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丕賱毓丕乇
賰賳鬲 丿丕卅賲丕賸 兀乇睾亘 賮賷 鬲兀賱賷賮 賰鬲亘 賷爻鬲丨賷賱 毓賱賷 丕賱丨丿賷孬 毓賳賴丕 賮賷賲丕 亘毓丿.. 賰購鬲購亘 賷爻鬲丨賷賱 賲毓賴丕 鬲丨賲賱 賳馗乇丞 丕賱丌禺乇. 賵賱賰賳 賴賱 賷購賲賰賳 賱賱賰鬲丕亘丞 兀賳 鬲噩賱亘 賱賷 毓丕乇丕賸 賮賷 賲爻鬲賵賶 匕賱賰 丕賱匕賷 兀丨爻爻鬲賴 賮賷 毓丕賲賷 丕賱孬丕賳賷 毓卮乇責
119 pages, Paperback
First published June 1, 1997
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About the author
Annie Ernaux
78听books8,957听followersThe author of some twenty works of fiction and memoir, Annie Ernaux is considered by many to be France鈥檚 most important writer. In 2022, she was awarded the Nobel Prize in Literature. She has also won the Prix Renaudot for A Man's Place and the Marguerite Yourcenar Prize for her body of work. More recently she received the International Strega Prize, the Prix Formentor, the French-American Translation Prize, and the Warwick Prize for Women in Translation for The Years, which was also shortlisted for the Man Booker International Prize in 2019. Her other works include Exteriors, A Girl's Story, A Woman's Story, The Possession, Simple Passion, Happening, I Remain in Darkness, Shame, A Frozen Woman, and A Man's Place.
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October 6, 2022
Nobel prize in literature 2022 "for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory"
I had seen the unseeable
Shame is the fourth book I have read by Annie Ernaux this year (the other books were , and ) and it struck me mostly as another chapter in the socio-autobiography she is writing on her life. This piece focusses on her years as a young adolescent, the incipit the memory of an incident between her parents which the 12 years old Annie involuntarily witnessed. The impossibility to talk about the incident at the time prompts her to investigate that specific year 1952, to get closer to herself, to the girl she used to be, ruminating on and observing herself in her environment, through her parents, the private Catholic school she attended, the better and less situated girls on her school, contemplating her state of consciousness at twelve and now, through the two ideals held forth by her parents that were embodied in sending her to such a school: religion and education.
The incident functions as the madeleine biscuit in Proust, however not evoking the tender scent of lime-blossom tea and lilacs but the rather foul odour of the overwhelming emotion of shame, a run-up to a ruthless and raw descent into the grittiness of Ernaux鈥檚 life in the small provincial town of Yvetot, growing up in the shabby caf茅 annex grocery that her parents are running, where almost every space is open to the customers and parents and daughter share a bedroom - a dressing gown an unimaginable luxury for the social class of people that had to jump into their clothes for starting working as soon as they woke 鈥� the social class Ernaux belonged to but will desert. As a young girl she doesn鈥檛 dare to dream big, she rather envisages realism, reading stories she experiences as 鈥榤ore realistic than Dickens鈥� novels because they painted the picture of a likely future 鈥� love-marriage-children鈥�, wondering if 鈥榯he real therefore can be defined as the mere sum of potentialities鈥�.
A friend who just had been reading both Proust and Ernaux appositely pointed at the shocking contrast of the world Ernaux鈥檚 father inhabited with Proust鈥檚 (privileged) world, despite the fact that Ernaux鈥檚 father and Proust both lived in France during the same period. This difference is reflected in Annie Ernaux鈥檚 own search for lost time, explicitly distinguishing the way memory worked for Proust and for her in relation to objects:
"In his writings, Proust suggests that our memory is separate from us, residing in the ocean breeze or the smells of early autumn鈥攖hings linked to the earth that recur periodically, confirming the permanence of mankind. For me and no doubt many of my contemporaries, memories are associated with ephemeral things such as a fashionable belt or a summer hit and therefore the act of remembering can do nothing to reaffirm my sense of identity or continuity. It can only confirm the fragmented nature of my life and the belief that I belong to history.鈥�
Recalling Sartre鈥檚 descriptions of how he was introduced to literature in the sumptuous home library of his grandfather in and how by contrast Ernaux鈥檚 access to books was strictly regulated by nuns speaks volumes about class and cultural inequalities in France in the fifties.
As in , objects, things, goods are important and anchor memories in time, although the social distribution of goods is far more significant than their actual existence 鈥� which reminded me my mother鈥檚 longing for a bathroom in the 70ies, at a time most households already had one and how she heated the water on the stove to fill a laundry basket for the weekly bath of her daughters.
(Berlinde De Bruyckere, blanket woman)
Just like the reading experience intensifies while reading as soon as one happened to live through portions of the same period in time Ernaux is capturing (like the election of Mitterand) - the simultaneity implying sharing parallels with Ernaux鈥檚 experiences - some aspects of Shame might get close to the skin when touching the reader鈥檚 personal history. The importance of education, the parents who try to wrestle free from their social origin as manual labourers, the time in which working in a factory was considered a shame for (Catholic) women and running a small business seemed a decent alternative solution. The rough mentality in Normandy, some of the harsh judgementalism reminded me of my grandmother and aunts who spoke ill of bachelors and in whose lives the Roman Catholic rituals and traditions (the meatless Fridays, singing in the church choir, the Stations of the Cross, Easter confession ) still played a paramount role 鈥� including the obligatory journey to Lourdes 鈥� the only place abroad my grandparents ever visited in their life. Ernaux however delves deeper in pointing out the different meaning religion had for her parents and how different her mother鈥檚 view was from the doctrinary vision on it imposed on Annie at her private school.
As in the other books I read by her, Ernaux鈥檚 prose is austere and unembellished, reflecting the meagreness and the inadequacy of the language she experiences in her environment (the patois, the lack of metaphors, the deficiency of words to express feelings) as well as the detached coldness of her observations mirrors the desire of the young Annie to detach herself from the environment and accompanying social inferiority in which she was anchored 鈥� on which the dominant feeling became shame.
Ernaux doesn鈥檛 paint a pretty picture, but it is one which will stay with me.
(***1/2)
I had seen the unseeable
Shame is the fourth book I have read by Annie Ernaux this year (the other books were , and ) and it struck me mostly as another chapter in the socio-autobiography she is writing on her life. This piece focusses on her years as a young adolescent, the incipit the memory of an incident between her parents which the 12 years old Annie involuntarily witnessed. The impossibility to talk about the incident at the time prompts her to investigate that specific year 1952, to get closer to herself, to the girl she used to be, ruminating on and observing herself in her environment, through her parents, the private Catholic school she attended, the better and less situated girls on her school, contemplating her state of consciousness at twelve and now, through the two ideals held forth by her parents that were embodied in sending her to such a school: religion and education.
The incident functions as the madeleine biscuit in Proust, however not evoking the tender scent of lime-blossom tea and lilacs but the rather foul odour of the overwhelming emotion of shame, a run-up to a ruthless and raw descent into the grittiness of Ernaux鈥檚 life in the small provincial town of Yvetot, growing up in the shabby caf茅 annex grocery that her parents are running, where almost every space is open to the customers and parents and daughter share a bedroom - a dressing gown an unimaginable luxury for the social class of people that had to jump into their clothes for starting working as soon as they woke 鈥� the social class Ernaux belonged to but will desert. As a young girl she doesn鈥檛 dare to dream big, she rather envisages realism, reading stories she experiences as 鈥榤ore realistic than Dickens鈥� novels because they painted the picture of a likely future 鈥� love-marriage-children鈥�, wondering if 鈥榯he real therefore can be defined as the mere sum of potentialities鈥�.
A friend who just had been reading both Proust and Ernaux appositely pointed at the shocking contrast of the world Ernaux鈥檚 father inhabited with Proust鈥檚 (privileged) world, despite the fact that Ernaux鈥檚 father and Proust both lived in France during the same period. This difference is reflected in Annie Ernaux鈥檚 own search for lost time, explicitly distinguishing the way memory worked for Proust and for her in relation to objects:
"In his writings, Proust suggests that our memory is separate from us, residing in the ocean breeze or the smells of early autumn鈥攖hings linked to the earth that recur periodically, confirming the permanence of mankind. For me and no doubt many of my contemporaries, memories are associated with ephemeral things such as a fashionable belt or a summer hit and therefore the act of remembering can do nothing to reaffirm my sense of identity or continuity. It can only confirm the fragmented nature of my life and the belief that I belong to history.鈥�
Recalling Sartre鈥檚 descriptions of how he was introduced to literature in the sumptuous home library of his grandfather in and how by contrast Ernaux鈥檚 access to books was strictly regulated by nuns speaks volumes about class and cultural inequalities in France in the fifties.
As in , objects, things, goods are important and anchor memories in time, although the social distribution of goods is far more significant than their actual existence 鈥� which reminded me my mother鈥檚 longing for a bathroom in the 70ies, at a time most households already had one and how she heated the water on the stove to fill a laundry basket for the weekly bath of her daughters.
(Berlinde De Bruyckere, blanket woman)
Just like the reading experience intensifies while reading as soon as one happened to live through portions of the same period in time Ernaux is capturing (like the election of Mitterand) - the simultaneity implying sharing parallels with Ernaux鈥檚 experiences - some aspects of Shame might get close to the skin when touching the reader鈥檚 personal history. The importance of education, the parents who try to wrestle free from their social origin as manual labourers, the time in which working in a factory was considered a shame for (Catholic) women and running a small business seemed a decent alternative solution. The rough mentality in Normandy, some of the harsh judgementalism reminded me of my grandmother and aunts who spoke ill of bachelors and in whose lives the Roman Catholic rituals and traditions (the meatless Fridays, singing in the church choir, the Stations of the Cross, Easter confession ) still played a paramount role 鈥� including the obligatory journey to Lourdes 鈥� the only place abroad my grandparents ever visited in their life. Ernaux however delves deeper in pointing out the different meaning religion had for her parents and how different her mother鈥檚 view was from the doctrinary vision on it imposed on Annie at her private school.
As in the other books I read by her, Ernaux鈥檚 prose is austere and unembellished, reflecting the meagreness and the inadequacy of the language she experiences in her environment (the patois, the lack of metaphors, the deficiency of words to express feelings) as well as the detached coldness of her observations mirrors the desire of the young Annie to detach herself from the environment and accompanying social inferiority in which she was anchored 鈥� on which the dominant feeling became shame.
Ernaux doesn鈥檛 paint a pretty picture, but it is one which will stay with me.
(***1/2)
July 22, 2023
鈥�The worst thing about shame is that we imagine we are the only ones to experience it.鈥�
First and foremost, a hearty congratulations to Annie Ernaux for winning the 2022 Nobel Prize in Literature, an extreme international honor that cements a writer into the proverbial canon of literary greats and ensures their work is reprinted, translated and readily available. Shame, originally published in 1998 and later translated into English by , is a snapshot of French society in 1952 that grapples with many of the themes Ernaux is celebrated for: the clinical investigation of the self and memory and, as the title would suggest, earnest examinations of feeling shame. 鈥�My father tried to kill my mother one Sunday in June, in the early afternoon,鈥� begins Ernaux鈥檚 novella where this incident on June 15th, 1952, becomes 鈥�the first date I remember with unerring accuracy from my childhood,鈥� because it 鈥�introduces the era when I shall never cease to feel ashamed,鈥� a feeling that she carries with her all her life. While the novella is fiction, it reads very much like a historical memoir and is less a narrative and more an account of the social conditions of the narrator鈥檚 town and private school as well as the world events occurring that summer of 1952 that forever reshaped her own familiarity with herself. This slim novel is an intriguing look at narrative possibilities, with a brilliant depth of examination and a coolness of tone paired with precise and powerful language that reconstruct a dynamic portrait of life in a specific time and place that manages to resonate with universal emotional impact.
鈥�Shame became a new way of living for me. I don't think I was even aware of it, it had become part of my own body.鈥�
The catalyst for the book here is a brief but lasting moment of violence that will 鈥�breathe disaster鈥� through every aspect of the narrator's life. 鈥�Now everything in our life is synonymous with shame,鈥� she writes, seeing how this one moment refocused all she thought and knew about life. Much of the shame felt in the novel comes from the idea that 鈥� 鈥渘o one except us鈥� behaves this way,鈥欌€� which is all the more a threatening feeling in a society that promotes conformity and fears aberration. 鈥�To be like everyone else was people鈥檚 universal ambition, the ultimate dream,鈥� she tells us, 鈥�those who were different were thought to be eccentric or even deranged.鈥� In order to portray just the sort of society this is, Ernaux goes into great detail to reproduce 1952 for the reader. I shall process them like documents, examining them from different angles to give them meaning,鈥� Ernaux writes, 鈥�in other words, I shall carry out an ethnological study of myself.鈥� While the style of this ethnological study does read as a listing of facts and observations, first delving into the city and the social structures within it before turning attention to the all-girls Catholic school she attended, the cumulative weight of insights and explanations begins to produce a very nuanced and detailed portrait of a society that you begin to feel yourself immersed within. Told from the adult perspective in 1996, this is 鈥�the bond between the little girl of 1952 and the woman who is writing this manuscript,鈥� through which we see life as a collection of events following one another, shame always a shadow over them.
鈥�Everything that cements this world is encouraged, everything that threatens it is denounced and vilified.鈥�
We get an excellent depiction of post-war France, and the social and cultural norms down to linguistic choices that define the city of Y in the year 1952. We see the ways social classes interact and the narrator鈥檚 space here (her parents being shopkeepers), though the most of the hierarchies examined are those of the private school she attends. 鈥�Instruction and religion are inseparably linked, both in time and in space,鈥� she informs us and everything is strictly rule oriented 鈥�yet these rules are never perceived as being coercive.鈥� That said, she feels 鈥�compelled to use the present tense to list and describe these rules, as if they have remained as immutable as they were for me at the time,鈥� and it is evident how this sort of upbringing and extreme hierarchical perspective on society (even hanging out with public school girls is considered a taboo) would make the narrator view the violent event of her childhood as something that has shaken her loose from the perceived safety of her social position and piety.
This belief in a fall from grace takes on a deep emotional and moral tone as if she has discovered she doesn鈥檛 belong in the society around her. 鈥�Was I doomed to pick up every single sentence that reminded us of our place in society?鈥� she wonders, which is a really personal feeling that I think we all have once we notice ourselves out of place. Which is what lands so well in this novel: the idea that shame is something that is so personally felt and specific yet also universal. This was particularly interesting to read on the heels of completing several works by , particularly Inseparable which, also an account of French private schooling, demonstrates how religious hierarchies weaponize shame and guilt as a method of obliging obedience at the punishment of being outcast.
Equally important to this book is the idea of memory, and how each compounding event across our lives recalibrates our relationship to our past. When looking at photographs from her twelfth year she finds she can barely link the young girl in the photo to the self writing the book in 1996, but surely they are the same. Time and our experience make memory a frail thing, and the idea of examining memory through the newspapers of 1952 in an attempt to recreate the world as it was is an interesting way to refresh the background thoughts that would be in everyone's head at the time.
鈥�This can be said about shame: those who experience it feel that anything can happen to them, that the shame will never cease and that it will only be followed by more shame.鈥�
Ernaux is a gifted writer and I am excited to have read a novel from the newest Nobel winner, all the more excited that I have quite enjoyed it. It鈥檚 brief and quiet, though the pieces really fall into place and my enjoyment of it only increased the following day after finishing it as I found myself thinking about it frequently. 鈥�It was normal to feel ashamed: I saw it as an inescapable fatality,鈥� Ernaux writes, and this novel takes a clever approach to examining just how much society is bent towards inflicting shame upon us, with Ernaux reminding us that it is something we all inevitably endure and in our shared experiences of shame and frailties of memory we find ourselves joined as fellow humans.An interesting book, one written with a very clinical approach to the subject that performs wonderful artistry. This was my first experience with Ernaux but it will certainly not be my last.
4/5
鈥�In his writings, Proust suggests that our memory is separate from us, residing in the ocean breeze or the smells of early autumn鈥攖hings linked to the earth that recur periodically, confirming the permanence of mankind. For me and no doubt many of my contemporaries, memories are associated with ephemeral things such as a fashionable belt or a summer hit and therefore the act of remembering can do nothing to reaffirm my sense of identity or continuity. It can only confirm the fragmented nature of my life and the belief that I belong to history.鈥�
First and foremost, a hearty congratulations to Annie Ernaux for winning the 2022 Nobel Prize in Literature, an extreme international honor that cements a writer into the proverbial canon of literary greats and ensures their work is reprinted, translated and readily available. Shame, originally published in 1998 and later translated into English by , is a snapshot of French society in 1952 that grapples with many of the themes Ernaux is celebrated for: the clinical investigation of the self and memory and, as the title would suggest, earnest examinations of feeling shame. 鈥�My father tried to kill my mother one Sunday in June, in the early afternoon,鈥� begins Ernaux鈥檚 novella where this incident on June 15th, 1952, becomes 鈥�the first date I remember with unerring accuracy from my childhood,鈥� because it 鈥�introduces the era when I shall never cease to feel ashamed,鈥� a feeling that she carries with her all her life. While the novella is fiction, it reads very much like a historical memoir and is less a narrative and more an account of the social conditions of the narrator鈥檚 town and private school as well as the world events occurring that summer of 1952 that forever reshaped her own familiarity with herself. This slim novel is an intriguing look at narrative possibilities, with a brilliant depth of examination and a coolness of tone paired with precise and powerful language that reconstruct a dynamic portrait of life in a specific time and place that manages to resonate with universal emotional impact.
鈥�Shame became a new way of living for me. I don't think I was even aware of it, it had become part of my own body.鈥�
The catalyst for the book here is a brief but lasting moment of violence that will 鈥�breathe disaster鈥� through every aspect of the narrator's life. 鈥�Now everything in our life is synonymous with shame,鈥� she writes, seeing how this one moment refocused all she thought and knew about life. Much of the shame felt in the novel comes from the idea that 鈥� 鈥渘o one except us鈥� behaves this way,鈥欌€� which is all the more a threatening feeling in a society that promotes conformity and fears aberration. 鈥�To be like everyone else was people鈥檚 universal ambition, the ultimate dream,鈥� she tells us, 鈥�those who were different were thought to be eccentric or even deranged.鈥� In order to portray just the sort of society this is, Ernaux goes into great detail to reproduce 1952 for the reader. I shall process them like documents, examining them from different angles to give them meaning,鈥� Ernaux writes, 鈥�in other words, I shall carry out an ethnological study of myself.鈥� While the style of this ethnological study does read as a listing of facts and observations, first delving into the city and the social structures within it before turning attention to the all-girls Catholic school she attended, the cumulative weight of insights and explanations begins to produce a very nuanced and detailed portrait of a society that you begin to feel yourself immersed within. Told from the adult perspective in 1996, this is 鈥�the bond between the little girl of 1952 and the woman who is writing this manuscript,鈥� through which we see life as a collection of events following one another, shame always a shadow over them.
鈥�Everything that cements this world is encouraged, everything that threatens it is denounced and vilified.鈥�
We get an excellent depiction of post-war France, and the social and cultural norms down to linguistic choices that define the city of Y in the year 1952. We see the ways social classes interact and the narrator鈥檚 space here (her parents being shopkeepers), though the most of the hierarchies examined are those of the private school she attends. 鈥�Instruction and religion are inseparably linked, both in time and in space,鈥� she informs us and everything is strictly rule oriented 鈥�yet these rules are never perceived as being coercive.鈥� That said, she feels 鈥�compelled to use the present tense to list and describe these rules, as if they have remained as immutable as they were for me at the time,鈥� and it is evident how this sort of upbringing and extreme hierarchical perspective on society (even hanging out with public school girls is considered a taboo) would make the narrator view the violent event of her childhood as something that has shaken her loose from the perceived safety of her social position and piety.
鈥�Now I can see the good little girl who goes to private school, enjoying the power and ideology of a world symbolizing truth, progress and perfection, a world which, in her eyes, she would never fail.鈥�
This belief in a fall from grace takes on a deep emotional and moral tone as if she has discovered she doesn鈥檛 belong in the society around her. 鈥�Was I doomed to pick up every single sentence that reminded us of our place in society?鈥� she wonders, which is a really personal feeling that I think we all have once we notice ourselves out of place. Which is what lands so well in this novel: the idea that shame is something that is so personally felt and specific yet also universal. This was particularly interesting to read on the heels of completing several works by , particularly Inseparable which, also an account of French private schooling, demonstrates how religious hierarchies weaponize shame and guilt as a method of obliging obedience at the punishment of being outcast.
Equally important to this book is the idea of memory, and how each compounding event across our lives recalibrates our relationship to our past. When looking at photographs from her twelfth year she finds she can barely link the young girl in the photo to the self writing the book in 1996, but surely they are the same. Time and our experience make memory a frail thing, and the idea of examining memory through the newspapers of 1952 in an attempt to recreate the world as it was is an interesting way to refresh the background thoughts that would be in everyone's head at the time.
鈥�This can be said about shame: those who experience it feel that anything can happen to them, that the shame will never cease and that it will only be followed by more shame.鈥�
Ernaux is a gifted writer and I am excited to have read a novel from the newest Nobel winner, all the more excited that I have quite enjoyed it. It鈥檚 brief and quiet, though the pieces really fall into place and my enjoyment of it only increased the following day after finishing it as I found myself thinking about it frequently. 鈥�It was normal to feel ashamed: I saw it as an inescapable fatality,鈥� Ernaux writes, and this novel takes a clever approach to examining just how much society is bent towards inflicting shame upon us, with Ernaux reminding us that it is something we all inevitably endure and in our shared experiences of shame and frailties of memory we find ourselves joined as fellow humans.An interesting book, one written with a very clinical approach to the subject that performs wonderful artistry. This was my first experience with Ernaux but it will certainly not be my last.
4/5
鈥�In his writings, Proust suggests that our memory is separate from us, residing in the ocean breeze or the smells of early autumn鈥攖hings linked to the earth that recur periodically, confirming the permanence of mankind. For me and no doubt many of my contemporaries, memories are associated with ephemeral things such as a fashionable belt or a summer hit and therefore the act of remembering can do nothing to reaffirm my sense of identity or continuity. It can only confirm the fragmented nature of my life and the belief that I belong to history.鈥�
March 2, 2023
La verg眉enza de una ni帽a, la propia escritora, ante un hecho que pone fin a su inocente infancia, el d铆a en que su padre intenta matar a su madre. A partir de este momento y recreando diferentes an茅cdotas, la autora retrata su entorno, la vida a lado de sus padres, la educaci贸n religiosa que recibi贸 y en cada una de estas vivencias la verg眉enza prevalece.
La lectura es muy sencilla y por lo mismo, siento que puede llegar a ser fr铆a, me cuesta conectar con la emoci贸n.
La lectura es muy sencilla y por lo mismo, siento que puede llegar a ser fr铆a, me cuesta conectar con la emoci贸n.
February 9, 2024
Le tengo mucho cari帽o a esta autora, pues adoro otras de sus obras. Sin embargo, esta no fue tan satisfactoria para m铆.
El tema merodea la verg眉enza, terror y confusi贸n que un arranque de ira por parte de su padre, casi termina en la muerte de su madre. La autora, al recrear esa escena e ir desmenuz谩ndola abordando temas como la religi贸n, la posici贸n de la mujer en esos a帽os y la p茅rdida de confianza, hace que la premisa de este libro sea intrigante.
Mi problema es que el relato se pierde en detalles que rompen el ritmo y te dejan con la incertidumbre de a qu茅 quiere llegar contando algo que pareciera no aportar tanto.
A煤n as铆, la estructura podr谩 tener sus fallas, pero la pluma de Annie sigue impresion谩ndome.
El tema merodea la verg眉enza, terror y confusi贸n que un arranque de ira por parte de su padre, casi termina en la muerte de su madre. La autora, al recrear esa escena e ir desmenuz谩ndola abordando temas como la religi贸n, la posici贸n de la mujer en esos a帽os y la p茅rdida de confianza, hace que la premisa de este libro sea intrigante.
Mi problema es que el relato se pierde en detalles que rompen el ritmo y te dejan con la incertidumbre de a qu茅 quiere llegar contando algo que pareciera no aportar tanto.
A煤n as铆, la estructura podr谩 tener sus fallas, pero la pluma de Annie sigue impresion谩ndome.
July 3, 2023
The more I read of Ernaux, the clearer it becomes that each piece of writing is a fragment of a greater oeuvre that contemplates a historicised sense of European and female self in the latter half of the twentieth century forwards. Different aspects of 'Annie Ernaux' are foregrounded in each book, expressing a sense of the mutability and lack of easy coherence, that inability to say definitively and once and for all 'this is I'.
In this book, Ernaux returns to her parents and her adolescence, tracing the forces that press on her identity: class and socio-economic grouping, post-war generation, suburban France, education, religion, gender politics. The 'shame' of the title is generated in multiple ways and serves as a version of Proust's madeleine in the way it holds and releases memories that continue to shape her psyche.
As always, Ernaux's writing has a clean, clinical precision as she takes a scalpel to her memories of her earlier self. I think it is recognised that the two over-riding passions which propel Ernaux's writing are shame and desire: this book, originally published in the 1990s, is thus a critical component in understanding Ernaux's overarching project.
Many thanks to Fitzcarraldo Editions for an ARC via NetGalley.
In this book, Ernaux returns to her parents and her adolescence, tracing the forces that press on her identity: class and socio-economic grouping, post-war generation, suburban France, education, religion, gender politics. The 'shame' of the title is generated in multiple ways and serves as a version of Proust's madeleine in the way it holds and releases memories that continue to shape her psyche.
As always, Ernaux's writing has a clean, clinical precision as she takes a scalpel to her memories of her earlier self. I think it is recognised that the two over-riding passions which propel Ernaux's writing are shame and desire: this book, originally published in the 1990s, is thus a critical component in understanding Ernaux's overarching project.
Many thanks to Fitzcarraldo Editions for an ARC via NetGalley.
August 13, 2022
En este libro Annie Ernaux toma las canciones que sonaban en la radio, la ropa que llevaban las mujeres a su alrededor, la mirada severa de su profesora de s茅ptimo, las calles de su pueblo, y cada pieza que tenga al alcance, todo con el prop贸sito de reconstruir 1952, el a帽o que le cambi贸 la vida, el a帽o en el que su padre intent贸 matar a su madre y la verg眉enza se convirti贸 en un hilo permanente en el tejido de sus d铆as.
Adem谩s, lleva su usual transparencia a otro nivel: no solamente expone lo sucedido a sus doce a帽os, sino tambi茅n el proceso para escribir el libro que estamos leyendo. El texto viene acompa帽ado de su propia radiograf铆a creativa; se reflexiona sobre el pasado de la ni帽a estudiante y tambi茅n se analiza el presente de la mujer escritora, quien trata de hacer sentido sobre el evento que marc贸 un antes y despu茅s en su manera de ver al mundo y su lugar en 茅l.
Adem谩s, lleva su usual transparencia a otro nivel: no solamente expone lo sucedido a sus doce a帽os, sino tambi茅n el proceso para escribir el libro que estamos leyendo. El texto viene acompa帽ado de su propia radiograf铆a creativa; se reflexiona sobre el pasado de la ni帽a estudiante y tambi茅n se analiza el presente de la mujer escritora, quien trata de hacer sentido sobre el evento que marc贸 un antes y despu茅s en su manera de ver al mundo y su lugar en 茅l.
October 17, 2023
A reflection on class society and the imposter syndrome that accompanies a class migrant is interestingly, but not entirely coherently, bundled with reflections on violence within the marriage of the parents of the author
The worst thing about shame is that we imagine we are the only ones to experience it.
In we are transported to postwar Normandy and the struggles the 12 year old has reconciling the relationship her parents have, with occasional flashes of violence, with the image that need to be kept up towards the outside world.
I enjoy how well Ernaux shows small history and major history besides each other, even though I can't say that there was a lot of synergies between the personal and broader narrative here.
One of the most readable Nobel laureates, and again an interesting addition to her work translated into English.
Quotes:
We have no true memory of ourselves.
When it comes to illustrating social change, newspapers can provide only collective evidence
Naturally I won鈥檛 opt for narrative l, which would mean inventing reality instead of searching for it.
In our lives nothing is thought, everything is done.
To be like everyone else was people鈥檚 universal ambition, the ultimate dream.
Religion must remain an auxiliary to education, it must never take its place.
The worst thing about shame is that we imagine we are the only ones to experience it.
In we are transported to postwar Normandy and the struggles the 12 year old has reconciling the relationship her parents have, with occasional flashes of violence, with the image that need to be kept up towards the outside world.
I enjoy how well Ernaux shows small history and major history besides each other, even though I can't say that there was a lot of synergies between the personal and broader narrative here.
One of the most readable Nobel laureates, and again an interesting addition to her work translated into English.
Quotes:
We have no true memory of ourselves.
When it comes to illustrating social change, newspapers can provide only collective evidence
Naturally I won鈥檛 opt for narrative l, which would mean inventing reality instead of searching for it.
In our lives nothing is thought, everything is done.
To be like everyone else was people鈥檚 universal ambition, the ultimate dream.
Religion must remain an auxiliary to education, it must never take its place.
September 19, 2024
鈥淟a verg眉enza siempre lleva consigo la sensaci贸n de que, a partir de ese momento, puede sucederte cualquier cosa, de que es algo que no tiene fin, pues la verguenza se alimenta de verg眉enza鈥�. 馃挃
desde que le铆 el acontecimiento siento que tengo que leer todo de Annie Ernaux, hace un retrato incre铆ble de su realidad, con una sinceridad que nunca hab铆a le铆do antes鈥� es una pasada la amo
desde que le铆 el acontecimiento siento que tengo que leer todo de Annie Ernaux, hace un retrato incre铆ble de su realidad, con una sinceridad que nunca hab铆a le铆do antes鈥� es una pasada la amo
October 11, 2022
Congratulations to Annie Ernaux for being awarded the Nobel Prize for Literature, 2022!
鈥淢y father tried to kill my mother one Sunday in June, in the early afternoon. . .鈥�
Thanks to Ilse, this is the fourth book by Annie Ernaux I have read already this year (including A Man鈥檚 Place, A Woman鈥檚 Journey, I Remain in Darkness, and this, Shame), all of which are memoirs or auto-fiction focused largely on her working-class parents, seen decades later through the eyes of the academic, teacher, and writer she became. Lest you seem too impressed by this output, let me make clear that these books are very short, which I have mostly been listening to and also reading some sections from as I listen. All of the books touch on the largely unsatisfying nature of narrative in 鈥渃apturing鈥� the past, but nevertheless exist for her as examples of explorations in memory writing:
鈥淚 realize that I have left part of myself in a place where I shall probably never come back.鈥�
鈥淚n his writings, Proust suggests that our memory is separate from us, residing in the ocean breeze or the smells of early autumn鈥攖hings linked to the earth that recur periodically, confirming the permanence of mankind. For me and no doubt many of my contemporaries, memories are associated with ephemeral things such as a fashionable belt or a summer hit and therefore the act of remembering can do nothing to reaffirm my sense of identity or continuity. It can only confirm the fragmented nature of my life and the belief that I belong to history.鈥�
Ernaux tried crafting some of these as more fictional stories but wasn鈥檛 satisfied with the result. They felt less real and manipulative in a 鈥渓iterary鈥� way that undermined her working-class roots.
The initial focus of Shame is an incident Ernaux never forgot, a fight in which her father erupts with rage and violently attacks her mother. Her mother isn鈥檛 hurt enough to be hospitalized, but for Ernaux it becomes an important moment in her life and of her assessment of her parents鈥� relationship, of relationships in general and human beings in general. She admits others have suffered far more and have survived greater trauma, but it was nevertheless life-changing for her.
And then, no one ever talks about the incident ever again. Nor nothing ever happens like it between her parents again. There emerges a kind of shame from it, a shame that prevents them from talking about it with themselves or others. This moment creates the opportunity for Ernaux to reflect on the nature of shame in the French culture she lived through of the fifties, in religion, in education, in society in general. You were shamed for not being good, for looking a certain way, linking education and religion in setting high moral bars for children, something that deeply shaped her.
I too recall my working-class and strict Calvinist religious upbringing--church twice on Sundays, being forced to go to a Christian (Protestant) high school, forced to make Profession of Faith as a teen--and the ways it seemed to compel me to rebel against it, as in many ways Ernaux also came to do in moving through the university to the middle class.
I am going to rate this four stars because it was good, because I could relate to it, though a couple other memoirs from her I liked better. But I am going to read every one of these I can get may hands on now.
鈥淢y father tried to kill my mother one Sunday in June, in the early afternoon. . .鈥�
Thanks to Ilse, this is the fourth book by Annie Ernaux I have read already this year (including A Man鈥檚 Place, A Woman鈥檚 Journey, I Remain in Darkness, and this, Shame), all of which are memoirs or auto-fiction focused largely on her working-class parents, seen decades later through the eyes of the academic, teacher, and writer she became. Lest you seem too impressed by this output, let me make clear that these books are very short, which I have mostly been listening to and also reading some sections from as I listen. All of the books touch on the largely unsatisfying nature of narrative in 鈥渃apturing鈥� the past, but nevertheless exist for her as examples of explorations in memory writing:
鈥淚 realize that I have left part of myself in a place where I shall probably never come back.鈥�
鈥淚n his writings, Proust suggests that our memory is separate from us, residing in the ocean breeze or the smells of early autumn鈥攖hings linked to the earth that recur periodically, confirming the permanence of mankind. For me and no doubt many of my contemporaries, memories are associated with ephemeral things such as a fashionable belt or a summer hit and therefore the act of remembering can do nothing to reaffirm my sense of identity or continuity. It can only confirm the fragmented nature of my life and the belief that I belong to history.鈥�
Ernaux tried crafting some of these as more fictional stories but wasn鈥檛 satisfied with the result. They felt less real and manipulative in a 鈥渓iterary鈥� way that undermined her working-class roots.
The initial focus of Shame is an incident Ernaux never forgot, a fight in which her father erupts with rage and violently attacks her mother. Her mother isn鈥檛 hurt enough to be hospitalized, but for Ernaux it becomes an important moment in her life and of her assessment of her parents鈥� relationship, of relationships in general and human beings in general. She admits others have suffered far more and have survived greater trauma, but it was nevertheless life-changing for her.
And then, no one ever talks about the incident ever again. Nor nothing ever happens like it between her parents again. There emerges a kind of shame from it, a shame that prevents them from talking about it with themselves or others. This moment creates the opportunity for Ernaux to reflect on the nature of shame in the French culture she lived through of the fifties, in religion, in education, in society in general. You were shamed for not being good, for looking a certain way, linking education and religion in setting high moral bars for children, something that deeply shaped her.
I too recall my working-class and strict Calvinist religious upbringing--church twice on Sundays, being forced to go to a Christian (Protestant) high school, forced to make Profession of Faith as a teen--and the ways it seemed to compel me to rebel against it, as in many ways Ernaux also came to do in moving through the university to the middle class.
I am going to rate this four stars because it was good, because I could relate to it, though a couple other memoirs from her I liked better. But I am going to read every one of these I can get may hands on now.
January 4, 2019
Una domenica di giugno del 1952 猫 una data spartiacque nella vita di Annie Ernaux. Aveva dodici anni e si ritrov貌 ad assistere a una lite violenta tra i genitori, una scena 鈥渋ndicibile鈥�, in cui il padre ebbe l鈥檌mpulso di uccidere la madre.
Nasce cos矛 la 鈥渧ergogna鈥�, sensazione che la accompagner脿 a lungo, separando la bambina che era prima di quella domenica dalla Annie del 鈥渄opo鈥�. Nulla sar脿 pi霉 lo stesso, la vergogna le si incolla addosso qualunque cosa faccia. Non ne pu貌 parlare, non esistono parole per descrivere un episodio del genere, finch茅, a distanza di molti anni, decide di scriverne. E nel farlo, le sembra che la scena si ridimensioni, 辫别谤肠丑茅
鈥淔orse la narrazione, ogni narrazione, rende normale qualunque gesto, anche il pi霉 drammatico鈥�.
Col suo linguaggio asciutto, che molti (diversamente da me) considerano algido e privo di sentimento, magnificamente reso dalla traduzione di Lorenzo Flabbi, la Ernaux tenta di reinserire l鈥檃ccaduto nel suo contesto, in quel 1952 ormai lontano.
Tra fotografie precedenti e successive a quella domenica, in cui cerca di individuare il tratto caratteristico della vergogna percepita, giornali dell鈥檈poca, cartoline e altri, pochi, oggetti personali, l鈥檃utrice effettua una ricostruzione quasi chirurgica, lucida della sua vita di ragazzina.
鈥淨uel che mi importa [...] 猫 ritrovare le parole attraverso le quali pensavo me stessa e il mondo circostante. Stabilire ci貌 che per me era normale e ci貌 che era inammissibile, persino inimmaginabile鈥�.
脠 un viaggio a ritroso verso un mondo che non le appartiene pi霉, verso regole di comportamento cui le sembrava naturale obbedire, verso una religiosit脿 allora vissuta come necessaria, verso la scuola privata in cui, dopo quella domenica, si era sentita fuori posto.
鈥溍� la terra natale senza nome in cui, appena vi faccio ritorno, sono subito assalita da un torpore che mi sottrae ogni pensiero, pressoch茅 ogni ricordo puntuale, come se fosse in procinto di inghiottirmi di nuovo鈥�.
Era un paesino, il suo, in cui tutti si conoscevano e si tentava di mantenersi in equilibrio tra le domande fatte agli altri per estorcere informazioni sulla loro vita e l鈥檈sigenza di rendere inaccessibile la propria.
C鈥檈rano le ville dei ricchi e il quartiere come quello in cui viveva, abitato da persone che non si sognavano di mescolarsi a una classe sociale pi霉 elevata.
La scuola privata consentiva una certa elasticit脿 da questo punto di vista, sotto l鈥檈gida del cattolicesimo. Ma dopo quella terribile domenica, anche questo era stato spazzato via. La vergogna faceva sentire Annie indegna di quella comunit脿.
鈥淣ella vergogna c鈥櫭� questo: la sensazione che possa accaderci qualsiasi cosa, che non ci sia scampo, che alla vergogna possa seguire soltanto una vergogna ancora maggiore鈥�.
辫别谤肠丑茅
鈥淟a vergogna non 猫 altro che ripetizione e accumulo鈥�.
Anche in altre opere, come Il Posto, si avverte questa sensazione, la vergogna nei confronti della famiglia, del lavoro dei suoi, della stanza in cui vivevano sopra la bottega, con la cucina nel retro, sempre esposti allo sguardo dei clienti.
Qui l鈥檌ncursione nel passato accentua il distacco dalla Annie scrittrice, che espone al pubblico quello che dovrebbe restare privato.
鈥淢ettere a nudo le regole del mondo dei miei dodici anni mi restituisce per qualche istante l鈥檌nafferrabile pesantezza, la sensazione di chiusura che avverto nei sogni. Le parole che ritrovo sono opache, rocce impossibili da smuovere. Prive di immagini precise. Prive persino di senso鈥�.
Significativo, da questo punto di vista, l鈥檈sergo scelto dall鈥檃utrice:
鈥淚l linguaggio non 猫 la verit脿. 脠 il nostro modo di esistere nel mondo鈥�.
(Paul Auster, L鈥檈logio della solitudine)
Nasce cos矛 la 鈥渧ergogna鈥�, sensazione che la accompagner脿 a lungo, separando la bambina che era prima di quella domenica dalla Annie del 鈥渄opo鈥�. Nulla sar脿 pi霉 lo stesso, la vergogna le si incolla addosso qualunque cosa faccia. Non ne pu貌 parlare, non esistono parole per descrivere un episodio del genere, finch茅, a distanza di molti anni, decide di scriverne. E nel farlo, le sembra che la scena si ridimensioni, 辫别谤肠丑茅
鈥淔orse la narrazione, ogni narrazione, rende normale qualunque gesto, anche il pi霉 drammatico鈥�.
Col suo linguaggio asciutto, che molti (diversamente da me) considerano algido e privo di sentimento, magnificamente reso dalla traduzione di Lorenzo Flabbi, la Ernaux tenta di reinserire l鈥檃ccaduto nel suo contesto, in quel 1952 ormai lontano.
Tra fotografie precedenti e successive a quella domenica, in cui cerca di individuare il tratto caratteristico della vergogna percepita, giornali dell鈥檈poca, cartoline e altri, pochi, oggetti personali, l鈥檃utrice effettua una ricostruzione quasi chirurgica, lucida della sua vita di ragazzina.
鈥淨uel che mi importa [...] 猫 ritrovare le parole attraverso le quali pensavo me stessa e il mondo circostante. Stabilire ci貌 che per me era normale e ci貌 che era inammissibile, persino inimmaginabile鈥�.
脠 un viaggio a ritroso verso un mondo che non le appartiene pi霉, verso regole di comportamento cui le sembrava naturale obbedire, verso una religiosit脿 allora vissuta come necessaria, verso la scuola privata in cui, dopo quella domenica, si era sentita fuori posto.
鈥溍� la terra natale senza nome in cui, appena vi faccio ritorno, sono subito assalita da un torpore che mi sottrae ogni pensiero, pressoch茅 ogni ricordo puntuale, come se fosse in procinto di inghiottirmi di nuovo鈥�.
Era un paesino, il suo, in cui tutti si conoscevano e si tentava di mantenersi in equilibrio tra le domande fatte agli altri per estorcere informazioni sulla loro vita e l鈥檈sigenza di rendere inaccessibile la propria.
C鈥檈rano le ville dei ricchi e il quartiere come quello in cui viveva, abitato da persone che non si sognavano di mescolarsi a una classe sociale pi霉 elevata.
La scuola privata consentiva una certa elasticit脿 da questo punto di vista, sotto l鈥檈gida del cattolicesimo. Ma dopo quella terribile domenica, anche questo era stato spazzato via. La vergogna faceva sentire Annie indegna di quella comunit脿.
鈥淣ella vergogna c鈥櫭� questo: la sensazione che possa accaderci qualsiasi cosa, che non ci sia scampo, che alla vergogna possa seguire soltanto una vergogna ancora maggiore鈥�.
辫别谤肠丑茅
鈥淟a vergogna non 猫 altro che ripetizione e accumulo鈥�.
Anche in altre opere, come Il Posto, si avverte questa sensazione, la vergogna nei confronti della famiglia, del lavoro dei suoi, della stanza in cui vivevano sopra la bottega, con la cucina nel retro, sempre esposti allo sguardo dei clienti.
Qui l鈥檌ncursione nel passato accentua il distacco dalla Annie scrittrice, che espone al pubblico quello che dovrebbe restare privato.
鈥淢ettere a nudo le regole del mondo dei miei dodici anni mi restituisce per qualche istante l鈥檌nafferrabile pesantezza, la sensazione di chiusura che avverto nei sogni. Le parole che ritrovo sono opache, rocce impossibili da smuovere. Prive di immagini precise. Prive persino di senso鈥�.
Significativo, da questo punto di vista, l鈥檈sergo scelto dall鈥檃utrice:
鈥淚l linguaggio non 猫 la verit脿. 脠 il nostro modo di esistere nel mondo鈥�.
(Paul Auster, L鈥檈logio della solitudine)
December 3, 2022
鈥淢y father, who loved me, had tried to kill my mother, who also loved me鈥�.
A very sad short memoir involving the complicated emotion - 鈥榮hame鈥� - that hinders recovery from childhood trauma.
A very sad short memoir involving the complicated emotion - 鈥榮hame鈥� - that hinders recovery from childhood trauma.
October 10, 2023
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讴鬲丕亘 卮乇賲 鬲噩乇亘賴鈥屰� 卮禺氐蹖 賳賵蹖爻賳丿賴 丕爻鬲貨 丕賵 丕夭 蹖讴 乇賵夭 毓丕丿蹖 夭賳丿诏蹖鈥屫ж� 丿乇 丿賵乇丕賳 賳賵噩賵丕賳蹖 賳賵卮鬲賴 讴賴 卮丕賴丿 丕毓賲丕賱 禺卮賵賳鬲 倬丿乇卮 賳爻亘鬲 亘賴 賲丕丿乇卮 亘賵丿賴 賵 賴賲蹖賳 禺丕胤乇賴 丕賵 乇丕 亘乇丕蹖 賴賲蹖卮賴 亘丕 丨爻 卮乇賲 賳爻亘鬲 禺丕賳賵丕丿賴鈥屫ж� 丿乇诏蹖乇 賲蹖鈥屭┵嗀�..
丿乇 卮乇賲 丕夭 賴賲賴 亘丿鬲乇 丕蹖賳 丕爻鬲 讴賴 诏賲丕賳 賲蹖鈥屭┵嗃屬� 鬲賳賴丕 卮禺氐蹖 賴爻鬲蹖賲 讴賴 丌賳 乇丕 鬲噩乇亘賴 賲蹖鈥屭┵嗃屬�.
丕賱亘鬲賴 亘丕丕蹖賳 鬲乇噩賲賴 賳禺賵賳丿賲 丕夭 賳卮乇 毓賱賲蹖 賮乇賴賳诏蹖 讴鬲丕亘 乇賵 禺賵賳丿賲 丕賲丕 鬲賵 诏賵丿乇蹖丿夭 倬蹖丿丕 賳讴乇丿賲. 鬲乇噩賲賴 蹖 禺賵亘蹖 亘賵丿.
讴鬲丕亘 卮乇賲 鬲噩乇亘賴鈥屰� 卮禺氐蹖 賳賵蹖爻賳丿賴 丕爻鬲貨 丕賵 丕夭 蹖讴 乇賵夭 毓丕丿蹖 夭賳丿诏蹖鈥屫ж� 丿乇 丿賵乇丕賳 賳賵噩賵丕賳蹖 賳賵卮鬲賴 讴賴 卮丕賴丿 丕毓賲丕賱 禺卮賵賳鬲 倬丿乇卮 賳爻亘鬲 亘賴 賲丕丿乇卮 亘賵丿賴 賵 賴賲蹖賳 禺丕胤乇賴 丕賵 乇丕 亘乇丕蹖 賴賲蹖卮賴 亘丕 丨爻 卮乇賲 賳爻亘鬲 禺丕賳賵丕丿賴鈥屫ж� 丿乇诏蹖乇 賲蹖鈥屭┵嗀�..
丿乇 卮乇賲 丕夭 賴賲賴 亘丿鬲乇 丕蹖賳 丕爻鬲 讴賴 诏賲丕賳 賲蹖鈥屭┵嗃屬� 鬲賳賴丕 卮禺氐蹖 賴爻鬲蹖賲 讴賴 丌賳 乇丕 鬲噩乇亘賴 賲蹖鈥屭┵嗃屬�.
丕賱亘鬲賴 亘丕丕蹖賳 鬲乇噩賲賴 賳禺賵賳丿賲 丕夭 賳卮乇 毓賱賲蹖 賮乇賴賳诏蹖 讴鬲丕亘 乇賵 禺賵賳丿賲 丕賲丕 鬲賵 诏賵丿乇蹖丿夭 倬蹖丿丕 賳讴乇丿賲. 鬲乇噩賲賴 蹖 禺賵亘蹖 亘賵丿.
December 5, 2022
It is officially Ernaux Season (鈩�). Day 1.
I spent an important part of my life with a girl I respect and love very much. I will call her T. If she sees this, she knows who she is. T鈥檚 mother was insane, in the same way a prospective in-law is, but also insane in that she had allowed the shame of her earlier Catholic schooling to result in self-admitted and self-diagnosed neuroses and a host of interpersonal problems for her children. It would be easier to be more compassionate if she did not consider herself one of the most learned and wise individuals in her circle (of one). Conversations between us (numerous) were always tinged with a hue of condescension from her, and I was thus caught up in a cycle that I wanted no part of - I would take every single opportunity to correct her faulty assumptions and false information on the state of the world. Afterward, I felt shame. The temporary kind, not the one that drips down her every act and thought. This was intensified the other week, when I hung out with T - she mentioned that her mother did not enjoy my company while T and I were dating, but that she had spent the years after the relationship recounting all the instances where I had been right and she wrong. Nothing takes away the cool pleasure of being right more than a meek admission of defeat.
Ernaux mentions the role of her Catholic religious obligations in contributing to her eventual feelings of shame about the world - a systemic, bubbling feeling that she had to dissect. That鈥檚 why I bring up the previous story. In fact, most of my reading experience with this book was riddled with falling into personal memories after the short paragraphs that made up this story. Ernaux is exploring the fallout of a key moment in her life - an attempt made on her mother鈥檚 life by her father, one seemingly calm day in 1952. I find it remarkable, the sense of place and memory that she evokes. The writing seems cathartic but avoidant at the same time. She is unable to look the experience directly in the eyes, sometimes coming across as that same Catholic school girl in the fifth grade, wearing her uniform, holding her hands clasped behind her back, lowered gaze, shuffling feet kicking up dust. Shame. Shame.
Also, aren鈥檛 you just the biggest fan of the people who check out books from the library and use the margins as if they're their own personal playgrounds? Oh, it鈥檚 just great! I can鈥檛 reconcile this act with the fact that the person who has done all the markings and jotted down the notes in my edition makes good points, concise and clear, often thought-provoking. If you鈥檙e that thoughtful, I catch myself thinking, why didn鈥檛 you think of the hundreds or perhaps even thousands of people who would use the book after you? The copy I hold is otherwise new, not dog-eared (like the Hemingway analysis books) or ruined with coffee or tea (like the clinical psychology therapy books). It鈥檚 from 1998. Who knows when this person marked up the book. They are zeroing in on the religious aspects of Ernaux鈥檚 commentary, circling sentences about the catechism and mass, usually with the higher frequency of lines under certain words indicating a greater emphasis (one particular sentence is boxed in completely, along with a 2-centimetre cartoon-style exclamation mark). I wonder if the 鈥渆ditor鈥� of this public and published manuscript felt any shame.
This book has an insane final paragraph. Just wild.
Some quotes:
鈥淚t may be that narrative, any kind of narrative, lends normality to people鈥檚 deeds, including the most dramatic ones.
鈥淢y overriding concern is to find the words I would use to describe myself and the world around me; to name what I considered to be normal, intolerable or inconceivable. But the woman of 1995 can never go back to being the little girl of 1952, who knew nothing beyond her small town, her family and her convent school, and who had a limited number of words at her disposal. With the immensity of time stretching ahead of her. We have no true memory of ourselves.鈥�
鈥淚n his writings, Proust suggests that our memory is separate from us, residing in the ocean breeze or the smells of early autumn - things linked to the earth that recur periodically, confirming the permanence of mankind. For me and no doubt many of my contemporaries, memories are associated with ephemeral things such as a fashionable belt or a summer hit and therefore the act of remembering can do nothing to reaffirm my sense of identity or continuity. It can only confirm the fragmented nature of my life and the belief that I belong to history.鈥�
I spent an important part of my life with a girl I respect and love very much. I will call her T. If she sees this, she knows who she is. T鈥檚 mother was insane, in the same way a prospective in-law is, but also insane in that she had allowed the shame of her earlier Catholic schooling to result in self-admitted and self-diagnosed neuroses and a host of interpersonal problems for her children. It would be easier to be more compassionate if she did not consider herself one of the most learned and wise individuals in her circle (of one). Conversations between us (numerous) were always tinged with a hue of condescension from her, and I was thus caught up in a cycle that I wanted no part of - I would take every single opportunity to correct her faulty assumptions and false information on the state of the world. Afterward, I felt shame. The temporary kind, not the one that drips down her every act and thought. This was intensified the other week, when I hung out with T - she mentioned that her mother did not enjoy my company while T and I were dating, but that she had spent the years after the relationship recounting all the instances where I had been right and she wrong. Nothing takes away the cool pleasure of being right more than a meek admission of defeat.
Ernaux mentions the role of her Catholic religious obligations in contributing to her eventual feelings of shame about the world - a systemic, bubbling feeling that she had to dissect. That鈥檚 why I bring up the previous story. In fact, most of my reading experience with this book was riddled with falling into personal memories after the short paragraphs that made up this story. Ernaux is exploring the fallout of a key moment in her life - an attempt made on her mother鈥檚 life by her father, one seemingly calm day in 1952. I find it remarkable, the sense of place and memory that she evokes. The writing seems cathartic but avoidant at the same time. She is unable to look the experience directly in the eyes, sometimes coming across as that same Catholic school girl in the fifth grade, wearing her uniform, holding her hands clasped behind her back, lowered gaze, shuffling feet kicking up dust. Shame. Shame.
Also, aren鈥檛 you just the biggest fan of the people who check out books from the library and use the margins as if they're their own personal playgrounds? Oh, it鈥檚 just great! I can鈥檛 reconcile this act with the fact that the person who has done all the markings and jotted down the notes in my edition makes good points, concise and clear, often thought-provoking. If you鈥檙e that thoughtful, I catch myself thinking, why didn鈥檛 you think of the hundreds or perhaps even thousands of people who would use the book after you? The copy I hold is otherwise new, not dog-eared (like the Hemingway analysis books) or ruined with coffee or tea (like the clinical psychology therapy books). It鈥檚 from 1998. Who knows when this person marked up the book. They are zeroing in on the religious aspects of Ernaux鈥檚 commentary, circling sentences about the catechism and mass, usually with the higher frequency of lines under certain words indicating a greater emphasis (one particular sentence is boxed in completely, along with a 2-centimetre cartoon-style exclamation mark). I wonder if the 鈥渆ditor鈥� of this public and published manuscript felt any shame.
This book has an insane final paragraph. Just wild.
Some quotes:
鈥淚t may be that narrative, any kind of narrative, lends normality to people鈥檚 deeds, including the most dramatic ones.
鈥淢y overriding concern is to find the words I would use to describe myself and the world around me; to name what I considered to be normal, intolerable or inconceivable. But the woman of 1995 can never go back to being the little girl of 1952, who knew nothing beyond her small town, her family and her convent school, and who had a limited number of words at her disposal. With the immensity of time stretching ahead of her. We have no true memory of ourselves.鈥�
鈥淚n his writings, Proust suggests that our memory is separate from us, residing in the ocean breeze or the smells of early autumn - things linked to the earth that recur periodically, confirming the permanence of mankind. For me and no doubt many of my contemporaries, memories are associated with ephemeral things such as a fashionable belt or a summer hit and therefore the act of remembering can do nothing to reaffirm my sense of identity or continuity. It can only confirm the fragmented nature of my life and the belief that I belong to history.鈥�
January 21, 2024
"The Shame" has the feel of a crime novel in which a corpse is to be autopsied. But instead of the corpse, the hospital, the pathology and the doctor's sensitivities are described, all of which flow into her autopsy report without her being able to finalise it.
"The Shame" is an autobiographical account of the author's horrific memory of the day her father tried to kill her mother with an axe. The book revolves around this act and that is also the problem.听
Ernaux makes it clear that she is writing the book in order to finally come to terms with this act decades later. She wants to exorcise her demons with words, exorcise her irrational shame with the means of rationality, deal with the horror by expressing it. But in doing so, she is increasingly reluctant to return to the act that introduces the book. Instead, she describes her home town, the social customs of the 1950s, her time at the Catholic girls' school and it almost seems as if she has to admit defeat to her project, because the anatomy of an event and its far-reaching circumstances can be analysed but not ultimately grasped. In addition, there are inevitable gaps due to the memory of a time that was forty years ago at the time of writing.
Nevertheless, Ernaux manages to do justice to the title of her book. It is not just about the shame associated with her father's attempted murder of her mother, but also about the shame that was instilled in people at the time by convention and religion. Her fear as a twelve-year-old girl of accidentally breaking the host with the tip of her tongue when receiving communion and thereby committing a mortal sin represents the rigid oppression of the individual by dogmatic constraints in the middle of the last century. Shame is a social construct that can trigger damage of traumatic proportions in us.
Ernaux contrasts the decline of her ideal world with the expectations of a society that tolerates no transgressions. Her father's brutal act is, even in its approach, so stigmatising that one is excluded from society - even if this knowledge does not exist in it, but only in oneself. The book therefore analyses less the background to the crime and more the functional mechanisms of shame, which is ultimately also enlightening.
"The Shame" is an autobiographical account of the author's horrific memory of the day her father tried to kill her mother with an axe. The book revolves around this act and that is also the problem.听
Ernaux makes it clear that she is writing the book in order to finally come to terms with this act decades later. She wants to exorcise her demons with words, exorcise her irrational shame with the means of rationality, deal with the horror by expressing it. But in doing so, she is increasingly reluctant to return to the act that introduces the book. Instead, she describes her home town, the social customs of the 1950s, her time at the Catholic girls' school and it almost seems as if she has to admit defeat to her project, because the anatomy of an event and its far-reaching circumstances can be analysed but not ultimately grasped. In addition, there are inevitable gaps due to the memory of a time that was forty years ago at the time of writing.
Nevertheless, Ernaux manages to do justice to the title of her book. It is not just about the shame associated with her father's attempted murder of her mother, but also about the shame that was instilled in people at the time by convention and religion. Her fear as a twelve-year-old girl of accidentally breaking the host with the tip of her tongue when receiving communion and thereby committing a mortal sin represents the rigid oppression of the individual by dogmatic constraints in the middle of the last century. Shame is a social construct that can trigger damage of traumatic proportions in us.
Ernaux contrasts the decline of her ideal world with the expectations of a society that tolerates no transgressions. Her father's brutal act is, even in its approach, so stigmatising that one is excluded from society - even if this knowledge does not exist in it, but only in oneself. The book therefore analyses less the background to the crime and more the functional mechanisms of shame, which is ultimately also enlightening.
October 26, 2022
This is a very personal account of the shame felt by a young girl when she begins to understand class differences. The distance between her social standing and that of those 鈥渁bove鈥� her permeates every aspect of life, the neighbourhood in which she lives, the clothes she wears. The memory of this shame accompanies her throughout her lifetime.
March 27, 2023
Shame is Ernaux鈥� memoir of 1952, when she was 12 years old and focuses on her experiences in daily life, at school, her relationship with her parents and one particular incident which helped shape her identity and future.
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March 25, 2024芦A Vergonha禄 (1997)
芦Sempre tive vontade de escrever livros sobre os quais, depois, me fosse imposs铆vel falar, que transformem o olhar do outro em algo de insustent谩vel. Mas que vergonha me poderia trazer a escrita de um livro que estivesse 脿 altura daquilo por que tinha passado aos doze anos?禄
N茫o posso p么r em d煤vida tudo o que a autora sentiu mas fico constrangida em escrever uma opini茫o sobre um livro que aborda vergonha social, a exist锚ncia de dois mundos, a perten莽a ao que se situava abaixo e principalmente aquele dia domingo de 1952 em que o pai quis matar a m茫e.
Em 1997, Annie Ernaux j谩 nada tem comum com a menina de 12 anos, a n茫o ser aquela cena do domingo de junho de 1952.
Um estudo sociol贸gico de uma Fran莽a de pequenos comerciantes que falam um mau franc锚s cujo objectivo geral, o ideal a atingir era ser como toda a gente da pequena localidade. 芦Se n茫o, que v茫o pensar de n贸s?禄. A vergonha repetida e acumulada, a perten莽a a uma classe perante a qual a escola privada manifestava apenas ignor芒ncia e desd茅m. As ofensas e desprezo suportados por uma jovem que sabia o que a separava das classes sociais superiores, mas n茫o sabia o que poderia fazer para se parecer com elas. Era imposs铆vel escapar 脿 vergonha.
芦Estudo de defesa, a boa educa莽茫o era in煤til entre marido e mulher, pais e filhos, sentida mesmo como hipocrisia ou malvadez. A indelicadeza, a quez铆lia e a gritaria constitu铆am as formas normais de comunica莽茫o familiar.禄
Qu茫o 谩rdua era (e 茅) a ascens茫o social. Reconhe莽o o valor daqueles que pela educa莽茫o, dedica莽茫o e esfor莽o no trabalho o conseguem e condeno quem mordazmente os critica.
芦Sempre tive vontade de escrever livros sobre os quais, depois, me fosse imposs铆vel falar, que transformem o olhar do outro em algo de insustent谩vel. Mas que vergonha me poderia trazer a escrita de um livro que estivesse 脿 altura daquilo por que tinha passado aos doze anos?禄
N茫o posso p么r em d煤vida tudo o que a autora sentiu mas fico constrangida em escrever uma opini茫o sobre um livro que aborda vergonha social, a exist锚ncia de dois mundos, a perten莽a ao que se situava abaixo e principalmente aquele dia domingo de 1952 em que o pai quis matar a m茫e.
Em 1997, Annie Ernaux j谩 nada tem comum com a menina de 12 anos, a n茫o ser aquela cena do domingo de junho de 1952.
Um estudo sociol贸gico de uma Fran莽a de pequenos comerciantes que falam um mau franc锚s cujo objectivo geral, o ideal a atingir era ser como toda a gente da pequena localidade. 芦Se n茫o, que v茫o pensar de n贸s?禄. A vergonha repetida e acumulada, a perten莽a a uma classe perante a qual a escola privada manifestava apenas ignor芒ncia e desd茅m. As ofensas e desprezo suportados por uma jovem que sabia o que a separava das classes sociais superiores, mas n茫o sabia o que poderia fazer para se parecer com elas. Era imposs铆vel escapar 脿 vergonha.
芦Estudo de defesa, a boa educa莽茫o era in煤til entre marido e mulher, pais e filhos, sentida mesmo como hipocrisia ou malvadez. A indelicadeza, a quez铆lia e a gritaria constitu铆am as formas normais de comunica莽茫o familiar.禄
Qu茫o 谩rdua era (e 茅) a ascens茫o social. Reconhe莽o o valor daqueles que pela educa莽茫o, dedica莽茫o e esfor莽o no trabalho o conseguem e condeno quem mordazmente os critica.
April 24, 2024
"賱毓賱 丕賱丨賰賷貙 兀賷 丨賰賷貙 賷購丨賷賱 兀賷 賮毓賱貙 丨鬲賶 丕賱兀賰孬乇 賲兀爻丕賵賷丞貙 廿賱賶 丨丿孬 毓丕丿賷."
賵乇購亘賲丕 賴匕丕 賲丕 丨丿孬 賮賷 賴匕賴 丕賱乇賵丕賷丞貙 賵乇購亘賲丕 賱丕!
賰毓丕丿丞 "兀賳賷 廿乇賳賵" 鬲爻鬲賯賷 賲賳 丨賷丕鬲賴丕 丕賱卮禺氐賷丞 賲賵丕賯賮丕賸 賵兀丨丿丕孬丕賸 賵鬲亘賳賷 毓賱賷賴丕 乇賵丕賷丞貙 賮鬲氐亘丨 丕賱乇賵丕賷丞 爻賷乇丞 亘卮賰賱丕賸 賲丕貙 賵鬲購氐亘丨 丕賱爻賷乇丞 乇賵丕賷丞 賲購鬲禺賷賱丞貙 禺賱賷胤 賲賳 丕賱賵丕賯毓 丕賱賲賲夭賵噩 亘丕賱禺賷丕賱貙 賮丕賱丨丕丿孬 丕賱丨賯賷賯賷 賴賳丕 賴賵 丨丕丿孬丞 賲丨丕賵賱丞 賯鬲賱 賵丕賱丿賴丕 賱賵丕賱丿鬲賴丕 亘毓丿 兀丨丿 丕賱賲購卮丕噩乇丕鬲貙 賵賮賰乇丞 丕賱毓丕乇 丕賱鬲賷 賳卮兀鬲 賲賳 鬲賱賰 丕賱丨丕丿孬丞貙 賵賰賷賮 兀賳賴賲 賱賲 賷鬲丨丿孬賵丕 毓賳 匕賱賰 丕賱賲賵賯賮 亘毓丿 匕賱賰貙 賵乇睾賲 丕賱賮賰乇丞 丕賱噩匕丕亘丞貙 丕賱鬲賷 賲賴丿鬲 賱兀丨丿丕孬 賲購賳鬲馗乇丞 毓賳 賰賷賮賷丞 丕賱鬲毓丕賲賱 賲毓 賴匕丕 丕賱卮賰賱 賲賳 丕賱毓丕乇貙 賵廿賳毓賰丕爻賴 毓賱賶 丨賷丕丞 丕賱卮禺氐賷丕鬲貙 丨鬲賶 賱賵 亘鬲噩丕賴賱賴貙 賵賱賰賳 賵噩丿鬲 賳賮爻賷 賲毓 丨賰丕賷丕鬲 賱毓丕乇 賲賳 賳賵毓 兀禺乇貙 賵賴賵 毓丕乇 丕賱賮乇賵賯 丕賱胤亘賯賷丞貙 賵丕爻鬲賰卮丕賮 兀賳賰 賱爻鬲購 賲孬賱 賲賳 丨賵賱賰貙 賵兀賳賴賲 賷賮賵賯賵賳賰 賮賷 賲賱亘爻賰貙 賵胤乇賷賯丞 毓賷卮賰貙 賵丨鬲賶 丿乇丕爻鬲賰貙 賵賱賱丌爻賮 乇睾賲 噩丕匕亘賷丞 賰賱 鬲賱賰 丕賱兀賮賰丕乇貙 賱賰賳 丕賱乇賵丕賷丞 亘丕賴鬲丞 賱賱睾丕賷丞貙 兀丨丿丕孬 毓丕丿賷丞貙 亘賱丕 賴丿賮貙 爻賵賶 丕賱鬲兀賰賷丿 賲乇丕乇丕賸 賵鬲賰乇丕乇丕賸 毓賱賶 丕賱毓丕乇貙 丕賱匕賷 賱賲 兀乇賶 兀賳賴 亘賴匕丕 丕賱毓購賲賯 丕賱賲購丿毓賶貙 賵兀賳賴 賷購賲賰賳 亘賱毓賴貙 賮賴賳丕賰 丕賱賲賱丕賷賷賳 賲賳 賰丕賳 丨丕賱賴賲 兀賯賱 亘賰孬賷乇貙 賵賱賲 賷爻賲賵丕 匕賱賰 毓丕乇丕賸貙 亘賱 爻賲賵賴 賰賮丕丨丕賸!
賰丕賳鬲 賴匕賴 鬲噩乇亘鬲賷 丕賱孬丕賳賷丞 賲毓 "兀賳賷 廿乇賳賵" 亘毓丿 乇賵丕賷丞 "丕賱丨丿孬" 丕賱噩賷丿丞貙 賵賱賱丌爻賮 賴匕賴 丕賱乇賵丕賷丞 賴賷 鬲噩乇亘丞 爻賷卅丞 賱賱睾丕賷丞貙 乇睾賷 賰孬賷乇貙 賵丕夭丿丨丕賲 賰賱賲丕鬲 亘賱丕 兀賷 賲毓賳賶 兀賵 賴丿賮貙 丨鬲賶 兀賳 丕賱賲鬲乇噩賲 賰丕賳 賷購夭賷丿 丕賱賴賵丕賲卮 亘賵囟毓 兀賷 賲丿賷賳丞 賷購賯丕亘賱賴丕 賰賴丕賲卮 賵賷丨賱賱賴丕 賵賷賵氐賮賴丕貙 賳丕賴賷賰 毓賳 丕賱賲購賯丿賲丞 丕賱鬲賷 賰鬲亘賴丕 亘賳賮爻賴貙 賲賳 兀噩賱 兀賳 賳卮毓乇 亘兀賳 丕賱乇賵丕賷丞 匕丕鬲 丕賱賭120 氐賮丨丞 胤賵賷賱丞貙 賵賱賰賳賴丕 賱賷爻鬲 亘胤賵賷賱丞 賵賱賷爻鬲 亘噩賷丿丞貙 賴賷 賲噩乇丿 乇賵丕賷丞 毓丕乇貨 賰丕爻賲賴丕 賵賱賷爻 賰爻購亘丞 亘丕賱胤亘毓.
November 6, 2023
丕賳 鬲丨賵賷賱 丕賱丨賷丕丞 丕賱卮禺氐賷丞 賱卮禺氐 賲丕 (兀亘貙 兀賲貙 匕丕鬲貙..) 丕賱賶 氐賷睾丞 毓丕賲丞 賷賯乇兀賴丕 丕賱噩賲賷毓 賱賷爻 亘丕賱兀賲乇 丕賱爻賴賱 賲賳 丨賷孬 丕賱賮毓賱 亘丿丕賷丞 賵賲賳 孬賲 賲賳 丨賷孬 丕賱胤乇賷賯丞. 賱賰賳 丕賱賲賴賲 (亘丕賱賳爻亘丞 賱賷) 賴賵 丕賱胤乇賷賯丞貙 賰賷賮賷丞 鬲丨賵賷賱 丕賱賯氐丞 丕賱賶 兀丿亘 賵賲夭噩 丕賱鬲噩乇亘丞 丕賱卮禺氐賷丞 亘丕賱賱睾丞 賱廿賳鬲丕噩 賲丕 賷爻鬲丨賯 丕賱賯乇丕亍丞 賵賴匕丕 賲丕 賱賲 兀噩丿賴 賮賷 賴匕丕 丕賱賳氐.
丕賱廿爻鬲賴賱丕賱 賰丕賳 噩賷丿賸丕 噩丿賸丕: "丨丕賵賱 兀亘賷 賯鬲賱 兀賲賷 匕丕鬲 兀丨丿 賲賳 卮賴乇 丨夭賷乇丕賳"貙 賲賱賮鬲 賵賲卮噩毓 毓賱賶 丕賱賯乇丕亍丞 賱賰賳 賲丕 鬲賱丕賴 賲賳 賮氐賵賱 賵賲丨丕賵賱丞 丕賱賰丕鬲亘丞 廿毓丕丿丞 禺賱賯 匕賱賰 丕賱毓丕賲 賲賳 匕丕賰乇鬲賴丕 賵兀亘丨丕孬賴丕 賵賲丿乇爻鬲賴丕 賰丕賳 賲賲賱賸丕 亘卮賰賱 賮馗賷毓 賵兀賯乇亘 丕賱賶 丕賱鬲丨賯賷賯 丕賱氐丨賮賷 毓賳 丕賱賲丿丕乇爻 丕賱賰丕孬賵賱賷賰賷丞 賵賳賲胤 丕賱毓賷卮 賵胤亘賵睾乇丕賮賷丕 丕賱賲賰丕賳. 賰賲丕 丕賳 賴匕丕 "丕賱毓丕乇" 丕賱賲賮鬲乇囟 丕賱匕賷 兀丨爻賾鬲 亘賴 賵氐亘乇鬲 禺賲爻賷賳 毓丕賲賸丕 賱鬲賰鬲亘 毓賳賴 賱賲 賷氐賱賳賷 賰賯丕乇卅貙 亘賱 丕賳 賲卮賴丿 兀賲賾賴丕 賮賷 孬賵亘 丕賱賳賵賲 賲锟斤拷 丕賱賲毓賱賲丞 賰丕賳 兀卮丿賾 賵賯毓賸丕 賵兀賯乇亘 丕賱賶 賴匕丕 丕賱卮毓賵乇 賲賳賴 丨丕丿孬丞 賲丨丕賵賱丞 丕賱賯鬲賱.
鬲賯賵賱 廿乇賳賵 賮賷 亘丿丕賷丞 丕賱賳氐 "賱毓賱 丕賱丨賰賷貙 兀賷 丨賰賷貙 賷丨賷賱 丕賷 賮毓賱貙 丨鬲賶 丕賱兀賰孬乇 賲兀爻丕賵賷丞貙 丕賱賶 丨丿孬 毓丕丿賷"貙 賵賴匕丕 亘丕賱囟亘胤 賲丕 賮毓賱賴 "丨賰賷賴丕" 賮賲毓 丕賳鬲賴丕卅賷 賲賳 丕賱賳氐 賱賲 兀噩丿 丕賳 賲丨丕賵賱丞 丕賱賯鬲賱 (乇睾賲 卮賳丕毓鬲賴丕 亘卮賰賱 賲胤賱賯) 廿賱丕 丨丿孬賸丕 毓丕丿賷賸丕 賱兀賳 丕賱賰丕亘丞 賱賲 鬲爻鬲胤毓 廿賷氐丕賱 賴匕賴 丕賱賲卮丕毓乇 丕賱賲賮鬲乇囟丞 毓亘乇 丕賱賰賱賲丕鬲 亘賱 亘乇賾丿鬲賴丕 賮賷 孬賱丕噩丞 丕爻賱賵亘賴丕 賵兀賵氐賱鬲賴丕 賯胤毓丞 噩賱賷丿賷丞 賱丕 賱賵賳 賵賱丕 胤毓賲 賮賷賴丕.
鬲噩丿乇 丕賱廿卮丕乇丞 丕賱賶 賰賱賲丞 丕賱賲鬲乇噩賲 賮賷 亘丿丕賷丞 丕賱賳氐 賵丕賱鬲賷 賱禺賾氐鬲 丕賱賳氐! 賵賴匕丕 賲毓鬲丕丿 賲賳 丕賱毓丿賷丿 賲賳 丕賱賲鬲乇噩賲賷賳 賵賷丐丿賷 丕賱賶 丕賮爻丕丿 丕賱賳氐 毓賱賶 丕賱賯丕乇卅 賮賲賳 丕賱兀賮囟賱 鬲噩賳亘賴丕 丨鬲賶 丕賱賳賴丕賷丞
丕賱廿爻鬲賴賱丕賱 賰丕賳 噩賷丿賸丕 噩丿賸丕: "丨丕賵賱 兀亘賷 賯鬲賱 兀賲賷 匕丕鬲 兀丨丿 賲賳 卮賴乇 丨夭賷乇丕賳"貙 賲賱賮鬲 賵賲卮噩毓 毓賱賶 丕賱賯乇丕亍丞 賱賰賳 賲丕 鬲賱丕賴 賲賳 賮氐賵賱 賵賲丨丕賵賱丞 丕賱賰丕鬲亘丞 廿毓丕丿丞 禺賱賯 匕賱賰 丕賱毓丕賲 賲賳 匕丕賰乇鬲賴丕 賵兀亘丨丕孬賴丕 賵賲丿乇爻鬲賴丕 賰丕賳 賲賲賱賸丕 亘卮賰賱 賮馗賷毓 賵兀賯乇亘 丕賱賶 丕賱鬲丨賯賷賯 丕賱氐丨賮賷 毓賳 丕賱賲丿丕乇爻 丕賱賰丕孬賵賱賷賰賷丞 賵賳賲胤 丕賱毓賷卮 賵胤亘賵睾乇丕賮賷丕 丕賱賲賰丕賳. 賰賲丕 丕賳 賴匕丕 "丕賱毓丕乇" 丕賱賲賮鬲乇囟 丕賱匕賷 兀丨爻賾鬲 亘賴 賵氐亘乇鬲 禺賲爻賷賳 毓丕賲賸丕 賱鬲賰鬲亘 毓賳賴 賱賲 賷氐賱賳賷 賰賯丕乇卅貙 亘賱 丕賳 賲卮賴丿 兀賲賾賴丕 賮賷 孬賵亘 丕賱賳賵賲 賲锟斤拷 丕賱賲毓賱賲丞 賰丕賳 兀卮丿賾 賵賯毓賸丕 賵兀賯乇亘 丕賱賶 賴匕丕 丕賱卮毓賵乇 賲賳賴 丨丕丿孬丞 賲丨丕賵賱丞 丕賱賯鬲賱.
鬲賯賵賱 廿乇賳賵 賮賷 亘丿丕賷丞 丕賱賳氐 "賱毓賱 丕賱丨賰賷貙 兀賷 丨賰賷貙 賷丨賷賱 丕賷 賮毓賱貙 丨鬲賶 丕賱兀賰孬乇 賲兀爻丕賵賷丞貙 丕賱賶 丨丿孬 毓丕丿賷"貙 賵賴匕丕 亘丕賱囟亘胤 賲丕 賮毓賱賴 "丨賰賷賴丕" 賮賲毓 丕賳鬲賴丕卅賷 賲賳 丕賱賳氐 賱賲 兀噩丿 丕賳 賲丨丕賵賱丞 丕賱賯鬲賱 (乇睾賲 卮賳丕毓鬲賴丕 亘卮賰賱 賲胤賱賯) 廿賱丕 丨丿孬賸丕 毓丕丿賷賸丕 賱兀賳 丕賱賰丕亘丞 賱賲 鬲爻鬲胤毓 廿賷氐丕賱 賴匕賴 丕賱賲卮丕毓乇 丕賱賲賮鬲乇囟丞 毓亘乇 丕賱賰賱賲丕鬲 亘賱 亘乇賾丿鬲賴丕 賮賷 孬賱丕噩丞 丕爻賱賵亘賴丕 賵兀賵氐賱鬲賴丕 賯胤毓丞 噩賱賷丿賷丞 賱丕 賱賵賳 賵賱丕 胤毓賲 賮賷賴丕.
鬲噩丿乇 丕賱廿卮丕乇丞 丕賱賶 賰賱賲丞 丕賱賲鬲乇噩賲 賮賷 亘丿丕賷丞 丕賱賳氐 賵丕賱鬲賷 賱禺賾氐鬲 丕賱賳氐! 賵賴匕丕 賲毓鬲丕丿 賲賳 丕賱毓丿賷丿 賲賳 丕賱賲鬲乇噩賲賷賳 賵賷丐丿賷 丕賱賶 丕賮爻丕丿 丕賱賳氐 毓賱賶 丕賱賯丕乇卅 賮賲賳 丕賱兀賮囟賱 鬲噩賳亘賴丕 丨鬲賶 丕賱賳賴丕賷丞
February 13, 2023
"Mi padre intent贸 matar a mi madre un domingo de junio. Fue a primera hora de la tarde."
As铆 comienza la narraci贸n de esta ni帽a de doce a帽os, evocada en el recuerdo, y que ir谩 acompa帽ada de otros recuerdos de ese tiempo, fragmentarios, aislados pero fuertemente grabados y asociados entre s铆. Y el hilo que los une es esta sensaci贸n de verg眉enza, de sentir que su vida fuera de casa es una puesta en escena; de vivir como intrusos en medio de un sector social al que no pertenecen. El otro elemento es la sensaci贸n de sentirse, tempranamente la responsable del bienestar de la familia.
La tem谩tica no es muy distinta a la de la descripta, con otro foco, en El lugar. Pero la excelente forma de narrarlo, contribuye a configurar un cuadro que se enriquece desde las distintas perspectivas. El rigor por la exactitud de lo recordado, y la asociaci贸n posterior con circunstancias hist贸ricas del momento, constituye una muy buena reflexi贸n sobre el funcionamiento de la memoria.
As铆 comienza la narraci贸n de esta ni帽a de doce a帽os, evocada en el recuerdo, y que ir谩 acompa帽ada de otros recuerdos de ese tiempo, fragmentarios, aislados pero fuertemente grabados y asociados entre s铆. Y el hilo que los une es esta sensaci贸n de verg眉enza, de sentir que su vida fuera de casa es una puesta en escena; de vivir como intrusos en medio de un sector social al que no pertenecen. El otro elemento es la sensaci贸n de sentirse, tempranamente la responsable del bienestar de la familia.
La tem谩tica no es muy distinta a la de la descripta, con otro foco, en El lugar. Pero la excelente forma de narrarlo, contribuye a configurar un cuadro que se enriquece desde las distintas perspectivas. El rigor por la exactitud de lo recordado, y la asociaci贸n posterior con circunstancias hist贸ricas del momento, constituye una muy buena reflexi贸n sobre el funcionamiento de la memoria.
November 22, 2018
Bellissime le parole di Annie Ernaux che accompagnano la pubblicazione nella nuova traduzione (e con il nuovo titolo, La Vergogna, da lei fortemente voluto) di Lorenzi Flabbi, divenuta ormai insostituibile voce dell'autrice qui da noi: 芦Ho sempre avuto voglia di scrivere libri di cui poi mi fosse impossibile parlare, libri che rendessero insostenibile lo sguardo degli altri.禄
芦Scrivere 猫 un atto pubblico.禄
Ancora una volta scrivere e scavare nel proprio passato 猫 l'unico modo, per Annie Ernaux, per elaborare il proprio vissuto.
Il pretesto, l'avvenimento da esorcizzare, 猫 il racconto di un episodio drammatico della sua infanzia: il giorno di giugno in cui il padre, durante un litigio, tent貌 di uccidere la madre.
Per Annie, allora dodicenne, 猫 quello l'episodio che segner脿 la sua crescita e, successivamente, la vita intera; fin quando non riuscir脿 ad analizzarlo, e a scriverne pubblicamente, con gli occhi della donna adulta che 猫 diventata.
Ma 猫 solo un punto di partenza, l'onta, il racconto appena accennato, il pretesto che d脿 modo all'autrice di sviscerare e descrivere a fondo i macrosistemi che hanno scandito la sua vita in provincia, riportare alla luce 芦i codici e le regole degli ambienti禄 nei quali ha vissuto, in quell'Alta Normandia - della quale scrive 芦Qui nulla si concepisce, tutto si compie禄 - che fino alla sua emancipazione culturale l'avevano avviluppata e rinchiusa in s茅.
E cos矛 ci racconta della scuola privata (e religiosa) alla quale i genitori, titolari di piccolo un caff猫 drogheria che rispecchia per locali e clientela l'ambiente operaio e contadino nel quale vive, l'avevano iscritta, il confronto continuo con l'ambiente borghese che inizia a frequentare, la vita in famiglia, la scoperta di un mondo - 芦A dodici anni vivevo con i codici e le regole di quel mondo, senza poter neppure sospettare l'esistenza di altri modi di vivere.禄 - che fino ad allora non aveva nemmeno sospettato potesse esistere.
Alla rivalsa dei genitori, al poter 芦dire "mia figlia va in collegio" - e non semplicemente "a scuola"禄 che 芦consente di far sentire tutta la differenza fra il mescolarmi alle persone comuni l'appartenere a un ambiente unico, particolare, fra la semplice sottomissione all'obbligo scolastico e la scelta precoce di un'ambizione sociale禄, corrisponde il desiderio di Annie Ernaux adolescente di affrancarsi da tutto e di mutare radicalmente la sua vita, di abbandonare quel mondo violento e sudicio, di recidere il legame con quella gente che ha dimostrato una volta di pi霉 (e in questo l'episodio, l'onta subita, ne sono la prova emblematica e indiscutibile), che la portano con dolorosa vergogna ad ammettere 芦abbiamo cessato di appartenere alla categoria della gente perbene禄.
E il modo per farlo, l'unica ancora di salvezza e l'unica via di fuga, sono la lingua corretta, la cultura, il distacco dal dialetto e dalle inflessioni dialettali che, come un marchio a fuoco, rivelano la sua provenienza e quello che 猫 ed 猫 destinata a essere.
Sempre caratterizzato da quella "scrittura bianca" che rende quasi asettico e impersonale il racconto dell'autrice, L'onta ripercorre tutte le tappe del suo dolore adolescenziale, il tormentato rapporto di amore odio con i genitori, e si avvicina sempre pi霉 alla perfezione stilistica de Il Posto, quella che finora considero la massima espressione della sua maturit脿 artistica.
芦L'aver messo a nudo le regole del mondo dei miei dodici anni mi restituisce fuggevolmente l'impercettibile pesantezza, l'impressione di chiusura, che avvertono i miei sogni. Le parole che ritrovo sono opache, pietre che 猫 impossibile smuovere. Prive di un'immagine precisa. Prive addirittura di significato, perlomeno di quello che potrebbe fornirmi un dizionario. Prive di trascendenza, non sono circondate da alcun alone di sogno: come materia pura. Parole d'uso indissolubilmente unite alle cose e le persone della mia infanzia, con cui non posso giocare. Le tavole della legge.禄
芦Scrivere 猫 un atto pubblico.禄
Ancora una volta scrivere e scavare nel proprio passato 猫 l'unico modo, per Annie Ernaux, per elaborare il proprio vissuto.
Il pretesto, l'avvenimento da esorcizzare, 猫 il racconto di un episodio drammatico della sua infanzia: il giorno di giugno in cui il padre, durante un litigio, tent貌 di uccidere la madre.
Per Annie, allora dodicenne, 猫 quello l'episodio che segner脿 la sua crescita e, successivamente, la vita intera; fin quando non riuscir脿 ad analizzarlo, e a scriverne pubblicamente, con gli occhi della donna adulta che 猫 diventata.
Ma 猫 solo un punto di partenza, l'onta, il racconto appena accennato, il pretesto che d脿 modo all'autrice di sviscerare e descrivere a fondo i macrosistemi che hanno scandito la sua vita in provincia, riportare alla luce 芦i codici e le regole degli ambienti禄 nei quali ha vissuto, in quell'Alta Normandia - della quale scrive 芦Qui nulla si concepisce, tutto si compie禄 - che fino alla sua emancipazione culturale l'avevano avviluppata e rinchiusa in s茅.
E cos矛 ci racconta della scuola privata (e religiosa) alla quale i genitori, titolari di piccolo un caff猫 drogheria che rispecchia per locali e clientela l'ambiente operaio e contadino nel quale vive, l'avevano iscritta, il confronto continuo con l'ambiente borghese che inizia a frequentare, la vita in famiglia, la scoperta di un mondo - 芦A dodici anni vivevo con i codici e le regole di quel mondo, senza poter neppure sospettare l'esistenza di altri modi di vivere.禄 - che fino ad allora non aveva nemmeno sospettato potesse esistere.
Alla rivalsa dei genitori, al poter 芦dire "mia figlia va in collegio" - e non semplicemente "a scuola"禄 che 芦consente di far sentire tutta la differenza fra il mescolarmi alle persone comuni l'appartenere a un ambiente unico, particolare, fra la semplice sottomissione all'obbligo scolastico e la scelta precoce di un'ambizione sociale禄, corrisponde il desiderio di Annie Ernaux adolescente di affrancarsi da tutto e di mutare radicalmente la sua vita, di abbandonare quel mondo violento e sudicio, di recidere il legame con quella gente che ha dimostrato una volta di pi霉 (e in questo l'episodio, l'onta subita, ne sono la prova emblematica e indiscutibile), che la portano con dolorosa vergogna ad ammettere 芦abbiamo cessato di appartenere alla categoria della gente perbene禄.
E il modo per farlo, l'unica ancora di salvezza e l'unica via di fuga, sono la lingua corretta, la cultura, il distacco dal dialetto e dalle inflessioni dialettali che, come un marchio a fuoco, rivelano la sua provenienza e quello che 猫 ed 猫 destinata a essere.
Sempre caratterizzato da quella "scrittura bianca" che rende quasi asettico e impersonale il racconto dell'autrice, L'onta ripercorre tutte le tappe del suo dolore adolescenziale, il tormentato rapporto di amore odio con i genitori, e si avvicina sempre pi霉 alla perfezione stilistica de Il Posto, quella che finora considero la massima espressione della sua maturit脿 artistica.
芦L'aver messo a nudo le regole del mondo dei miei dodici anni mi restituisce fuggevolmente l'impercettibile pesantezza, l'impressione di chiusura, che avvertono i miei sogni. Le parole che ritrovo sono opache, pietre che 猫 impossibile smuovere. Prive di un'immagine precisa. Prive addirittura di significato, perlomeno di quello che potrebbe fornirmi un dizionario. Prive di trascendenza, non sono circondate da alcun alone di sogno: come materia pura. Parole d'uso indissolubilmente unite alle cose e le persone della mia infanzia, con cui non posso giocare. Le tavole della legge.禄
March 24, 2020
鈽呪槄鈽呪槅鈽�
Leer un Ernaux es sin贸nimo de una lectura r谩pida, profunda y de una calidad exquisita. Pero tengo que avisaros que este no ha resultado ser del todo lo que esperaba encontrar.
La premisa siempre me ha resultado la m谩s atrayente de todas sus novelas autobiogr谩ficas. Nos encontramos ante un suceso escalofriante pues Annie, en 1952 presenci贸 como su padre intent贸 asesinar a su madre. Y en este libro nos explica toda su investigaci贸n (d谩ndonos datos del contexto hist贸rico, geogr谩fico y familiar) durante ese a帽o con el que ella intenta recordar con m谩s detalle lo que envolvi贸 el acontecimiento.
Resultando en ocasiones sencillamente extraordinarias sus descripciones, algunas otras se me han hecho eternas. El ecuador del libro se sucede de esta forma: descripci贸n del lugar donde viv铆a, de su poblaci贸n, de sus comercios, de la iglesia; dejando de lado lo m谩s importante que s铆 encontramos en el inicio y en el desenlace.
Es en este 煤ltimo donde he sentido m谩s cercan铆a con la idea que la autora nos quiere transmitir. Ya es sabido por sus lectores que no suele ahondar mucho en sentimientos propios, ni sensaciones y solo le dedica una peque帽a parte: la final. En esta revela la verg眉enza que sigue sintiendo despu茅s de ese a帽o por la diferencia de clases, pero sobretodo por darse cuenta de c贸mo cambio eso su vida.
Esta obra en conclusi贸n no me ha parecido inolvidable y no creo que est茅 a la altura de sus otros dos libros que he le铆do. Una peque帽a decepci贸n que pasa inadvertida por la expresiva y descriptiva narraci贸n de Ernaux que siempre emana esa impersonal forma de contarnos su historia.
Leer un Ernaux es sin贸nimo de una lectura r谩pida, profunda y de una calidad exquisita. Pero tengo que avisaros que este no ha resultado ser del todo lo que esperaba encontrar.
La premisa siempre me ha resultado la m谩s atrayente de todas sus novelas autobiogr谩ficas. Nos encontramos ante un suceso escalofriante pues Annie, en 1952 presenci贸 como su padre intent贸 asesinar a su madre. Y en este libro nos explica toda su investigaci贸n (d谩ndonos datos del contexto hist贸rico, geogr谩fico y familiar) durante ese a帽o con el que ella intenta recordar con m谩s detalle lo que envolvi贸 el acontecimiento.
Resultando en ocasiones sencillamente extraordinarias sus descripciones, algunas otras se me han hecho eternas. El ecuador del libro se sucede de esta forma: descripci贸n del lugar donde viv铆a, de su poblaci贸n, de sus comercios, de la iglesia; dejando de lado lo m谩s importante que s铆 encontramos en el inicio y en el desenlace.
Es en este 煤ltimo donde he sentido m谩s cercan铆a con la idea que la autora nos quiere transmitir. Ya es sabido por sus lectores que no suele ahondar mucho en sentimientos propios, ni sensaciones y solo le dedica una peque帽a parte: la final. En esta revela la verg眉enza que sigue sintiendo despu茅s de ese a帽o por la diferencia de clases, pero sobretodo por darse cuenta de c贸mo cambio eso su vida.
Esta obra en conclusi贸n no me ha parecido inolvidable y no creo que est茅 a la altura de sus otros dos libros que he le铆do. Una peque帽a decepci贸n que pasa inadvertida por la expresiva y descriptiva narraci贸n de Ernaux que siempre emana esa impersonal forma de contarnos su historia.
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January 13, 2024Cada p谩gina que leio, cada hist贸ria que acompanho na escrita e na narrativa de Ernaux me encanta cada vez mais.
Desta feita a autora volta ao Ver茫o de 1952, com 12 anos. Volta 脿 pequena cidade pobre onde vivia, a escola cat贸lica onde estudava, 脿 taberna/mercearia familiar, aos conflitos... 脿 vergonha que foi sentindo!
Que livro perfeito para pensar. E sentir.
Desta feita a autora volta ao Ver茫o de 1952, com 12 anos. Volta 脿 pequena cidade pobre onde vivia, a escola cat贸lica onde estudava, 脿 taberna/mercearia familiar, aos conflitos... 脿 vergonha que foi sentindo!
Que livro perfeito para pensar. E sentir.
May 21, 2024
鈥淥 pior da vergonha 茅 acreditarmos que somos os 煤nicos a experiment谩-la.鈥�
Este livro 茅 um retrocesso 脿 inf芒ncia da autora, onde esta nos fala da sua vida/fam铆lia num per铆odo espec铆fico e aborda temas sobre a sociedade francesa no in铆cio dos anos 50.
Foi uma narrativa que me fez refletir, pensar que essa sociedade long铆nqua, em alguns aspectos, n茫o tivesse sido t茫o diferente e menos exigente que a atual. Parece-me, s贸 茅 lembrado quem 茅 visto, mas 茅 melhor ser lembrado, do que apenas visto.
Por fim, adorei reencontrar-me com uma palavra que n茫o ouvia h谩 muito tempo - pato谩 - quem n茫o se lembra dela? :)
Uma leitura que gostei bastante!
Este livro 茅 um retrocesso 脿 inf芒ncia da autora, onde esta nos fala da sua vida/fam铆lia num per铆odo espec铆fico e aborda temas sobre a sociedade francesa no in铆cio dos anos 50.
Foi uma narrativa que me fez refletir, pensar que essa sociedade long铆nqua, em alguns aspectos, n茫o tivesse sido t茫o diferente e menos exigente que a atual. Parece-me, s贸 茅 lembrado quem 茅 visto, mas 茅 melhor ser lembrado, do que apenas visto.
Por fim, adorei reencontrar-me com uma palavra que n茫o ouvia h谩 muito tempo - pato谩 - quem n茫o se lembra dela? :)
Uma leitura que gostei bastante!
August 19, 2023
In this memoir Ernaux describes her 12th year, her family life, schooling and the town she lives in trying to make sense of an event that sticks in her mind. The opening sentence My father tried to kill my mother one Sunday in June, in the early afternoon. grabbed my attention.
February 7, 2025
"O pior da vergonha 茅 acreditarmos que somos os 煤nicos a experiment谩-la."
Ainda n茫o tinha lido nada de Annie Ernaux e, de entre o que vi na biblioteca, estava este que come莽a com "O meu pai quis matar a minha m茫e num domingo de Junho...", parece uma frase que desperta a curiosidade e eu sou pessoa curiosa.
Nas duas primeiras p谩ginas o pai quis matar a m茫e da autora, mas nada temam, que depressa passou e depois foram todos passear de bicicleta.
Depois, Ernaux desfia as mem贸rias do col茅gio privado onde estudou e uma excurs茫o que fez com pai at茅 ao santu谩rio de Lourdes no ver茫o em que o pai quis matar a m茫e. E j谩 est谩 um livro escrito.
Ainda n茫o tinha lido nada de Annie Ernaux e, de entre o que vi na biblioteca, estava este que come莽a com "O meu pai quis matar a minha m茫e num domingo de Junho...", parece uma frase que desperta a curiosidade e eu sou pessoa curiosa.
Nas duas primeiras p谩ginas o pai quis matar a m茫e da autora, mas nada temam, que depressa passou e depois foram todos passear de bicicleta.
Depois, Ernaux desfia as mem贸rias do col茅gio privado onde estudou e uma excurs茫o que fez com pai at茅 ao santu谩rio de Lourdes no ver茫o em que o pai quis matar a m茫e. E j谩 est谩 um livro escrito.
November 18, 2022
Primer libro que leo de Annie y definitivo me sigo con los dem谩s. Un suceso terrible que ella ve cuando ten铆a 12 a帽os y que d茅cadas despu茅s al fin puede hablar de ello. Para relatar el suceso Annie se echa para atr谩s en el tiempo y empieza a rebuscar entre las calles de donde viv铆a, c贸mo era su casa, qui茅nes eran las compa帽eras de escuela, c贸mo la trataba su mam谩, qu茅 hac铆a su pap谩, qu茅 com铆an, c贸mo vest铆an, por qu茅 calles caminaban.... y solo as铆 es como ella empieza a darse cuenta de las cosas tan vergonzosas que le ocurrieron durante ese a帽o.
Annie quiere encontrar entre esos recuerdos alg煤n suceso en el mundo que haya sido peor de lo que le pas贸 a ella, pero a pesar de las tragedias mundiales que s铆 hubo, para ella no hubo nada que superara el hecho de ver c贸mo tu pap谩 quiso matar a tu mam谩 con un hacha en un domingo cualquiera.
Verg眉enza de el cuerpo, verg眉enza de la casa d贸nde viv铆a, verg眉enza de lo que su padre le hizo a su madre y cierra el libro diciendo: "Por mucha verg眉enza que pueda producirme escribir este libro, nunca estar谩 a la altura de lo que experiment茅 cuando ten铆a 12 a帽os".
Annie quiere encontrar entre esos recuerdos alg煤n suceso en el mundo que haya sido peor de lo que le pas贸 a ella, pero a pesar de las tragedias mundiales que s铆 hubo, para ella no hubo nada que superara el hecho de ver c贸mo tu pap谩 quiso matar a tu mam谩 con un hacha en un domingo cualquiera.
Verg眉enza de el cuerpo, verg眉enza de la casa d贸nde viv铆a, verg眉enza de lo que su padre le hizo a su madre y cierra el libro diciendo: "Por mucha verg眉enza que pueda producirme escribir este libro, nunca estar谩 a la altura de lo que experiment茅 cuando ten铆a 12 a帽os".
May 6, 2023
Hay algo arrebatador en la manera de escribir de Annie y aqu铆 se entreg贸 铆ntegramente a niveles que la intimidad no puede alcanzar con el lector. Cada palabra, descripci贸n, met谩fora y s铆mbolo es profundo a m谩s no poder, volviendo la fe en algo mucho m谩s profundo y resquebrajado que solo religi贸n.
Tienen que leer este libro.
Tienen que leer este libro.
December 30, 2021
en enero de este a帽o le铆 Una mujer, asi que de alguna manera he empezado y terminado el a帽o con esta autora francesa. Ernaux habla de cosas que nos ata帽en a todos. En Una mujer hablaba de nuestra incapacidad, la de todos, para conocer a nuestros padres, a nuestras madres en concreto y en La verg眉enza retrata con maestr铆a ese momento en la vida, el comienzo de la adolescencia, en que aparece en nuestra vida la verg眉enza. Por supuesto que antes de los doce o trece a帽os hemos sentido verg眉enza, verg眉enza por participar en una funci贸n, por saludar a un desconocido, por hablar con alguien, pero es cuando dejas la infancia atr谩s, o comienzas a dejarla atr谩s, cuando la verg眉enza que sientes no es por lo que haces sino por lo que eres. Te da verg眉enza ser quien eres, ser como eres, quienes son tus padres, como es tu casa, lo que tu gusta. Es un sentimiento que te llega por comparaci贸n, empezamos a fijarnos en lo que hay m谩s all谩 de nuestro entorno y, como siempre, la hierba es m谩s verde al otro lado de la valla. 驴Qui茅n no recuerda haber ido a casa de amigos suyos del colegio y pensar que en esa casa todo era m谩s bonito, se com铆a mejor y eran m谩s felices? Es un sentimiento est煤pido pero inevitable. Arnaux lo reconstruye maravillosamente bien partiendo de un hecho que para ella marc贸 la llegada de la verg眉enza a su vida, un momento con el que comienza el libro: 芦Mi padre intent贸 matar a mi madre un domingo de junio. Fue a primera hora de la tarde禄 La 茅poca que retrata Ernaux no es la m铆a, es la de mi madre, pero eso da igual. Puedo reconocer la vida repartida entre el c铆rculo escolar y el c铆rculo familiar, las rutinas de los d铆as de colegio y la de los d铆as de vacaciones, las sensaciones entre otras ni帽as y las que ten铆as en tu familia y, tambi茅n, el momento en que empiezas a sentir verg眉enza, en el que la verg眉enza te acompa帽a todo el tiempo y valoras cualquier opci贸n, lo que vas a hacer, decir, sentir o ponerte, en funci贸n de c贸mo lo van a ver los dem谩s. 驴Qu茅 pensar谩n los dem谩s de este vestido, de mi peinado, de como va mi madre, del coche de mi padre? Puedo reconocerme en ese sentimiento. Lo ten铆a olvidado desde la seguridad de mi edad actual pero leyendo a Ernaux, lo he recordado.
芦Siempre he deseado escribir libros de los que m sea imposible hablar a continuaci贸n, que hgan que la mirada ajena me resulte insostenible. Pero por mucha verg眉enza que pueda producirme escribir un libro, nunca estar谩 a la altura de la que experiment茅 cuando ten铆a doce a帽os禄.
Leed a Annie Ernaux, os revolver谩 y encantar谩.
芦Siempre he deseado escribir libros de los que m sea imposible hablar a continuaci贸n, que hgan que la mirada ajena me resulte insostenible. Pero por mucha verg眉enza que pueda producirme escribir un libro, nunca estar谩 a la altura de la que experiment茅 cuando ten铆a doce a帽os禄.
Leed a Annie Ernaux, os revolver谩 y encantar谩.
January 18, 2024
鈥� Ich sah, wie viel mich von dem M盲dchen trennte, aber ich wusste nicht, was ich h盲tte tun k枚nnen, um ihm zu 盲hneln.鈥�
Die Ich- Erz盲hlerin erinnert sich an einen Vorfall zwischen ihren Eltern, den sie im Alter von 12 Jahren miterlebt hat.
Dieser Vorfall ist ma脽geblich daf眉r, dass sich ihr Schamgef眉hl der Gesellschaft gegen眉ber immer mehr manifestiert.
I
Ernaux schreibt dar眉ber, dass man, egal wie sehr man sich anstrengt, weiter entwickelt und hochgearbeitet hat, trotzdem nie zu der oberen Gesellschaftsschicht dazu geh枚rt. Sie beschreibt das Schamgef眉hl, dass mit dem Erkennen anderer der eigenen urspr眉nglichen unteren Gesellschaftsschicht, aus der sie selbst auch kommt, einhergeht.
Sie selbst hat 1952 ein katholisches M盲dchenpensionat besucht, war immer Klassenbeste zu diesem Zeitpunkt und wurde von ihren Mitsch眉lerinnen akzeptiert . Ihre Eltern stammen aus der Arbeiterschicht und k枚nnen die daf眉r 眉blichen Verhaltens-und Sprechweisen nicht ablegen. Ernaux ist voller Scham, wenn sie beobachtet, wie Sprache, Mode und Denkweisen sie und ihre Familie immer wieder 鈥渆ntlarven鈥�.
Vor allen Dingen best盲tig der Vorfall, der schon zu Beginn des Buchs geschildert wird,
Ernaux darin, dass sie selbst zu Recht mit Scham auf ihre Familie blickt.
Dies alles ist aber nat眉rlich aus den Erinnerungen eines 12-j盲hrigen M盲dchens geschildert, welches sich oftmals f眉r 脺berlegen h盲lt und eine gewisse Arroganz an den Tag legt. Vermutlich sehr typisch f眉r Kinder in diesem Alter.
Ich mag die Erinnerungsthematik und den Schreibstil von Annie Ernaux.
Es f眉hlt sich an, als w眉rde man der eigenen Gro脽mutter lauschen und trauert nach Beenden des Buches ein wenig der verpassten Gelegenheit nach, nicht den Erinnerungen der eigenen Gro脽mutter genauestens zugeh枚rt zu haben.
Von mir auch hier wieder eine Empfehlung!
Die Ich- Erz盲hlerin erinnert sich an einen Vorfall zwischen ihren Eltern, den sie im Alter von 12 Jahren miterlebt hat.
Dieser Vorfall ist ma脽geblich daf眉r, dass sich ihr Schamgef眉hl der Gesellschaft gegen眉ber immer mehr manifestiert.
I
Ernaux schreibt dar眉ber, dass man, egal wie sehr man sich anstrengt, weiter entwickelt und hochgearbeitet hat, trotzdem nie zu der oberen Gesellschaftsschicht dazu geh枚rt. Sie beschreibt das Schamgef眉hl, dass mit dem Erkennen anderer der eigenen urspr眉nglichen unteren Gesellschaftsschicht, aus der sie selbst auch kommt, einhergeht.
Sie selbst hat 1952 ein katholisches M盲dchenpensionat besucht, war immer Klassenbeste zu diesem Zeitpunkt und wurde von ihren Mitsch眉lerinnen akzeptiert . Ihre Eltern stammen aus der Arbeiterschicht und k枚nnen die daf眉r 眉blichen Verhaltens-und Sprechweisen nicht ablegen. Ernaux ist voller Scham, wenn sie beobachtet, wie Sprache, Mode und Denkweisen sie und ihre Familie immer wieder 鈥渆ntlarven鈥�.
Vor allen Dingen best盲tig der Vorfall, der schon zu Beginn des Buchs geschildert wird,
Ernaux darin, dass sie selbst zu Recht mit Scham auf ihre Familie blickt.
Dies alles ist aber nat眉rlich aus den Erinnerungen eines 12-j盲hrigen M盲dchens geschildert, welches sich oftmals f眉r 脺berlegen h盲lt und eine gewisse Arroganz an den Tag legt. Vermutlich sehr typisch f眉r Kinder in diesem Alter.
Ich mag die Erinnerungsthematik und den Schreibstil von Annie Ernaux.
Es f眉hlt sich an, als w眉rde man der eigenen Gro脽mutter lauschen und trauert nach Beenden des Buches ein wenig der verpassten Gelegenheit nach, nicht den Erinnerungen der eigenen Gro脽mutter genauestens zugeh枚rt zu haben.
Von mir auch hier wieder eine Empfehlung!
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