瓦伦丁·戈比(Valentine Goby)的《L’高级时装》(评论)

IF 0.1 4区 文学 0 LITERATURE, ROMANCE
Joseph A. Reiter
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Although a baptized Catholic, he must cast off his Vadim identity and invent a past which does not include a non-practicing Jewish Russian father and grandparents. The racial laws have branded him undesirable and as he comes to realize: “Ce n’est jamais qui tu es qui compte, c’est pour qui on te prend” (131). The family that shelters him treats him as a son, and villagers, school master, and curé are welcoming. Unlike Au revoir les enfants and other sheltering accounts, there are no collaborators in Vallorcine and even the Italian occupiers seem non-threatening. Often they work with the villagers, attend mass, but mostly loiter about in their uniforms and fancy feather-adorned felt hats, one of which provides for a highly amusing episode. The dazzling splendor of the Alps, as well as the rustic rhythm of life that the seasons dictate, are seen through Vincent’s eyes. He is awe-struck by the majesty of the mountains, their power, indeed, by their personalities. Each season, at least at one point, brings on a vertigo and paralysis akin to Stendhal syndrome. Vincent feels he is contemplating a Klimt painting. He hears and expands the verses of Rimbaud’s Voyelles. The many tones of white, the burgeoning greens of spring, and the golden fields before the autumn rains are presented with lyrical intensity and finesse. Vincent attempts to abandon his two Parisian identities by completely adapting to Alpine life. He learns to herd and harvest, to predict the weather, to recognize the regional plants, insects, and fauna. The author has supplied him with effective guides—his protector family, a blind neighbor who teaches him to see lucidly, and most importantly the ten-year old Moinette, a precocious girl, who begins every conversation with “T’as déja…?” or “T’as jamais…?”, then revealing some unknown, and concludes with “C’est un secret” or “Ne le dis à personne.” She is Vincent’s language tutor as well, as he greedily adopts the local patois, in the hopes of becoming an authentic Vallorcin. But that is not meant to be. Mussolini resigns at the end of summer; the Italian soldiers are called home, and Nazis will soon replace them. Divulging the end of the novel would be unfair to Goby’s introspective, inventive, thought-provoking, and touching work. [End Page 238] Joseph A. 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引用次数: 0

摘要

约瑟夫·a·瑞特·戈比,瓦伦丁。凭高级。《南德意志报》,2022。ISBN 978-2-330-16811-7。288页。Blanc, Vert, Jaune是一个十二岁的孩子一生中三个决定性季节的章节标题,他意外地发现自己来到了法国阿尔卑斯山,远离了他在巴黎巴提尼奥勒的家。那是1943年1月,患有哮喘的瓦迪姆第一次乘火车旅行,然后跟随一个陌生人的脚步,在厚厚的积雪中跋涉了几个小时,来到了勃朗峰阴影下的一个村庄瓦洛辛,表面上是为了缓解他的病情。他从来没有下过雪,也没有见过山,他不明白为什么他一定要叫自己文森特·德塞勒斯,这是他母亲雇主的儿子的名字,他现在带着他母亲雇主的身份证件。虽然他是一名受洗的天主教徒,但他必须摆脱自己的瓦迪姆身份,并创造一个不包括非犹太俄罗斯父亲和祖父母的过去。种族法律给他打上了不受欢迎的烙印,当他逐渐意识到:“Ce n 'est jamais qui tu ques qui compte, c 'est pour qui on The pred”(131)。收容他的家庭把他当儿子看待,村民、校长和村民都很欢迎他。与《孩子们再见》(Au revoir les enants)和其他避难者的描述不同,瓦洛尔辛没有合作者,甚至意大利占领者似乎也不构成威胁。他们经常和村民一起工作,参加弥撒,但大多数人都穿着制服,戴着花哨的羽毛装饰的毡帽,四处闲逛,其中一个情节非常有趣。通过文森特的眼睛,可以看到阿尔卑斯山令人眼花缭乱的辉煌,以及季节所支配的质朴的生活节奏。他被山脉的威严,它们的力量,它们的个性所震撼。每一季,至少在某个时刻,都会带来类似司汤达综合症的眩晕和瘫痪。文森特觉得他在思考一幅克里姆特的画。他听到并扩展了兰波的《航行》中的诗句。许多色调的白色,春天萌芽的绿色,秋雨前金色的田野,都以抒情的强度和技巧呈现出来。文森特试图放弃他的两个巴黎身份,完全适应阿尔卑斯山的生活。他学会放牧和收割,预测天气,认识当地的植物、昆虫和动物群。作者为他提供了有效的向导——他的保护者家人,一个教他看清事物的盲人邻居,最重要的是,十岁的梅瓦内特,一个早熟的女孩,每次谈话都以“T’as dastimja……?”或者“牙买加……?”,然后透露一些未知的东西,最后以“C 'est un secret”或“Ne le dis personne”结束。她也是文森特的语言导师,因为他贪婪地采用当地方言,希望成为一个真正的瓦洛琴人。但事实并非如此。墨索里尼在夏末辞职;意大利士兵被召回家园,纳粹很快就会取代他们。透露小说的结尾对戈比这部内省、创新、发人深省、感人的作品来说是不公平的。[End Page 238] Joseph A. Reiter Phillips Exeter Academy (NH),荣休版权©2023美国法语教师协会
本文章由计算机程序翻译,如有差异,请以英文原文为准。
L’île haute by Valentine Goby (review)
Reviewed by: L’île haute by Valentine Goby Joseph A. Reiter Goby, Valentine. L’île haute. Actes Sud, 2022. ISBN 978-2-330-16811-7. Pp. 288. Blanc, Vert, Jaune are the chapter titles of three fateful seasons in the life of a twelve-year-old who unexpectedly finds himself in the French Alps, far from his Batignolles home in Paris. It is January 1943 and the asthmatic Vadim, traveling by train for the first time and then trudging hours through deep snow in the footsteps of a stranger, arrives in Vallorcine, a village in the shadow of Mont Blanc, ostensibly to alleviate his medical condition. He has never experienced snow before nor seen a mountain, and does not understand why he must call himself Vincent Durcelles, the name of the son of his mother’s employer, whose identification papers he now carries. Although a baptized Catholic, he must cast off his Vadim identity and invent a past which does not include a non-practicing Jewish Russian father and grandparents. The racial laws have branded him undesirable and as he comes to realize: “Ce n’est jamais qui tu es qui compte, c’est pour qui on te prend” (131). The family that shelters him treats him as a son, and villagers, school master, and curé are welcoming. Unlike Au revoir les enfants and other sheltering accounts, there are no collaborators in Vallorcine and even the Italian occupiers seem non-threatening. Often they work with the villagers, attend mass, but mostly loiter about in their uniforms and fancy feather-adorned felt hats, one of which provides for a highly amusing episode. The dazzling splendor of the Alps, as well as the rustic rhythm of life that the seasons dictate, are seen through Vincent’s eyes. He is awe-struck by the majesty of the mountains, their power, indeed, by their personalities. Each season, at least at one point, brings on a vertigo and paralysis akin to Stendhal syndrome. Vincent feels he is contemplating a Klimt painting. He hears and expands the verses of Rimbaud’s Voyelles. The many tones of white, the burgeoning greens of spring, and the golden fields before the autumn rains are presented with lyrical intensity and finesse. Vincent attempts to abandon his two Parisian identities by completely adapting to Alpine life. He learns to herd and harvest, to predict the weather, to recognize the regional plants, insects, and fauna. The author has supplied him with effective guides—his protector family, a blind neighbor who teaches him to see lucidly, and most importantly the ten-year old Moinette, a precocious girl, who begins every conversation with “T’as déja…?” or “T’as jamais…?”, then revealing some unknown, and concludes with “C’est un secret” or “Ne le dis à personne.” She is Vincent’s language tutor as well, as he greedily adopts the local patois, in the hopes of becoming an authentic Vallorcin. But that is not meant to be. Mussolini resigns at the end of summer; the Italian soldiers are called home, and Nazis will soon replace them. Divulging the end of the novel would be unfair to Goby’s introspective, inventive, thought-provoking, and touching work. [End Page 238] Joseph A. Reiter Phillips Exeter Academy (NH), emeritus Copyright © 2023 American Association of Teachers of French
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来源期刊
FRENCH REVIEW
FRENCH REVIEW LITERATURE, ROMANCE-
自引率
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期刊介绍: The French Review is the official journal of the American Association of Teachers of French and has the largest circulation of any scholarly journal of French studies in the world at about 10,300. The Review publishes articles and reviews in English and French on French and francophone literature, cinema, society and culture, linguistics, technology six times a year. The May issue is always a special issue devoted to topics like Paris, Martinique and Guadeloupe, Québec, Francophone cinema, Belgium, Francophonie in the United States, pedagogy, etc. Every issue includes a column by Colette Dio entitled “La Vie des mots,” an exploration of new developments in the French language.
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