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亘乇丕丿乇 乇賵丨蹖: 卮亘鈥屬囏� 賴賲賴 禺賵賳鈥屬囏� 爻賷丕賴 丕爻鬲
丕蹖賳 乇賲丕賳 亘丕 丕賱賴丕賲 丕夭 爻乇诏匕卮鬲 鬲賱禺 倬丿乇亘夭乇诏 賳賵蹖爻賳丿賴 丿乇 丿賵乇丕賳 噩賳诏 噩賴丕賳蹖 丕賵賱 賳賵卮鬲賴 卮丿賴鈥屫ж池� 賵 丿丕爻鬲丕賳 丿賵 爻乇亘丕夭 爻賳诏丕賱蹖 乇丕 乇賵丕蹖鬲 賲蹖鈥屭┵嗀� 讴賴 丿乇 噩亘賴賴贁 睾乇亘 賮乇丕賳爻賴 亘賴 禺丿賲鬲 诏乇賮鬲賴 卮丿賴鈥屫з嗀�. 夭賲丕賳蹖 讴賴 賲丕丿賲亘丕 讴卮鬲賴 賲蹖鈥屫促堌� 丿蹖诏乇蹖 亘賴 賳丕賲 丌賱賮丕 丿蹖賵丕賳賴 賵丕乇 亘賴 丿爻鬲 亘賴 禺卮賵賳鬲 賵 噩賳賵賳 賲蹖鈥屫操嗀�.
128 pages, Paperback
First published August 16, 2018
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44499 people want to read
About the author
David Diop
14听books347听followersDavid Diop a grandi au S茅n茅gal. Il est actuellement ma卯tre de conf茅rences 脿 l鈥檜niversit茅 de Pau.
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David Diop grew up in Senegal. He is currently a lecturer at the University of Pau.
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David Diop grew up in Senegal. He is currently a lecturer at the University of Pau.
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June 2, 2021
Winner of the 2021 International Booker Prize
David Diop's atmospherically visceral, harrowing and powerful award winning novella is superbly translated by Anna Moschovakis, and is deservedly on the 2021 longlist of the International Booker Prize. It throws a much needed spotlight on the European powers in WW1 and their exploitation of people from the colonies drafted to fight and die for them, but almost always missing in accounts of the Great War. The French utilise their racist stereotypes of the African soldiers as barbaric, subhuman, and primitive savages to be incited to defeat their German enemies. Narrated by a Senegalese soldier, Alfa Ndiaye, with his close friend 'almost brother', Mandemba Diop, both leave their home for the first time to serve as the 'Chocolat' soldiers in the European trenches.
When Diop is fatally wounded in no man's land, Alfa cannot bring himself to put an end to his agony and suffering, a decision that is to send him spiralling into a brutal and violent madness, fuelled by overwhelming grief, regret and guilt, with repercussions that have him seeking revenge, to replicate Diop's death as he targets and kills German soldiers. At first, Alfa is lauded by the French soldiers as he returns with his collection of hands, but not for long, as they become afraid and rumours begin to dog him, referring to him as a sorcerer. He sees a psychiatrist, and we learn of his past, his family, and his relationship with Diop. Underlying the narrative are numerous biblical allusions, and unpalatable and unsettling sexual metaphors are used in the battlefields.
The author poses fundamental questions about war, graphically laying bare the nightmare of horrors that is war, how it brutalises and destroys the soldiers used as fodder in the war, as illustrated by the ending, a destruction that extends to the colonisers battling to win the war as it kills any sense of humanity within the national psyche. I am not sure I will ever be able to forget this novel, it feels as if it has seared itself in my memory, an incredible, if unbearable, and revelatory read that documents the fight and sacrifices made in WW1 by soldiers from the colonies, exploited by the ruthless and racist French. Highly recommended. Many thanks to Pushkin Press for an ARC.
David Diop's atmospherically visceral, harrowing and powerful award winning novella is superbly translated by Anna Moschovakis, and is deservedly on the 2021 longlist of the International Booker Prize. It throws a much needed spotlight on the European powers in WW1 and their exploitation of people from the colonies drafted to fight and die for them, but almost always missing in accounts of the Great War. The French utilise their racist stereotypes of the African soldiers as barbaric, subhuman, and primitive savages to be incited to defeat their German enemies. Narrated by a Senegalese soldier, Alfa Ndiaye, with his close friend 'almost brother', Mandemba Diop, both leave their home for the first time to serve as the 'Chocolat' soldiers in the European trenches.
When Diop is fatally wounded in no man's land, Alfa cannot bring himself to put an end to his agony and suffering, a decision that is to send him spiralling into a brutal and violent madness, fuelled by overwhelming grief, regret and guilt, with repercussions that have him seeking revenge, to replicate Diop's death as he targets and kills German soldiers. At first, Alfa is lauded by the French soldiers as he returns with his collection of hands, but not for long, as they become afraid and rumours begin to dog him, referring to him as a sorcerer. He sees a psychiatrist, and we learn of his past, his family, and his relationship with Diop. Underlying the narrative are numerous biblical allusions, and unpalatable and unsettling sexual metaphors are used in the battlefields.
The author poses fundamental questions about war, graphically laying bare the nightmare of horrors that is war, how it brutalises and destroys the soldiers used as fodder in the war, as illustrated by the ending, a destruction that extends to the colonisers battling to win the war as it kills any sense of humanity within the national psyche. I am not sure I will ever be able to forget this novel, it feels as if it has seared itself in my memory, an incredible, if unbearable, and revelatory read that documents the fight and sacrifices made in WW1 by soldiers from the colonies, exploited by the ruthless and racist French. Highly recommended. Many thanks to Pushkin Press for an ARC.
June 2, 2021
3.5*
Now Winner of the International Booker Prize 2021
As the name suggests, this novel is not about rainbows and unicorns, it is bloody and brutal. My return to literary fiction couldn鈥檛 have been steeper but I do not regret my choice.
After reading almost the whole Republic of Consciousness longlist, I got tired of bleakness and difficult prose so I decided to take a break. As such, my plan to read the whole Booker International shortlist was abandoned. However, I decided to try the titles that attract me the most. At Night All Blood Is Black captured my attention because it deals with a part of history I know nothing about. Also, it is very short and I got it from Netgalley from one of my favourite publishers so I felt responsible to review it.
The novel is set in the trenches of WW1 and had as main character, Alfa Ndiaye, a Senegalese black man, part of a 鈥濩hocolate鈥� army fighting for the French. Unable to mercy kill his badly wounded friend he descend into madness and starts to murder his enemies in gruesome ways. After the deed he takes one of their severed hands as trophy. The French use the racist stereotypes of the African soldiers as being savage and sorcerers to scare the German enemies so at first, Alfa鈥檚 revenge killings are praised as part of the act. After the hands start to pile, the rest of the French army begin to feel frightened. It shows how war can dehumanize people and how they were butchered in the trenches with almost no chance to survive.
The prose is terrifying, violent, graphic, repetitive which makes it even more atmospheric but also poetic. I preferred the 2nd part more, where we learn some background information about the two characters before the war. It is an intense novel and it should be read in on go, not like I did, 10 pages now and then. One of the most unsettling parts of this novel was the repetitive use of sexual metaphors to describe the trenches. I am not sure what the goal was but the effect was quite disgusting. I might not have understood the ending either.
Some interesting thoughts about translations: 鈥淭o translate is never simple. To translate is to betray at the borders, it鈥檚 to cheat, it鈥檚 to trade one sentence for another. To translate is one of the only human activities in which one is required to lie about the details to convey the truth at large. To translate is to risk understanding better than others that the truth about a word is not single, but double, even triple, quadruple, or quintuple. To translate is to distance oneself from God鈥檚 truth, which, as everyone knows or believes, is single.鈥�
Now Winner of the International Booker Prize 2021
As the name suggests, this novel is not about rainbows and unicorns, it is bloody and brutal. My return to literary fiction couldn鈥檛 have been steeper but I do not regret my choice.
After reading almost the whole Republic of Consciousness longlist, I got tired of bleakness and difficult prose so I decided to take a break. As such, my plan to read the whole Booker International shortlist was abandoned. However, I decided to try the titles that attract me the most. At Night All Blood Is Black captured my attention because it deals with a part of history I know nothing about. Also, it is very short and I got it from Netgalley from one of my favourite publishers so I felt responsible to review it.
The novel is set in the trenches of WW1 and had as main character, Alfa Ndiaye, a Senegalese black man, part of a 鈥濩hocolate鈥� army fighting for the French. Unable to mercy kill his badly wounded friend he descend into madness and starts to murder his enemies in gruesome ways. After the deed he takes one of their severed hands as trophy. The French use the racist stereotypes of the African soldiers as being savage and sorcerers to scare the German enemies so at first, Alfa鈥檚 revenge killings are praised as part of the act. After the hands start to pile, the rest of the French army begin to feel frightened. It shows how war can dehumanize people and how they were butchered in the trenches with almost no chance to survive.
The prose is terrifying, violent, graphic, repetitive which makes it even more atmospheric but also poetic. I preferred the 2nd part more, where we learn some background information about the two characters before the war. It is an intense novel and it should be read in on go, not like I did, 10 pages now and then. One of the most unsettling parts of this novel was the repetitive use of sexual metaphors to describe the trenches. I am not sure what the goal was but the effect was quite disgusting. I might not have understood the ending either.
Some interesting thoughts about translations: 鈥淭o translate is never simple. To translate is to betray at the borders, it鈥檚 to cheat, it鈥檚 to trade one sentence for another. To translate is one of the only human activities in which one is required to lie about the details to convey the truth at large. To translate is to risk understanding better than others that the truth about a word is not single, but double, even triple, quadruple, or quintuple. To translate is to distance oneself from God鈥檚 truth, which, as everyone knows or believes, is single.鈥�
June 3, 2021
English:
Now Winner of the International Booker Prize 2021
Winner of the Prix Goncourt des Lyc茅ens 2018
This book is so intense, reading it is a physical experience: The slaughter on the battlefields of WW I, desperation, guilt, madness, sex - the first person narrator takes the reader down a very graphic rabbit hole and it's not easy to stomach. Our 20-year-old protagonist Alfa Ndiaye and his best friend want to leave their small Senegalese village in order to see the world and, facing limited options, they decide to join the French army and fight for the colonial power in WW I. When his childhood friend dies in a slow and particularly gruesome way while Alfa watches as he feels like he cannot finish the act of the enemy, he goes mad over his guilt: Alfa starts to seek out and wound German soldiers in the same painful way as his friend was wounded by one of their compatriots, watches them suffer and then kills them, taking with him one of their hands. Now the other French soldiers start to fear the black man who is covered in blood and brings severed hands to their camp, and Alfa, confronted with the madness of industrialized warfare, lonely, grieving and disturbed, spirals out of control.
At the core, French-Senegalese author David Diop is telling a story of racism and war: France sent 180,000 black soldiers from their colonies into WW I, perpetrating racist stereotypes, arming them with machetes and sending them on the battlefield screaming - and the Germans behind the enemy lines did buy into the narrative and feared the "savages" who brought "barbarity" to Europe. Alfa sees through the racist dynamic and suffers under the inhumane orders he is expected to follow without questioning: He knows that it is crazy to follow the commands, because the chance to survive is so small. His pain becomes unbearable when he realizes that his best friend died to defend a racist regime in the complete madness of the battlefields of WW I - which raises the question: Isn't it a normal reaction to lose one's mind when witnessing the pointless and seemingly endless brutality, caught in the slaughterhouse that Alfa's world has become? This protagonist suffers from severe PTSD, which of course wasn't an acknowledged condition in WW I.
In several flashbacks, we learn about Alfa's backstory, his family, his childhood, and how he ended up in the war, until this novella culminates in a terrible finale. The narration mirrors oral traditions and works with mantra-like repetitions that are remiscient of a religious litany or a folk song. The way Diop conveys Alfa's thoughts and feelings is unbelievably effective - I rarely read a book that distressed me as much as this one. But make no mistake: The explicit scenes aren't gratuitous, they are always there to make a point - even the placement of the wounds is always symbolic. A key concept of the text is that of "being double", as Alfa himself puts it, so look out for the analogies and comparisons in the text that hold important messages.
The French title of the book is "Fr猫re d'芒me", soul brother, a homophone to "Fr猫re d'armes", brother in arms - this does not only point to Alfa's relationship with his dead friend, but also to the way black soldiers are dehumanized, because they are not perceived as people with souls, but as living weapons. Alfa questions existing rules, realizes the nature of socially accepted cruelty and then concludes: "I became a savage through thinking." This is powerful stuff, deservedly celebrated in France, a country which currently outclasses the rest of Europe when it comes to edgy novels with distinct voices.
Now Winner of the International Booker Prize 2021
Winner of the Prix Goncourt des Lyc茅ens 2018
This book is so intense, reading it is a physical experience: The slaughter on the battlefields of WW I, desperation, guilt, madness, sex - the first person narrator takes the reader down a very graphic rabbit hole and it's not easy to stomach. Our 20-year-old protagonist Alfa Ndiaye and his best friend want to leave their small Senegalese village in order to see the world and, facing limited options, they decide to join the French army and fight for the colonial power in WW I. When his childhood friend dies in a slow and particularly gruesome way while Alfa watches as he feels like he cannot finish the act of the enemy, he goes mad over his guilt: Alfa starts to seek out and wound German soldiers in the same painful way as his friend was wounded by one of their compatriots, watches them suffer and then kills them, taking with him one of their hands. Now the other French soldiers start to fear the black man who is covered in blood and brings severed hands to their camp, and Alfa, confronted with the madness of industrialized warfare, lonely, grieving and disturbed, spirals out of control.
At the core, French-Senegalese author David Diop is telling a story of racism and war: France sent 180,000 black soldiers from their colonies into WW I, perpetrating racist stereotypes, arming them with machetes and sending them on the battlefield screaming - and the Germans behind the enemy lines did buy into the narrative and feared the "savages" who brought "barbarity" to Europe. Alfa sees through the racist dynamic and suffers under the inhumane orders he is expected to follow without questioning: He knows that it is crazy to follow the commands, because the chance to survive is so small. His pain becomes unbearable when he realizes that his best friend died to defend a racist regime in the complete madness of the battlefields of WW I - which raises the question: Isn't it a normal reaction to lose one's mind when witnessing the pointless and seemingly endless brutality, caught in the slaughterhouse that Alfa's world has become? This protagonist suffers from severe PTSD, which of course wasn't an acknowledged condition in WW I.
In several flashbacks, we learn about Alfa's backstory, his family, his childhood, and how he ended up in the war, until this novella culminates in a terrible finale. The narration mirrors oral traditions and works with mantra-like repetitions that are remiscient of a religious litany or a folk song. The way Diop conveys Alfa's thoughts and feelings is unbelievably effective - I rarely read a book that distressed me as much as this one. But make no mistake: The explicit scenes aren't gratuitous, they are always there to make a point - even the placement of the wounds is always symbolic. A key concept of the text is that of "being double", as Alfa himself puts it, so look out for the analogies and comparisons in the text that hold important messages.
The French title of the book is "Fr猫re d'芒me", soul brother, a homophone to "Fr猫re d'armes", brother in arms - this does not only point to Alfa's relationship with his dead friend, but also to the way black soldiers are dehumanized, because they are not perceived as people with souls, but as living weapons. Alfa questions existing rules, realizes the nature of socially accepted cruelty and then concludes: "I became a savage through thinking." This is powerful stuff, deservedly celebrated in France, a country which currently outclasses the rest of Europe when it comes to edgy novels with distinct voices.
June 2, 2021
Winner of The International Booker Prize 2021.
I'm tempted to write one of those useless three word reviews that you find at the back covers (instead of good old summaries) of most paperbacks these days.
"Brutal. Riveting. Honest."
Or how about -
"Disturbing. Dark. Brilliant."
But honestly it's not brilliant. Unless you consider comparisons of war trenches with women's genitals brilliant, in which case, I'm afraid I don't share this particular fetish.
However there's still a lot to be said for it.
First of all, the book should come with Trigger Warnings: graphic depiction of violence, unhealthy masochism, trauma.
At its core this book confronts the nature of dualities, it hovers on the chasm between life and death while questioning the validity of both. As we witness an already deranged protagonist's quick descent into what could only be complete insanity, we are left reeling at the vicissitudes of truths and falsehoods within the story. Despite the monotonous narration and gory-ness, our gaze and attention are constantly drawn to the text through the use of poignant, repetitive phrases like "God's truth" and "I swear".
And of course, no review of this book is complete without praising its sharp commentary on colonialism and wars. Diop does a terrific job of illustrating the debilitating effects of wartime atrocities on ordinary men.
But in the end, I think this book was too gruesome and hyper-masculine for me.
I'm tempted to write one of those useless three word reviews that you find at the back covers (instead of good old summaries) of most paperbacks these days.
"Brutal. Riveting. Honest."
Or how about -
"Disturbing. Dark. Brilliant."
But honestly it's not brilliant. Unless you consider comparisons of war trenches with women's genitals brilliant, in which case, I'm afraid I don't share this particular fetish.
However there's still a lot to be said for it.
First of all, the book should come with Trigger Warnings: graphic depiction of violence, unhealthy masochism, trauma.
At its core this book confronts the nature of dualities, it hovers on the chasm between life and death while questioning the validity of both. As we witness an already deranged protagonist's quick descent into what could only be complete insanity, we are left reeling at the vicissitudes of truths and falsehoods within the story. Despite the monotonous narration and gory-ness, our gaze and attention are constantly drawn to the text through the use of poignant, repetitive phrases like "God's truth" and "I swear".
And of course, no review of this book is complete without praising its sharp commentary on colonialism and wars. Diop does a terrific job of illustrating the debilitating effects of wartime atrocities on ordinary men.
But in the end, I think this book was too gruesome and hyper-masculine for me.
June 23, 2020
"I can think what I want. But I won't tell-the depths to which the war drove me...the weight of shame...the day Mademba Diop died".
Alfa Ndiaye and Mademba Diop lived in a small Senegalese village. At age 20, they decided to join the French army's fight against Germany in WWI. With rifle in one hand, machete in the other, told to scream like "savages", they left the trenches to intimidate, scare and shock the enemy. "I found the...soldiers foolish-soldiers, black or white, when commanded to leave the shelter of their trench...with a savage cry...the captain has told them they are great warriors, so they love to get killed while singing...".
The day Mademba was mortally wounded, "I couldn't cut the barbed wire of his suffering...I let duty make my choice". Mademba cried, "...if you are my brother, Alfa...I'm begging you...slit my throat...I would no longer listen to the voice of duty, the voice that commands...but it was too late".
"I am not concerned with my trenchmates...what I want is to fight face-to-face...I always returned after battle with an enemy rifle and the hand that went with it...". Trophies...I was lauded...until the fourth rifle and hand...now shunned, feared by my war brothers...I became untouchable, a soldier sorcerer.
Through back stories, the bond between Alfa Ndiaye and Mademba Diop is conveyed to the reader. Motherless Alfa was embraced by the Diop family, fragile Mademba became physically fit under Alfa's tutelage. Now Alfa's guilt and regret are unbearable. "I didn't really listen to Mademba, my childhood friend, my more-than-brother,...I thought only of...the blue-eyed enemy...I listened to the voice of revenge". Alfa is coming undone. Plans hurriedly are made to remove him from the trenches.
"At Night All Blood is Black" by David Diop was "selected by students across France to win the Prix Goncourt des Lyceens (2018). It is an intense, riveting historical novel of a young man's decent into madness. Alfa was forced to make a moral decision, a no win choice. Regret, horror, and the expendability of soldiers, especially those from the colonies, are this tome's hot button topics and make for a graphically compelling read. This tome was unputdownable despite its darkness and Alfa's battle with his demons during WWI.
Thank you Farrar, Straus, and Giroux and Net Galley for the ARC in exchange for an honest review.
Alfa Ndiaye and Mademba Diop lived in a small Senegalese village. At age 20, they decided to join the French army's fight against Germany in WWI. With rifle in one hand, machete in the other, told to scream like "savages", they left the trenches to intimidate, scare and shock the enemy. "I found the...soldiers foolish-soldiers, black or white, when commanded to leave the shelter of their trench...with a savage cry...the captain has told them they are great warriors, so they love to get killed while singing...".
The day Mademba was mortally wounded, "I couldn't cut the barbed wire of his suffering...I let duty make my choice". Mademba cried, "...if you are my brother, Alfa...I'm begging you...slit my throat...I would no longer listen to the voice of duty, the voice that commands...but it was too late".
"I am not concerned with my trenchmates...what I want is to fight face-to-face...I always returned after battle with an enemy rifle and the hand that went with it...". Trophies...I was lauded...until the fourth rifle and hand...now shunned, feared by my war brothers...I became untouchable, a soldier sorcerer.
Through back stories, the bond between Alfa Ndiaye and Mademba Diop is conveyed to the reader. Motherless Alfa was embraced by the Diop family, fragile Mademba became physically fit under Alfa's tutelage. Now Alfa's guilt and regret are unbearable. "I didn't really listen to Mademba, my childhood friend, my more-than-brother,...I thought only of...the blue-eyed enemy...I listened to the voice of revenge". Alfa is coming undone. Plans hurriedly are made to remove him from the trenches.
"At Night All Blood is Black" by David Diop was "selected by students across France to win the Prix Goncourt des Lyceens (2018). It is an intense, riveting historical novel of a young man's decent into madness. Alfa was forced to make a moral decision, a no win choice. Regret, horror, and the expendability of soldiers, especially those from the colonies, are this tome's hot button topics and make for a graphically compelling read. This tome was unputdownable despite its darkness and Alfa's battle with his demons during WWI.
Thank you Farrar, Straus, and Giroux and Net Galley for the ARC in exchange for an honest review.
February 21, 2021
Over two million West Africans fought for France in WWI, and yet the image I have of that war is entirely white. I can't remember a single line of Wilfred Owen, or a single scene of All Quiet on the Western Front that mentions any other kind of person in the trenches.
Diop's novel corrects that view. It brings to life a world where white officers encourage their "chocolat" soldiers to strike fear in the enemy by behaving with excess savagery on the battlefield. The officers think of these men, after all, as savages. But when one of the men goes too far in his savagery, he's sent to a field hospital to recover from what his officers categorize as a mental breakdown. It's a striking and harrowing counterpoint to Pat Barker's novel , where men are sent home from the battle and considered mentally ill for refusing to fight hard enough.
The narrative voice is lyrical, mythical, nearly incantory, and yet the story the narrator tells is one of relentless violence--not just violence of trench warfare, graphically portrayed, but also the violence of colonialism.
Diop's novel corrects that view. It brings to life a world where white officers encourage their "chocolat" soldiers to strike fear in the enemy by behaving with excess savagery on the battlefield. The officers think of these men, after all, as savages. But when one of the men goes too far in his savagery, he's sent to a field hospital to recover from what his officers categorize as a mental breakdown. It's a striking and harrowing counterpoint to Pat Barker's novel , where men are sent home from the battle and considered mentally ill for refusing to fight hard enough.
The narrative voice is lyrical, mythical, nearly incantory, and yet the story the narrator tells is one of relentless violence--not just violence of trench warfare, graphically portrayed, but also the violence of colonialism.
June 2, 2021
Winner of the International Booker Prize 2021! 馃帀
Full of incantations, invoking god and understanding, while detailing a gruesome rampage to avenge the loss of more than a brother in arms through a blood splattered kind of shell shock
Temporary madness, in war, is bravery鈥檚 sister.
Possession, Senegalese folktales, war trauma, colonialism: this was a breathless read that I practically inhaled in one sitting. Compelling, dark and with a twist that keeps you on your feet till the very end. Mademba Diop is a soldier from Senegal who dies in the trenches of France. His more than brother in arms (however much I loved the poetic nature of the English title , actually the Dutch translation that roughly equates to "More Than A Brother" is much closer to the French original title) Alfa Ndiaye is the narrator of the book. He tells of the hell of the First World War trenches and the revenge he tries to exact upon the Germans on the other side, cutting of their hands in raids that move from being seen brave to terrifying, shocking and almost black magic like.
Slowly Ndiaye shows his relationship with Mademba, his memories of Senegal and what he left behind, and he starts some kind of process of healing which turns almost like in the end of the book. manages to give Alfa a singular, almost biblical voice, full of incantations and fixed phrases that serve to keep some of the horrors of the battlefield away from the reader. Scenes of punishing deserters, intestines spilling around in the mud, cold and damp seeping in everywhere because fire could draw in artillery fire. Its haunting stuff in such a short book.
The writing is almost claustrophobic and drags you into the trenches while examining colonial exploitation, nomads being supplanted and human life only having meaning in folktales instead of the real world. A well earned winner!
Dutch quote:
De commandant houdt van de oorlog zoals iemand van een wispelturige vrouw houdt.
Full of incantations, invoking god and understanding, while detailing a gruesome rampage to avenge the loss of more than a brother in arms through a blood splattered kind of shell shock
Temporary madness, in war, is bravery鈥檚 sister.
Possession, Senegalese folktales, war trauma, colonialism: this was a breathless read that I practically inhaled in one sitting. Compelling, dark and with a twist that keeps you on your feet till the very end. Mademba Diop is a soldier from Senegal who dies in the trenches of France. His more than brother in arms (however much I loved the poetic nature of the English title , actually the Dutch translation that roughly equates to "More Than A Brother" is much closer to the French original title) Alfa Ndiaye is the narrator of the book. He tells of the hell of the First World War trenches and the revenge he tries to exact upon the Germans on the other side, cutting of their hands in raids that move from being seen brave to terrifying, shocking and almost black magic like.
Slowly Ndiaye shows his relationship with Mademba, his memories of Senegal and what he left behind, and he starts some kind of process of healing which turns almost like in the end of the book. manages to give Alfa a singular, almost biblical voice, full of incantations and fixed phrases that serve to keep some of the horrors of the battlefield away from the reader. Scenes of punishing deserters, intestines spilling around in the mud, cold and damp seeping in everywhere because fire could draw in artillery fire. Its haunting stuff in such a short book.
The writing is almost claustrophobic and drags you into the trenches while examining colonial exploitation, nomads being supplanted and human life only having meaning in folktales instead of the real world. A well earned winner!
Dutch quote:
De commandant houdt van de oorlog zoals iemand van een wispelturige vrouw houdt.
June 4, 2021
Military officers often describe how it's necessary to mentally and physically break recruits down so they can be rebuilt into soldiers. The idea is that creating a steely sensibility which follows the absolute authority of commanding officers is necessary for the brutality of war. Arguably, it's a process that entirely strips individuals of their humanity to transform them into killing machines. This is what the character of Alfa has turned into at the start of David Diop's 鈥淎t Night All Blood is Black鈥�. When his 鈥渕ore-than-brother鈥� friend Mademba is killed during combat while they are fighting in WWI, Alfa goes on a rampage assassinating German soldiers and cutting off their hands to keep as trophies. This Senegalese soldier fights for the French army and at first they find his deadly tenacity admirable and then fear he's actually a madman or demonically possessed. Within the context of war, questions of humanity or inhumanity become dangerously confused. This intensely brilliant novel portrays the conflicts this soldier has over this issue as he literally battles through his grief and rage. In deftly pared-down prose the author powerfully describes the chaotic savagery of war and how it spiritually crushes this beautifully unique and traumatized individual.
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I'm thrilled Diop's novel has won the International Booker Prize and you can see my live reaction has I'm watching the ceremony here:
Read my full
I'm thrilled Diop's novel has won the International Booker Prize and you can see my live reaction has I'm watching the ceremony here:
February 24, 2020
芦螘委渭伪喂 畏 谓蠉蠂蟿伪 魏伪喂 畏 渭苇蟻伪.
螘委渭伪喂 畏 蠁蠅蟿喂维 魏伪喂 蟿慰 尉蠉位慰 蟺慰蠀 蟿慰 魏伪蟿伪魏伪委蔚喂.
螘委渭伪喂 慰 伪胃蠋慰蟼 魏伪喂 慰 苇谓慰蠂慰蟼.
螘委渭伪喂 畏 伪蟻蠂萎 魏伪喂 蟿慰 蟿苇位慰蟼.
螘委渭伪喂 慰 未畏渭喂慰蠀蟻纬蠈蟼 魏伪喂 慰 魏伪蟿伪蟽蟿蟻慰蠁苇伪蟼.
螘委渭伪喂 未喂蟽蠀蟺蠈蟽蟿伪蟿慰蟼.
螣 渭蔚蟿伪蠁蟻伪蟽蟿萎蟼 蠁伪委谓蔚蟿伪喂 谓伪 未喂蟽蟿维味蔚喂, 蠁慰尾喂蟽渭苇谓慰蟼 伪蟺蠈 蟿伪 伪蠀蟽蟿畏蟻维 尾位苇渭渭伪蟿伪 蟺慰蠀 蔚魏蟿慰尉蔚蠉慰谓蟿伪喂 渭蔚 伪谓畏蟽蠀蠂委伪 魏伪喂 胃蠀渭蠈 蟺蟻慰蟼 蟿慰 渭苇蟻慰蟼 蟿慰蠀. 螝伪胃伪蟻委味蔚喂 蟿慰谓 位伪喂渭蠈 蟿慰蠀 魏伪喂 伪蟺伪谓蟿维 蟽蟿喂蟼 蔚蟺委蟽畏渭蔚蟼 蟽蟿慰位苇蟼 渭蔚 蠂伪渭畏位萎 蠁蠅谓萎 蟺慰蠀 蟽蠂蔚未蠈谓 未蔚谓 伪魏慰蠉纬蔚蟿伪喂:
芦螘魏蔚委谓慰蟼 蔚委蟺蔚 蠈蟿喂 萎蟿伪谓 蟿伪蠀蟿蠈蠂蟻慰谓伪 慰 胃维谓伪蟿慰蟼 魏伪喂 畏 味蠅萎禄.
螘委谓伪喂 慰 蟺蠈位蔚渭慰蟼, 慰 蟺蟿蠅渭伪蟿慰蠁维纬慰蟼 蟺蠈位蔚渭慰蟼,
慰 渭喂蟽畏蟿蠈蟼,蟺慰蠀 魏伪蟿伪尾蟻慰蠂胃委味蔚喂 蠄蠀蠂苇蟼 魏伪喂 蟽蠋渭伪蟿伪
纬喂伪 谓伪 伪蟺慰魏蟿萎蟽蔚喂 未蠉谓伪渭畏, 蠀蟺蠈蟽蟿伪蟽畏,位慰纬喂魏萎, 谓蠈畏蟽畏, 蟽蠀谓伪委蟽胃畏蟽畏.
韦慰蠀 蠂蟻蔚喂维味慰谓蟿伪喂 伪蟺伪蟻伪喂蟿萎蟿蠅蟼 纬喂伪 谓伪 渭蟺慰蟻苇蟽蔚喂
谓伪 蔚尉畏纬萎蟽蔚喂 蟿畏谓 伪蟻蠂萎 蟿畏蟼 伪位萎胃蔚喂伪蟼
蟺慰蠀 未蔚谓 苇蠂蔚喂 蟿苇位慰蟼, 纬喂伪 谓伪 渭蟺慰蟻苇蟽蔚喂 谓伪 伪蠁畏纬畏胃蔚委
蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀, 谓伪 未蔚委尉蔚喂 蟿喂蟼 蟺位畏纬苇蟼 蟺慰蠀 蟿慰谓 苇胃蟻蔚蠄伪谓, 谓伪 胃蠀蟽喂维蟽蔚喂 蟿慰 伪委渭伪 蟺慰蠀 蟺蠈蟿喂蟽蔚 蟿畏谓 魏蠀蟻喂伪蟻蠂委伪 蟿慰蠀
蟺维谓蠅 蟽蟿畏 纬畏, 蟿畏谓 纬畏 蟿慰蠀 魏伪谓蔚谓蠈蟼.
韦伪 蟽慰魏慰位伪蟿委 魏伪喂 蟿伪 位蔚蠀魏维 蠂蠀渭渭苇谓伪 伪委渭伪蟿伪 蟿慰蠀 蟺慰位蔚渭喂魏慰蠉 蟺慰位喂蟿喂蟽渭慰蠉 , 蟿伪 蟽魏慰蠉蟻伪 魏伪喂 蟿伪 维蟽蟺蟻伪 魏慰蟻渭喂维, 蟿伪 纬伪位伪谓维 渭维蟿喂伪 魏伪喂 蟿伪 蟽魏慰蟿蔚喂谓维 尾位苇渭渭伪蟿伪, 尉蔚魏慰喂位喂维味慰蠀谓 蟿伪 蔚蠂胃蟻喂魏维 蠂伪蟻伪魏蠋渭伪蟿伪 蟿畏蟼 伪胃蠅蠈蟿畏蟿伪蟼 魏伪喂 蟿畏蟼 未蠀蟽蟿蠀蠂委伪蟼, 蟺伪委蟻谓慰蠀谓 蟽蟿畏谓 味蔚蟽蟿萎 伪纬魏伪位喂维 蟿慰蠀蟼 蟿伪 蟺蔚蟺蟻蠅渭苇谓伪 蟿蠅谓 渭谓畏渭蔚委蠅谓 魏伪喂 蟿蠅谓 畏蟻蠋蠅谓, 渭蔚 蟿伪 蟺伪蟻维蟽畏渭伪 伪谓未蟻蔚委伪蟼 蟺慰蠀 纬蠀伪位委味慰蠀谓 蟽伪谓 魏蠈魏魏喂谓伪 蠁蔚纬纬维蟻喂伪 魏伪喂 蟽蟿喂蟼 未蠀慰 蠈蠄蔚喂蟼 蟿慰蠀蟼, 苇纬魏位畏渭伪 魏伪喂 胃畏蟻喂蠅未委伪.
螣喂 谓蔚魏蟻慰委, 蟺慰蠀 蟽蔚 蟽魏慰蠉蟻蔚蟼 蟽蟿慰位苇蟼 蟽蟿蟻伪蟿喂蠅蟿喂魏蠋谓 未畏位蠋谓慰蠀谓 蠀蟺伪魏慰萎 蟽蟿畏 蟽蠁蠀蟻委蠂蟿蟻伪 蟿慰蠀 位慰蠂伪纬慰蠉
蟺慰蠀 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟺蟻慰未蠋蟽蔚喂 蟿畏谓 蟺位维谓畏 蟿慰蠀 谓蔚魏蟻喂魏慰蠉 魏伪胃萎魏慰谓蟿慰蟼, 蟿伪 蟿蟻蠈蟺伪喂伪 蟿蠅谓 蔚蠂胃蟻蠋谓 尾位苇蟺慰蠀谓 蟿伪 纬蟻伪渭渭苇谓伪 蟿畏蟼 渭慰委蟻伪 蟿慰蠀蟼 魏伪喂 尉苇蟻慰蠀谓 蟺蠅蟼 慰 胃蔚蠈蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 尉蔚渭蟺位苇尉蔚喂 蟿伪 谓萎渭伪蟿伪 蟺慰位位蠋谓 蟺蔚蟺蟻蠅渭苇谓蠅谓 蟽蠀纬蠂蟻蠈谓蠅蟼.
螁位位蠅蟽蟿蔚 慰 伪位畏胃喂谓蠈蟼 胃蔚蠈蟼 蠁胃维谓蔚喂 蟺维谓蟿伪 魏伪胃蠀蟽蟿蔚蟻畏渭苇谓慰蟼 未喂伪蟺喂蟽蟿蠋谓蔚喂 蟿喂蟼 味畏渭喂苇蟼 蟽蟿畏谓 纬畏 蟿慰蠀 魏伪谓蔚谓蠈蟼 蟺慰蠀 蟿委蟺慰蟿蔚 未蔚谓 蔚委谓伪喂 伪蟺位蠈
魏伪喂
慰 位蠀渭蠁伪蟿喂魏蠈蟼 未伪委渭慰谓伪蟼 蟺慰蠀 尉蔚尾蟻维味蔚蟽伪喂 伪蟺慰 蟿伪 苇纬魏伪蟿伪 蟿畏蟼 维纬慰谓畏蟼 纬畏蟼, 慰 蠁蟻喂魏喂伪蟽蟿喂魏蠈蟼 蟺蟻委纬魏喂蟺伪蟼 渭蔚 蟿伪 蟽畏渭维未喂伪 伪蟺慰 蟿喂蟼 魏蟻伪蠀纬苇蟼 蟿畏蟼 蟿蟻伪纬蠅未委伪蟼 尉蔚蟺畏未维蔚喂 伪谓维渭蔚蟽伪 蟽蔚 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟺慰蠀 未蔚谓 伪谓伪纬谓蠅蟻委味蔚喂 魏伪喂 慰渭慰位慰纬蔚委 蟺蠅蟼 蟿伪 蠂伪渭蠈纬蔚位伪 蟿畏蟼 蟿蟻苇位伪蟼, 蟿畏蟼 蠉蟺伪蟻尉畏蟼, 蟿畏蟼 畏未慰谓萎蟼 魏伪喂 蟿蠅谓 蠈蟻魏蠅谓 蔚喂谓伪喂 渭蔚蟿伪未慰蟿喂魏维.
韦慰 未喂伪渭伪谓蟿维魏喂 伪蠀蟿蠈, 蟿慰蠉蟿慰 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪, 伪蟻蠂喂魏维 渭慰喂维味蔚喂 蟽伪谓 维位位慰 苇谓伪 蟺慰位蔚渭喂魏蠈 蠂蟻慰谓喂魏蠈 蟿慰蠀 螒鈥櫸犖� 蟺慰蠀 魏蠈尾慰蠀渭蔚 蟿喂蟼 蔚蠂胃蟻喂魏苇蟼 蟽维蟻魏蔚蟼, 蟽伪魏伪蟿蔚蠉慰蠀渭蔚, 伪蟺慰魏蔚蠁伪位委味慰蠀渭蔚, 尉蔚魏慰喂位喂维味慰蠀渭蔚 魏伪喂 渭蔚 蟿伪 伪蠂谓喂蟽蟿维 蔚谓蟿蠈蟽胃喂伪 蟿蠅谓 蟽蟿蟻伪蟿喂蠅蟿蠋谓 蟿蟻苇蠁蔚蟿伪喂 伪蠀蟿萎 畏 纬畏,
伪蠀蟿萎 蟺慰蠀 未蔚谓 蔚喂谓伪喂 魏伪谓蔚谓蠈蟼.
螌渭蠅蟼, 伪蟺慰 魏维蟺慰喂慰 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈 蟽畏渭蔚委慰 蟿畏蟼 蔚尉苇位喂尉畏蟼 魏伪喂 渭蔚蟿维 味慰蠉渭蔚 渭蔚 蠈位蔚蟼 蟿喂蟼 伪喂蟽胃萎蟽蔚喂蟼 渭伪蟼 魏伪喂 蟿畏谓 谓蠈畏蟽畏 渭伪蟼 蟿畏谓 喂蟽蟿慰蟻委伪 味蠅萎蟼 蟿慰蠀 螁位蠁伪 螡蟿喂维纬蔚, 蟿慰蠀 维纬蟻喂慰蠀 谓苇纬蟻慰蠀, 蟿慰蠀 危蔚谓蔚纬伪位苇味慰蠀 蟿蠀蠁蔚魏喂慰蠁蠈蟻慰蠀, 蟺慰蠀 渭蔚蟿伪渭慰蟻蠁蠋谓蔚蟿伪喂 蟽蔚 味慰蠀位慰蠉, 魏伪谓委尾伪位慰, 尾伪蟽伪谓喂蟽蟿萎 魏伪喂 渭伪蠉蟻慰 蔚蠁喂维位蟿畏 纬喂伪 蟿慰蠀蟼 蔚蠂胃蟻慰蠉蟼 渭蔚 蟿伪 纬伪位伪谓维 渭维蟿喂伪,
渭伪 魏蠀蟻委蠅蟼 纬喂伪 蟿畏谓 蠄蠀蠂萎 蟿慰蠀 蟺慰蠀 蠂伪谓蔚蟿伪喂 纬喂伪 蟺维谓蟿伪 伪谓维渭蔚蟽伪 蟽蔚 味蠅萎 魏伪喂 胃维谓伪蟿慰.
螒谓维渭蔚蟽伪 蟽蔚 蟺蠈位蔚渭慰 魏伪喂 蔚喂蟻萎谓畏.
螒谓维渭蔚蟽伪 蟽蟿伪 位维蠁蠀蟻伪 蟿蠅谓 魏慰渭渭苇谓蠅谓 蠂苇蟻喂蠅谓 蟺慰蠀 蟽蠀位位苇纬蔚喂 魏伪喂 蟿慰谓 蔚蟺喂胃伪谓维蟿喂慰 蟻蠈纬蠂慰 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 伪纬维蟺畏蟽蔚, 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 蔚委蟿蔚 味蠅谓蟿伪谓慰委 蔚委蟿蔚 谓蔚魏蟻慰委 伪蟺慰蟿蔚位慰蠉谓 蟿慰 未喂魏蠈 蟿慰蠀 蠂伪蟻维魏蠅渭伪.
螘魏蔚委 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟿慰 渭蔚纬维位慰 伪胃蠋慰 蟺伪喂未委 蟿畏蟼 螒蠁蟻喂魏萎蟼 纬喂伪 谓伪 渭畏谓 蟿慰 尾蟻蔚喂 慰 蔚蠀蟻蠅蟺伪蠆魏蠈蟼 蟺慰位喂蟿喂蟽渭蠈蟼 魏伪喂 蟿慰 魏伪蟿伪未喂魏维蟽蔚喂 蟽蔚 伪喂蠋谓喂伪 蟽魏位伪尾喂维 位蠈纬蠅 蟿畏蟼 维纬蟻喂伪蟼 魏伪喂 尾委伪喂畏蟼 伪蠁蟻喂魏伪谓喂魏萎蟼 芦渭伪蠉蟻畏蟼 谓蟿蟻慰蟺萎蟼禄.
螣 螡蟿喂伪纬苇 渭苇蟽蠅 蟿慰蠀 蟺慰位苇渭慰蠀 蠂维谓蔚喂 魏伪喂 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟽蟿伪纬蠈谓伪 蔚谓蟽蠀谓伪委蟽胃畏蟽畏蟼 魏伪喂 伪谓胃蟻蠅蟺喂维蟼 蟺慰蠀 蟿慰蠀 蔚委蠂蔚 伪蟺慰渭蔚委谓蔚喂. 螘魏蔚委 蔚尉伪纬蟻喂蠋谓蔚蟿伪喂 伪蟺慰 蟿慰谓 蟺蠈谓慰 魏伪喂 蟿畏谓 蠁蟻委魏畏. 螢蔚未喂蟺位蠋谓蔚喂 蟿喂蟼 渭谓萎渭蔚蟼 蟿畏蟼 胃位喂尾蔚蟻萎蟼 味蠅萎蟼 蟿慰蠀 蟺伪蟻维位位畏位伪 渭蔚 蟿畏谓 渭蔚蟿伪渭蠈蟻蠁蠅蟽畏 蟽蔚 未喂伪蟿蔚蟿伪纬渭苇谓畏 蠀蟺畏蟻蔚蟽委伪 胃伪谓维蟿慰蠀.
螕委谓蔚蟿伪喂 维纬纬蔚位慰蟼 蠁慰谓喂维蟼, 纬委谓蔚蟿伪喂 未喂蟽蠀蟺蠈蟽蟿伪蟿慰蟼,
纬委谓蔚蟿伪喂 魏蔚谓蠈, 维畏蠂慰, 尾伪胃蠉, 蟽魏慰蟿蔚喂谓蠈, 未伪喂未伪位蠋未蔚蟼 魏伪喂 伪尾蠀蟽蟽蟽伪位苇慰.
螕喂谓蔚蟿伪喂 纬谓蠋蟽蟿畏蟼 渭蔚 蟿慰谓 蟺喂慰 蟽魏位畏蟻蠈 蟿蟻蠈蟺慰, 蟺蠅蟼 谓伪喂, 蔚委谓伪喂 伪位萎胃蔚喂伪, 蠈蟿喂 芦蟿畏 谓蠉蠂蟿伪, 蠈位伪 蟿伪 伪委渭伪蟿伪 蔚委谓伪喂 渭伪蠉蟻伪禄.
馃枻馃枻馃枻馃枻馃枻
馃摎馃摎馃摎
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼
螘委渭伪喂 畏 蠁蠅蟿喂维 魏伪喂 蟿慰 尉蠉位慰 蟺慰蠀 蟿慰 魏伪蟿伪魏伪委蔚喂.
螘委渭伪喂 慰 伪胃蠋慰蟼 魏伪喂 慰 苇谓慰蠂慰蟼.
螘委渭伪喂 畏 伪蟻蠂萎 魏伪喂 蟿慰 蟿苇位慰蟼.
螘委渭伪喂 慰 未畏渭喂慰蠀蟻纬蠈蟼 魏伪喂 慰 魏伪蟿伪蟽蟿蟻慰蠁苇伪蟼.
螘委渭伪喂 未喂蟽蠀蟺蠈蟽蟿伪蟿慰蟼.
螣 渭蔚蟿伪蠁蟻伪蟽蟿萎蟼 蠁伪委谓蔚蟿伪喂 谓伪 未喂蟽蟿维味蔚喂, 蠁慰尾喂蟽渭苇谓慰蟼 伪蟺蠈 蟿伪 伪蠀蟽蟿畏蟻维 尾位苇渭渭伪蟿伪 蟺慰蠀 蔚魏蟿慰尉蔚蠉慰谓蟿伪喂 渭蔚 伪谓畏蟽蠀蠂委伪 魏伪喂 胃蠀渭蠈 蟺蟻慰蟼 蟿慰 渭苇蟻慰蟼 蟿慰蠀. 螝伪胃伪蟻委味蔚喂 蟿慰谓 位伪喂渭蠈 蟿慰蠀 魏伪喂 伪蟺伪谓蟿维 蟽蟿喂蟼 蔚蟺委蟽畏渭蔚蟼 蟽蟿慰位苇蟼 渭蔚 蠂伪渭畏位萎 蠁蠅谓萎 蟺慰蠀 蟽蠂蔚未蠈谓 未蔚谓 伪魏慰蠉纬蔚蟿伪喂:
芦螘魏蔚委谓慰蟼 蔚委蟺蔚 蠈蟿喂 萎蟿伪谓 蟿伪蠀蟿蠈蠂蟻慰谓伪 慰 胃维谓伪蟿慰蟼 魏伪喂 畏 味蠅萎禄.
螘委谓伪喂 慰 蟺蠈位蔚渭慰蟼, 慰 蟺蟿蠅渭伪蟿慰蠁维纬慰蟼 蟺蠈位蔚渭慰蟼,
慰 渭喂蟽畏蟿蠈蟼,蟺慰蠀 魏伪蟿伪尾蟻慰蠂胃委味蔚喂 蠄蠀蠂苇蟼 魏伪喂 蟽蠋渭伪蟿伪
纬喂伪 谓伪 伪蟺慰魏蟿萎蟽蔚喂 未蠉谓伪渭畏, 蠀蟺蠈蟽蟿伪蟽畏,位慰纬喂魏萎, 谓蠈畏蟽畏, 蟽蠀谓伪委蟽胃畏蟽畏.
韦慰蠀 蠂蟻蔚喂维味慰谓蟿伪喂 伪蟺伪蟻伪喂蟿萎蟿蠅蟼 纬喂伪 谓伪 渭蟺慰蟻苇蟽蔚喂
谓伪 蔚尉畏纬萎蟽蔚喂 蟿畏谓 伪蟻蠂萎 蟿畏蟼 伪位萎胃蔚喂伪蟼
蟺慰蠀 未蔚谓 苇蠂蔚喂 蟿苇位慰蟼, 纬喂伪 谓伪 渭蟺慰蟻苇蟽蔚喂 谓伪 伪蠁畏纬畏胃蔚委
蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀, 谓伪 未蔚委尉蔚喂 蟿喂蟼 蟺位畏纬苇蟼 蟺慰蠀 蟿慰谓 苇胃蟻蔚蠄伪谓, 谓伪 胃蠀蟽喂维蟽蔚喂 蟿慰 伪委渭伪 蟺慰蠀 蟺蠈蟿喂蟽蔚 蟿畏谓 魏蠀蟻喂伪蟻蠂委伪 蟿慰蠀
蟺维谓蠅 蟽蟿畏 纬畏, 蟿畏谓 纬畏 蟿慰蠀 魏伪谓蔚谓蠈蟼.
韦伪 蟽慰魏慰位伪蟿委 魏伪喂 蟿伪 位蔚蠀魏维 蠂蠀渭渭苇谓伪 伪委渭伪蟿伪 蟿慰蠀 蟺慰位蔚渭喂魏慰蠉 蟺慰位喂蟿喂蟽渭慰蠉 , 蟿伪 蟽魏慰蠉蟻伪 魏伪喂 蟿伪 维蟽蟺蟻伪 魏慰蟻渭喂维, 蟿伪 纬伪位伪谓维 渭维蟿喂伪 魏伪喂 蟿伪 蟽魏慰蟿蔚喂谓维 尾位苇渭渭伪蟿伪, 尉蔚魏慰喂位喂维味慰蠀谓 蟿伪 蔚蠂胃蟻喂魏维 蠂伪蟻伪魏蠋渭伪蟿伪 蟿畏蟼 伪胃蠅蠈蟿畏蟿伪蟼 魏伪喂 蟿畏蟼 未蠀蟽蟿蠀蠂委伪蟼, 蟺伪委蟻谓慰蠀谓 蟽蟿畏谓 味蔚蟽蟿萎 伪纬魏伪位喂维 蟿慰蠀蟼 蟿伪 蟺蔚蟺蟻蠅渭苇谓伪 蟿蠅谓 渭谓畏渭蔚委蠅谓 魏伪喂 蟿蠅谓 畏蟻蠋蠅谓, 渭蔚 蟿伪 蟺伪蟻维蟽畏渭伪 伪谓未蟻蔚委伪蟼 蟺慰蠀 纬蠀伪位委味慰蠀谓 蟽伪谓 魏蠈魏魏喂谓伪 蠁蔚纬纬维蟻喂伪 魏伪喂 蟽蟿喂蟼 未蠀慰 蠈蠄蔚喂蟼 蟿慰蠀蟼, 苇纬魏位畏渭伪 魏伪喂 胃畏蟻喂蠅未委伪.
螣喂 谓蔚魏蟻慰委, 蟺慰蠀 蟽蔚 蟽魏慰蠉蟻蔚蟼 蟽蟿慰位苇蟼 蟽蟿蟻伪蟿喂蠅蟿喂魏蠋谓 未畏位蠋谓慰蠀谓 蠀蟺伪魏慰萎 蟽蟿畏 蟽蠁蠀蟻委蠂蟿蟻伪 蟿慰蠀 位慰蠂伪纬慰蠉
蟺慰蠀 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟺蟻慰未蠋蟽蔚喂 蟿畏谓 蟺位维谓畏 蟿慰蠀 谓蔚魏蟻喂魏慰蠉 魏伪胃萎魏慰谓蟿慰蟼, 蟿伪 蟿蟻蠈蟺伪喂伪 蟿蠅谓 蔚蠂胃蟻蠋谓 尾位苇蟺慰蠀谓 蟿伪 纬蟻伪渭渭苇谓伪 蟿畏蟼 渭慰委蟻伪 蟿慰蠀蟼 魏伪喂 尉苇蟻慰蠀谓 蟺蠅蟼 慰 胃蔚蠈蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 尉蔚渭蟺位苇尉蔚喂 蟿伪 谓萎渭伪蟿伪 蟺慰位位蠋谓 蟺蔚蟺蟻蠅渭苇谓蠅谓 蟽蠀纬蠂蟻蠈谓蠅蟼.
螁位位蠅蟽蟿蔚 慰 伪位畏胃喂谓蠈蟼 胃蔚蠈蟼 蠁胃维谓蔚喂 蟺维谓蟿伪 魏伪胃蠀蟽蟿蔚蟻畏渭苇谓慰蟼 未喂伪蟺喂蟽蟿蠋谓蔚喂 蟿喂蟼 味畏渭喂苇蟼 蟽蟿畏谓 纬畏 蟿慰蠀 魏伪谓蔚谓蠈蟼 蟺慰蠀 蟿委蟺慰蟿蔚 未蔚谓 蔚委谓伪喂 伪蟺位蠈
魏伪喂
慰 位蠀渭蠁伪蟿喂魏蠈蟼 未伪委渭慰谓伪蟼 蟺慰蠀 尉蔚尾蟻维味蔚蟽伪喂 伪蟺慰 蟿伪 苇纬魏伪蟿伪 蟿畏蟼 维纬慰谓畏蟼 纬畏蟼, 慰 蠁蟻喂魏喂伪蟽蟿喂魏蠈蟼 蟺蟻委纬魏喂蟺伪蟼 渭蔚 蟿伪 蟽畏渭维未喂伪 伪蟺慰 蟿喂蟼 魏蟻伪蠀纬苇蟼 蟿畏蟼 蟿蟻伪纬蠅未委伪蟼 尉蔚蟺畏未维蔚喂 伪谓维渭蔚蟽伪 蟽蔚 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟺慰蠀 未蔚谓 伪谓伪纬谓蠅蟻委味蔚喂 魏伪喂 慰渭慰位慰纬蔚委 蟺蠅蟼 蟿伪 蠂伪渭蠈纬蔚位伪 蟿畏蟼 蟿蟻苇位伪蟼, 蟿畏蟼 蠉蟺伪蟻尉畏蟼, 蟿畏蟼 畏未慰谓萎蟼 魏伪喂 蟿蠅谓 蠈蟻魏蠅谓 蔚喂谓伪喂 渭蔚蟿伪未慰蟿喂魏维.
韦慰 未喂伪渭伪谓蟿维魏喂 伪蠀蟿蠈, 蟿慰蠉蟿慰 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪, 伪蟻蠂喂魏维 渭慰喂维味蔚喂 蟽伪谓 维位位慰 苇谓伪 蟺慰位蔚渭喂魏蠈 蠂蟻慰谓喂魏蠈 蟿慰蠀 螒鈥櫸犖� 蟺慰蠀 魏蠈尾慰蠀渭蔚 蟿喂蟼 蔚蠂胃蟻喂魏苇蟼 蟽维蟻魏蔚蟼, 蟽伪魏伪蟿蔚蠉慰蠀渭蔚, 伪蟺慰魏蔚蠁伪位委味慰蠀渭蔚, 尉蔚魏慰喂位喂维味慰蠀渭蔚 魏伪喂 渭蔚 蟿伪 伪蠂谓喂蟽蟿维 蔚谓蟿蠈蟽胃喂伪 蟿蠅谓 蟽蟿蟻伪蟿喂蠅蟿蠋谓 蟿蟻苇蠁蔚蟿伪喂 伪蠀蟿萎 畏 纬畏,
伪蠀蟿萎 蟺慰蠀 未蔚谓 蔚喂谓伪喂 魏伪谓蔚谓蠈蟼.
螌渭蠅蟼, 伪蟺慰 魏维蟺慰喂慰 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈 蟽畏渭蔚委慰 蟿畏蟼 蔚尉苇位喂尉畏蟼 魏伪喂 渭蔚蟿维 味慰蠉渭蔚 渭蔚 蠈位蔚蟼 蟿喂蟼 伪喂蟽胃萎蟽蔚喂蟼 渭伪蟼 魏伪喂 蟿畏谓 谓蠈畏蟽畏 渭伪蟼 蟿畏谓 喂蟽蟿慰蟻委伪 味蠅萎蟼 蟿慰蠀 螁位蠁伪 螡蟿喂维纬蔚, 蟿慰蠀 维纬蟻喂慰蠀 谓苇纬蟻慰蠀, 蟿慰蠀 危蔚谓蔚纬伪位苇味慰蠀 蟿蠀蠁蔚魏喂慰蠁蠈蟻慰蠀, 蟺慰蠀 渭蔚蟿伪渭慰蟻蠁蠋谓蔚蟿伪喂 蟽蔚 味慰蠀位慰蠉, 魏伪谓委尾伪位慰, 尾伪蟽伪谓喂蟽蟿萎 魏伪喂 渭伪蠉蟻慰 蔚蠁喂维位蟿畏 纬喂伪 蟿慰蠀蟼 蔚蠂胃蟻慰蠉蟼 渭蔚 蟿伪 纬伪位伪谓维 渭维蟿喂伪,
渭伪 魏蠀蟻委蠅蟼 纬喂伪 蟿畏谓 蠄蠀蠂萎 蟿慰蠀 蟺慰蠀 蠂伪谓蔚蟿伪喂 纬喂伪 蟺维谓蟿伪 伪谓维渭蔚蟽伪 蟽蔚 味蠅萎 魏伪喂 胃维谓伪蟿慰.
螒谓维渭蔚蟽伪 蟽蔚 蟺蠈位蔚渭慰 魏伪喂 蔚喂蟻萎谓畏.
螒谓维渭蔚蟽伪 蟽蟿伪 位维蠁蠀蟻伪 蟿蠅谓 魏慰渭渭苇谓蠅谓 蠂苇蟻喂蠅谓 蟺慰蠀 蟽蠀位位苇纬蔚喂 魏伪喂 蟿慰谓 蔚蟺喂胃伪谓维蟿喂慰 蟻蠈纬蠂慰 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 伪纬维蟺畏蟽蔚, 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 蔚委蟿蔚 味蠅谓蟿伪谓慰委 蔚委蟿蔚 谓蔚魏蟻慰委 伪蟺慰蟿蔚位慰蠉谓 蟿慰 未喂魏蠈 蟿慰蠀 蠂伪蟻维魏蠅渭伪.
螘魏蔚委 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟿慰 渭蔚纬维位慰 伪胃蠋慰 蟺伪喂未委 蟿畏蟼 螒蠁蟻喂魏萎蟼 纬喂伪 谓伪 渭畏谓 蟿慰 尾蟻蔚喂 慰 蔚蠀蟻蠅蟺伪蠆魏蠈蟼 蟺慰位喂蟿喂蟽渭蠈蟼 魏伪喂 蟿慰 魏伪蟿伪未喂魏维蟽蔚喂 蟽蔚 伪喂蠋谓喂伪 蟽魏位伪尾喂维 位蠈纬蠅 蟿畏蟼 维纬蟻喂伪蟼 魏伪喂 尾委伪喂畏蟼 伪蠁蟻喂魏伪谓喂魏萎蟼 芦渭伪蠉蟻畏蟼 谓蟿蟻慰蟺萎蟼禄.
螣 螡蟿喂伪纬苇 渭苇蟽蠅 蟿慰蠀 蟺慰位苇渭慰蠀 蠂维谓蔚喂 魏伪喂 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟽蟿伪纬蠈谓伪 蔚谓蟽蠀谓伪委蟽胃畏蟽畏蟼 魏伪喂 伪谓胃蟻蠅蟺喂维蟼 蟺慰蠀 蟿慰蠀 蔚委蠂蔚 伪蟺慰渭蔚委谓蔚喂. 螘魏蔚委 蔚尉伪纬蟻喂蠋谓蔚蟿伪喂 伪蟺慰 蟿慰谓 蟺蠈谓慰 魏伪喂 蟿畏谓 蠁蟻委魏畏. 螢蔚未喂蟺位蠋谓蔚喂 蟿喂蟼 渭谓萎渭蔚蟼 蟿畏蟼 胃位喂尾蔚蟻萎蟼 味蠅萎蟼 蟿慰蠀 蟺伪蟻维位位畏位伪 渭蔚 蟿畏谓 渭蔚蟿伪渭蠈蟻蠁蠅蟽畏 蟽蔚 未喂伪蟿蔚蟿伪纬渭苇谓畏 蠀蟺畏蟻蔚蟽委伪 胃伪谓维蟿慰蠀.
螕委谓蔚蟿伪喂 维纬纬蔚位慰蟼 蠁慰谓喂维蟼, 纬委谓蔚蟿伪喂 未喂蟽蠀蟺蠈蟽蟿伪蟿慰蟼,
纬委谓蔚蟿伪喂 魏蔚谓蠈, 维畏蠂慰, 尾伪胃蠉, 蟽魏慰蟿蔚喂谓蠈, 未伪喂未伪位蠋未蔚蟼 魏伪喂 伪尾蠀蟽蟽蟽伪位苇慰.
螕喂谓蔚蟿伪喂 纬谓蠋蟽蟿畏蟼 渭蔚 蟿慰谓 蟺喂慰 蟽魏位畏蟻蠈 蟿蟻蠈蟺慰, 蟺蠅蟼 谓伪喂, 蔚委谓伪喂 伪位萎胃蔚喂伪, 蠈蟿喂 芦蟿畏 谓蠉蠂蟿伪, 蠈位伪 蟿伪 伪委渭伪蟿伪 蔚委谓伪喂 渭伪蠉蟻伪禄.
馃枻馃枻馃枻馃枻馃枻
馃摎馃摎馃摎
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼
July 2, 2022
is a fairy short book consisting of just 145 pages, and within those 145 pages, the phrase 'God's truth' was written at least 120 times, if not more. Why, I hear you ask? Well that, I cannot answer, but I can certainly state that from a personal point of view, this was not an International Booker Prize Winner. God's truth, it drove me to the brink of madness with it's repetitiveness.
This wasn't a total mess, because the book actually began quite well, and I was intrigued with the plot and the descriptions of the horrors and atrocities of war, but this was short-lived, as things quickly went south.
The themes are ultimately dark and really quite disturbing. Make no mistake here, this is not a pleasant read. That isn't what made me wince, though. The final straw for me, was when our main guy compares a war trench to female genitalia (yes, he really did) and then almost in every chapter he distastefully speaks of how marvellous the sensation is when one is inside a wet and warm female.
I do understand what this book was trying to do, and it probably could have been something better, but it was horribly tainted by the monotonous and strange comments about the female sex. It simply wasn't for me.
This wasn't a total mess, because the book actually began quite well, and I was intrigued with the plot and the descriptions of the horrors and atrocities of war, but this was short-lived, as things quickly went south.
The themes are ultimately dark and really quite disturbing. Make no mistake here, this is not a pleasant read. That isn't what made me wince, though. The final straw for me, was when our main guy compares a war trench to female genitalia (yes, he really did) and then almost in every chapter he distastefully speaks of how marvellous the sensation is when one is inside a wet and warm female.
I do understand what this book was trying to do, and it probably could have been something better, but it was horribly tainted by the monotonous and strange comments about the female sex. It simply wasn't for me.
June 4, 2021
Winner of the 2021 International Booker Prize, one of two shortlisted books by Pushkin Press 鈥� who publish 鈥渢he world鈥檚 best stories, to be read and read again.鈥�.
It was good to see that after their rather odd shortlist and longlist choices the judges remembered what the words "long-form fiction" actually mean.
In 2014 I spent much of the Summer reading non-fiction books around World War I / The Great War 鈥� mainly concentrating on the factors that lead to its outbreak, but some covering something of the War as well. One thing that becomes clear if you study the War (but is perhaps a lot less clear from more standard accounts and most fiction on the topic) is the extent of non-white involvement particularly in the British and French armies.
One of the most interesting books I read was 鈥淎ttrition鈥� by William Phlipott, one of its key themes (from my 2014 review) is that 鈥渇rom very early on it was inevitable that given the current state of technology and the existential nature of the war, the land war would largely be an attritional battle of numbers 鈥� destroying or capturing the enemies key war resource (i.e. soldiers) to the extent that they could no longer sustain the battle鈥�. One aspect of this was the advantage held by England and France in being able to raise troops from their Empires (for example the Sepoys in the British Army), the book stating that 鈥淭he availability of imperial manpower resources allowed the Entente states to keep expanding their war efforts after Germany鈥檚 had reached its peak鈥�. The book points out that a French General Charles Magnin had argued even pre-war, in an influential treatise, that a French imperial manpower reserve 鈥淭he Force Noire鈥� should be developed as a counterweight to Germany鈥檚 larger population and that as the war progressed the West African battalions became more and more crucial to the French war effort.
And this is a novel about those forces 鈥� the 鈥淐hocolat鈥� soldiers 鈥� and two soldiers in particular: Alfa Ndiaye and his 鈥渃loser than a brother鈥� friend Mademba Diop. The novel begins with one of its many difficult to read scenes, with Mademba dying slowly in agony in no man鈥檚 land, his guts literally in his hands, with Alfa refusing, on what he later realises is mistaken principle, his friends pleas to end his agony by cutting his throat.
Another history book I read was the popular military historian Max Hastings 鈥淐atastrophe: Europe Goes To War 1914鈥�. That book gave much less coverage to the West Africans that fought for the French other than in a rather gratuitous section on war brutality which mention a story of a column of escorted German PoW鈥檚 being 鈥渂eset by Senegalese troops determined to cut off the German鈥檚 ears鈥�, before following up with a reference to a French army Chaplin in a field hospital complaining about the lack of civilisation of the West Africans being treated (鈥渨hile applauding the terror the colonial infantry inspired among the Germans鈥�).
However gratuitous, this story acts as a very close analogy to the subsequent story of Alfa. On the way back to the trenches, carrying Mademba鈥檚 body something switches in his mind (what we might now categorise as PTSD) 鈥� the first sign he recognises himself is that he suddenly views the trenches in a highly sexualised way; but the more serious consequence is that he takes to hanging back after the retreat is sounded with the aim of hamstringing a German soldier with his machete, dragging him to no-mans land , slicing his belly and then cutting his throat after only a short period as soon as the soldier pleads for release 鈥� effectively recreating Mademba鈥檚 death with a different ending. Even more gruesomely he cuts the hand from his victim and takes it back with him to the trenches.
At first his savagery and the fear it must strike in the enemy makes him something of a hero, even among the white soldiers, but soon the stench of death he carries makes him a pariah even among his fellow Africans 鈥� at which point he is sent to a field hospital for recovery.
There 鈥� in what is the real beating heart (I am tempted to say bloody guts) of the novel - we learn more of his life in Africa, his mother and father, his relationship to Mademba and his first sexual experience just before his travel to Africa, and a tour de force ending - that I think will stay with me for a long time - reunites him with Mademba.
Overall this is a harrowing but compelling novel of brotherhood in war (something I think better captured by the French title), very naturally translated by Anna Moschovakis.
It was good to see that after their rather odd shortlist and longlist choices the judges remembered what the words "long-form fiction" actually mean.
In 2014 I spent much of the Summer reading non-fiction books around World War I / The Great War 鈥� mainly concentrating on the factors that lead to its outbreak, but some covering something of the War as well. One thing that becomes clear if you study the War (but is perhaps a lot less clear from more standard accounts and most fiction on the topic) is the extent of non-white involvement particularly in the British and French armies.
One of the most interesting books I read was 鈥淎ttrition鈥� by William Phlipott, one of its key themes (from my 2014 review) is that 鈥渇rom very early on it was inevitable that given the current state of technology and the existential nature of the war, the land war would largely be an attritional battle of numbers 鈥� destroying or capturing the enemies key war resource (i.e. soldiers) to the extent that they could no longer sustain the battle鈥�. One aspect of this was the advantage held by England and France in being able to raise troops from their Empires (for example the Sepoys in the British Army), the book stating that 鈥淭he availability of imperial manpower resources allowed the Entente states to keep expanding their war efforts after Germany鈥檚 had reached its peak鈥�. The book points out that a French General Charles Magnin had argued even pre-war, in an influential treatise, that a French imperial manpower reserve 鈥淭he Force Noire鈥� should be developed as a counterweight to Germany鈥檚 larger population and that as the war progressed the West African battalions became more and more crucial to the French war effort.
And this is a novel about those forces 鈥� the 鈥淐hocolat鈥� soldiers 鈥� and two soldiers in particular: Alfa Ndiaye and his 鈥渃loser than a brother鈥� friend Mademba Diop. The novel begins with one of its many difficult to read scenes, with Mademba dying slowly in agony in no man鈥檚 land, his guts literally in his hands, with Alfa refusing, on what he later realises is mistaken principle, his friends pleas to end his agony by cutting his throat.
Another history book I read was the popular military historian Max Hastings 鈥淐atastrophe: Europe Goes To War 1914鈥�. That book gave much less coverage to the West Africans that fought for the French other than in a rather gratuitous section on war brutality which mention a story of a column of escorted German PoW鈥檚 being 鈥渂eset by Senegalese troops determined to cut off the German鈥檚 ears鈥�, before following up with a reference to a French army Chaplin in a field hospital complaining about the lack of civilisation of the West Africans being treated (鈥渨hile applauding the terror the colonial infantry inspired among the Germans鈥�).
However gratuitous, this story acts as a very close analogy to the subsequent story of Alfa. On the way back to the trenches, carrying Mademba鈥檚 body something switches in his mind (what we might now categorise as PTSD) 鈥� the first sign he recognises himself is that he suddenly views the trenches in a highly sexualised way; but the more serious consequence is that he takes to hanging back after the retreat is sounded with the aim of hamstringing a German soldier with his machete, dragging him to no-mans land , slicing his belly and then cutting his throat after only a short period as soon as the soldier pleads for release 鈥� effectively recreating Mademba鈥檚 death with a different ending. Even more gruesomely he cuts the hand from his victim and takes it back with him to the trenches.
At first his savagery and the fear it must strike in the enemy makes him something of a hero, even among the white soldiers, but soon the stench of death he carries makes him a pariah even among his fellow Africans 鈥� at which point he is sent to a field hospital for recovery.
There 鈥� in what is the real beating heart (I am tempted to say bloody guts) of the novel - we learn more of his life in Africa, his mother and father, his relationship to Mademba and his first sexual experience just before his travel to Africa, and a tour de force ending - that I think will stay with me for a long time - reunites him with Mademba.
Overall this is a harrowing but compelling novel of brotherhood in war (something I think better captured by the French title), very naturally translated by Anna Moschovakis.
June 13, 2021
韦慰 蟿畏 谓蠉蠂蟿伪, 蠈位伪 蟿伪 伪委渭伪蟿伪 蔚委谓伪喂 渭伪蠉蟻伪 蔚委谓伪喂 苇谓伪 蠅渭蠈, 蟽魏位畏蟻蠈 伪位位维 蟿伪蠀蟿蠈蠂蟻慰谓伪 位蠀蟻喂魏蠈 魏伪喂 维魏蟻蠅蟼 蟺慰喂畏蟿喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 渭苇蟽伪 蟽蔚 蟿蠈蟽慰 位委纬蔚蟼 蟽蔚位委未蔚蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟿慰蠀 伪蟺慰蟿蠀蟺蠋谓蔚喂 渭蔚 蟿蟻蠈蟺慰 渭慰谓伪未喂魏蠈 蟿畏谓 尾喂伪喂蠈蟿畏蟿伪 蟿慰蠀 蟺慰位苇渭慰蠀, 蟿畏 未蠉谓伪渭畏 蟿畏蟼 蠁喂位委伪蟼, 蟿畏 谓慰渭喂渭蠈蟿畏蟿伪 萎 渭畏 蔚谓蠈蟼 蔚纬魏位萎渭伪蟿慰蟼, 蟿慰 蟻伪蟿蟽喂蟽渭蠈.
螣 螒位蠁维 螡蟿喂维纬蔚 魏伪喂 慰 螠伪谓蟿苇渭蟺伪 螡蟿喂慰蟺 蔚委谓伪喂 伪未蔚位蠁喂魏慰委 蠁委位慰喂. 螆蠂慰蠀谓 渭蔚纬伪位蠋蟽蔚喂 渭伪味委 魏伪喂 苇蠂慰蠀谓 蔚蟺喂位苇尉蔚喂 蠈 蔚谓伪蟼 蟿慰谓 维位位慰 纬喂伪 慰喂魏慰纬苇谓蔚喂伪 蟿慰蠀. 螌蟿伪谓 尉蔚蟽蟺维 慰 蟺蟻蠋蟿慰蟼 螤伪纬魏蠈蟽渭喂慰蟼 蟺蠈位蔚渭慰蟼, 慰喂 未蠉慰 蠁委位慰喂 魏伪蟿伪蟿维蟽蟽慰谓蟿伪喂 蟽蟿慰 蟽蟿蟻伪蟿蠈.
芦螘蟽蔚委蟼 慰喂 危慰魏慰位伪蟿委 蟿畏蟼 渭伪蠉蟻畏蟼 螒蠁蟻喂魏萎蟼 蔚委蟽伪蟽蟿蔚 伪蟺蠈 蟿畏 蠁蠉蟽畏 蟽伪蟼 慰喂 蟺喂慰 纬蔚谓谓伪委慰喂 伪蟺蠈 蟿慰蠀蟼 纬蔚谓谓伪委慰蠀蟼. 螚 螕伪位位委伪 蟽伪蟼 蔚蠀纬谓蠅渭慰谓蔚委 魏伪喂 蟽伪蟼 胃伪蠀渭维味蔚喂禄
芦螌渭蠅蟼 蔚纬蠋, 慰 螒位蠁维 螡蟿喂维纬蔚, 魏伪蟿维位伪尾伪 魏伪位维 蟿伪 位蠈纬喂伪 蟿慰蠀 位慰蠂伪纬慰蠉. 螝伪谓蔚委蟼 未蔚谓 尉苇蟻蔚喂 蟿喂 蟽魏苇蠁蟿慰渭伪喂, 蔚委渭伪喂 蔚位蔚蠉胃蔚蟻慰蟼 谓伪 蟽魏苇蠁蟿慰渭伪喂 蠈,蟿喂 胃苇位蠅. 螒蠀蟿蠈 蟺慰蠀 蟽魏苇蠁蟿慰渭伪喂, 蔚委谓伪喂 蠈蟿喂 胃苇位慰蠀谓 谓伪 渭畏 蟽魏苇蠁蟿慰渭伪喂. 韦慰 伪未喂伪谓蠈畏蟿慰 魏蟻蠉尾蔚蟿伪喂 蟺委蟽蠅 伪蟺蠈 蟿喂蟼 位苇尉蔚喂蟼 蟿慰蠀 位慰蠂伪纬慰蠉. 螚 螕伪位位委伪 蟿慰蠀 位慰蠂伪纬慰蠉 渭伪蟼 蠂蟻蔚喂维味蔚蟿伪喂 纬喂伪 谓伪 魏维谓慰蠀渭蔚 蟿慰蠀蟼 维纬蟻喂慰蠀蟼 蠈蟿伪谓 蟿畏 尾慰位蔚蠉蔚喂. 围蟻蔚喂维味蔚蟿伪喂 谓伪 蔚委渭伪蟽蟿蔚 维纬蟻喂慰喂 纬喂伪蟿委 慰喂 蔚蠂胃蟻慰委 蠁慰尾慰蠉谓蟿伪喂 蟿喂蟼 渭伪蟿蟽苇蟿蔚蟼 渭伪蟼. 韦慰 尉苇蟻蠅, 蟿慰 苇蠂蠅 魏伪蟿伪位维尾蔚喂, 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 魏维蟿喂 蟺喂慰 蟺蔚蟻委蟺位慰魏慰. 螚 螕伪位位委伪 蟿慰蠀 位慰蠂伪纬慰蠉 蠂蟻蔚喂维味蔚蟿伪喂 蟿畏 胃畏蟻喂蠅未委伪 渭伪蟼 魏伪喂, 魏伪胃蠋蟼 蔚委渭伪蟽蟿蔚 蠀蟺维魏慰蠀慰喂, 蔚纬蠋 魏伪喂 慰喂 维位位慰喂, 魏维谓慰蠀渭蔚 蟿慰蠀蟼 维纬蟻喂慰蠀蟼. 螝蠈尾慰蠀渭蔚 蟿畏蟼 蔚蠂胃蟻喂魏苇蟼 蟽维蟻魏蔚蟼, 蟽伪魏伪蟿蔚蠉慰蠀渭蔚, 伪蟺慰魏蔚蠁伪位委味慰蠀渭蔚, 尉蔚魏慰喂位喂维味慰蠀渭蔚. 螚 渭蠈谓畏 未喂伪蠁慰蟻维 伪谓维渭蔚蟽伪 蟽蟿慰蠀蟼 蟽蠀渭蟺慰位蔚渭喂蟽蟿苇蟼 渭慰蠀 蟿慰蠀蟼 韦慰蠀魏慰蠀位苇蟻 魏伪喂 蟿慰蠀蟼 危蔚蟻苇蟻, 蟿慰蠀 螠蟺伪渭蟺伪蟻维 魏伪喂 蟿慰蠀蟼 螠伪位喂谓魏苇蟼, 蟿慰蠀蟼 危慰蠀蟽慰蠉, 蟿慰蠀 螒慰蠀蟽蟽维, 蟿慰蠀蟼 螠慰蟽委蟼, 蟿慰蠀蟼 螠伪蟻魏维, 蟿慰蠀蟼 危慰谓喂谓魏苇, 蟿慰蠀蟼 危蔚谓慰蠀蠁蠈, 蟿慰蠀蟼 螠蟺慰渭蟺蠈 魏伪喂 蟿慰蠀蟼 位慰喂蟺慰蠉蟼 螣蠀蠈位慰蠁, 畏 渭蠈谓畏 未喂伪蠁慰蟻维 伪谓维渭蔚蟽伪 蟽鈥� 蔚魏蔚委谓慰蠀蟼 魏伪喂 蟽鈥� 蔚渭苇谓伪, 蔚委谓伪喂 蠈蟿喂 苇纬喂谓伪 维纬蟻喂慰蟼 渭蔚蟿维 伪蟺蠈 蟽魏苇蠄畏禄.
螝伪蟿维 蟿畏 未喂维蟻魏蔚喂伪 渭喂伪蟼 蔚蟺委胃蔚蟽畏蟼 慰 螠伪蟿苇渭蟺伪 胃伪 蟿蟻伪蠀渭伪蟿喂蟽蟿蔚委 蟺慰位蠉 蟽慰尾伪蟻维 渭蟺蟻慰蟽蟿维 蟽蟿慰谓 螒位蠁维. 螒蟺蔚位蟺喂蟽渭苇谓慰蟼 魏伪喂 渭畏 渭蟺慰蟻蠋谓蟿伪蟼 谓鈥� 伪谓蟿苇尉蔚喂 蟿慰谓 蟺蠈谓慰 味畏蟿维 伪蟺蠈 蟿慰谓 蠁委位慰 蟿慰蠀 谓伪 未蠋蟽蔚喂 蟿苇位慰蟼 蟽蟿慰 渭伪蟻蟿蠉蟻喂慰 蟿慰蠀 魏伪喂 谓伪 蟿慰蠀 蟺维蟻蔚喂 蟿畏 味蠅萎. 螣 螒位蠁维 伪蟻谓蔚委蟿伪喂 蟺蔚喂蟽渭伪蟿喂魏维. 螌蟿伪谓 蟿蔚位喂魏维 慰 螠伪蟿苇渭蟺伪 蟺蔚胃伪委谓蔚喂, 慰 螒位蠁维 纬蔚渭委味蔚喂 渭蔚 蔚谓慰蠂苇蟼. 螣未畏纬蔚委蟿伪喂 蟽蟿畏谓 蟿蟻苇位伪. 螢蔚魏喂谓维蔚喂 渭苇蟽伪 蟿慰蠀 苇谓伪蟼 维位位慰蟼 蟺蠈位蔚渭慰. 螤位畏渭渭蠀蟻委味蔚喂 伪蟺蠈 蟿蠉蠄蔚喂蟼 蟺慰蠀 未蔚谓 尾慰萎胃畏蟽蔚 蟿慰 蠁委位慰 蟿慰蠀 魏伪喂 蟿蠈蟿蔚 伪位位维味蔚喂. 螔纬伪委谓蔚喂 蟽蟿慰 渭苇蟿蠅蟺慰 魏伪喂 未蔚谓 蔚委谓伪喂 蟺喂伪 慰 委未喂慰蟼. 危魏慰蟿蠋谓蔚喂 蠈蟺慰喂慰谓 尾蟻蔚喂 蟽蟿慰 未喂维尾伪 蟿慰蠀 魏伪喂 魏蟻伪蟿维蔚喂 蠅蟼 位维蠁蠀蟻慰 蟿慰 蠂苇蟻喂 蟿慰蠀蟼.
芦螚 维蟽蟺蟻畏 魏慰喂位喂维 蟿慰蠀 蔚委谓伪喂 纬蠀渭谓萎, 伪谓蔚尾慰魏伪蟿蔚尾伪委谓蔚喂 蟽蟺伪蟽渭蠅未喂魏维.螣 蔚蠂胃蟻蠈蟼 伪蟺蠈 伪蟺苇谓伪谓蟿喂 尉伪蠁谓喂魏维 位伪蠂伪谓喂维味蔚喂 魏伪喂 慰蠀蟻位喂维味蔚喂 尾慰蠀尾维, 蔚蟺蔚喂未萎 苇蠂蠅 蟽蠁委尉蔚喂 蟺慰位蠉 蟿慰 蠁委渭蠅蟿蟻慰 蟺慰蠀 蟿慰蠀 魏位蔚委谓蔚喂 蟿慰 蟽蟿蠈渭伪. 螣蠀蟻位喂维味蔚喂 尾慰蠀尾维, 蠈蟿伪谓 蟿慰蠀 蟺伪委蟻谓蠅 蠈位伪 蟿伪 蟽蠅胃喂魏维 伪蟺蠈 蟿畏谓 魏慰喂位喂维 纬喂伪 谓伪 蟿伪 尾纬维位蠅 苇尉蠅 蟽蟿畏 尾蟻慰蠂萎, 蟽蟿慰谓 维谓蔚渭慰, 蟽蟿慰 蠂喂蠈谓喂, 萎 蟽蟿慰 蠁蠅蟼 蟿慰蠀 蠁蔚纬纬伪蟻喂慰蠉. 螒谓 蔚魏蔚委谓畏 蟿畏 蟽蟿喂纬渭萎 蟿伪 纬伪位维味喂伪 渭维蟿喂伪 蟿慰蠀 未蔚谓 蟽尾萎蟽慰蠀谓 纬喂伪 蟺维谓蟿伪, 蟿蠈蟿蔚 尉伪蟺位蠋谓蠅 蟺位维喂 蟿慰蠀, 纬蠀蟻委味蠅 蟿慰 魏蔚蠁维位喂 蟿慰蠀 蟺蟻慰蟼 蟿慰 未喂魏蠈 渭慰蠀 魏伪喂 蟿慰谓 魏慰喂蟿维味蠅 纬喂伪 位委纬慰 谓伪 蟺蔚胃伪委谓蔚喂, 渭蔚蟿维 蟿慰谓 蟽蠁维味蠅, 蠈蟺蠅蟼 蟺蟻苇蟺蔚喂, 渭蔚 伪谓胃蟻蠅蟺喂维. 韦畏 谓蠉蠂蟿伪, 蠈位伪 蟿伪 伪委渭伪蟿伪 蔚委谓伪喂 渭伪蠉蟻伪禄.
芦伪蟻蠂喂魏维 慰喂 蠁委位慰喂 渭慰蠀 蟽蟿慰 蠂维蟻伪魏蠅渭伪 萎蟿伪谓 蠂伪蟻慰蠉渭蔚谓慰喂 蟺慰蠀 蟿慰蠀蟼 苇蠁蔚蟻谓伪 蔚蠂胃蟻喂魏维 蠂苇蟻喂伪 蟽蟿慰 蠂伪蟻维魏蠅渭伪 蠋蟽蟿蔚 蟿伪 维纬纬喂尉伪谓 魏喂蠈位伪蟼禄.
危蠉谓蟿慰渭伪 伪蟺蠈 蔚胃谓喂魏蠈蟼 萎蟻蠅伪蟼 胃伪 渭蔚蟿伪蟿蟻伪蟺蔚委 蟽蔚 苇谓伪谓 蔚蟺喂魏委谓未蠀谓慰 维谓蟿蟻伪.
芦螡伪喂, 蟿慰 魏伪蟿维位伪尾伪, 渭伪 蟿慰谓 伪位畏胃喂谓蠈 螛蔚蠈, 蠈蟿喂 蟽蟿慰 蟺蔚未委慰 蟿畏蟼 渭维蠂畏蟼, 蠂蟻蔚喂维味慰谓蟿伪喂 渭蠈谓慰 蟿畏谓 蟺蟻蠈蟽魏伪喂蟻畏 蟿蟻苇位伪. 韦蟻蔚位慰蠉蟼 伪蟺蠈 位蠉蟽蟽伪, 蟿蟻蔚位慰蠉蟼 伪蟺蠈 蟺蠈谓慰, 蟿蟻蔚位慰蠉蟼 伪蟺蠈 慰蟻纬萎, 伪位位维 蟺蟻慰蟽蠅蟻喂谓维. 螌蠂喂 蟽蠀谓苇蠂蔚喂伪 蟿蟻蔚位慰蠉蟼. 螌蟿伪谓 蟿蔚位蔚喂蠋谓蔚喂 畏 蔚蟺委胃蔚蟽畏, 蟺蟻苇蟺蔚喂 谓伪 蟺伪蟻伪渭蔚蟻委味蔚喂蟼 蟿畏 位蠉蟽蟽伪 蟽慰蠀, 蟿慰谓 蟺蠈谓慰 蟽慰蠀 魏伪喂 蟿畏谓 慰蟻纬萎 蟽慰蠀. 螣 蟺蠈谓慰蟼 蔚蟺喂蟿蟻苇蟺蔚蟿伪喂, 渭蟺慰蟻蔚委 魏伪谓蔚委蟼 谓伪 蟿慰谓 苇蠂蔚喂 渭伪味委 蟿慰蠀, 渭蔚 蟿慰谓 蠈蟻慰 谓伪 蟿慰谓 魏蟻伪蟿维蔚喂 纬喂伪 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀. 螒位位维 畏 位蠉蟽蟽伪 魏伪喂 畏 慰蟻纬萎 未蔚谓 蟺蟻苇蟺蔚喂 谓伪 苇蟻蠂慰谓蟿伪喂 蟺委蟽蠅 蟽蟿慰 蠂伪蟻维魏蠅渭伪. 螤蟻喂谓 蔚蟺喂蟽蟿蟻苇蠄蔚喂蟼, 蟺蟻苇蟺蔚喂 谓伪 尾纬维位蔚喂蟼 伪蟺蠈 蟺维谓蠅 蟽慰蠀 蟿畏 位蠉蟽蟽伪 魏伪喂 蟿畏谓 慰蟻纬萎 蟽慰蠀, 蟺蟻苇蟺蔚喂 谓伪 伪蟺慰纬蠀渭谓蠅胃蔚委蟼 伪蟺' 伪蠀蟿苇蟼, 伪位位喂蠋蟼 未蔚谓 蟺伪委味蔚喂蟼 蟿慰 蟺伪喂蠂谓委未喂 蟿慰蠀 蟺慰位苇渭慰蠀. 螚 蟿蟻苇位伪, 渭蔚蟿维 蟿慰 蟽蠁蠉蟻喂纬渭伪 蟿慰蠀 位慰蠂伪纬慰蠉 蟺慰蠀 蟽畏渭伪委谓蔚喂 蟿畏谓 慰蟺喂蟽胃慰蠂蠋蟻畏蟽畏, 蔚委谓伪喂 蟿伪渭蟺慰蠉.禄
危蔚 渭喂伪 蟽蠀纬魏慰谓喂蟽蟿喂魏萎 伪蠁萎纬畏蟽畏 慰 螒位蠁维 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蔚尉喂位蔚蠅胃蔚委 纬喂伪 蟿慰 胃维谓伪蟿慰 蟿慰蠀 蠁委位慰蠀 蟿慰蠀 魏伪喂 蟿畏谓 尾喂伪喂蠈蟿畏蟿伪 蟿蠅谓 蟺蟻维尉蔚蠅谓 魏伪喂 谓伪 蟽蠋蟽蔚喂 蟿畏谓 蠄蠀蠂萎 蟿慰蠀 伪蟺蠈 蟿畏 尾喂伪喂蠈蟿畏蟿伪 蟿慰蠀 蟺慰位苇渭慰蠀. 螛伪 胃蠀渭畏胃蔚委 蟿慰 蟺伪蟻蔚位胃蠈谓, 蟿畏 味蠅萎 蟽蟿畏谓 螒蠁蟻喂魏萎, 蟿慰谓 蟺蟻蠋蟿慰 蟿慰蠀 苇蟻蠅蟿伪, 蟿畏 未蠉蟽魏慰位畏 味蠅萎 蟺慰蠀 蔚委蠂蔚 渭蔚 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 蟿慰蠀. 螛伪 伪谓伪渭蔚蟿蟻畏胃蔚委 渭蔚 蟿慰蠀蟼 蔚蠁喂维位蟿蔚蟼 蟿慰蠀 魏伪喂 蟿喂蟼 渭谓萎渭蔚蟼 蟿慰蠀 渭苇蟽伪 伪蟺蠈 蟿喂蟼 慰蟺慰委蔚蟼 魏伪胃蠋蟼 魏伪喂 渭蔚 蟿畏 尾慰萎胃蔚喂伪 蟿慰蠀 蔚尉伪喂蟻蔚蟿喂魏慰蠉 蔚蟺委渭蔚蟿蟻慰蠀 蟿畏蟼 螝蠀蟻委伪蟼 螕伪味萎 胃伪 渭维胃慰蠀渭蔚 纬喂伪 蟿畏 渭慰委蟻伪 伪蠀蟿蠋谓 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 蟽蟿蟻伪蟿慰位慰纬慰蠉谓蟿伪谓 蟽蟿畏谓 蟺蟻蠋蟿畏 纬蟻伪渭渭萎 蟿畏蟼 渭维蠂畏蟼 魏伪喂 慰喂 喂未伪谓喂魏慰委 纬喂伪 谓伪 蟽魏慰蟿蠋谓慰蠀谓. 螠蔚 蟿慰 尾喂尾位委慰 伪蠀蟿蠈 慰 螡蟿喂慰蟺 蟿喂渭维 蟿畏 渭谓萎渭畏 蠈位蠅谓 伪蠀蟿蠋谓 蟿蠅谓 螒蠁蟻喂魏伪谓蠋谓 蟽蟿蟻伪蟿喂蠅蟿蠋谓 蟺慰蠀 蟽魏慰蟿蠋胃畏魏伪谓 蟽蟿畏 渭维蠂畏 蔚谓蠈蟼 蟺慰位苇渭慰蠀 蟺慰蠀 未蔚谓 蟿慰谓 未喂维位蔚尉伪谓 伪蠀蟿慰委. 危蠀纬魏位慰谓喂蟽蟿喂魏蠈.
芦螘委渭伪喂 慰 委蟽魏喂慰蟼 蟺慰蠀 魏伪蟿伪尾蟻慰蠂胃委味蔚喂 蟿伪 尾蟻维蠂喂伪, 蟿伪 尾慰蠀谓维, 蟿伪 未维蟽畏 魏伪喂 蟿伪 蟺慰蟿维渭喂伪, 蟿畏 蟽维蟻魏伪 蟿蠅谓 味蠋蠅谓 魏伪喂 蟿畏 蟽维蟻魏伪 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓. 螕未苇蟻谓蠅, 伪未蔚喂维味蠅 蟿伪 魏蟻伪谓委伪 魏伪喂 蟿伪 蟽蠋渭伪蟿伪. 螝蠈尾蠅 蟿伪 渭蟺蟻维蟿蟽伪, 蟿伪 蟺蠈未喂伪 魏伪喂 蟿喂蟼 蟺伪位维渭蔚蟼. 韦蟽伪魏委味蠅 蟿伪 魏蠈魏伪位伪 魏伪喂 蟻慰蠀蠁维蠅 蟿慰 渭蔚未慰蠉位喂 蟿慰蠀蟼. 螘委渭伪喂 蠈渭蠅蟼 魏伪喂 蟿慰 魏蠈魏魏喂谓慰 蠁蔚纬纬维蟻喂 蟺慰蠀 伪谓伪蟿苇位位蔚喂 蟺维谓蠅 伪蟺蠈 蟿慰 蟺慰蟿维渭喂, 蔚委渭伪喂 蟿慰 尾蟻伪未喂谓蠈 伪蔚蟻维魏喂 蟺慰蠀 魏维谓蔚喂 蟿伪 蟿蟻蠀蠁蔚蟻维 蠁蠉位位伪 蟿畏蟼 伪魏伪魏委伪蟼 谓伪 蟽伪位蔚蠉慰蠀谓. 螘委渭伪喂 畏 蟽蠁萎魏伪 魏伪喂 蟿慰 位慰蠀位慰蠉未喂. 螘委渭伪喂 魏伪喂 蟿慰 蠄维蟻喂 蟺慰蠀 蟽蟺伪蟻蟿伪蟻维蔚喂 魏伪喂 畏 伪魏委谓畏蟿畏 蟺喂蟻蠈纬伪, 魏伪喂 蟿慰 未委蠂蟿蠀 魏伪喂 慰 蠄伪蟻维蟼. 螘委渭伪喂 慰 蠁蠀位伪魏喂蟽渭苇谓慰蟼 魏伪喂 慰 未蔚蟽渭慰蠁蠉位伪魏伪蟼. 螘委渭伪喂 蟿慰 未苇谓蟿蟻慰 魏伪喂 慰 蟽蟺蠈蟻慰蟼 蟺慰蠀 蟿慰 纬苇谓谓畏蟽蔚. 螘委渭伪喂 慰 蟺伪蟿苇蟻伪蟼 魏伪喂 慰 纬喂蠈蟼. 螘委渭伪喂 慰 未慰位慰蠁蠈谓慰蟼 魏伪喂 慰 未喂魏伪蟽蟿萎蟼. 螘委渭伪喂 畏 蟽蟺慰蟻维 魏伪喂 畏 蟽慰未蔚喂维. 螘委渭伪喂 畏 渭畏蟿苇蟻伪 魏伪喂 畏 魏蠈蟻畏. 螘委渭伪喂 畏 谓蠉蠂蟿伪 魏伪喂 畏 渭苇蟻伪. 螘委渭伪喂 畏 蠁蠅蟿喂维 魏伪喂 蟿慰 尉蠉位慰 蟺慰蠀 蟿慰 魏伪蟿伪魏伪委蔚喂. 螘委渭伪喂 慰 伪胃蠋慰蟼 魏伪喂 慰 苇谓慰蠂慰蟼. 螘委渭伪喂 畏 伪蟻蠂萎 魏伪喂 蟿慰 蟿苇位慰蟼. 螘委渭伪喂 慰 未畏渭喂慰蠀蟻纬蠈蟼 魏伪喂 慰 魏伪蟿伪蟽蟿蟻慰蠁苇伪蟼. 螘委渭伪喂 未喂蟽蠀蟺蠈蟽蟿伪蟿慰蟼. 禄
螣 螒位蠁维 螡蟿喂维纬蔚 魏伪喂 慰 螠伪谓蟿苇渭蟺伪 螡蟿喂慰蟺 蔚委谓伪喂 伪未蔚位蠁喂魏慰委 蠁委位慰喂. 螆蠂慰蠀谓 渭蔚纬伪位蠋蟽蔚喂 渭伪味委 魏伪喂 苇蠂慰蠀谓 蔚蟺喂位苇尉蔚喂 蠈 蔚谓伪蟼 蟿慰谓 维位位慰 纬喂伪 慰喂魏慰纬苇谓蔚喂伪 蟿慰蠀. 螌蟿伪谓 尉蔚蟽蟺维 慰 蟺蟻蠋蟿慰蟼 螤伪纬魏蠈蟽渭喂慰蟼 蟺蠈位蔚渭慰蟼, 慰喂 未蠉慰 蠁委位慰喂 魏伪蟿伪蟿维蟽蟽慰谓蟿伪喂 蟽蟿慰 蟽蟿蟻伪蟿蠈.
芦螘蟽蔚委蟼 慰喂 危慰魏慰位伪蟿委 蟿畏蟼 渭伪蠉蟻畏蟼 螒蠁蟻喂魏萎蟼 蔚委蟽伪蟽蟿蔚 伪蟺蠈 蟿畏 蠁蠉蟽畏 蟽伪蟼 慰喂 蟺喂慰 纬蔚谓谓伪委慰喂 伪蟺蠈 蟿慰蠀蟼 纬蔚谓谓伪委慰蠀蟼. 螚 螕伪位位委伪 蟽伪蟼 蔚蠀纬谓蠅渭慰谓蔚委 魏伪喂 蟽伪蟼 胃伪蠀渭维味蔚喂禄
芦螌渭蠅蟼 蔚纬蠋, 慰 螒位蠁维 螡蟿喂维纬蔚, 魏伪蟿维位伪尾伪 魏伪位维 蟿伪 位蠈纬喂伪 蟿慰蠀 位慰蠂伪纬慰蠉. 螝伪谓蔚委蟼 未蔚谓 尉苇蟻蔚喂 蟿喂 蟽魏苇蠁蟿慰渭伪喂, 蔚委渭伪喂 蔚位蔚蠉胃蔚蟻慰蟼 谓伪 蟽魏苇蠁蟿慰渭伪喂 蠈,蟿喂 胃苇位蠅. 螒蠀蟿蠈 蟺慰蠀 蟽魏苇蠁蟿慰渭伪喂, 蔚委谓伪喂 蠈蟿喂 胃苇位慰蠀谓 谓伪 渭畏 蟽魏苇蠁蟿慰渭伪喂. 韦慰 伪未喂伪谓蠈畏蟿慰 魏蟻蠉尾蔚蟿伪喂 蟺委蟽蠅 伪蟺蠈 蟿喂蟼 位苇尉蔚喂蟼 蟿慰蠀 位慰蠂伪纬慰蠉. 螚 螕伪位位委伪 蟿慰蠀 位慰蠂伪纬慰蠉 渭伪蟼 蠂蟻蔚喂维味蔚蟿伪喂 纬喂伪 谓伪 魏维谓慰蠀渭蔚 蟿慰蠀蟼 维纬蟻喂慰蠀蟼 蠈蟿伪谓 蟿畏 尾慰位蔚蠉蔚喂. 围蟻蔚喂维味蔚蟿伪喂 谓伪 蔚委渭伪蟽蟿蔚 维纬蟻喂慰喂 纬喂伪蟿委 慰喂 蔚蠂胃蟻慰委 蠁慰尾慰蠉谓蟿伪喂 蟿喂蟼 渭伪蟿蟽苇蟿蔚蟼 渭伪蟼. 韦慰 尉苇蟻蠅, 蟿慰 苇蠂蠅 魏伪蟿伪位维尾蔚喂, 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 魏维蟿喂 蟺喂慰 蟺蔚蟻委蟺位慰魏慰. 螚 螕伪位位委伪 蟿慰蠀 位慰蠂伪纬慰蠉 蠂蟻蔚喂维味蔚蟿伪喂 蟿畏 胃畏蟻喂蠅未委伪 渭伪蟼 魏伪喂, 魏伪胃蠋蟼 蔚委渭伪蟽蟿蔚 蠀蟺维魏慰蠀慰喂, 蔚纬蠋 魏伪喂 慰喂 维位位慰喂, 魏维谓慰蠀渭蔚 蟿慰蠀蟼 维纬蟻喂慰蠀蟼. 螝蠈尾慰蠀渭蔚 蟿畏蟼 蔚蠂胃蟻喂魏苇蟼 蟽维蟻魏蔚蟼, 蟽伪魏伪蟿蔚蠉慰蠀渭蔚, 伪蟺慰魏蔚蠁伪位委味慰蠀渭蔚, 尉蔚魏慰喂位喂维味慰蠀渭蔚. 螚 渭蠈谓畏 未喂伪蠁慰蟻维 伪谓维渭蔚蟽伪 蟽蟿慰蠀蟼 蟽蠀渭蟺慰位蔚渭喂蟽蟿苇蟼 渭慰蠀 蟿慰蠀蟼 韦慰蠀魏慰蠀位苇蟻 魏伪喂 蟿慰蠀蟼 危蔚蟻苇蟻, 蟿慰蠀 螠蟺伪渭蟺伪蟻维 魏伪喂 蟿慰蠀蟼 螠伪位喂谓魏苇蟼, 蟿慰蠀蟼 危慰蠀蟽慰蠉, 蟿慰蠀 螒慰蠀蟽蟽维, 蟿慰蠀蟼 螠慰蟽委蟼, 蟿慰蠀蟼 螠伪蟻魏维, 蟿慰蠀蟼 危慰谓喂谓魏苇, 蟿慰蠀蟼 危蔚谓慰蠀蠁蠈, 蟿慰蠀蟼 螠蟺慰渭蟺蠈 魏伪喂 蟿慰蠀蟼 位慰喂蟺慰蠉蟼 螣蠀蠈位慰蠁, 畏 渭蠈谓畏 未喂伪蠁慰蟻维 伪谓维渭蔚蟽伪 蟽鈥� 蔚魏蔚委谓慰蠀蟼 魏伪喂 蟽鈥� 蔚渭苇谓伪, 蔚委谓伪喂 蠈蟿喂 苇纬喂谓伪 维纬蟻喂慰蟼 渭蔚蟿维 伪蟺蠈 蟽魏苇蠄畏禄.
螝伪蟿维 蟿畏 未喂维蟻魏蔚喂伪 渭喂伪蟼 蔚蟺委胃蔚蟽畏蟼 慰 螠伪蟿苇渭蟺伪 胃伪 蟿蟻伪蠀渭伪蟿喂蟽蟿蔚委 蟺慰位蠉 蟽慰尾伪蟻维 渭蟺蟻慰蟽蟿维 蟽蟿慰谓 螒位蠁维. 螒蟺蔚位蟺喂蟽渭苇谓慰蟼 魏伪喂 渭畏 渭蟺慰蟻蠋谓蟿伪蟼 谓鈥� 伪谓蟿苇尉蔚喂 蟿慰谓 蟺蠈谓慰 味畏蟿维 伪蟺蠈 蟿慰谓 蠁委位慰 蟿慰蠀 谓伪 未蠋蟽蔚喂 蟿苇位慰蟼 蟽蟿慰 渭伪蟻蟿蠉蟻喂慰 蟿慰蠀 魏伪喂 谓伪 蟿慰蠀 蟺维蟻蔚喂 蟿畏 味蠅萎. 螣 螒位蠁维 伪蟻谓蔚委蟿伪喂 蟺蔚喂蟽渭伪蟿喂魏维. 螌蟿伪谓 蟿蔚位喂魏维 慰 螠伪蟿苇渭蟺伪 蟺蔚胃伪委谓蔚喂, 慰 螒位蠁维 纬蔚渭委味蔚喂 渭蔚 蔚谓慰蠂苇蟼. 螣未畏纬蔚委蟿伪喂 蟽蟿畏谓 蟿蟻苇位伪. 螢蔚魏喂谓维蔚喂 渭苇蟽伪 蟿慰蠀 苇谓伪蟼 维位位慰蟼 蟺蠈位蔚渭慰. 螤位畏渭渭蠀蟻委味蔚喂 伪蟺蠈 蟿蠉蠄蔚喂蟼 蟺慰蠀 未蔚谓 尾慰萎胃畏蟽蔚 蟿慰 蠁委位慰 蟿慰蠀 魏伪喂 蟿蠈蟿蔚 伪位位维味蔚喂. 螔纬伪委谓蔚喂 蟽蟿慰 渭苇蟿蠅蟺慰 魏伪喂 未蔚谓 蔚委谓伪喂 蟺喂伪 慰 委未喂慰蟼. 危魏慰蟿蠋谓蔚喂 蠈蟺慰喂慰谓 尾蟻蔚喂 蟽蟿慰 未喂维尾伪 蟿慰蠀 魏伪喂 魏蟻伪蟿维蔚喂 蠅蟼 位维蠁蠀蟻慰 蟿慰 蠂苇蟻喂 蟿慰蠀蟼.
芦螚 维蟽蟺蟻畏 魏慰喂位喂维 蟿慰蠀 蔚委谓伪喂 纬蠀渭谓萎, 伪谓蔚尾慰魏伪蟿蔚尾伪委谓蔚喂 蟽蟺伪蟽渭蠅未喂魏维.螣 蔚蠂胃蟻蠈蟼 伪蟺蠈 伪蟺苇谓伪谓蟿喂 尉伪蠁谓喂魏维 位伪蠂伪谓喂维味蔚喂 魏伪喂 慰蠀蟻位喂维味蔚喂 尾慰蠀尾维, 蔚蟺蔚喂未萎 苇蠂蠅 蟽蠁委尉蔚喂 蟺慰位蠉 蟿慰 蠁委渭蠅蟿蟻慰 蟺慰蠀 蟿慰蠀 魏位蔚委谓蔚喂 蟿慰 蟽蟿蠈渭伪. 螣蠀蟻位喂维味蔚喂 尾慰蠀尾维, 蠈蟿伪谓 蟿慰蠀 蟺伪委蟻谓蠅 蠈位伪 蟿伪 蟽蠅胃喂魏维 伪蟺蠈 蟿畏谓 魏慰喂位喂维 纬喂伪 谓伪 蟿伪 尾纬维位蠅 苇尉蠅 蟽蟿畏 尾蟻慰蠂萎, 蟽蟿慰谓 维谓蔚渭慰, 蟽蟿慰 蠂喂蠈谓喂, 萎 蟽蟿慰 蠁蠅蟼 蟿慰蠀 蠁蔚纬纬伪蟻喂慰蠉. 螒谓 蔚魏蔚委谓畏 蟿畏 蟽蟿喂纬渭萎 蟿伪 纬伪位维味喂伪 渭维蟿喂伪 蟿慰蠀 未蔚谓 蟽尾萎蟽慰蠀谓 纬喂伪 蟺维谓蟿伪, 蟿蠈蟿蔚 尉伪蟺位蠋谓蠅 蟺位维喂 蟿慰蠀, 纬蠀蟻委味蠅 蟿慰 魏蔚蠁维位喂 蟿慰蠀 蟺蟻慰蟼 蟿慰 未喂魏蠈 渭慰蠀 魏伪喂 蟿慰谓 魏慰喂蟿维味蠅 纬喂伪 位委纬慰 谓伪 蟺蔚胃伪委谓蔚喂, 渭蔚蟿维 蟿慰谓 蟽蠁维味蠅, 蠈蟺蠅蟼 蟺蟻苇蟺蔚喂, 渭蔚 伪谓胃蟻蠅蟺喂维. 韦畏 谓蠉蠂蟿伪, 蠈位伪 蟿伪 伪委渭伪蟿伪 蔚委谓伪喂 渭伪蠉蟻伪禄.
芦伪蟻蠂喂魏维 慰喂 蠁委位慰喂 渭慰蠀 蟽蟿慰 蠂维蟻伪魏蠅渭伪 萎蟿伪谓 蠂伪蟻慰蠉渭蔚谓慰喂 蟺慰蠀 蟿慰蠀蟼 苇蠁蔚蟻谓伪 蔚蠂胃蟻喂魏维 蠂苇蟻喂伪 蟽蟿慰 蠂伪蟻维魏蠅渭伪 蠋蟽蟿蔚 蟿伪 维纬纬喂尉伪谓 魏喂蠈位伪蟼禄.
危蠉谓蟿慰渭伪 伪蟺蠈 蔚胃谓喂魏蠈蟼 萎蟻蠅伪蟼 胃伪 渭蔚蟿伪蟿蟻伪蟺蔚委 蟽蔚 苇谓伪谓 蔚蟺喂魏委谓未蠀谓慰 维谓蟿蟻伪.
芦螡伪喂, 蟿慰 魏伪蟿维位伪尾伪, 渭伪 蟿慰谓 伪位畏胃喂谓蠈 螛蔚蠈, 蠈蟿喂 蟽蟿慰 蟺蔚未委慰 蟿畏蟼 渭维蠂畏蟼, 蠂蟻蔚喂维味慰谓蟿伪喂 渭蠈谓慰 蟿畏谓 蟺蟻蠈蟽魏伪喂蟻畏 蟿蟻苇位伪. 韦蟻蔚位慰蠉蟼 伪蟺蠈 位蠉蟽蟽伪, 蟿蟻蔚位慰蠉蟼 伪蟺蠈 蟺蠈谓慰, 蟿蟻蔚位慰蠉蟼 伪蟺蠈 慰蟻纬萎, 伪位位维 蟺蟻慰蟽蠅蟻喂谓维. 螌蠂喂 蟽蠀谓苇蠂蔚喂伪 蟿蟻蔚位慰蠉蟼. 螌蟿伪谓 蟿蔚位蔚喂蠋谓蔚喂 畏 蔚蟺委胃蔚蟽畏, 蟺蟻苇蟺蔚喂 谓伪 蟺伪蟻伪渭蔚蟻委味蔚喂蟼 蟿畏 位蠉蟽蟽伪 蟽慰蠀, 蟿慰谓 蟺蠈谓慰 蟽慰蠀 魏伪喂 蟿畏谓 慰蟻纬萎 蟽慰蠀. 螣 蟺蠈谓慰蟼 蔚蟺喂蟿蟻苇蟺蔚蟿伪喂, 渭蟺慰蟻蔚委 魏伪谓蔚委蟼 谓伪 蟿慰谓 苇蠂蔚喂 渭伪味委 蟿慰蠀, 渭蔚 蟿慰谓 蠈蟻慰 谓伪 蟿慰谓 魏蟻伪蟿维蔚喂 纬喂伪 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀. 螒位位维 畏 位蠉蟽蟽伪 魏伪喂 畏 慰蟻纬萎 未蔚谓 蟺蟻苇蟺蔚喂 谓伪 苇蟻蠂慰谓蟿伪喂 蟺委蟽蠅 蟽蟿慰 蠂伪蟻维魏蠅渭伪. 螤蟻喂谓 蔚蟺喂蟽蟿蟻苇蠄蔚喂蟼, 蟺蟻苇蟺蔚喂 谓伪 尾纬维位蔚喂蟼 伪蟺蠈 蟺维谓蠅 蟽慰蠀 蟿畏 位蠉蟽蟽伪 魏伪喂 蟿畏谓 慰蟻纬萎 蟽慰蠀, 蟺蟻苇蟺蔚喂 谓伪 伪蟺慰纬蠀渭谓蠅胃蔚委蟼 伪蟺' 伪蠀蟿苇蟼, 伪位位喂蠋蟼 未蔚谓 蟺伪委味蔚喂蟼 蟿慰 蟺伪喂蠂谓委未喂 蟿慰蠀 蟺慰位苇渭慰蠀. 螚 蟿蟻苇位伪, 渭蔚蟿维 蟿慰 蟽蠁蠉蟻喂纬渭伪 蟿慰蠀 位慰蠂伪纬慰蠉 蟺慰蠀 蟽畏渭伪委谓蔚喂 蟿畏谓 慰蟺喂蟽胃慰蠂蠋蟻畏蟽畏, 蔚委谓伪喂 蟿伪渭蟺慰蠉.禄
危蔚 渭喂伪 蟽蠀纬魏慰谓喂蟽蟿喂魏萎 伪蠁萎纬畏蟽畏 慰 螒位蠁维 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蔚尉喂位蔚蠅胃蔚委 纬喂伪 蟿慰 胃维谓伪蟿慰 蟿慰蠀 蠁委位慰蠀 蟿慰蠀 魏伪喂 蟿畏谓 尾喂伪喂蠈蟿畏蟿伪 蟿蠅谓 蟺蟻维尉蔚蠅谓 魏伪喂 谓伪 蟽蠋蟽蔚喂 蟿畏谓 蠄蠀蠂萎 蟿慰蠀 伪蟺蠈 蟿畏 尾喂伪喂蠈蟿畏蟿伪 蟿慰蠀 蟺慰位苇渭慰蠀. 螛伪 胃蠀渭畏胃蔚委 蟿慰 蟺伪蟻蔚位胃蠈谓, 蟿畏 味蠅萎 蟽蟿畏谓 螒蠁蟻喂魏萎, 蟿慰谓 蟺蟻蠋蟿慰 蟿慰蠀 苇蟻蠅蟿伪, 蟿畏 未蠉蟽魏慰位畏 味蠅萎 蟺慰蠀 蔚委蠂蔚 渭蔚 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 蟿慰蠀. 螛伪 伪谓伪渭蔚蟿蟻畏胃蔚委 渭蔚 蟿慰蠀蟼 蔚蠁喂维位蟿蔚蟼 蟿慰蠀 魏伪喂 蟿喂蟼 渭谓萎渭蔚蟼 蟿慰蠀 渭苇蟽伪 伪蟺蠈 蟿喂蟼 慰蟺慰委蔚蟼 魏伪胃蠋蟼 魏伪喂 渭蔚 蟿畏 尾慰萎胃蔚喂伪 蟿慰蠀 蔚尉伪喂蟻蔚蟿喂魏慰蠉 蔚蟺委渭蔚蟿蟻慰蠀 蟿畏蟼 螝蠀蟻委伪蟼 螕伪味萎 胃伪 渭维胃慰蠀渭蔚 纬喂伪 蟿畏 渭慰委蟻伪 伪蠀蟿蠋谓 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 蟽蟿蟻伪蟿慰位慰纬慰蠉谓蟿伪谓 蟽蟿畏谓 蟺蟻蠋蟿畏 纬蟻伪渭渭萎 蟿畏蟼 渭维蠂畏蟼 魏伪喂 慰喂 喂未伪谓喂魏慰委 纬喂伪 谓伪 蟽魏慰蟿蠋谓慰蠀谓. 螠蔚 蟿慰 尾喂尾位委慰 伪蠀蟿蠈 慰 螡蟿喂慰蟺 蟿喂渭维 蟿畏 渭谓萎渭畏 蠈位蠅谓 伪蠀蟿蠋谓 蟿蠅谓 螒蠁蟻喂魏伪谓蠋谓 蟽蟿蟻伪蟿喂蠅蟿蠋谓 蟺慰蠀 蟽魏慰蟿蠋胃畏魏伪谓 蟽蟿畏 渭维蠂畏 蔚谓蠈蟼 蟺慰位苇渭慰蠀 蟺慰蠀 未蔚谓 蟿慰谓 未喂维位蔚尉伪谓 伪蠀蟿慰委. 危蠀纬魏位慰谓喂蟽蟿喂魏蠈.
芦螘委渭伪喂 慰 委蟽魏喂慰蟼 蟺慰蠀 魏伪蟿伪尾蟻慰蠂胃委味蔚喂 蟿伪 尾蟻维蠂喂伪, 蟿伪 尾慰蠀谓维, 蟿伪 未维蟽畏 魏伪喂 蟿伪 蟺慰蟿维渭喂伪, 蟿畏 蟽维蟻魏伪 蟿蠅谓 味蠋蠅谓 魏伪喂 蟿畏 蟽维蟻魏伪 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓. 螕未苇蟻谓蠅, 伪未蔚喂维味蠅 蟿伪 魏蟻伪谓委伪 魏伪喂 蟿伪 蟽蠋渭伪蟿伪. 螝蠈尾蠅 蟿伪 渭蟺蟻维蟿蟽伪, 蟿伪 蟺蠈未喂伪 魏伪喂 蟿喂蟼 蟺伪位维渭蔚蟼. 韦蟽伪魏委味蠅 蟿伪 魏蠈魏伪位伪 魏伪喂 蟻慰蠀蠁维蠅 蟿慰 渭蔚未慰蠉位喂 蟿慰蠀蟼. 螘委渭伪喂 蠈渭蠅蟼 魏伪喂 蟿慰 魏蠈魏魏喂谓慰 蠁蔚纬纬维蟻喂 蟺慰蠀 伪谓伪蟿苇位位蔚喂 蟺维谓蠅 伪蟺蠈 蟿慰 蟺慰蟿维渭喂, 蔚委渭伪喂 蟿慰 尾蟻伪未喂谓蠈 伪蔚蟻维魏喂 蟺慰蠀 魏维谓蔚喂 蟿伪 蟿蟻蠀蠁蔚蟻维 蠁蠉位位伪 蟿畏蟼 伪魏伪魏委伪蟼 谓伪 蟽伪位蔚蠉慰蠀谓. 螘委渭伪喂 畏 蟽蠁萎魏伪 魏伪喂 蟿慰 位慰蠀位慰蠉未喂. 螘委渭伪喂 魏伪喂 蟿慰 蠄维蟻喂 蟺慰蠀 蟽蟺伪蟻蟿伪蟻维蔚喂 魏伪喂 畏 伪魏委谓畏蟿畏 蟺喂蟻蠈纬伪, 魏伪喂 蟿慰 未委蠂蟿蠀 魏伪喂 慰 蠄伪蟻维蟼. 螘委渭伪喂 慰 蠁蠀位伪魏喂蟽渭苇谓慰蟼 魏伪喂 慰 未蔚蟽渭慰蠁蠉位伪魏伪蟼. 螘委渭伪喂 蟿慰 未苇谓蟿蟻慰 魏伪喂 慰 蟽蟺蠈蟻慰蟼 蟺慰蠀 蟿慰 纬苇谓谓畏蟽蔚. 螘委渭伪喂 慰 蟺伪蟿苇蟻伪蟼 魏伪喂 慰 纬喂蠈蟼. 螘委渭伪喂 慰 未慰位慰蠁蠈谓慰蟼 魏伪喂 慰 未喂魏伪蟽蟿萎蟼. 螘委渭伪喂 畏 蟽蟺慰蟻维 魏伪喂 畏 蟽慰未蔚喂维. 螘委渭伪喂 畏 渭畏蟿苇蟻伪 魏伪喂 畏 魏蠈蟻畏. 螘委渭伪喂 畏 谓蠉蠂蟿伪 魏伪喂 畏 渭苇蟻伪. 螘委渭伪喂 畏 蠁蠅蟿喂维 魏伪喂 蟿慰 尉蠉位慰 蟺慰蠀 蟿慰 魏伪蟿伪魏伪委蔚喂. 螘委渭伪喂 慰 伪胃蠋慰蟼 魏伪喂 慰 苇谓慰蠂慰蟼. 螘委渭伪喂 畏 伪蟻蠂萎 魏伪喂 蟿慰 蟿苇位慰蟼. 螘委渭伪喂 慰 未畏渭喂慰蠀蟻纬蠈蟼 魏伪喂 慰 魏伪蟿伪蟽蟿蟻慰蠁苇伪蟼. 螘委渭伪喂 未喂蟽蠀蟺蠈蟽蟿伪蟿慰蟼. 禄
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April 22, 2021This was a book I expected to like. A story about a World War One African soldier in the trenches, I couldn't wait to read this. I think stories about people who are unacknowledged in history are important, over 10% of the French forces battling in World War One were from its colonies and yet given how the story of that war is told, I never thought the numbers were that high. The writer describes how racist tropes of the "African savage" were used to frighten the enemy among other violently racist things the African soldiers have to endure alongside their white counterparts.
That and the questioning of the madness of war were my favourite parts of the story. The protagonist seeks to avenge his friend killed in the war and does that by slicing the stomachs of enemy soldiers and cutting their hands off. Pretty gory stuff but it's a war story so I felt I should have expected that. The protagonist develops some kind of attachment to the severed hands and his colleagues become frightened of him.
"Yes, I understood, God鈥檚 truth, that on the battlefield they wanted only fleeting madness. Madmen of rage, madmen of pain, furious madmen, but temporary ones. No continuous madmen. As soon as the fighting ends, we鈥檙e to file away our rage, our pain, and our fury. Pain is tolerated, we can bring our pain home on the condition that we keep it to ourselves.
I thought that quote to be brilliant. But the more the book progressed, the more I became disinterested, and was thankful that it's mercifully short because I don't think I could have managed this longer than it was.
Perhaps there is something in the tone of the book that was lost in translation but I just wasn't as captivated with the story as I was with the history. The metaphors, especially those comparisons with the female sex, felt ridiculous reading. But then again I hate genitals used as metaphor in whatever way, whether to express depth, strength or the lack of it, openness, mystery, whatever. It just never works and has been overdone.
I'm glad that this book has received the international attention and recognition it has, but couldn't help but feel underwhelmed by the story in the end
That and the questioning of the madness of war were my favourite parts of the story. The protagonist seeks to avenge his friend killed in the war and does that by slicing the stomachs of enemy soldiers and cutting their hands off. Pretty gory stuff but it's a war story so I felt I should have expected that. The protagonist develops some kind of attachment to the severed hands and his colleagues become frightened of him.
"Yes, I understood, God鈥檚 truth, that on the battlefield they wanted only fleeting madness. Madmen of rage, madmen of pain, furious madmen, but temporary ones. No continuous madmen. As soon as the fighting ends, we鈥檙e to file away our rage, our pain, and our fury. Pain is tolerated, we can bring our pain home on the condition that we keep it to ourselves.
I thought that quote to be brilliant. But the more the book progressed, the more I became disinterested, and was thankful that it's mercifully short because I don't think I could have managed this longer than it was.
Perhaps there is something in the tone of the book that was lost in translation but I just wasn't as captivated with the story as I was with the history. The metaphors, especially those comparisons with the female sex, felt ridiculous reading. But then again I hate genitals used as metaphor in whatever way, whether to express depth, strength or the lack of it, openness, mystery, whatever. It just never works and has been overdone.
I'm glad that this book has received the international attention and recognition it has, but couldn't help but feel underwhelmed by the story in the end
January 12, 2022
Winner of the 2021 International Booker Prize and for me I can only imagine that this was chosen for its uniqueness and honesty at showing the horrors of war. As a reader of War books fiction and non fiction for many years, I do think this one was very graphic and disturbing and many readers might like to know this before reading.
A slim volume of a novel with only 144 pages that can be read in one sitting. I was drawn to this novel as it tells the harrowing story of two Senegalese soldiers fighting in the Great War. Together the fight the enemy until Mademba is wounded and eventually dies. Alfa is alone in his grief and devastated by the death of Mademba and his finds himself hurtling towards madness.
This one started out quite strong and although fiction you do experience the savagery and suffering of war. It鈥檚 a dark and disturbing read that became a little too weird for me. I tired of the mantra like repetitions of words and phrases like 鈥淕od鈥檚 Truth鈥� which I have since read in reviews was used over 150 times in a 145 page novel.
Of course this is only my reaction to the novel and my opinion is in the minority on this one. It has won numerous prestigious awards so therefore don't dismiss it as it may be a 5 star read for other readers.
An ok read but certainly not a book for my favorites shelf.
A slim volume of a novel with only 144 pages that can be read in one sitting. I was drawn to this novel as it tells the harrowing story of two Senegalese soldiers fighting in the Great War. Together the fight the enemy until Mademba is wounded and eventually dies. Alfa is alone in his grief and devastated by the death of Mademba and his finds himself hurtling towards madness.
This one started out quite strong and although fiction you do experience the savagery and suffering of war. It鈥檚 a dark and disturbing read that became a little too weird for me. I tired of the mantra like repetitions of words and phrases like 鈥淕od鈥檚 Truth鈥� which I have since read in reviews was used over 150 times in a 145 page novel.
Of course this is only my reaction to the novel and my opinion is in the minority on this one. It has won numerous prestigious awards so therefore don't dismiss it as it may be a 5 star read for other readers.
An ok read but certainly not a book for my favorites shelf.
June 2, 2021
Winner of the 2021 International Booker
His white belly is exposed, it rises and falls in jerks. The enemy from the other side gasps and screams, now in stark silence because of the gag I鈥檝e cinched around his mouth. He screams in stark silence when I take all the insides of his belly and put them outside in the rain, in the wind, in the snow, or in the bright moonlight. If at this moment his blue eyes don鈥檛 dim forever, then I lie down next to him, I turn his face toward mine and I watch him die a little, then I slit his throat, cleanly, humanely. At night, all blood is black.
All Blood is Black is translated by Anna Moschovakis from the original Fr猫re d'芒me by David Diop. The original won the Prix Goncourt des Lyc茅ens. And in translation, the Italian won the Strega European Prize, an Italian equivalent of the International Booker (previous winners as authors include Annie Ernaux, Jenny Erpenbeck and Marcos Giralt Torrente) and in Dutch Europese Literatuurprijs (shared with Ali Smith's Spring).
The novel is narrated by Alfa Ndiaye, a Wolof speaker from Senegal, one of the 'Tirailleurs S茅n茅galais' serving in the French army in the trenches of WW1. Alfa describes himself and his fellow recruits as "Chocolat soldiers" in contrast to the white "Toubab soldiers" (a Wolof term).
He serves alongside his childhood friend Mademba Diop. The two are close companions but friendly rivals and, in a key incident before the narrative begins, Alfa teases Mademba about the relative merit of their family lines, causing his friend to be particularly courageous and foolhardy in the charge that follows:
A Diop would not want it said of him that he is less courageous than a Ndiaye, and so the minute the sound of Captain Armand鈥檚 whistle commands him, he leaps up from his hole and screams like a savage. Same rivalry between the Ke茂tas and the Soumar茅s. Same thing between the Diallos and the Fayes, the Kanes and the Thiounes, the Dian茅s, the Kouroumas, the B猫yes, the Fakolis, the Salls, the Diengs, the Secks, the Kas, the Ciss茅s, the Ndours, the Tour茅s, the Camaras, the Bas, the Falls, the Coulibalys, the Sonkhos, the Sys, the Cissokhos, the Dram茅s, the Traor茅s.
They will all die without thinking because Captain Armand has said to them, 鈥淵ou, the Chocolats of black Africa, are naturally the bravest of the brave. France admires you and is grateful. The papers talk only of your exploits!鈥� So they love to sprint onto the battlefield to be beautifully massacred while screaming like madmen, regulation rifle in the left hand and savage machete in the right.
Mademba, as a result, is gutted by a white blue-eyed German soldier and suffers an extended, painful death in no man's land. Alfa stays with his friend but is unable or unwilling to meet his entreaties to end his suffering by delivering the coup de gr芒ce.
The after-effects of this tip Alfa over a psychological edge and he becomes something of a demon or a sorceror - a "d毛mm" - feared even by his fellows.
Each time there is a battle, he stays on in no man's land, abducts a blue-eyed enemy soldier, guts him as Mademba was gutted, then severs his hand as a trophy, with which he returns to the trenches.
The first half of novel has Alfa thoughts circling around these events, including some oddly sexual imagery (he compares the trenches to a woman's sex) which make more sense as the novel progresses.
In the second he is sent back behind the lines for rehabilitiation and psychological assessment, and we learn more of his and Mademba's former life, including the girl they both loved.
Alfa's father is a farmer and elder from the village of Gandiol near Saint- Louis in Senegal, and his mother from a family of Fulfulde-speaking Fula migratory shepherds, who disappeared (feared abducted and sold into slavery) when she went in search of her family, another trigger for Alfa's internal anger.
As his treatment progresses, Alfa's own self-identity starts to break-down, culminating in a disturbing incident involving his doctor's daughter. And when asked his name he responds:
I AM THE SHADOW THAT DEVOURS ROCKS, mountains, forests, and rivers, the flesh of beasts and of men. I slice skin, I empty skulls and bodies. I cut off arms, legs, and hands. I smash bones and I suck out their marrow. But I am also the red moon that rises over the river, I am the evening air that rustles the tender acacia trees. I am the wasp and the flower. I am as much the wriggling fish as the still canoe, as much the net as the fisherman. I am the prisoner and his guard. I am the tree and the seed that grew into it. I am father and son. I am assassin and judge. I am the sowing and the harvest. I am mother and daughter. I am night and day. I am fire and the wood it devours. I am innocent and guilty. I am the beginning and the end. I am the creator and the destroyer. I am double.
The novel's prose is visceral and powerful, for which credit is due to Anna Moschovakis. And, as the translator asked to convey the above speech, made in Wolof, to the French authorities reminds us:
To translate is never simple. To translate is to betray at the borders, it鈥檚 to cheat, it鈥檚 to trade one sentence for another. To translate is one of the only human activities in which one is required to lie about the details to convey the truth at large. To translate is to risk understanding better than others that the truth about a word is not single, but double, even triple, quadruple, or quintuple. To translate is to distance oneself from God鈥檚 truth, which, as everyone knows or believes, is single.
A powerful, short, novel that raises questions about the violent echoes of both war and colonialism. A strong shortlist contender.
A review in Foreign Policy magazine that gives some interesting historical context including some fascinating propaganda photos:
Another helpful review bringing out more aspects of the novel:
His white belly is exposed, it rises and falls in jerks. The enemy from the other side gasps and screams, now in stark silence because of the gag I鈥檝e cinched around his mouth. He screams in stark silence when I take all the insides of his belly and put them outside in the rain, in the wind, in the snow, or in the bright moonlight. If at this moment his blue eyes don鈥檛 dim forever, then I lie down next to him, I turn his face toward mine and I watch him die a little, then I slit his throat, cleanly, humanely. At night, all blood is black.
All Blood is Black is translated by Anna Moschovakis from the original Fr猫re d'芒me by David Diop. The original won the Prix Goncourt des Lyc茅ens. And in translation, the Italian won the Strega European Prize, an Italian equivalent of the International Booker (previous winners as authors include Annie Ernaux, Jenny Erpenbeck and Marcos Giralt Torrente) and in Dutch Europese Literatuurprijs (shared with Ali Smith's Spring).
The novel is narrated by Alfa Ndiaye, a Wolof speaker from Senegal, one of the 'Tirailleurs S茅n茅galais' serving in the French army in the trenches of WW1. Alfa describes himself and his fellow recruits as "Chocolat soldiers" in contrast to the white "Toubab soldiers" (a Wolof term).
He serves alongside his childhood friend Mademba Diop. The two are close companions but friendly rivals and, in a key incident before the narrative begins, Alfa teases Mademba about the relative merit of their family lines, causing his friend to be particularly courageous and foolhardy in the charge that follows:
A Diop would not want it said of him that he is less courageous than a Ndiaye, and so the minute the sound of Captain Armand鈥檚 whistle commands him, he leaps up from his hole and screams like a savage. Same rivalry between the Ke茂tas and the Soumar茅s. Same thing between the Diallos and the Fayes, the Kanes and the Thiounes, the Dian茅s, the Kouroumas, the B猫yes, the Fakolis, the Salls, the Diengs, the Secks, the Kas, the Ciss茅s, the Ndours, the Tour茅s, the Camaras, the Bas, the Falls, the Coulibalys, the Sonkhos, the Sys, the Cissokhos, the Dram茅s, the Traor茅s.
They will all die without thinking because Captain Armand has said to them, 鈥淵ou, the Chocolats of black Africa, are naturally the bravest of the brave. France admires you and is grateful. The papers talk only of your exploits!鈥� So they love to sprint onto the battlefield to be beautifully massacred while screaming like madmen, regulation rifle in the left hand and savage machete in the right.
Mademba, as a result, is gutted by a white blue-eyed German soldier and suffers an extended, painful death in no man's land. Alfa stays with his friend but is unable or unwilling to meet his entreaties to end his suffering by delivering the coup de gr芒ce.
The after-effects of this tip Alfa over a psychological edge and he becomes something of a demon or a sorceror - a "d毛mm" - feared even by his fellows.
Each time there is a battle, he stays on in no man's land, abducts a blue-eyed enemy soldier, guts him as Mademba was gutted, then severs his hand as a trophy, with which he returns to the trenches.
The first half of novel has Alfa thoughts circling around these events, including some oddly sexual imagery (he compares the trenches to a woman's sex) which make more sense as the novel progresses.
In the second he is sent back behind the lines for rehabilitiation and psychological assessment, and we learn more of his and Mademba's former life, including the girl they both loved.
Alfa's father is a farmer and elder from the village of Gandiol near Saint- Louis in Senegal, and his mother from a family of Fulfulde-speaking Fula migratory shepherds, who disappeared (feared abducted and sold into slavery) when she went in search of her family, another trigger for Alfa's internal anger.
As his treatment progresses, Alfa's own self-identity starts to break-down, culminating in a disturbing incident involving his doctor's daughter. And when asked his name he responds:
I AM THE SHADOW THAT DEVOURS ROCKS, mountains, forests, and rivers, the flesh of beasts and of men. I slice skin, I empty skulls and bodies. I cut off arms, legs, and hands. I smash bones and I suck out their marrow. But I am also the red moon that rises over the river, I am the evening air that rustles the tender acacia trees. I am the wasp and the flower. I am as much the wriggling fish as the still canoe, as much the net as the fisherman. I am the prisoner and his guard. I am the tree and the seed that grew into it. I am father and son. I am assassin and judge. I am the sowing and the harvest. I am mother and daughter. I am night and day. I am fire and the wood it devours. I am innocent and guilty. I am the beginning and the end. I am the creator and the destroyer. I am double.
The novel's prose is visceral and powerful, for which credit is due to Anna Moschovakis. And, as the translator asked to convey the above speech, made in Wolof, to the French authorities reminds us:
To translate is never simple. To translate is to betray at the borders, it鈥檚 to cheat, it鈥檚 to trade one sentence for another. To translate is one of the only human activities in which one is required to lie about the details to convey the truth at large. To translate is to risk understanding better than others that the truth about a word is not single, but double, even triple, quadruple, or quintuple. To translate is to distance oneself from God鈥檚 truth, which, as everyone knows or believes, is single.
A powerful, short, novel that raises questions about the violent echoes of both war and colonialism. A strong shortlist contender.
A review in Foreign Policy magazine that gives some interesting historical context including some fascinating propaganda photos:
Another helpful review bringing out more aspects of the novel:
February 25, 2024
This is a brutal book. And I mean brutal. It鈥檚 a book that makes you stare unblinking into the eyes of the graphic violence of war. As the reader, you will want to turn away, have some reprieve from this nightmare, but Diop will not let you look away. He grabs your head and forces you to keep on staring. It鈥檚 gruesome, but it鈥檚 brilliant. It鈥檚 also why this review is a bit short and took so long for me to get to 鈥� I was dreading being plummeted back into the nightmares this book holds.
鈥淏ut before you, Mademba, I was incapable of being a man. I let you curse me, my friend, you, my more-than-brother, as soon as you were dead, I knew, I understood that I should not have abandoned you.鈥�
Plagued with guilt after failing to mercy kill his 鈥渕ore-than-brother鈥�, Mademba Diop, we follow Senegalese (aka a tirailleur s茅n茅galais) Alfa Ndiaye as he fights in the trenches for the French army during World War II. During the first half, Ndiaye is plagued with guilt, leading him to do a string of killings that would be considered 鈥渂arbaric鈥� and 鈥渟avage鈥� as he continues to lose his grip with reality. The more he does this, the more isolated he becomes from his trench as he is seen as 鈥渂arbaric鈥� and 鈥渟avage鈥� (ironically the exact reason that the Chocolat soldiers were recruited). This part of the book is insanely repetitive and written in a way that made me really feel how this traumatic event (and the general trauma of war) was breaking Ndiaye. His paranoia makes him an incredibly unreliable narrator at this time, but there is still enough of him grounded in reality that makes one question the hypocrisy of war.
The second half has more to do with Ndiaye鈥檚 past as we are transported back to Senegal and get a better understanding of the climate under colonialization. Part of this section is focused on Ndiaye鈥檚 guilt and obsession to 鈥渕ake it up鈥� to Diop, but there is a shift in how that manifests that, while still a bit jarring, was less painful to read about. There鈥檚 a lot more insight here into how colonialization negatively impacted Sengal and it makes it incredibly heartbreaking to read. While we see more anger in the first half, this half is focused more on a deep sadness as we are shoved back into reality. Diop really does an incredibly job showing the gritty details and effectively portraying how horrific war and colonization really are in these pages.
Because of the language barrier between the French and West African soldiers, the translators have an incredibly important part to play in the book. French and West African soldiers cannot understand each other with their translator and some things may be lost in translation or told differently because of that. It鈥檚 interesting to see the divide in this especially since these people have been conscripted to join the French forces and given many promises that would push them further away from their roots and more into French culture.
鈥淭o translate is never simple. To translate is to betray at the borders, it鈥檚 to cheat, it鈥檚 to trade one sentence for another. To translate is one of the only human activities in which one is required to lie about the details to convey the truth at large. To translate is to risk understanding better than others that the truth about a word is not single, but double, even trouble, quadruple, or quintuple. To translate is to distance oneself from God鈥檚 truth, which, as everyone knows or believes, is single.鈥�
This work was brilliantly translated from French by Anna Moschovakis and shows an incredibly important look into Senegalese (and other West African) soldiers fighting for their French colonizers during World War I. It is a hard read, but I would recommend it if you have the stomach for it.
3.5/5
鈥淏ut before you, Mademba, I was incapable of being a man. I let you curse me, my friend, you, my more-than-brother, as soon as you were dead, I knew, I understood that I should not have abandoned you.鈥�
Plagued with guilt after failing to mercy kill his 鈥渕ore-than-brother鈥�, Mademba Diop, we follow Senegalese (aka a tirailleur s茅n茅galais) Alfa Ndiaye as he fights in the trenches for the French army during World War II. During the first half, Ndiaye is plagued with guilt, leading him to do a string of killings that would be considered 鈥渂arbaric鈥� and 鈥渟avage鈥� as he continues to lose his grip with reality. The more he does this, the more isolated he becomes from his trench as he is seen as 鈥渂arbaric鈥� and 鈥渟avage鈥� (ironically the exact reason that the Chocolat soldiers were recruited). This part of the book is insanely repetitive and written in a way that made me really feel how this traumatic event (and the general trauma of war) was breaking Ndiaye. His paranoia makes him an incredibly unreliable narrator at this time, but there is still enough of him grounded in reality that makes one question the hypocrisy of war.
The second half has more to do with Ndiaye鈥檚 past as we are transported back to Senegal and get a better understanding of the climate under colonialization. Part of this section is focused on Ndiaye鈥檚 guilt and obsession to 鈥渕ake it up鈥� to Diop, but there is a shift in how that manifests that, while still a bit jarring, was less painful to read about. There鈥檚 a lot more insight here into how colonialization negatively impacted Sengal and it makes it incredibly heartbreaking to read. While we see more anger in the first half, this half is focused more on a deep sadness as we are shoved back into reality. Diop really does an incredibly job showing the gritty details and effectively portraying how horrific war and colonization really are in these pages.
Because of the language barrier between the French and West African soldiers, the translators have an incredibly important part to play in the book. French and West African soldiers cannot understand each other with their translator and some things may be lost in translation or told differently because of that. It鈥檚 interesting to see the divide in this especially since these people have been conscripted to join the French forces and given many promises that would push them further away from their roots and more into French culture.
鈥淭o translate is never simple. To translate is to betray at the borders, it鈥檚 to cheat, it鈥檚 to trade one sentence for another. To translate is one of the only human activities in which one is required to lie about the details to convey the truth at large. To translate is to risk understanding better than others that the truth about a word is not single, but double, even trouble, quadruple, or quintuple. To translate is to distance oneself from God鈥檚 truth, which, as everyone knows or believes, is single.鈥�
This work was brilliantly translated from French by Anna Moschovakis and shows an incredibly important look into Senegalese (and other West African) soldiers fighting for their French colonizers during World War I. It is a hard read, but I would recommend it if you have the stomach for it.
3.5/5
September 23, 2021
Alfa Ndiaye tells the story of the "chocolat" soldiers in World War 1. He is from Senegal, a colony of France at the time. Alfa and his best friend Mademba are together in the trenches where Mademba lies dying, begging Alfa to finish him to stop his suffering. Alfa refused and then regrets his decision later after Mademba dies. Alfa believes he refused him, not out of altruism, but because he is too indoctrinated to think for himself. He vows to never make that mistake again.
The way the story is told is as if you were listening to him tell it. He repeats himself frequently. It is like a chant that you can't get out of your head. Alfa can't get it out of his head either. He relives the moment over and over and finds himself to be a coward and a bully and responsible for Mademba's death.
His obsession with Mademba's death takes over his life. He can't forget it and can't forgive himself for his part in it. Alfa seeks revenge on the blue eyes Germans, on his fellow soldiers, his commanding officers and himself.
The way the story is told is as if you were listening to him tell it. He repeats himself frequently. It is like a chant that you can't get out of your head. Alfa can't get it out of his head either. He relives the moment over and over and finds himself to be a coward and a bully and responsible for Mademba's death.
His obsession with Mademba's death takes over his life. He can't forget it and can't forgive himself for his part in it. Alfa seeks revenge on the blue eyes Germans, on his fellow soldiers, his commanding officers and himself.
June 6, 2021
Winner of the International Booker 2021
This is a troubling, harsh text awash with all kinds of violence: the carnage of WW1 trench warfare; the psychic torment of the narrator which manifests through cruel revenge and a kind of madness; the aggressive pressure of colonial and racial stereotypes which press the narrator into living up to his 'savage' identity, exploited by the French to terrify their German opponents but all too easy for him to internalise and adopt as his own: 'looking into the enemy's blue eyes, I often see a panicked fear of death, of savagery, of rape, of cannibalism. I see in his eyes what he's been told about me, and what he believed without ever seeing me'.
The stylised oral effect depends on exclamations and insertions as well as epic tropes: the 'three times' in the quotation above which recalls both Odysseus and Aeneas striving to hold their dead mother and father respectively in the underworld as well as the betrayal motif from the bible.
Do be aware that this is viscerally bloody in places though never gratuitously so given the subject matter and textual intention.
There were a few places where I was jarred by word choice and don't know whether this was in the translation or the original: 'to have slit your throat in that moment would have been the last good bit of fun I could have given you in your life, a way to stay friends for eternity.' 'Fun'? From context alone I was thinking more 'relief', 'aid', 'service' even 'comfort' - but I don't know what the original text has.
I also disliked the utilisation of sexualised female body parts as metaphors: 'seen from a distance, our trench looked to me like the slightly parted lips of an immense woman's sex', 'the brazen rumour ended up with her legs spread, her ass in the air'.
But, niggles apart, this is intense and stark, a concentrated distillation of masculinity and bloodshed.
Many thanks to Pushkin Press for an ARC.
Three times he asked me to finish him off, three times I refused. This was before, before I allowed myself to think anything I want. If I had been then what I've become today, I would have killed him the first time he asked, his head turned toward me, his left hand in my right.
This is a troubling, harsh text awash with all kinds of violence: the carnage of WW1 trench warfare; the psychic torment of the narrator which manifests through cruel revenge and a kind of madness; the aggressive pressure of colonial and racial stereotypes which press the narrator into living up to his 'savage' identity, exploited by the French to terrify their German opponents but all too easy for him to internalise and adopt as his own: 'looking into the enemy's blue eyes, I often see a panicked fear of death, of savagery, of rape, of cannibalism. I see in his eyes what he's been told about me, and what he believed without ever seeing me'.
The stylised oral effect depends on exclamations and insertions as well as epic tropes: the 'three times' in the quotation above which recalls both Odysseus and Aeneas striving to hold their dead mother and father respectively in the underworld as well as the betrayal motif from the bible.
Do be aware that this is viscerally bloody in places though never gratuitously so given the subject matter and textual intention.
There were a few places where I was jarred by word choice and don't know whether this was in the translation or the original: 'to have slit your throat in that moment would have been the last good bit of fun I could have given you in your life, a way to stay friends for eternity.' 'Fun'? From context alone I was thinking more 'relief', 'aid', 'service' even 'comfort' - but I don't know what the original text has.
I also disliked the utilisation of sexualised female body parts as metaphors: 'seen from a distance, our trench looked to me like the slightly parted lips of an immense woman's sex', 'the brazen rumour ended up with her legs spread, her ass in the air'.
But, niggles apart, this is intense and stark, a concentrated distillation of masculinity and bloodshed.
Many thanks to Pushkin Press for an ARC.
December 16, 2019
螤慰位蠉 魏伪位蠈 尉蔚蠂蔚委位喂味蔚 蟿慰 蟽蠀谓伪委蟽胃畏渭伪 伪谓维渭蔚喂魏蟿慰 渭蔚 蟿畏 尾委伪 伪蠁萎谓慰谓蟿伪蟼 渭喂伪 纬位蠀魏蠈蟺喂魏蟻畏 纬蔚蠉蟽畏 蟽蟿慰 蟿苇位慰蟼 魏维胃蔚 魏蔚蠁伪位伪委慰蠀 蟿慰蠀. 螝伪喂 渭蔚 蠁蟻维蟽蔚喂蟼 蠈蟺蠅蟼 : " 螖蔚谓 蔚委谓伪喂 未委魏伪喂慰 谓伪 蟺蔚胃维谓蔚喂蟼 未委蠂蠅蟼 谓伪 纬谓蠅蟻委蟽蔚喂蟼 蠈位蔚蟼 蟿喂蟼 蠂维蟻蔚蟼 蟿慰蠀 蟽蠋渭伪蟿慰蟼" 螝喂 委蟽蠅蟼 萎蟿伪谓 位维胃慰蟼 蟺慰蠀 慰蟻喂蟽渭苇谓蔚蟼 魏蟻喂蟿喂魏苇蟼 蟽蟿维胃畏魏伪谓 蟽蟿慰 胃苇渭伪 蟿畏蟼 蟽蟿蔚位苇蠂蠅蟽畏蟼 蟿慰蠀 纬伪位位喂魏慰蠉 蟽蟿蟻伪蟿慰蠉 伪蟺蠈 危蔚谓蔚纬伪位苇味慰蠀蟼. 韦慰 尾伪蟽喂魏蠈 胃苇渭伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 胃蔚蠅蟻蠋 蠈蟿喂 萎蟿伪谓 谓' 伪谓伪未蔚委尉蔚喂 蟽蠀谓伪委蟽胃畏渭伪 魏伪喂 蟺蟻慰尾位畏渭伪蟿喂蟽渭慰蠉蟼 蔚谓蠈蟼 谓苇慰蠀 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀 伪蠁萎谓蔚喂 蟿喂蟼 蠂伪蟻苇蟼 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 魏伪喂 谓伪 尾蠀胃喂蟽蟿蔚委 蟽蟿畏谓 未蠀蟽蟿蠀蠂委伪 蟿慰蠀 蟺慰位苇渭慰蠀. 螤苇谓蟿蔚 胃伪 苇尾伪味伪 伪位位维 慰喂 蟿蔚位蔚蠀蟿伪委蔚蟼 蟽蔚位委未蔚蟼 未蔚谓 萎蟿伪谓 伪谓蟿维尉喂蔚蟼 蟿蠅谓 蟺蟻慰畏纬慰蠀渭苇谓蠅谓. 螒位位维 伪蠀蟿蠈 未蔚谓 伪位位维味蔚喂 蟿畏谓 蔚蟺喂蟽萎渭伪谓蟽畏 蠈蟿喂 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 蟺慰位蠉 魏伪位蠈 尾喂尾位委慰 蟺慰蠀 蟽蠀蟽蟿萎谓蠅 谓伪 未喂伪尾维蟽蟿蔚...
July 30, 2022
鈥淵es, I understood, God鈥檚 truth, that on the battlefield they wanted only fleeting madness. Madmen of rage, madmen of pain, furious madmen, but temporary ones."
Set in the trenches during WWI, I was immediately drawn into David Diop's novella, At Night All Blood is Black. Our protagonist, Alfa, is a Senegalese soldier who fights with the French army. After the gruesome death of his best friend who he has refused to mercy kill, Alfa begins to sneak across enemy lines on a nightly basis to gut a German soldier. He then returns with the victim's hand and rifle. At first, he is lauded for these exploits, but after the fourth trip his fellow soldiers ostracize him and begin whispering that he is a soldier sorcerer. This is the beginning of Alfa's descent into madness.
While I found this intriguing, and I liked the non-Western perspective from the trenches, it began to feel quite repetitive. Concluding with a drawn out sex scene with a woman whose name he didn't know (really an extended metaphor for the violence in the trenches, but way too long) also detracted from the things I really liked about the work. Interesting, but sometimes frustrating as well. 3.25 stars
鈥淭emporary madness, in war, is bravery鈥檚 sister.鈥�
鈥淯ntil a man is dead, he is not yet done being created.鈥�
Set in the trenches during WWI, I was immediately drawn into David Diop's novella, At Night All Blood is Black. Our protagonist, Alfa, is a Senegalese soldier who fights with the French army. After the gruesome death of his best friend who he has refused to mercy kill, Alfa begins to sneak across enemy lines on a nightly basis to gut a German soldier. He then returns with the victim's hand and rifle. At first, he is lauded for these exploits, but after the fourth trip his fellow soldiers ostracize him and begin whispering that he is a soldier sorcerer. This is the beginning of Alfa's descent into madness.
While I found this intriguing, and I liked the non-Western perspective from the trenches, it began to feel quite repetitive. Concluding with a drawn out sex scene with a woman whose name he didn't know (really an extended metaphor for the violence in the trenches, but way too long) also detracted from the things I really liked about the work. Interesting, but sometimes frustrating as well. 3.25 stars
鈥淭emporary madness, in war, is bravery鈥檚 sister.鈥�
鈥淯ntil a man is dead, he is not yet done being created.鈥�
June 22, 2023
亘賴 賲賳 賳诏賮鬲賳丿 讴賴鈥� 丿乇 賲蹖丿丕賳 賴丕蹖 噩賳诏 賳蹖丕夭蹖 亘賴 丌丿賲 賴丕蹖 丿蹖賵賵賳賴 賳丿丕乇賳丿. 亘賴 禺丿丕賵賳丿蹖 禺丿丕 貙 丿蹖賵丕賳賴 賴丕 丕夭 賴蹖趩 趩蹖夭 賳賲蹖 鬲乇爻賳丿. 爻丕蹖乇蹖賳貙 爻乇亘丕夭賴丕蹖 爻賮蹖丿 倬賵爻鬲 蹖丕 爻蹖丕賴 倬賵爻鬲貙 賮賯胤 丕丿丕蹖 丿蹖賵丕賳賴 賴丕 乇丕 丿乇 賲蹖 丕賵乇賳丿貙 氐丨賳賴 賴丕蹖 賲囟丨讴 噩賳賵賳 丌賲蹖夭 亘賴 乇丕賴 賲蹖 丕賳丿丕夭賳丿 鬲丕 亘鬲賵丕賳賳丿 乇丕丨鬲 鬲乇 禺賵丿卮丕賳 乇丕 夭蹖乇 诏賱賵賱賴 賴丕蹖 丿卮賲賳 乇賵 亘賴 乇賵 亘蹖賳丿丕夭賳丿. 丕蹖賳 乇賮鬲丕乇 亘賴 丌賳 賴丕 丕噩丕夭賴 賲蹖 丿賴丿 亘蹖 丌賳讴賴 夭蹖丕丿蹖 亘鬲乇爻賳丿 貙 亘賴 丕爻鬲賯亘丕賱 賲乇诏 亘卮鬲丕亘賳丿....
July 25, 2023
This book is definitely unique. It is written from the mind of a man who starts to deteriorate after the death of his friend and his inability to provide a mercy kill.
Overall there was a lot of depth and creativity in Alfa Ndiaye. I had a hard time getting lost in the madness as the constant repetition of thoughts and the shifting to timelines would knock me out of the shorter chapters' flow whenever I got involved with them.
It is worth the read but still sits at a 2-2.5 star read.
Overall there was a lot of depth and creativity in Alfa Ndiaye. I had a hard time getting lost in the madness as the constant repetition of thoughts and the shifting to timelines would knock me out of the shorter chapters' flow whenever I got involved with them.
It is worth the read but still sits at a 2-2.5 star read.
June 2, 2021
Winner of the International Booker Prize 2021
I decided not to review this book immediately after reading because my views on it were divided and unfocused, and four days later I still don't know how to rate it. It is a book with many admirable qualities, but the subject matter is dark and I didn't really enjoy reading it, and I was left rather unsure of the point the author was trying to make.
Most of the book is narrated by Alfa Ndiaye, a Senegalese soldier serving in the French army in the trenches of the Great War. At the start of the book his best friend Mademba Diop is killed, a death for which he feels partly responsible because of the nature of their banter about bravery. Alfa becomes determined to avenge Mademba by killing and dismembering enemy soldiers, bringing back their severed hands as trophies. I won't describe what happens after he is withdrawn from the front line because the book contains some dramatic and shocking twists, but the most enjoyable part of the story is a brief interlude describing his early life in Senegal.
I decided not to review this book immediately after reading because my views on it were divided and unfocused, and four days later I still don't know how to rate it. It is a book with many admirable qualities, but the subject matter is dark and I didn't really enjoy reading it, and I was left rather unsure of the point the author was trying to make.
Most of the book is narrated by Alfa Ndiaye, a Senegalese soldier serving in the French army in the trenches of the Great War. At the start of the book his best friend Mademba Diop is killed, a death for which he feels partly responsible because of the nature of their banter about bravery. Alfa becomes determined to avenge Mademba by killing and dismembering enemy soldiers, bringing back their severed hands as trophies. I won't describe what happens after he is withdrawn from the front line because the book contains some dramatic and shocking twists, but the most enjoyable part of the story is a brief interlude describing his early life in Senegal.
April 24, 2025
3 "repetitious, organic, burdening" stars !!!
Thank you to the author, Netgalley, and Farrar, Strauss & Giroux for an ecopy. This was released November 2020 and has won numerous prizes including the International Booker Prize of 2021.
This is a very heavy book full of violence, unjust colonialism and ties to African ancestry. There are many themes and stories to unpack. The prose is poetic and repetitious. A hypermasculinity pervades. A psyche is deeply damaged but remains proud, bold and leonine.
I found this novel (despite its brevity) very difficult to connect to, empathize (or even sympathize) despite intellectually pushing to understand the depth of Senegalese male experience and the many challenges and injustices. I did manage to push through(reluctantly) but my reading experience was only fair at best. I acknowledge that the failure is my own and am very glad that this novel has received many accolades...
Thank you to the author, Netgalley, and Farrar, Strauss & Giroux for an ecopy. This was released November 2020 and has won numerous prizes including the International Booker Prize of 2021.
This is a very heavy book full of violence, unjust colonialism and ties to African ancestry. There are many themes and stories to unpack. The prose is poetic and repetitious. A hypermasculinity pervades. A psyche is deeply damaged but remains proud, bold and leonine.
I found this novel (despite its brevity) very difficult to connect to, empathize (or even sympathize) despite intellectually pushing to understand the depth of Senegalese male experience and the many challenges and injustices. I did manage to push through(reluctantly) but my reading experience was only fair at best. I acknowledge that the failure is my own and am very glad that this novel has received many accolades...
June 29, 2022
I now have a YouTube channel that I run with my brother, called 'The Brothers Gwynne'. Check it out -
When this won the Booker Prize recently, I looked at the blurb and was immediately drawn in. This is a story about the effects of war, the dehumanising consequences of conflict and the dramatic effects of loss, all whilst also engaging with race, masculinity, identity and more.
This is a shocking and engaging read which begins powerfully and maintains that intensity throughout. Some of the phrases come across as slightly clunky, but that is inevitable when English was not the original language. It has been translated from French and is not jarring at all so far, but merely has phrases that sound a bit out of place.
At Night All Blood is Black is certainly disturbing. It is unnerving and disturbing, through showing how someone. becomes dehumanised, and the presentation of this is masterful, but still unsettling. The exploration of psychology was amazing to read, and an experience I will remember for a long, long time.
When this won the Booker Prize recently, I looked at the blurb and was immediately drawn in. This is a story about the effects of war, the dehumanising consequences of conflict and the dramatic effects of loss, all whilst also engaging with race, masculinity, identity and more.
This is a shocking and engaging read which begins powerfully and maintains that intensity throughout. Some of the phrases come across as slightly clunky, but that is inevitable when English was not the original language. It has been translated from French and is not jarring at all so far, but merely has phrases that sound a bit out of place.
At Night All Blood is Black is certainly disturbing. It is unnerving and disturbing, through showing how someone. becomes dehumanised, and the presentation of this is masterful, but still unsettling. The exploration of psychology was amazing to read, and an experience I will remember for a long, long time.
September 7, 2023
Read in French. A bit of an uneven book. It starts powerful (鈥淢oi, Alfa N鈥檇iaye鈥�), with a dramatic scene on the battlefield of the First World War, narrated by a Senegalese skirmisher. Even afterwards, Diop manages to keep the attention going with a gruesome illustration of what war psychosis can do to a person. But past the halfway point (of this short book), the story becomes more of a reverie about village life in Senegal, in a much more jovial tone, a story that reminded me a lot of Chinua Achebe (Things fall apart). Diop then picks up the thread of war again, to end with a very short fairy tale. Not bad at all, but only half a success for me. And I'm left with an uneasy feeling that Diop inadvertently confirms the clich茅 of black Africans acting like monsters on the battlefield. Rating 2.5 stars.
June 27, 2020
惟渭蠈, 蟽魏位畏蟻蠈,伪位畏胃喂谓蠈!
螒魏蠈渭伪 魏伪喂 伪谓 蔚委谓伪喂 渭蠀胃喂蟽蟿慰蟻畏渭伪蟿喂魏萎 纬蟻伪蠁萎,渭蟺慰蟻蔚委蟼 谓伪 渭蔚蟿伪蠁蔚蟻胃蔚委蟼 蟽蟿畏谓 蟿蠈蟿蔚 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟿蠅谓 蠂伪蟻伪魏蠅渭维蟿蠅谓 蟿慰蠀 螒' 螤.螤. & 谓伪 魏伪蟿伪位维尾蔚喂蟼 纬喂伪蟿委 萎蟿伪谓 苇谓伪蟼 蟺蠈位蔚渭慰蟼 蟺慰蠀 蟽畏渭维未蔚蠄蔚 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 (伪位位维 未蔚谓 苇尾伪位蔚 渭蠀伪位蠈 & 慰未畏纬萎胃畏魏蔚 蟽蟿慰谓 螔' 螤.螤;)
螒魏蠈渭伪 魏伪喂 伪谓 蔚委谓伪喂 渭蠀胃喂蟽蟿慰蟻畏渭伪蟿喂魏萎 纬蟻伪蠁萎,渭蟺慰蟻蔚委蟼 谓伪 渭蔚蟿伪蠁蔚蟻胃蔚委蟼 蟽蟿畏谓 蟿蠈蟿蔚 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟿蠅谓 蠂伪蟻伪魏蠅渭维蟿蠅谓 蟿慰蠀 螒' 螤.螤. & 谓伪 魏伪蟿伪位维尾蔚喂蟼 纬喂伪蟿委 萎蟿伪谓 苇谓伪蟼 蟺蠈位蔚渭慰蟼 蟺慰蠀 蟽畏渭维未蔚蠄蔚 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 (伪位位维 未蔚谓 苇尾伪位蔚 渭蠀伪位蠈 & 慰未畏纬萎胃畏魏蔚 蟽蟿慰谓 螔' 螤.螤;)
May 19, 2024
THE DARK PATH OF WAR
A really powerful, almost hypnotic novel set during World War I. The story is told from the perspective of Alfa Ndiaye, a Senegalese soldier fighting for the French army. Deeply affected by the brutal death of his close friend and fellow soldier, Mademba Diop, Alfa becomes consumed by grief and guilt. This trauma leads him down a dark path, where he begins to lose his sanity amidst the horrors of war.
Alfa's descent into madness is marked by his ritualistic collection of enemy hands, a macabre attempt to avenge Mademba鈥檚 death and prove his own bravery. As he becomes increasingly isolated and unhinged, his comrades begin to fear him, further highlighting the alienation and psychological toll of combat.
Diop's novel explores themes of colonialism, the dehumanizing effects of war, and the complexities of friendship and loyalty. The narrative is deeply introspective, the style hypnotically vivid, delving into Alfa's internal struggles and the cultural and psychological conflicts faced by African soldiers in the European war.
The novel has received critical acclaim for its lyrical prose/unflinching portrayal of the violence and trauma of war. It won the International Booker Prize in 2021. Reading it in English was for me a pretty good experience, but I would like to try read it in the original French sometime.
A really powerful, almost hypnotic novel set during World War I. The story is told from the perspective of Alfa Ndiaye, a Senegalese soldier fighting for the French army. Deeply affected by the brutal death of his close friend and fellow soldier, Mademba Diop, Alfa becomes consumed by grief and guilt. This trauma leads him down a dark path, where he begins to lose his sanity amidst the horrors of war.
Alfa's descent into madness is marked by his ritualistic collection of enemy hands, a macabre attempt to avenge Mademba鈥檚 death and prove his own bravery. As he becomes increasingly isolated and unhinged, his comrades begin to fear him, further highlighting the alienation and psychological toll of combat.
Diop's novel explores themes of colonialism, the dehumanizing effects of war, and the complexities of friendship and loyalty. The narrative is deeply introspective, the style hypnotically vivid, delving into Alfa's internal struggles and the cultural and psychological conflicts faced by African soldiers in the European war.
The novel has received critical acclaim for its lyrical prose/unflinching portrayal of the violence and trauma of war. It won the International Booker Prize in 2021. Reading it in English was for me a pretty good experience, but I would like to try read it in the original French sometime.
July 28, 2022
鈥淭he ones I might have told my secret thoughts to, my brothers-in-arms who will be left so disfigured, maimed, eviscerated, that God will be ashamed to see them show up in Paradise and the Devil will be happy to welcome them to Hell, will never know who I really am.鈥�
鈥淒on鈥檛 tell me that we don鈥檛 need madness on the battlefield. God鈥榮 truth, the mad fear nothing. The others, white or black, play at being mad, perform madness so that they can calmly throw themselves in front of the bullets of the enemy on the other side. It allows them to run straight at death without being too afraid.鈥�
Alfa Ndiaye and Mademba Diop are childhood friends from Senegal. They are 鈥淐hocolat鈥� soldiers fighting with the French army against the Germans in World War I. When Mademba is mortally wounded he repeatedly begs Alfa to kill him. Alfa, respecting human law and the teachings of his parents, refuses to kill Mademba and he is consumed by guilt and driven to madness by his failure to act humanely. He begins sneaking out each night, torturing and killing German soldiers and cutting off their hands which he preserves. His fellow soldiers initially think he is heroic, but they soon sense his madness and he is eventually sent to the rear.
This was a beautifully written, devastating description of the horrors of war. If you are extremely squeamish you might want to skip this. It is also a vivid depiction of insanity. There are African fables and flashbacks to life in Senegal. I never got the feeling that this book was translated, so the translator, Anna Moschovakis, must have done a very good job. Dion Graham, the narrator of the audiobook, also did an excellent job.
I received a free copy of this book from the publisher.
鈥淒on鈥檛 tell me that we don鈥檛 need madness on the battlefield. God鈥榮 truth, the mad fear nothing. The others, white or black, play at being mad, perform madness so that they can calmly throw themselves in front of the bullets of the enemy on the other side. It allows them to run straight at death without being too afraid.鈥�
Alfa Ndiaye and Mademba Diop are childhood friends from Senegal. They are 鈥淐hocolat鈥� soldiers fighting with the French army against the Germans in World War I. When Mademba is mortally wounded he repeatedly begs Alfa to kill him. Alfa, respecting human law and the teachings of his parents, refuses to kill Mademba and he is consumed by guilt and driven to madness by his failure to act humanely. He begins sneaking out each night, torturing and killing German soldiers and cutting off their hands which he preserves. His fellow soldiers initially think he is heroic, but they soon sense his madness and he is eventually sent to the rear.
This was a beautifully written, devastating description of the horrors of war. If you are extremely squeamish you might want to skip this. It is also a vivid depiction of insanity. There are African fables and flashbacks to life in Senegal. I never got the feeling that this book was translated, so the translator, Anna Moschovakis, must have done a very good job. Dion Graham, the narrator of the audiobook, also did an excellent job.
I received a free copy of this book from the publisher.
May 7, 2021
3.5
To say I enjoyed this might be a stretch. Those opening chapters will almost certainly put many readers off. It's repetitive, grim and visceral. All this violence didn't entirely convince on a first acquaintance, it seemed stylised, more low-grade horror-flick than something I was supposed to take seriously. Pat Barkers' Regeneration also deals with the horrors of trench warfare and I was reminded constantly of it while reading the opening salvos of this book. Unfortunately, the comparison did this novel no favours.
However, things do start to come into their own in the second half. The narration becomes (temporarily) lucid and the background to the friendship of Alfa and Mademba is told in a series of anecdotes. My favourite being the story of Alfa's mother - the daughter of a Fula shepherd. These scenes from Senegalese life were of more interest to me than the "descent into madness" storyline that is the synopsis of the book and yet undoubtedly the two intersect in interesting ways.
The ending was sufficiently vague enough to allow me the freedom to concoct an entirely different story out of what was presented to me initially and this elevated the book to one I would read (grudgingly) again this time with an entirely different paradigm in my head.
To say I enjoyed this might be a stretch. Those opening chapters will almost certainly put many readers off. It's repetitive, grim and visceral. All this violence didn't entirely convince on a first acquaintance, it seemed stylised, more low-grade horror-flick than something I was supposed to take seriously. Pat Barkers' Regeneration also deals with the horrors of trench warfare and I was reminded constantly of it while reading the opening salvos of this book. Unfortunately, the comparison did this novel no favours.
However, things do start to come into their own in the second half. The narration becomes (temporarily) lucid and the background to the friendship of Alfa and Mademba is told in a series of anecdotes. My favourite being the story of Alfa's mother - the daughter of a Fula shepherd. These scenes from Senegalese life were of more interest to me than the "descent into madness" storyline that is the synopsis of the book and yet undoubtedly the two intersect in interesting ways.
The ending was sufficiently vague enough to allow me the freedom to concoct an entirely different story out of what was presented to me initially and this elevated the book to one I would read (grudgingly) again this time with an entirely different paradigm in my head.
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