tour les personnages, leurs r茅flexions sur leur vie en Algerie, puis dans les camps de r茅fugi茅s, puis dans les HLM et enfin 脿 Paris, leur propre regard sur leur condition servent le texte. Chacun peut y voir ce que l'autrice a 脿 nous r茅v茅ler et permet une excellente compr茅hension du texte.
Malgr茅 une troisi猫me partie qui m'a moins convaincue que les deux premi猫res tant il est difficile de m锚ler l'Histoire 脿 l'hyper actualit茅, j'ai trouv茅 que le roman 茅tait excellent et je suis ravi que tant de lyc茅ens aient pu le lire (et lui d茅cerner ce prix Goncourt des lyc茅ens). Je n'en suis d'ailleurs pas 茅tonn茅.
March 13, 2024
Un vrai coup de c艙ur.
Je ne peux que recommander ce livre, tr猫s bien 茅crit, m锚me si un peu dense parfois, 脿 tous ceux qui s'int茅ressent a l'Alg茅rie, aux racines et au fait de trouver sa place.
Je ne peux que recommander ce livre, tr猫s bien 茅crit, m锚me si un peu dense parfois, 脿 tous ceux qui s'int茅ressent a l'Alg茅rie, aux racines et au fait de trouver sa place.
September 16, 2023
賲乇丕噩毓丞 賲氐賵乇丞 賱賱乇賵丕賷丞 賮賷 丿賵丿丞 賰鬲亘
乇賵丕賷丕鬲 亘鬲賰賱賲 亘毓囟 | 爻丐丕賱 丕賱賴賵賷丞 #佟 | Writing about Identity
鈥�
乇賵丕賷丕鬲 亘鬲賰賱賲 亘毓囟 | 爻丐丕賱 丕賱賴賵賷丞 #佟 | Writing about Identity
鈥�
February 16, 2023
Three generations of a family, beginning with Ali, born in a mountain village of the Kabyle region of northern Algeria, his son Hamid, also born there but whisked away to France with his parents in 1962 when threats and violence arrived in the village, endangering their lives - to Naima, born in France - the one who seeks the answers to questions about who they are, why they had to leave and the stigma that surrounds their identity.
Written in 3 parts, each one is a total immersion in that era and life, showing how swiftly families change when they cross into another culture, how foreign they become to their own, how important it is to heal the wounds of the past, to acknowledge, understand and have tolerance for differences; how fear passes down ancestral lines, how connection is important.
On discovering her father and therefore her family are referred to as harki, Naima sets out to discover what exactly this means and what her grandfather and others like him might have done to be so distrusted by their own. Despised at home and unwelcome in the country that has given them citizenship due to their efforts and support during WW2.
The path to acceptance is a lonely road and an almost impossible one without losing one's identity completely; however something must be let go, given up and each successive generation moves further away from their roots, knowing less and less about who they were.
Naima's investigation into her grandfather Ali's past, reminds us of others who joined the cause to fight in WW2, of the Battle of Monte Cassino, in Italy, where he fought and as a consequence, for defending France, for being a war veteran, became perceived by many in his own country as a traitor.
As I read about this, I had to stop and go and check a few of my own ancestral documents and sure enough, my grandfather too fought in the Battle of Monte Cassino, a raw subject he never talked of, had nightmares about for years and lost his best friend there. In his division alone 1,600 lost their lives.
The Art of Losing brilliantly portrays these lives over three generations to bring Algerian history alive in a way that is rare to come across. Though there is a depth of research behind it, the pace never slows, in the hands of this storyteller, artfully using her characters, their relationships and circumstances to present an historical perspective and explain why sometimes silence and burying ones pain seem like the only way to survive, to manage disappointment. But then successive generations are challenged in relationships to break old patterns and heal wounds they may have inherited without even knowing the cause.
The novel ends with a retrospective art exhibition of a man Lalla, named in homage to Lalla Fatma N'Soumer(1830-1863) a Kabylan leader of resistance against the French, an Algerian Joan of Arc.
The original French version l'art de perdre was published in 2017, the English translation in 2021, and in Sept 2021 the French president Emmanuel Macron, made an official apology and asked for forgiveness for the French treatment of Algerian Harki fighters, for abandoning them during their home country's war of independence.
Trapped in Algeria, many were massacred as the country's new leaders took brutal revenge.
Thousand of others were placed in camps in France, often with their families, in degrading and traumatising conditions.
Full review on my blog
Written in 3 parts, each one is a total immersion in that era and life, showing how swiftly families change when they cross into another culture, how foreign they become to their own, how important it is to heal the wounds of the past, to acknowledge, understand and have tolerance for differences; how fear passes down ancestral lines, how connection is important.
On discovering her father and therefore her family are referred to as harki, Naima sets out to discover what exactly this means and what her grandfather and others like him might have done to be so distrusted by their own. Despised at home and unwelcome in the country that has given them citizenship due to their efforts and support during WW2.
The path to acceptance is a lonely road and an almost impossible one without losing one's identity completely; however something must be let go, given up and each successive generation moves further away from their roots, knowing less and less about who they were.
Naima's investigation into her grandfather Ali's past, reminds us of others who joined the cause to fight in WW2, of the Battle of Monte Cassino, in Italy, where he fought and as a consequence, for defending France, for being a war veteran, became perceived by many in his own country as a traitor.
As I read about this, I had to stop and go and check a few of my own ancestral documents and sure enough, my grandfather too fought in the Battle of Monte Cassino, a raw subject he never talked of, had nightmares about for years and lost his best friend there. In his division alone 1,600 lost their lives.
The Art of Losing brilliantly portrays these lives over three generations to bring Algerian history alive in a way that is rare to come across. Though there is a depth of research behind it, the pace never slows, in the hands of this storyteller, artfully using her characters, their relationships and circumstances to present an historical perspective and explain why sometimes silence and burying ones pain seem like the only way to survive, to manage disappointment. But then successive generations are challenged in relationships to break old patterns and heal wounds they may have inherited without even knowing the cause.
The novel ends with a retrospective art exhibition of a man Lalla, named in homage to Lalla Fatma N'Soumer(1830-1863) a Kabylan leader of resistance against the French, an Algerian Joan of Arc.
History is written by the victors, Naima thinks as she drifts off to sleep. This is an established fact, it is what makes it possible for history to exist in only one version. But when the vanquished refuse to admit defeat, when, despite their defeat, they continue writing their own version of history right up to the last second, when the victors for their part, write their history retrospectively to show the inevitability of their victory, then the contradictory versions on either side of the Mediterranean seem less like history than justifications or rationalizations sprinkled with dates and dressed up as history.
Perhaps that is what kept former residents of Bias so close to the camp they loathed; the could not bring themselves to break up a community that had reached an agreement on the version of history that suited them. Perhaps this is a foundation of communal life that is too often overlooked yet absolutely essential.
The original French version l'art de perdre was published in 2017, the English translation in 2021, and in Sept 2021 the French president Emmanuel Macron, made an official apology and asked for forgiveness for the French treatment of Algerian Harki fighters, for abandoning them during their home country's war of independence.
Trapped in Algeria, many were massacred as the country's new leaders took brutal revenge.
Thousand of others were placed in camps in France, often with their families, in degrading and traumatising conditions.
Full review on my blog
May 12, 2019
I was a bit hesitant to pick this up because in the past, French literature and I have not been the best of friends. Sure, I've read some, but never really liked anything (more like, usually disliked what I've made myself read). But this book, oh my. I wanted to devour it all at once and savor it for as long as I could.
This novel tells the story of three generations, from Algeria to France. From being someone important and respected to being someone looked down upon to being someone who's there but people don't really know what to think of them - nor do they themselves know. This is a story about war and finding peace, a story about finding oneself, a story about cultures, a story about immigration, a story about art.
While this was for the most part a story about men and how they've lived through the years, I was pleased that the women were also fleshed out, they had a story - at least Na茂ma. I admit I know very little about French history and its colonialist past, so this was a great history lesson in that through the eyes of those on the receiving end. It's also more topical and current than you'd expect from a mostly historical novel: it deals with the theme of immigration, racism, people's attitudes and shows you how little has actually changed over the years. (And it's not always certain those changes are for the better.)
There is some underlying politics stuff that I kind of wish had been discussed more - mostly because, again, I know next to nothing about this topic. But it also works like this, you can always look up things yourself and read more.
In the end, I see this as a book about identity. Deep down it tries to answer the question of who you are, how you see yourself and how other see you, why are those things different and why it matters. This is a gem of a book and I fear it'll go unnoticed by many. Let's face it, the past few years have seen a flood of novels with themes similar to this. However, I do feel this stands out. Give it a chance. You'll be rewarded.
This novel tells the story of three generations, from Algeria to France. From being someone important and respected to being someone looked down upon to being someone who's there but people don't really know what to think of them - nor do they themselves know. This is a story about war and finding peace, a story about finding oneself, a story about cultures, a story about immigration, a story about art.
While this was for the most part a story about men and how they've lived through the years, I was pleased that the women were also fleshed out, they had a story - at least Na茂ma. I admit I know very little about French history and its colonialist past, so this was a great history lesson in that through the eyes of those on the receiving end. It's also more topical and current than you'd expect from a mostly historical novel: it deals with the theme of immigration, racism, people's attitudes and shows you how little has actually changed over the years. (And it's not always certain those changes are for the better.)
There is some underlying politics stuff that I kind of wish had been discussed more - mostly because, again, I know next to nothing about this topic. But it also works like this, you can always look up things yourself and read more.
In the end, I see this as a book about identity. Deep down it tries to answer the question of who you are, how you see yourself and how other see you, why are those things different and why it matters. This is a gem of a book and I fear it'll go unnoticed by many. Let's face it, the past few years have seen a flood of novels with themes similar to this. However, I do feel this stands out. Give it a chance. You'll be rewarded.
October 8, 2023
bitti. sevmeme, hatta bir noktadan sonra 莽ok sevmeme ra臒men bu kadar uzun s眉rede okuyu艧umu kendi k眉莽眉k g枚莽 hik芒yemle kitaptaki b眉y眉k g枚莽 hik芒yesinin ayn谋 zamana denk gelmesi ve bu iki hik芒yenin benze艧ti臒i yerlerin beni biraz yava艧latmas谋na, durup d眉艧眉nd眉rmesine ba臒l谋yorum. kaybetme sanat谋 g枚莽le, kimlikle, aidiyetle ilgili bir kitap. ba臒lar谋n y眉klere d枚n眉艧mesini, kimli臒in h眉km眉n眉 yitirmesini anlat谋yor 眉莽 ku艧a臒谋n cezayir-fransa hatt谋nda ya艧ad谋klar谋yla. ilk ku艧a臒谋 ali'den, ikinci ku艧a臒谋 hamid'den, 眉莽眉nc眉 ku艧a臒谋 ise na茂ma'dan okuyoruz. ali'nin fransa'yla minnet ve nefret dolu ili艧kisi, hamid'in cezayir'le t眉m an谋lar谋 ka莽谋艧 s眉recinden olu艧an travmatize olmu艧 ba臒谋 ve 枚teki yakas谋ndaki o "gitmesek de g枚rmesek de" 眉lkesiyle fransa aras谋nda akdeniz'in hem s谋n谋r hem k枚pr眉 oldu臒u na茂ma'n谋n yolculu臒u. o kadar g眉zel anlat谋lm谋艧, 莽ok k谋sa yer tutan karakterlerin 枚yk眉leri bile 枚yle detaylarla aktar谋lm谋艧t谋 ki kitap bir be艧 y眉z k眉sur sayfa daha olsa yine okuturdu herhalde. cezayir ve fransa aras谋nda olup bitenler benim 莽ok y眉zeysel ve pek 莽ok a莽谋dan yalan yanl谋艧 bildi臒im 艧eylermi艧, bunu da kitab谋 okurken 枚臒rendim. 347-356 aras谋ndaki b枚l眉m 莽ok a臒latt谋 beni, yazar谋n da yazarken a臒lad谋臒谋 y枚n眉nde bir sezim olu艧tu, bilmiyorum tabii. g枚莽e dair anlat谋lar, hele 眉莽眉nc眉 ku艧aktan itibaren yaz谋l谋p 莽izilenlerin (ve sahnelenenler de elbette) tad谋 bamba艧ka benim i莽in. na茂ma'n谋n da dedi臒i gibi, "biri sustu臒u zaman, di臒erleri onunla ilgili olarak daima ve neredeyse her seferinde yan谋l谋yorlar." o y眉zden g枚莽眉, aidiyeti dert edenler iyi ki yaz谋yor b枚yle. berberi dilinden bu 艧ark谋yla bitireyim:
November 19, 2021
螒谓伪渭蠁喂蟽尾萎蟿畏蟿伪 蟽蟺慰蠀未伪委慰 蠈蟽慰谓 伪蠁慰蟻维 蟿畏 未慰蠀位蔚喂维 蟺慰蠀 苇蠂蔚喂 纬委谓蔚喂, 蟺位慰蠉蟽喂慰 蟽蔚 喂蟽蟿慰蟻喂魏维 蟽蟿慰喂蠂蔚委伪, 渭蔚 "苇蠂伪蟽蔚" 蟽蔚 伪蟻魏蔚蟿维 蟽畏渭蔚委伪 慰 蟿蟻蠈蟺慰蟼 伪蠁萎纬畏蟽畏蟼.
3.5猸�
3.5猸�
April 15, 2019
Mah. La riassumo cos矛 la mia recensione. Ho letto robe enormi su sto romanzo, commenti che gridano al capolavoro, entusiasmo sommo contenuto in poche righe. Mi imbarco su un volo breve e comincio a leggere piena di aspettative. Trovo gi脿 le prime trenta pagine abbastanza faticose, non un buon segno per me che non sono certo abituata a leggere Topolino (o non solo perlomeno, perch茅 anche il topastro le leggo sempre volentieri. Ahi, mi dico. Non sono una grande amante delle saghe familiari ma non le detesto nemmeno ma in questo libro non mi piace quasi niente. Non riesco a trovare un filo che mi leghi, non mi appassiono ai personaggi (non mi ricordo gi脿 pi霉 i nomi), trovo tutto un po' insipido, un po' scontato. Ed 猫 un peccato perch茅 i temi ci sono tutti: l'immigrazione, le seconde generazioni, la difficolt脿 della fuga, la difficolt脿 di integrarsi, la paura di ricordare. Ma niente, non mi 猫 arrivato nulla. La scrittura, forse, 猫 un po' didascalica,c'猫 troppo, 猫 un romanzo che, a parere mio, andava sfoltito, c'猫 molto da togliere.
E' un po' come quando ordini un Negroni sbagliato, con aspettative altissime, per capirci come lo fanno al Radetzky a Milano. Poi arriva e ha le proporzioni sbagliate e ti viene una tristezza che solo chi ha provato pu貌 capire.
E' un po' come quando ordini un Negroni sbagliato, con aspettative altissime, per capirci come lo fanno al Radetzky a Milano. Poi arriva e ha le proporzioni sbagliate e ti viene una tristezza che solo chi ha provato pu貌 capire.
May 31, 2023
韦慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 蟿慰 苇蟺喂伪谓伪 魏伪喂蟻蠈 蟽蟿伪 蠂苇蟻喂伪 渭慰蠀. 螆蠂慰谓蟿伪蟼 蟿畏谓 伪委蟽胃畏蟽畏 蟺蠅蟼 蔚委谓伪喂 伪蟺伪喂蟿畏蟿喂魏蠈 蔚委蠂伪 伪蟺慰蟿蟻伪蟺蔚委 谓伪 蟿慰 尉蔚魏喂谓萎蟽蠅. 螆魏伪谓伪 位维胃慰蟼! 螝蠀位维蔚喂 蟿蠈蟽慰 纬蟻萎纬慰蟻伪 蟺慰蠀 蔚谓蠋 蟽蟿伪渭伪蟿慰蠉蟽伪 蟽蟿喂蟼 50 蟽蔚位委未蔚蟼 蟽蠀谓苇蠂蔚喂伪 蟺蟻慰蠂蠅蟻慰蠉蟽伪 蟿畏谓 伪谓维纬谓蠅蟽畏 蟺伪蟻伪魏维蟿蠅.
惟蟼 纬谓蠋渭慰谓伪 蟿慰谓 蟺蠈位蔚渭慰 蟽蟿畏谓 螒位纬蔚蟻委伪 畏 蟽蠀纬纬蟻伪蠁苇伪蟼 胃委纬蔚喂 蟿伪 胃苇渭伪蟿伪 蟿畏蟼 伪蟺慰喂魏喂慰魏蟻伪蟿委伪蟼, 蟿畏蟼 渭蔚蟿伪谓维蟽蟿蔚蠀蟽畏蟼 魏伪喂 蟿畏蟼 伪谓伪味萎蟿畏蟽畏蟼 蟿伪蠀蟿蠈蟿畏蟿伪蟼.
螚 伪蠁萎纬畏蟽畏 魏维谓蔚喂 魏蠉魏位慰 伪蠁慰蠉 伪蟻蠂委味蔚喂 魏伪喂 蟿蔚位蔚喂蠋谓蔚喂 渭蔚 蟿慰 委未喂慰 蟺蟻蠈蟽蠅蟺慰. 螆蠂慰蠀渭蔚 蟿伪 尾喂蠋渭伪蟿伪 渭喂伪蟼 慰喂魏慰纬苇谓蔚喂伪蟼 蟿蟻喂蠋谓 纬蔚谓蔚蠋谓. 螢蔚魏喂谓维蔚喂 渭蔚 蟿畏谓 蟿蟻委蟿畏 纬蔚谓喂维, 蟿畏谓 蔚纬纬慰谓萎, 畏 慰蟺慰委伪 蟺蟻慰蟽蟺伪胃蔚委 谓伪 纬谓蠅蟻委蟽蔚喂 蟿畏谓 喂蟽蟿慰蟻委伪 蟿畏蟼 蟺伪蟿蟻委未伪蟼 蟿畏蟼. 螞蠈纬蠅 蟿慰蠀 蟺慰位苇渭慰蠀 伪谓伪纬魏维蟽蟿畏魏伪谓 慰喂 纬慰谓蔚委蟼 蟿畏蟼 谓伪 纬委谓慰蠀谓 蟺蟻蠈蟽蠁蠀纬蔚蟼. 螣喂 蟺伪蟺蟺慰蠉未蔚蟼 魏伪喂 慰喂 纬慰谓蔚委蟼 蟿畏蟼 尾委蠅蟽伪谓 蟿慰谓 蟽蟿喂纬渭伪蟿喂蟽渭蠈, 蟿喂蟼 魏伪魏慰蠀蠂委蔚蟼, 蟿畏谓 伪蟺蠋位蔚喂伪 魏伪喂 蟿慰谓 蟻伪蟿蟽喂蟽渭蠈. 螚 螡伪蠆渭维 胃苇位蔚喂 谓伪 蔚蟺喂蟽蟿蟻苇蠄蔚喂 蟽蟿慰谓 蟿蠈蟺慰 魏伪蟿伪纬蠅纬萎蟼 蟿畏蟼 伪谓伪味畏蟿蠋谓蟿伪蟼 蟿畏谓 蔚胃谓喂魏萎 蟿畏蟼 蟿伪蠀蟿蠈蟿畏蟿伪.
螤畏纬伪委谓蔚喂 魏蠈谓蟿蟻伪 蟽蟿伪 蟺喂蟽蟿蔚蠉蠅 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼, 未蔚 蠁慰尾维蟿伪喂, 未蔚 渭蔚蟿伪谓喂蠋谓蔚喂. 螢蔚未喂蟺位蠋谓蔚喂 位慰喂蟺蠈谓, 畏 蟽蠀纬纬蟻伪蠁苇伪蟼 渭喂伪 喂蟽蟿慰蟻委伪 蟺慰蠀 纬谓蠅蟻委味蔚喂 魏维胃蔚 位伪蠈蟼 蟽蔚 蟺蔚蟻委慰未慰 蟺慰位苇渭慰蠀鈥� 魏维胃蔚 位伪蠈蟼 蟺慰蠀 伪谓伪味畏蟿维 渭喂伪 谓苇伪 蟺伪蟿蟻委未伪, 渭喂伪 谓苇伪 味蠅萎, 蠁喂位萎蟽蠀蠂畏, 蠂蠅蟻委蟼 蔚胃谓喂魏苇蟼 伪谓伪蟿伪蟻维尉蔚喂蟼 魏 蟽蠀纬魏蟻慰蠉蟽蔚喂蟼.
危蟿蠈蠂慰蟼 蟿畏蟼 畏 蔚谓蟽蠅渭维蟿蠅蟽畏 蔚谓蠈蟼 蟺蟻慰蟽蠁蠀纬喂魏慰蠉 位伪慰蠉 蟽蟿喂蟼 魏伪喂谓慰蠉蟻纬喂蔚蟼 蠂蠋蟻蔚蟼 魏伪喂 畏 蔚蟺伪谓苇谓蟿伪尉畏 蟽蟿畏谓 魏慰喂谓蠅谓委伪.
惟蟼 纬谓蠋渭慰谓伪 蟿慰谓 蟺蠈位蔚渭慰 蟽蟿畏谓 螒位纬蔚蟻委伪 畏 蟽蠀纬纬蟻伪蠁苇伪蟼 胃委纬蔚喂 蟿伪 胃苇渭伪蟿伪 蟿畏蟼 伪蟺慰喂魏喂慰魏蟻伪蟿委伪蟼, 蟿畏蟼 渭蔚蟿伪谓维蟽蟿蔚蠀蟽畏蟼 魏伪喂 蟿畏蟼 伪谓伪味萎蟿畏蟽畏蟼 蟿伪蠀蟿蠈蟿畏蟿伪蟼.
螚 伪蠁萎纬畏蟽畏 魏维谓蔚喂 魏蠉魏位慰 伪蠁慰蠉 伪蟻蠂委味蔚喂 魏伪喂 蟿蔚位蔚喂蠋谓蔚喂 渭蔚 蟿慰 委未喂慰 蟺蟻蠈蟽蠅蟺慰. 螆蠂慰蠀渭蔚 蟿伪 尾喂蠋渭伪蟿伪 渭喂伪蟼 慰喂魏慰纬苇谓蔚喂伪蟼 蟿蟻喂蠋谓 纬蔚谓蔚蠋谓. 螢蔚魏喂谓维蔚喂 渭蔚 蟿畏谓 蟿蟻委蟿畏 纬蔚谓喂维, 蟿畏谓 蔚纬纬慰谓萎, 畏 慰蟺慰委伪 蟺蟻慰蟽蟺伪胃蔚委 谓伪 纬谓蠅蟻委蟽蔚喂 蟿畏谓 喂蟽蟿慰蟻委伪 蟿畏蟼 蟺伪蟿蟻委未伪蟼 蟿畏蟼. 螞蠈纬蠅 蟿慰蠀 蟺慰位苇渭慰蠀 伪谓伪纬魏维蟽蟿畏魏伪谓 慰喂 纬慰谓蔚委蟼 蟿畏蟼 谓伪 纬委谓慰蠀谓 蟺蟻蠈蟽蠁蠀纬蔚蟼. 螣喂 蟺伪蟺蟺慰蠉未蔚蟼 魏伪喂 慰喂 纬慰谓蔚委蟼 蟿畏蟼 尾委蠅蟽伪谓 蟿慰谓 蟽蟿喂纬渭伪蟿喂蟽渭蠈, 蟿喂蟼 魏伪魏慰蠀蠂委蔚蟼, 蟿畏谓 伪蟺蠋位蔚喂伪 魏伪喂 蟿慰谓 蟻伪蟿蟽喂蟽渭蠈. 螚 螡伪蠆渭维 胃苇位蔚喂 谓伪 蔚蟺喂蟽蟿蟻苇蠄蔚喂 蟽蟿慰谓 蟿蠈蟺慰 魏伪蟿伪纬蠅纬萎蟼 蟿畏蟼 伪谓伪味畏蟿蠋谓蟿伪蟼 蟿畏谓 蔚胃谓喂魏萎 蟿畏蟼 蟿伪蠀蟿蠈蟿畏蟿伪.
螤畏纬伪委谓蔚喂 魏蠈谓蟿蟻伪 蟽蟿伪 蟺喂蟽蟿蔚蠉蠅 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼, 未蔚 蠁慰尾维蟿伪喂, 未蔚 渭蔚蟿伪谓喂蠋谓蔚喂. 螢蔚未喂蟺位蠋谓蔚喂 位慰喂蟺蠈谓, 畏 蟽蠀纬纬蟻伪蠁苇伪蟼 渭喂伪 喂蟽蟿慰蟻委伪 蟺慰蠀 纬谓蠅蟻委味蔚喂 魏维胃蔚 位伪蠈蟼 蟽蔚 蟺蔚蟻委慰未慰 蟺慰位苇渭慰蠀鈥� 魏维胃蔚 位伪蠈蟼 蟺慰蠀 伪谓伪味畏蟿维 渭喂伪 谓苇伪 蟺伪蟿蟻委未伪, 渭喂伪 谓苇伪 味蠅萎, 蠁喂位萎蟽蠀蠂畏, 蠂蠅蟻委蟼 蔚胃谓喂魏苇蟼 伪谓伪蟿伪蟻维尉蔚喂蟼 魏 蟽蠀纬魏蟻慰蠉蟽蔚喂蟼.
危蟿蠈蠂慰蟼 蟿畏蟼 畏 蔚谓蟽蠅渭维蟿蠅蟽畏 蔚谓蠈蟼 蟺蟻慰蟽蠁蠀纬喂魏慰蠉 位伪慰蠉 蟽蟿喂蟼 魏伪喂谓慰蠉蟻纬喂蔚蟼 蠂蠋蟻蔚蟼 魏伪喂 畏 蔚蟺伪谓苇谓蟿伪尉畏 蟽蟿畏谓 魏慰喂谓蠅谓委伪.
October 12, 2022
This was a perfect read for me. It is great with its information design, characterization, premise, description, overall prose, and how it handles time--everything about it was catnip to me. I imagine if you know quite a bit about the Algerian-Franch conflict and fallout the bark in this bite might be tempered, but I really only knew the broad strokes. There's a mystery placed at the heart of the narration which was really engaging to me, and that was Who is the narrator and why is it a duel timeline? Both questions were highly effective and came with some payoff. It doesn't feel like it's trying to provide catharsis, talk down to the reader, or exist to educate. It is really hard to pull off this kind of book, and this makes it look absolutely effortless. A standard to which I will measure books like it and a favorite of the year, hands down.
I did not want it to end and will reread it in the future. I am already anticipating it.
I did not want it to end and will reread it in the future. I am already anticipating it.
November 20, 2023
鈥樐発i 艧ehir kaybettim, iki g眉zel 艧ehir. Topraklar谋m vard谋 u莽suz bucaks谋z, iki nehrim, varl谋臒谋m koca bir k谋tayd谋.
Ar谋yorum hepsini. Ama bir felaket say谋lmaz kaybolmalar谋.鈥�
.
Elizabet Bishop鈥櫮眓 One Art adl谋 艧iirinden bu dizeler sizi tam da Alice Zeniter鈥檌n kaybedilenleri anlatt谋臒谋 eserine g枚t眉r眉yor. 1962 y谋l谋nda Cezayir鈥檇en Fransa鈥檡a g枚莽 eden bir ailenin d眉n眉ne, bug眉n眉ne ve muhtemel yar谋n谋na.
1830鈥檇a ba艧l谋yor hikaye, Fransa鈥檔谋n Cezayir鈥檈 geli艧iyle, ve onlarca y谋l s眉r眉yor.
.
G枚莽, az谋nl谋klar, aidiyet ve k枚ks眉zl眉k gibi b眉y眉k b眉y眉k ba艧l谋klar谋n her birine ustal谋kla de臒iniyor Zeniter, hatta yan ba艧l谋klar da a莽谋yor her karakteriyle: Yema鈥檡la kad谋nl谋臒谋 d眉艧眉n眉yoruz, Ali ile gururu, Hamid ile unutman谋n dayan谋lmaz a臒谋rl谋臒谋n谋. Ve Zeniter iki 眉lkenin aras谋ndaki uzun ge莽mi艧i anlat谋rken kendi topraklar谋nda hain olarak adland谋r谋lan (harki) bir aileyi anlatmay谋 se莽iyor. Bu se莽im, anlat谋lan her 艧eyin iki taraf谋n谋 da dinlememiz i莽in bir 艧ans oluyor.
Kimseye tam anlam谋yla k谋zam谋yoruz.
Cezayir鈥檇e hain, Fransa鈥檇a Cezayirli olan o aileyi ilmek ilmek olu艧turuyoruz zihnimizde. Engin zeytin bah莽elerinden d枚rt duvar bir fabrikan谋n 莽arklar谋na dal谋p gitmenin nas谋l olaca臒谋n谋 d眉艧眉n眉yoruz, kendi anne babas谋n谋n dilini konu艧amaman谋n ne demek olabilice臒ini de鈥�
Kurgusuyla, her bir karaktere hak verebilece臒im yans谋zl谋臒谋yla, sava艧lar谋n-i艧gallerin ac谋mas谋z so臒uklu臒unu iliklerime kadar hissetmemi sa臒lay谋艧谋yla 莽ok sevdim Kaybetme Sanat谋鈥檔谋.
Dilerim herkes okusun, dilerim kitaptaki her bir duyguyu sadece izlemeyi de臒il anlayabilmemize de arac谋 olsun.
.
艦irin Erkan Leitao enfes 莽evirisiyle~
Ar谋yorum hepsini. Ama bir felaket say谋lmaz kaybolmalar谋.鈥�
.
Elizabet Bishop鈥櫮眓 One Art adl谋 艧iirinden bu dizeler sizi tam da Alice Zeniter鈥檌n kaybedilenleri anlatt谋臒谋 eserine g枚t眉r眉yor. 1962 y谋l谋nda Cezayir鈥檇en Fransa鈥檡a g枚莽 eden bir ailenin d眉n眉ne, bug眉n眉ne ve muhtemel yar谋n谋na.
1830鈥檇a ba艧l谋yor hikaye, Fransa鈥檔谋n Cezayir鈥檈 geli艧iyle, ve onlarca y谋l s眉r眉yor.
.
G枚莽, az谋nl谋klar, aidiyet ve k枚ks眉zl眉k gibi b眉y眉k b眉y眉k ba艧l谋klar谋n her birine ustal谋kla de臒iniyor Zeniter, hatta yan ba艧l谋klar da a莽谋yor her karakteriyle: Yema鈥檡la kad谋nl谋臒谋 d眉艧眉n眉yoruz, Ali ile gururu, Hamid ile unutman谋n dayan谋lmaz a臒谋rl谋臒谋n谋. Ve Zeniter iki 眉lkenin aras谋ndaki uzun ge莽mi艧i anlat谋rken kendi topraklar谋nda hain olarak adland谋r谋lan (harki) bir aileyi anlatmay谋 se莽iyor. Bu se莽im, anlat谋lan her 艧eyin iki taraf谋n谋 da dinlememiz i莽in bir 艧ans oluyor.
Kimseye tam anlam谋yla k谋zam谋yoruz.
Cezayir鈥檇e hain, Fransa鈥檇a Cezayirli olan o aileyi ilmek ilmek olu艧turuyoruz zihnimizde. Engin zeytin bah莽elerinden d枚rt duvar bir fabrikan谋n 莽arklar谋na dal谋p gitmenin nas谋l olaca臒谋n谋 d眉艧眉n眉yoruz, kendi anne babas谋n谋n dilini konu艧amaman谋n ne demek olabilice臒ini de鈥�
Kurgusuyla, her bir karaktere hak verebilece臒im yans谋zl谋臒谋yla, sava艧lar谋n-i艧gallerin ac谋mas谋z so臒uklu臒unu iliklerime kadar hissetmemi sa臒lay谋艧谋yla 莽ok sevdim Kaybetme Sanat谋鈥檔谋.
Dilerim herkes okusun, dilerim kitaptaki her bir duyguyu sadece izlemeyi de臒il anlayabilmemize de arac谋 olsun.
.
艦irin Erkan Leitao enfes 莽evirisiyle~
September 7, 2022
5 ans apr猫s ma premi猫re lecture, je r茅it猫re les 5 茅toiles car ce roman me bouleverse ( au pr茅sent oui).
Je suis heureuse d'avoir pris le temps de le relire ce grand roman et d'avoir retrouv茅 ce qui m'avait tant plu la premi猫re fois.
Na茂ma, Hamid, Ali, Yema, Clarisse...je vous retrouverai un jour pour une troisi猫me lecture.
Je suis heureuse d'avoir pris le temps de le relire ce grand roman et d'avoir retrouv茅 ce qui m'avait tant plu la premi猫re fois.
Na茂ma, Hamid, Ali, Yema, Clarisse...je vous retrouverai un jour pour une troisi猫me lecture.
June 18, 2021
How much do most people know about the Algerian War for Independence, about French colonialism of Algeria, and the various factions of the war--from 1954-1962? I knew very little other than that Camus was born in the French territory of Algeria--he was a 鈥減ied-noir鈥� citizen. In this new Zeniter novel, a Millennial character named Na茂ma decides to try and find the answers to her family鈥檚 history, and her father鈥檚 journey here with her grandfather all those years before she was born. This novel contains a family legacy that is credible enough to be true, although it is written as fiction. It reads like a historical biography.
Na茂ma works at an art gallery, and is currently disenchanted with the paths she has chosen, tired of living from hangover to hangover. She鈥檚 being sent to Algeria by her boss and married lover to locate an artist whose works they plan to display. Na茂ma does some critical research, and tries to unearth what keeps her father, Hamid, so mum about his childhood. Her mother, Clarissa, is French, and tells Na茂ma that she knows very little about those early years before she met Hamid. THE ART OF LOSING is a historical fiction that has the air of auto-fiction, and it is a lesson of displacement, the yearning for home, community, security and self-sovereignty that pervades the pages. You can lose when you are considered a 鈥渉arki,鈥� a pejorative term for the Algerians that worked with the French military to maintain peace. You are recast as a traitor.
The chapters are filled with what you may imagine happens in war: dying, violence, fear, betrayal, courage, loss, and an absence that hangs over the survivors鈥� heads, the language barriers. Tragedy upon tragedy, and some are cynical, while others have hope, and some repress those years altogether once able. Redemption does peek from the gloom, too. There were times I felt bone weary reading the narrative, when it went dry, historically stiff. However, it was edifying and frequently touching. Zeniter has a touch with the tenderness of children and the tears of our ancestors.
Kudos to Frank Wynne for a smooth translation from French to English.
Na茂ma works at an art gallery, and is currently disenchanted with the paths she has chosen, tired of living from hangover to hangover. She鈥檚 being sent to Algeria by her boss and married lover to locate an artist whose works they plan to display. Na茂ma does some critical research, and tries to unearth what keeps her father, Hamid, so mum about his childhood. Her mother, Clarissa, is French, and tells Na茂ma that she knows very little about those early years before she met Hamid. THE ART OF LOSING is a historical fiction that has the air of auto-fiction, and it is a lesson of displacement, the yearning for home, community, security and self-sovereignty that pervades the pages. You can lose when you are considered a 鈥渉arki,鈥� a pejorative term for the Algerians that worked with the French military to maintain peace. You are recast as a traitor.
The chapters are filled with what you may imagine happens in war: dying, violence, fear, betrayal, courage, loss, and an absence that hangs over the survivors鈥� heads, the language barriers. Tragedy upon tragedy, and some are cynical, while others have hope, and some repress those years altogether once able. Redemption does peek from the gloom, too. There were times I felt bone weary reading the narrative, when it went dry, historically stiff. However, it was edifying and frequently touching. Zeniter has a touch with the tenderness of children and the tears of our ancestors.
Kudos to Frank Wynne for a smooth translation from French to English.
June 22, 2024
Frans谋z yazar Alice Zeniter kaleminden 2022 Dublin Edebiyat 枚d眉l眉n眉 kazanan metin Kaybetme Sanat谋. Hikaye yirminci y眉zy谋l谋n ba艧lar谋nda Cezayir鈥檇e ba艧lay谋p 1962 y谋l谋nda Fransa鈥檡a g枚莽 ile devam etmekte. Yakla艧谋k yetmi艧 y谋la uzanan ve 眉莽 ku艧ak aile hikayesi anlat谋lan edebi a莽谋dan olduk莽a zengin bir metin.
Hikaye 1940 y谋l谋nda Cezayir鈥檇e ya艧ayan Ali ile a莽谋l谋yor. Yazar Ali鈥檔in 枚zel hayat谋n谋 anlat谋rken arka planda Cezayir鈥檇e ba艧layan sava艧谋 ad谋m ad谋m anlat谋yor okuyucuya. Fransa鈥檡a g枚莽 etmeye nas谋l karar verildi臒i, g枚莽 s谋ras谋nda neler ya艧and谋臒谋, g枚莽ten sonra kurulan kamplarda neler ya艧and谋臒谋 konu al谋n谋yor.
Metin i莽in 枚nemli karakterlerden biri de Hamid. Bebekli臒ini Cezayir鈥檇e 莽ocuklu臒unu Fransa鈥檇a g枚莽 kamplar谋nda ge莽iren, aidiyetlik hissini yeti艧kinli臒ine kadar ya艧ayamayan, kafa kar谋艧谋kl谋臒谋 i莽erisinde kimlik in艧a etme 莽abalar谋nda olan Hamid. Bizler Hamid鈥檌n hikayesini okurken yine arka planda da Fransa鈥檇a ya艧anan 枚nemli siyasi ve sosyal de臒i艧imleri de okuyoruz.
Yazar谋n ustal谋臒谋 hem in艧a etti臒i derinlikli karakterlerden hem de siyasi de臒i艧imleri toplumsal y枚nleriyle de ele almas谋ndan geliyor. 脟ok sevdim. Radar谋n谋za girdiyse mutlaka 艧ans vermelisiniz metne.
Hikaye 1940 y谋l谋nda Cezayir鈥檇e ya艧ayan Ali ile a莽谋l谋yor. Yazar Ali鈥檔in 枚zel hayat谋n谋 anlat谋rken arka planda Cezayir鈥檇e ba艧layan sava艧谋 ad谋m ad谋m anlat谋yor okuyucuya. Fransa鈥檡a g枚莽 etmeye nas谋l karar verildi臒i, g枚莽 s谋ras谋nda neler ya艧and谋臒谋, g枚莽ten sonra kurulan kamplarda neler ya艧and谋臒谋 konu al谋n谋yor.
Metin i莽in 枚nemli karakterlerden biri de Hamid. Bebekli臒ini Cezayir鈥檇e 莽ocuklu臒unu Fransa鈥檇a g枚莽 kamplar谋nda ge莽iren, aidiyetlik hissini yeti艧kinli臒ine kadar ya艧ayamayan, kafa kar谋艧谋kl谋臒谋 i莽erisinde kimlik in艧a etme 莽abalar谋nda olan Hamid. Bizler Hamid鈥檌n hikayesini okurken yine arka planda da Fransa鈥檇a ya艧anan 枚nemli siyasi ve sosyal de臒i艧imleri de okuyoruz.
Yazar谋n ustal谋臒谋 hem in艧a etti臒i derinlikli karakterlerden hem de siyasi de臒i艧imleri toplumsal y枚nleriyle de ele almas谋ndan geliyor. 脟ok sevdim. Radar谋n谋za girdiyse mutlaka 艧ans vermelisiniz metne.
August 29, 2022
螒蟻魏委 (Harkis) 慰谓慰渭维蟽蟿畏魏伪谓 蠈蟽慰喂 尾慰萎胃畏蟽伪谓 蟿慰蠀蟼 螕维位位慰蠀蟼 伪蟺慰喂魏喂慰魏蟻维蟿蔚蟼 萎 蟿萎蟻畏蟽伪谓 渭喂伪 蠉蟺慰蟺蟿伪 慰蠀未苇蟿蔚蟻畏 蟽蟿维蟽畏 魏伪蟿维 蟿畏谓 蟺蔚蟻委慰未慰 蟿慰蠀 蔚胃谓喂魏慰伪蟺蔚位蔚蠀胃蔚蟻蠅蟿喂魏慰蠉 蟺慰位苇渭慰蠀 蟿畏蟼 螒位纬蔚蟻委伪蟼, 渭蔚 伪蟺慰蟿苇位蔚蟽渭伪 渭蔚蟿维 蟿畏谓 蔚蟺喂魏蟻维蟿畏蟽畏 蟿慰蠀 FLN 魏伪喂 蟿畏谓 伪谓蔚尉伪蟻蟿畏蟽委伪 谓伪 蟽蟿喂纬渭伪蟿喂蟽蟿慰蠉谓 魏伪喂 谓伪 蔚尉慰蟽蟿蟻伪魏喂蟽蟿慰蠉谓 伪蟺蠈 蟿畏 蠂蠋蟻伪 蟿慰蠀蟼, "蟺蟻慰未蠈蟿蔚蟼", "蟺蟻蠈蟽蠁蠀纬蔚蟼" 萎 "蔚蟺伪谓伪蟺伪蟿蟻喂蟽胃苇谓蟿蔚蟼", 伪谓维位慰纬伪 渭蔚 蟿慰 伪蠁萎纬畏渭伪 蟺慰蠀 尾蠈位蔚蠀蔚 萎 蔚尉蠀蟺畏蟻蔚蟿慰蠉蟽蔚 蟿畏谓 魏维胃蔚 蔚渭蟺蠈位蔚渭畏 蟺位蔚蠀蟻维.
韦慰 "螚 韦苇蠂谓畏 蟿畏蟼 螒蟺蠋位蔚喂伪蟼" 蟿畏蟼 Alice Zeniter 蟺萎蟻蔚 蟿慰谓 蟿委蟿位慰 蟿慰蠀 伪蟺蠈 蟿慰 蟺慰委畏渭伪 One Art 蟿畏蟼 Elizabeth Bishop, 苇谓伪 (蠀蟺苇蟻慰蠂慰 魏伪喂 蟽蠀纬魏喂谓畏蟿喂魏蠈) 伪蟺蠈蟽蟺伪蟽渭伪 蟿慰蠀 慰蟺慰委慰蠀 蔚渭蠁伪谓委味蔚蟿伪喂 蟽蟿畏谓 伪蠁萎纬畏蟽畏 伪魏蟻喂尾蠋蟼 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 蟺蟻苇蟺蔚喂, 魏伪喂 伪蠁畏纬蔚委蟿伪喂 蟿畏谓 喂蟽蟿慰蟻委伪 蟿蟻喂蠋谓 纬蔚谓喂蠋谓 harkis, 渭蔚 蟿畏 蠁喂位慰未慰尉委伪 魏伪喂 蟿慰 尾维蟻慰蟼 渭喂伪蟼 慰喂魏慰纬蔚谓蔚喂伪魏萎蟼 saga 魏伪喂 渭喂伪蟼 喂蟽蟿慰蟻喂魏萎蟼 渭伪蟻蟿蠀蟻委伪蟼, 伪位位维 蟿伪蠀蟿蠈蠂蟻慰谓伪 魏伪喂 渭蔚 渭喂伪 蟺喂慰 渭慰谓蟿苇蟻谓伪 蟺蟻慰蟽苇纬纬喂蟽畏 伪蟺慰未蠈渭畏蟽萎蟼 蟿慰蠀蟼 渭苇蟽伪 伪蟺蠈 渭喂伪 蟺慰位蠀蟺蟻喂蟽渭伪蟿喂魏萎 蟺蟻蠈蟽位畏蠄畏 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼, 蟿畏蟼 螜蟽蟿慰蟻委伪蟼, 伪位位维 魏伪喂 蟿畏蟼 委未喂伪蟼 蟿畏蟼 螒位纬蔚蟻委伪蟼, 蟿畏蟼 蠂蠋蟻伪蟼 蟺慰蠀 蠂维胃畏魏蔚 魏喂 蔚尉伪魏慰位慰蠀胃蔚委 谓伪 蠂维谓蔚蟿伪喂 伪魏蠈渭伪 魏伪喂 未蔚魏伪蔚蟿委蔚蟼 伪蟻纬蠈蟿蔚蟻伪, 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟿蟻蠈蟺慰 纬喂伪 魏维胃蔚 苇谓伪谓 伪蟺蠈 蟿慰蠀蟼 蟿蟻蔚喂蟼 萎蟻蠅蔚蟼 蟺慰蠀 魏伪蟿伪位伪渭尾维谓慰蠀谓 蟿伪 伪谓蟿委蟽蟿慰喂蠂伪 渭苇蟻畏 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼.
螒蟺蠈 蟿畏 味蠅萎 蟽蔚 苇谓伪 伪蟺慰渭伪魏蟻蠀蟽渭苇谓慰 蠂蠅蟻喂蠈 蟿畏蟼 螝伪尾蠀位委伪蟼 蟽蟿伪 渭苇蟽伪 蟿慰蠀 蟺蟻慰畏纬慰蠉渭蔚谓慰蠀 伪喂蠋谓伪 渭苇蠂蟻喂 蟿慰 渭畏蟿蟻慰蟺慰位喂蟿喂魏蠈 魏伪喂 蟺慰位蠀蟺慰位喂蟿喂蟽渭喂魏蠈 螤伪蟻委蟽喂 蟿慰蠀 蟽萎渭蔚蟻伪, 畏 Zeniter 魏伪蟿伪未蠉蔚蟿伪喂 蟽蔚 渭喂伪 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏萎 未喂伪未蟻慰渭萎 伪蟺慰位慰纬喂蟽渭慰蠉 魏伪喂 尉蔚魏伪胃伪蟻委蟽渭伪蟿慰蟼 渭蔚 蟿伪 蠁伪谓蟿维蟽渭伪蟿伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 魏伪喂 尉蔚魏喂谓维 苇谓伪 蟿伪尉委未喂 伪蠀蟿慰纬谓蠅蟽委伪蟼 蟺蟻慰蟼 蟿畏谓 蟽蠀渭蠁喂位委蠅蟽畏 渭蔚 蟿畏 蠂伪渭苇谓畏, 蟽蠀渭尾慰位喂魏维 魏伪喂 魏蠀蟻喂慰位蔚魏蟿喂魏维, 蟺伪蟿蟻委未伪.
螒蠀蟿萎 畏 苇谓谓慰喂伪 蟺慰蠀 蟿蠈蟽慰 蟿伪位维谓喂蟽蔚 蟿慰谓 蟺伪蟺蟺慰蠉 魏伪喂 蟿慰谓 蟺伪蟿苇蟻伪 蟿畏蟼 蟽蟿喂蟼 蟺蟻蠋蟿蔚蟼 未蔚魏伪蔚蟿委蔚蟼 蟿畏蟼 蔚纬魏伪蟿维蟽蟿伪蟽萎蟼 蟿慰蠀蟼 蟽蔚 渭喂伪 蠂蠋蟻伪 蟽蟿畏谓 慰蟺慰委伪 未蔚谓 蔚纬魏位喂渭伪蟿委蟽蟿畏魏伪谓 慰蠀蟽喂伪蟽蟿喂魏维 蟺慰蟿苇, 纬委谓蔚蟿伪喂 蟺位苇慰谓 纬喂伪 蟿畏谓 Zeniter 蟺畏纬萎 未畏渭喂慰蠀蟻纬委伪蟼 魏伪喂 畏 蟽蠀纬纬蟻伪蠁苇伪蟼 魏伪蟿伪蠁苇蟻谓蔚喂 渭蔚 伪蠀蟿蠈 蟿慰 蟽蠀谓伪蟻蟺伪蟽蟿喂魏蠈 尾喂尾位委慰 谓伪 蟿畏谓 蔚尉蔚蟻蔚蠀谓萎蟽蔚喂, 谓伪 尾蟻蔚喂 蟿慰 胃维蟻蟻慰蟼 谓伪 蔚蟺喂蟽魏蔚蠁蟿蔚委 蟿畏谓 螒位纬蔚蟻委伪 纬喂伪 谓伪 未喂伪蟺喂蟽蟿蠋蟽蔚喂 蟿喂 苇蠂蔚喂 伪蟺慰渭蔚委谓蔚喂 伪蟺蠈 蔚魏蔚委谓畏 渭苇蟽伪 蟿畏蟼 魏伪喂, 蟿慰 魏蠀蟻喂蠈蟿蔚蟻慰, 谓伪 渭维胃蔚喂 蟿畏谓 蟿苇蠂谓畏 谓伪 蟿畏 蠂维谓蔚喂, 蠂蠅蟻委蟼 谓伪 蠂维谓蔚喂 魏慰渭渭维蟿喂伪 蟿慰蠀 蔚伪蠀蟿慰蠉 蟿畏蟼 蟽蟿畏谓 蟺慰蟻蔚委伪 魏伪喂 蠂蠅蟻委蟼 蟿畏谓 伪蟺慰位蠀蟿蠈蟿畏蟿伪 蟿慰蠀 慰蟻喂蟽蟿喂魏慰蠉 魏伪喂 伪渭蔚蟿维魏位畏蟿慰蠀 魏位蔚喂蟽委渭伪蟿慰蟼.
围蠅蟻委蟼 谓伪 苇蠂蔚喂 蠁蟿维蟽蔚喂 蟺慰蠀胃蔚谓维, 伪位位维 蟽蠀谓蔚蠂委味慰谓蟿伪蟼 谓伪 蟺蟻慰蠂蠅蟻维蔚喂.
韦慰 "螚 韦苇蠂谓畏 蟿畏蟼 螒蟺蠋位蔚喂伪蟼" 蟿畏蟼 Alice Zeniter 蟺萎蟻蔚 蟿慰谓 蟿委蟿位慰 蟿慰蠀 伪蟺蠈 蟿慰 蟺慰委畏渭伪 One Art 蟿畏蟼 Elizabeth Bishop, 苇谓伪 (蠀蟺苇蟻慰蠂慰 魏伪喂 蟽蠀纬魏喂谓畏蟿喂魏蠈) 伪蟺蠈蟽蟺伪蟽渭伪 蟿慰蠀 慰蟺慰委慰蠀 蔚渭蠁伪谓委味蔚蟿伪喂 蟽蟿畏谓 伪蠁萎纬畏蟽畏 伪魏蟻喂尾蠋蟼 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 蟺蟻苇蟺蔚喂, 魏伪喂 伪蠁畏纬蔚委蟿伪喂 蟿畏谓 喂蟽蟿慰蟻委伪 蟿蟻喂蠋谓 纬蔚谓喂蠋谓 harkis, 渭蔚 蟿畏 蠁喂位慰未慰尉委伪 魏伪喂 蟿慰 尾维蟻慰蟼 渭喂伪蟼 慰喂魏慰纬蔚谓蔚喂伪魏萎蟼 saga 魏伪喂 渭喂伪蟼 喂蟽蟿慰蟻喂魏萎蟼 渭伪蟻蟿蠀蟻委伪蟼, 伪位位维 蟿伪蠀蟿蠈蠂蟻慰谓伪 魏伪喂 渭蔚 渭喂伪 蟺喂慰 渭慰谓蟿苇蟻谓伪 蟺蟻慰蟽苇纬纬喂蟽畏 伪蟺慰未蠈渭畏蟽萎蟼 蟿慰蠀蟼 渭苇蟽伪 伪蟺蠈 渭喂伪 蟺慰位蠀蟺蟻喂蟽渭伪蟿喂魏萎 蟺蟻蠈蟽位畏蠄畏 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼, 蟿畏蟼 螜蟽蟿慰蟻委伪蟼, 伪位位维 魏伪喂 蟿畏蟼 委未喂伪蟼 蟿畏蟼 螒位纬蔚蟻委伪蟼, 蟿畏蟼 蠂蠋蟻伪蟼 蟺慰蠀 蠂维胃畏魏蔚 魏喂 蔚尉伪魏慰位慰蠀胃蔚委 谓伪 蠂维谓蔚蟿伪喂 伪魏蠈渭伪 魏伪喂 未蔚魏伪蔚蟿委蔚蟼 伪蟻纬蠈蟿蔚蟻伪, 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟿蟻蠈蟺慰 纬喂伪 魏维胃蔚 苇谓伪谓 伪蟺蠈 蟿慰蠀蟼 蟿蟻蔚喂蟼 萎蟻蠅蔚蟼 蟺慰蠀 魏伪蟿伪位伪渭尾维谓慰蠀谓 蟿伪 伪谓蟿委蟽蟿慰喂蠂伪 渭苇蟻畏 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼.
螒蟺蠈 蟿畏 味蠅萎 蟽蔚 苇谓伪 伪蟺慰渭伪魏蟻蠀蟽渭苇谓慰 蠂蠅蟻喂蠈 蟿畏蟼 螝伪尾蠀位委伪蟼 蟽蟿伪 渭苇蟽伪 蟿慰蠀 蟺蟻慰畏纬慰蠉渭蔚谓慰蠀 伪喂蠋谓伪 渭苇蠂蟻喂 蟿慰 渭畏蟿蟻慰蟺慰位喂蟿喂魏蠈 魏伪喂 蟺慰位蠀蟺慰位喂蟿喂蟽渭喂魏蠈 螤伪蟻委蟽喂 蟿慰蠀 蟽萎渭蔚蟻伪, 畏 Zeniter 魏伪蟿伪未蠉蔚蟿伪喂 蟽蔚 渭喂伪 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏萎 未喂伪未蟻慰渭萎 伪蟺慰位慰纬喂蟽渭慰蠉 魏伪喂 尉蔚魏伪胃伪蟻委蟽渭伪蟿慰蟼 渭蔚 蟿伪 蠁伪谓蟿维蟽渭伪蟿伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 魏伪喂 尉蔚魏喂谓维 苇谓伪 蟿伪尉委未喂 伪蠀蟿慰纬谓蠅蟽委伪蟼 蟺蟻慰蟼 蟿畏谓 蟽蠀渭蠁喂位委蠅蟽畏 渭蔚 蟿畏 蠂伪渭苇谓畏, 蟽蠀渭尾慰位喂魏维 魏伪喂 魏蠀蟻喂慰位蔚魏蟿喂魏维, 蟺伪蟿蟻委未伪.
螒蠀蟿萎 畏 苇谓谓慰喂伪 蟺慰蠀 蟿蠈蟽慰 蟿伪位维谓喂蟽蔚 蟿慰谓 蟺伪蟺蟺慰蠉 魏伪喂 蟿慰谓 蟺伪蟿苇蟻伪 蟿畏蟼 蟽蟿喂蟼 蟺蟻蠋蟿蔚蟼 未蔚魏伪蔚蟿委蔚蟼 蟿畏蟼 蔚纬魏伪蟿维蟽蟿伪蟽萎蟼 蟿慰蠀蟼 蟽蔚 渭喂伪 蠂蠋蟻伪 蟽蟿畏谓 慰蟺慰委伪 未蔚谓 蔚纬魏位喂渭伪蟿委蟽蟿畏魏伪谓 慰蠀蟽喂伪蟽蟿喂魏维 蟺慰蟿苇, 纬委谓蔚蟿伪喂 蟺位苇慰谓 纬喂伪 蟿畏谓 Zeniter 蟺畏纬萎 未畏渭喂慰蠀蟻纬委伪蟼 魏伪喂 畏 蟽蠀纬纬蟻伪蠁苇伪蟼 魏伪蟿伪蠁苇蟻谓蔚喂 渭蔚 伪蠀蟿蠈 蟿慰 蟽蠀谓伪蟻蟺伪蟽蟿喂魏蠈 尾喂尾位委慰 谓伪 蟿畏谓 蔚尉蔚蟻蔚蠀谓萎蟽蔚喂, 谓伪 尾蟻蔚喂 蟿慰 胃维蟻蟻慰蟼 谓伪 蔚蟺喂蟽魏蔚蠁蟿蔚委 蟿畏谓 螒位纬蔚蟻委伪 纬喂伪 谓伪 未喂伪蟺喂蟽蟿蠋蟽蔚喂 蟿喂 苇蠂蔚喂 伪蟺慰渭蔚委谓蔚喂 伪蟺蠈 蔚魏蔚委谓畏 渭苇蟽伪 蟿畏蟼 魏伪喂, 蟿慰 魏蠀蟻喂蠈蟿蔚蟻慰, 谓伪 渭维胃蔚喂 蟿畏谓 蟿苇蠂谓畏 谓伪 蟿畏 蠂维谓蔚喂, 蠂蠅蟻委蟼 谓伪 蠂维谓蔚喂 魏慰渭渭维蟿喂伪 蟿慰蠀 蔚伪蠀蟿慰蠉 蟿畏蟼 蟽蟿畏谓 蟺慰蟻蔚委伪 魏伪喂 蠂蠅蟻委蟼 蟿畏谓 伪蟺慰位蠀蟿蠈蟿畏蟿伪 蟿慰蠀 慰蟻喂蟽蟿喂魏慰蠉 魏伪喂 伪渭蔚蟿维魏位畏蟿慰蠀 魏位蔚喂蟽委渭伪蟿慰蟼.
围蠅蟻委蟼 谓伪 苇蠂蔚喂 蠁蟿维蟽蔚喂 蟺慰蠀胃蔚谓维, 伪位位维 蟽蠀谓蔚蠂委味慰谓蟿伪蟼 谓伪 蟺蟻慰蠂蠅蟻维蔚喂.
October 1, 2021
螖蠀谓伪蟿维 尾喂蠋渭伪蟿伪, 未蠀谓伪蟿维 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 魏伪喂 蔚蟻蠅蟿萎渭伪蟿伪 蟺慰蠀 未蔚谓 苇蠂慰蠀谓 蔚蠉魏慰位蔚蟼 伪蟺伪谓蟿萎蟽蔚喂蟼, 纬蔚谓谓喂慰蠉谓蟿伪喂 魏伪喂 未蠀谓伪渭蠋谓慰蠀谓 渭苇蟽伪 伪蟺蠈 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 伪蠀蟿蠈. 螚 伪谓伪味萎蟿畏蟽畏 魏伪喂 畏 尾喂蠅渭伪蟿喂魏萎 纬谓蠅蟻喂渭委伪 蟿畏蟼 畏蟻蠅委未伪蟼 渭蔚 蟿畏谓 蟺伪蟿蟻委未伪 蟿畏蟼, 渭伪蟼 蟺维蔚喂 3 纬蔚谓喂苇蟼 蟺委蟽蠅, 蟽蟿畏谓 螒位纬蔚蟻委伪 蟿慰蠀 1930. 螠苇蟽伪 伪蟺蠈 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟺慰蠀 纬委谓慰谓蟿伪喂 维渭蔚蟽伪, 伪蟺位维 魏伪喂 魏蠀蟻委蠅蟼 未喂伪魏蟻喂蟿喂魏维, 蟺伪蟻慰蠀蟽喂维味慰谓蟿伪喂 蟿伪 喂蟽蟿慰蟻喂魏维 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 慰未畏纬萎蟽伪谓 蟽蟿畏谓 伪谓蔚尉伪蟻蟿畏蟽委伪 蟿畏蟼 螒位纬蔚蟻委伪蟼, 蟺伪蟻维位位畏位伪 渭蔚 蟿畏谓 味蠅萎 蟿畏蟼 慰喂魏慰纬苇谓蔚喂维蟼 蟿畏蟼 魏伪喂 蟿慰谓 伪谓伪纬魏伪蟽蟿喂魏蠈 蔚魏蟺伪蟿蟻喂蟽渭蠈 伪蠀蟿萎蟼 蟽蟿畏 螕伪位位委伪. 螛委纬慰谓蟿伪喂 魏伪委蟻喂伪 魏伪喂 蔚蟺委魏伪喂蟻伪 胃苇渭伪蟿伪 蟺慰蠀 伪蠁慰蟻慰蠉谓 蟿畏谓 魏伪蟿伪纬蠅纬萎, 蟿畏 蟽蠉纬魏蟻慰蠀蟽畏 蟿蠅谓 蟺慰位喂蟿喂蟽渭蠋谓, 蟿畏谓 伪蟺蠋位蔚喂伪, 蟿畏谓 伪谓伪味萎蟿畏蟽畏 蟿畏蟼 蟿伪蠀蟿蠈蟿畏蟿伪蟼, 蟿慰谓 蟻伪蟿蟽喂蟽渭蠈 魏伪喂 蟿畏谓 伪蟺慰渭蠈谓蠅蟽畏, 蟿喂蟼 伪谓伪蟿蟻慰蟺苇蟼 蟿慰蠀 尾委慰蠀, 蟿喂蟼 伪纬蠅谓委蔚蟼 蟿慰蠀 渭蔚蟿伪谓维蟽蟿畏, 蟿慰谓 伪蠀蟿慰蟺蟻慰蟽未喂慰蟻喂蟽渭蠈 蟿慰蠀 伪谓胃蟻蠋蟺慰蠀. 螔伪胃喂维 伪谓胃蟻蠋蟺喂谓慰, 伪蟺慰蟿蠀蟺蠋谓蔚喂 魏伪喂 蟺喂蟽蟿蔚蠉蠅 蠈蟿喂 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 蔚尉喂蟽慰蟻蟻慰蟺萎蟽蔚喂, 喂蟽蠂蠀蟻维 魏伪喂 伪谓蟿喂魏蟻慰蠀蠈渭蔚谓伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 魏伪喂 谓伪 渭伪蟼 未蔚委尉蔚喂 蟿蔚位喂魏维 蠈蟿喂 魏维胃蔚 纬蔚谓喂维 未喂伪蠂蔚喂蟻委味蔚蟿伪喂 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟿蟻蠈蟺慰 蟿伪 蟿蟻伪蠉渭伪蟿伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 魏伪喂 蔚蟺喂位苇纬蔚喂 维位位慰蠀蟼 蟿蟻蠈蟺慰蠀蟼 蟺蟻慰蟽伪蟻渭慰纬萎蟼 魏伪喂 蔚谓蟽蠅渭维蟿蠅蟽畏蟼 蟽蟿喂蟼 谓苇蔚蟼 蟺伪蟿蟻委未蔚蟼.
November 16, 2019
螤蠋蟼 纬蔚谓谓喂苇蟿伪喂 渭喂伪 蟺伪蟿蟻委未伪; 螤蠋蟼 蠂维谓蔚蟿伪喂 渭喂伪 蟺伪蟿蟻委未伪;
螕喂伪 蟿慰蠀蟼 螒位纬蔚蟻喂谓慰蠉蟼 蟺慰蠀 伪谓伪纬魏维味慰谓蟿伪喂 谓伪 蟺蟻慰蟽蟺伪胃萎蟽慰蠀谓 蟿慰蠀位维蠂喂蟽蟿慰谓 谓伪 蔚谓蟽蠅渭伪蟿蠅胃慰蠉谓 蟽蟿畏谓 螕伪位位委伪, 畏 蟿苇蠂谓畏 蟿畏蟼 伪蟺蠋位蔚喂伪蟼 蔚委谓伪喂 未蠀蟽维蟻蔚蟽蟿畏, 未蔚谓 胃伪 蔚蟺苇位蔚纬伪谓 谓伪 蟿畏 渭维胃慰蠀谓 伪谓 蔚委蠂伪谓 蔚谓伪位位伪魏蟿喂魏苇蟼 蔚蟺喂位慰纬苇蟼. 围维谓慰蠀谓 慰喂魏慰纬苇谓蔚喂伪, 蟽蟺委蟿喂, 蟺蔚蟻喂慰蠀蟽委伪, 蟿蟻蠈蟺慰 味蠅萎蟼 魏伪喂 蟽魏苇蠄畏蟼, 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀蟼, 蟿畏谓 蟺伪蟿蟻委未伪 蟿慰蠀蟼. 螚 螒位纬蔚蟻委伪 蟿慰蠀蟼 慰谓慰渭维味蔚喂 蟺蟻慰未蠈蟿蔚蟼, 畏 螕伪位位委伪 蟿慰蠀蟼 蟺蔚蟻喂慰蟻委味蔚喂 渭蔚 蟽蠀蟻渭伪蟿慰蟺位苇纬渭伪蟿伪 - 未蔚谓 伪谓萎魏慰蠀谓 蟺喂伪 蟺慰蠀胃蔚谓维, 魏喂 伪蠀蟿蠈 蔚委谓伪喂 蟿慰 蠂蔚喂蟻蠈蟿蔚蟻慰 伪谓 魏伪蟿伪蠁苇蟻蔚喂蟼 谓伪 渭蔚委谓蔚喂蟼 味蠅谓蟿伪谓蠈蟼. 螣喂 谓蔚魏蟻慰委 蟺蔚蟻喂尾维位位慰谓蟿伪喂 伪蟺蠈 蟿慰 蠁蠅蟼 蟿慰蠀 畏蟻蠅喂蟽渭慰蠉 蟽蔚 苇谓伪谓 蟺蠈位蔚渭慰. 螕喂伪 蟿慰蠀蟼 蔚蟺喂味萎蟽伪谓蟿蔚蟼 蟿喂 渭苇谓蔚喂;
螣喂 蔚蟺蠈渭蔚谓蔚蟼 纬蔚谓喂苇蟼 渭蔚 蟿慰谓 苇谓伪 萎 蟿慰谓 维位位慰 蟿蟻蠈蟺慰 胃伪 纬蠀蟻谓慰蠉谓 蟽蟿畏谓 螒位纬蔚蟻委伪, 蟺慰蠀 蟺喂伪 未蔚谓 蔚委谓伪喂 蟺伪蟿蟻委未伪. 螇 渭萎蟺蠅蟼 蔚委谓伪喂;
螕喂伪 蟿慰蠀蟼 螒位纬蔚蟻喂谓慰蠉蟼 蟺慰蠀 伪谓伪纬魏维味慰谓蟿伪喂 谓伪 蟺蟻慰蟽蟺伪胃萎蟽慰蠀谓 蟿慰蠀位维蠂喂蟽蟿慰谓 谓伪 蔚谓蟽蠅渭伪蟿蠅胃慰蠉谓 蟽蟿畏谓 螕伪位位委伪, 畏 蟿苇蠂谓畏 蟿畏蟼 伪蟺蠋位蔚喂伪蟼 蔚委谓伪喂 未蠀蟽维蟻蔚蟽蟿畏, 未蔚谓 胃伪 蔚蟺苇位蔚纬伪谓 谓伪 蟿畏 渭维胃慰蠀谓 伪谓 蔚委蠂伪谓 蔚谓伪位位伪魏蟿喂魏苇蟼 蔚蟺喂位慰纬苇蟼. 围维谓慰蠀谓 慰喂魏慰纬苇谓蔚喂伪, 蟽蟺委蟿喂, 蟺蔚蟻喂慰蠀蟽委伪, 蟿蟻蠈蟺慰 味蠅萎蟼 魏伪喂 蟽魏苇蠄畏蟼, 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀蟼, 蟿畏谓 蟺伪蟿蟻委未伪 蟿慰蠀蟼. 螚 螒位纬蔚蟻委伪 蟿慰蠀蟼 慰谓慰渭维味蔚喂 蟺蟻慰未蠈蟿蔚蟼, 畏 螕伪位位委伪 蟿慰蠀蟼 蟺蔚蟻喂慰蟻委味蔚喂 渭蔚 蟽蠀蟻渭伪蟿慰蟺位苇纬渭伪蟿伪 - 未蔚谓 伪谓萎魏慰蠀谓 蟺喂伪 蟺慰蠀胃蔚谓维, 魏喂 伪蠀蟿蠈 蔚委谓伪喂 蟿慰 蠂蔚喂蟻蠈蟿蔚蟻慰 伪谓 魏伪蟿伪蠁苇蟻蔚喂蟼 谓伪 渭蔚委谓蔚喂蟼 味蠅谓蟿伪谓蠈蟼. 螣喂 谓蔚魏蟻慰委 蟺蔚蟻喂尾维位位慰谓蟿伪喂 伪蟺蠈 蟿慰 蠁蠅蟼 蟿慰蠀 畏蟻蠅喂蟽渭慰蠉 蟽蔚 苇谓伪谓 蟺蠈位蔚渭慰. 螕喂伪 蟿慰蠀蟼 蔚蟺喂味萎蟽伪谓蟿蔚蟼 蟿喂 渭苇谓蔚喂;
螣喂 蔚蟺蠈渭蔚谓蔚蟼 纬蔚谓喂苇蟼 渭蔚 蟿慰谓 苇谓伪 萎 蟿慰谓 维位位慰 蟿蟻蠈蟺慰 胃伪 纬蠀蟻谓慰蠉谓 蟽蟿畏谓 螒位纬蔚蟻委伪, 蟺慰蠀 蟺喂伪 未蔚谓 蔚委谓伪喂 蟺伪蟿蟻委未伪. 螇 渭萎蟺蠅蟼 蔚委谓伪喂;
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