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Perché ho ucciso Pierre
Basato su una reale esperienza di vita, Perché ho ucciso Pierre è un romanzo grafico nel quale Alfred, uno dei massimi talenti francesi attualmente in attività, raccoglie le memorie d'infanzia dell'amico scrittore Olivier Ka, sul problematico rapporto con un prete sopra le righe, responsabile di una colonia estiva per ragazzi. Toccante, spiazzante nella sua franchezza, lacerante nelle emozioni che evoca e racconta, Perché ho ucciso Pierre è un libro difficile da definire, impossibile da dimenticare.
115 pages, Hardcover
First published January 1, 2006
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Displaying 1 - 30 of 81 reviews
February 16, 2017
This week I read two books that are interesting to look at side by side. "Why I Killed Peter" by Oliver Ka et al, and "A Matter of Life" by Jeffrey Brown. Both are graphic memoirs that in some way explore coming-of-age relationships with religion and religious role models, and the act of moving away from religious cultures.
Ka's book is broken into distinct chapters and explores sexual/emotional abuse. It begins with Ka dealing with being a sickly child, which is interesting given that Brown does address also briefly in "A Matter" and often writes about struggling with chronic illness. Brown grew up with a minister father. Ka has Christian grandparents and his parents moved away from the church but didn't interfere when Oliver's grandparents did their best to draw him into a more religious upbringing.
I spend a bit more time comparing these two books in my review of Brown's memoir. Here I'll focus on Ka's. Ka's book starts when he is seven. It opens "I Killed Peter because I am seven years old." This book is dramatically structured, though there is an understated feel to the art, and each chapter starts with a full-page panels that repeats: "I Killed Peter Because..." of an age. ("Because I am seven years old." "Because I am ten years old"...) and they all have portraits of Oliver with some contextualizing information in boxes.
We quickly dive into an early childhood experience in which Ka goes to church with his grandparents and is pretty freaked out by the scary stories told in church. (Sigh. So upsetting.) His parents are not church goers and they have to some degree tried to move in a different direction entirely (sort of hippy-ish and polyamorous). But growing up in a non-religious environment is not necessarily freeing for him. Perhaps if he had some kind of guidance, someone compassionate and reflective to talk about his experiences with and help him understand and feel a sense of constructive self-awareness and belonging, he wouldn't have been quite as vulnerable to abuse or drawn in by the charismatic and seemingly "easy going" priest who starts visiting his home. Ka looks up to and becomes close with this priest and, well, that relationship winds up being very damaging to Ka.
There is a soulfulness to Oliver's character, the way he is illustrated, that really drew me into the story, but all in all the story, well, I didn't find it all that compelling. There is something about memoirs I often dislike. This naming of moments that are "important" "life-changing". It can seem formulaic and frustrating to me if there isn't the kind of reflection that makes it feel like more than the sum of its parts. And this can be especially true in books about abuse. In the end, there is just not a quality of introspection/reflection that keeps me engaged. But I'm glad I had the experience of reading it and also that I happened to read it while also reading Brown's book. Gives me a lot to think about in terms of the form of the graphic memior and graphic meditations on cultural and social identity and belonging, masculinity and growing up.
Ka's book is broken into distinct chapters and explores sexual/emotional abuse. It begins with Ka dealing with being a sickly child, which is interesting given that Brown does address also briefly in "A Matter" and often writes about struggling with chronic illness. Brown grew up with a minister father. Ka has Christian grandparents and his parents moved away from the church but didn't interfere when Oliver's grandparents did their best to draw him into a more religious upbringing.
I spend a bit more time comparing these two books in my review of Brown's memoir. Here I'll focus on Ka's. Ka's book starts when he is seven. It opens "I Killed Peter because I am seven years old." This book is dramatically structured, though there is an understated feel to the art, and each chapter starts with a full-page panels that repeats: "I Killed Peter Because..." of an age. ("Because I am seven years old." "Because I am ten years old"...) and they all have portraits of Oliver with some contextualizing information in boxes.
We quickly dive into an early childhood experience in which Ka goes to church with his grandparents and is pretty freaked out by the scary stories told in church. (Sigh. So upsetting.) His parents are not church goers and they have to some degree tried to move in a different direction entirely (sort of hippy-ish and polyamorous). But growing up in a non-religious environment is not necessarily freeing for him. Perhaps if he had some kind of guidance, someone compassionate and reflective to talk about his experiences with and help him understand and feel a sense of constructive self-awareness and belonging, he wouldn't have been quite as vulnerable to abuse or drawn in by the charismatic and seemingly "easy going" priest who starts visiting his home. Ka looks up to and becomes close with this priest and, well, that relationship winds up being very damaging to Ka.
There is a soulfulness to Oliver's character, the way he is illustrated, that really drew me into the story, but all in all the story, well, I didn't find it all that compelling. There is something about memoirs I often dislike. This naming of moments that are "important" "life-changing". It can seem formulaic and frustrating to me if there isn't the kind of reflection that makes it feel like more than the sum of its parts. And this can be especially true in books about abuse. In the end, there is just not a quality of introspection/reflection that keeps me engaged. But I'm glad I had the experience of reading it and also that I happened to read it while also reading Brown's book. Gives me a lot to think about in terms of the form of the graphic memior and graphic meditations on cultural and social identity and belonging, masculinity and growing up.
November 9, 2011
The cover and back description do not promise an easily identifiable hook for Why I Killed Peter. In fact, the way they both withhold their identity becomes the first hint of the story's true nature. The double faced entity on the front that is both a man with a beard and an intimidated silhouette of child. The title promises violence but abstains from answering until the reader is committed to opening the book. For some, the topic should be sadly easy to deduce but for others the wariness sets the tone and serves as a warning. It will not be a jaunty adventure story, it will not be a lighthearted tale.
The first half of the book is comprised of a set of vignettes, with the header "I Killed Peter Because I Was ____ Years Old" beginning each chapter. At first, it seems to be another coming of age novel, where the narrator, Ollie, lives in relative safety as a child. The biggest concern he has so far is the subtle conflict between his overtly religious grandparents and his avant-guarde hippie parents. His narration is simple and full of authentic childish observations about his life. And although it starts off slowly, but the pacing is never aimless. From the remarks made of his father's many mistresses in their "open" relationship, to his grandmother's warning that little boys who pleasure themselves are doomed to hell, all create layers that are slowly peeled back to reveal another shade of context.
Peter is the common ground between Ollie's family members. He's a priest, which makes his god-fearing grandparents happy, at the same time he's a nonjudgmental and liberal, which appeases his parents. Effortlessly, he ingratiates himself into Ollie's life, and Ollie's desire for his approval is a natural extension of their relationship. Peter becomes the guide for Ollie's religious confusion and a trustworthy confidant, so when he invites Ollie to stay at his youth camp, the image of Ollie's happy face and red heart beating in excitement perfectly captures the love a boy has for someone he admires. At the same time we, the readers, begin to understand Peter's motivations in a more sinister light, the way he begins to ask if Ollie will keep secrets and gives him special privileges to stay in his favor.
The story doesn't hide the inevitable confrontation of Peter taking advantage of Ollie, but it doesn't pressure either--it appears in a slow and unavoidable arc. Peter's coercion is subtle and almost gentle, but no less monsterous in its effects. The act itself is kept shrouded in the dark, but it is the turning point of young Ollie giving way to the now adult Oliver because he has lost something. Olivier shows how damaging it is to have this violation happen to him, even if he spent years thinking it was no big deal. Or that he somehow agreed to all of it by saying yes to the initial overtures before realizing exactly what was happening. In fact, one of the most powerful scenes comes from adult Olivier having to confront his past self and young Ollie not believing him over Peter, because Peter was his friend. It becomes readily apparent that the tension of the book is not between Ollie and Peter, but Olivier and his past guilt, that the entire narration is his own way of facing himself.
Alfred's use of colors and simple illustrations fits perfectly with the story, and he knows exactly when to make use of our imaginations and when to pull back in order to ensure nothing about this book seems gratuitous or over sentimentalized. He often draws Peter like a hulking mass, filling up most of the page or more. For example, a panel where he was larger than the bus that took them to camp. Yet there is a consistency in when he exaggerates and when he pushes the straightforward and simple words of Olivier Ka. Their understanding of each other's mediums reaches a synthesis that many artist/writers have difficulty attaining. And there is a conscientiousness that comes to leaving parts up to the author and the reader, such as transitioning to photographs when they come to the summer camp, or blank pages with just Ollie's words, that exemplify the tone change when the story needs to be expressed in a different way.
Why I Killed Peter is certainly not for everyone. However, it is a book that expertly conveys the depths of a victim's turmoil and personalizes it without becoming preachy or overdramatic. It was meant to be Olivier Ka's method of dealing with his past, and the journey is something that many others can read to feel a measure of understanding.
The first half of the book is comprised of a set of vignettes, with the header "I Killed Peter Because I Was ____ Years Old" beginning each chapter. At first, it seems to be another coming of age novel, where the narrator, Ollie, lives in relative safety as a child. The biggest concern he has so far is the subtle conflict between his overtly religious grandparents and his avant-guarde hippie parents. His narration is simple and full of authentic childish observations about his life. And although it starts off slowly, but the pacing is never aimless. From the remarks made of his father's many mistresses in their "open" relationship, to his grandmother's warning that little boys who pleasure themselves are doomed to hell, all create layers that are slowly peeled back to reveal another shade of context.
Peter is the common ground between Ollie's family members. He's a priest, which makes his god-fearing grandparents happy, at the same time he's a nonjudgmental and liberal, which appeases his parents. Effortlessly, he ingratiates himself into Ollie's life, and Ollie's desire for his approval is a natural extension of their relationship. Peter becomes the guide for Ollie's religious confusion and a trustworthy confidant, so when he invites Ollie to stay at his youth camp, the image of Ollie's happy face and red heart beating in excitement perfectly captures the love a boy has for someone he admires. At the same time we, the readers, begin to understand Peter's motivations in a more sinister light, the way he begins to ask if Ollie will keep secrets and gives him special privileges to stay in his favor.
The story doesn't hide the inevitable confrontation of Peter taking advantage of Ollie, but it doesn't pressure either--it appears in a slow and unavoidable arc. Peter's coercion is subtle and almost gentle, but no less monsterous in its effects. The act itself is kept shrouded in the dark, but it is the turning point of young Ollie giving way to the now adult Oliver because he has lost something. Olivier shows how damaging it is to have this violation happen to him, even if he spent years thinking it was no big deal. Or that he somehow agreed to all of it by saying yes to the initial overtures before realizing exactly what was happening. In fact, one of the most powerful scenes comes from adult Olivier having to confront his past self and young Ollie not believing him over Peter, because Peter was his friend. It becomes readily apparent that the tension of the book is not between Ollie and Peter, but Olivier and his past guilt, that the entire narration is his own way of facing himself.
Alfred's use of colors and simple illustrations fits perfectly with the story, and he knows exactly when to make use of our imaginations and when to pull back in order to ensure nothing about this book seems gratuitous or over sentimentalized. He often draws Peter like a hulking mass, filling up most of the page or more. For example, a panel where he was larger than the bus that took them to camp. Yet there is a consistency in when he exaggerates and when he pushes the straightforward and simple words of Olivier Ka. Their understanding of each other's mediums reaches a synthesis that many artist/writers have difficulty attaining. And there is a conscientiousness that comes to leaving parts up to the author and the reader, such as transitioning to photographs when they come to the summer camp, or blank pages with just Ollie's words, that exemplify the tone change when the story needs to be expressed in a different way.
Why I Killed Peter is certainly not for everyone. However, it is a book that expertly conveys the depths of a victim's turmoil and personalizes it without becoming preachy or overdramatic. It was meant to be Olivier Ka's method of dealing with his past, and the journey is something that many others can read to feel a measure of understanding.
This entire review has been hidden because of spoilers.
November 13, 2010
Sexual abuse by priests wreaks havoc on notions of faith, faith being pretty much the most intimate part of many people's lives. And this book gets at that, very personally, very directly, and very no-easy-answers-y. The protagonist paints a vivid picture of his free-spirit parents and his church-going grandparents and the bearish (even initially loveable) hippie priest who seems to simply radiate the love of Christ rather than making needless rules and putting the unchurched down. And the disappointment and pain and betrayal that come from his failure. Basically: The film/play Doubt, with a better narrator and the awesomeness of French comic art conventions. Highly recommended.
January 6, 2013
I think this one works best without a description because it's kind of good to be confused at first I think.
Disturbing, yes. But also a very good portrayal of feelings and what happens when you bury something horrible down inside you for a long time...
Disturbing, yes. But also a very good portrayal of feelings and what happens when you bury something horrible down inside you for a long time...
June 20, 2011
I grabbed this book due to the title and cover, not knowing what I was getting into. A dark autobiographical tale of sexual abuse in the French countryside was not what I had in mind.
Otherwise, Alfred's style mimics the protagonists mind-set throughout the novel, as he struggles with growing up with a dark secret and has it plague his adulthood too.
Otherwise, Alfred's style mimics the protagonists mind-set throughout the novel, as he struggles with growing up with a dark secret and has it plague his adulthood too.
February 10, 2009
This is a devastatingly beautiful graphic novel. It's autobiographical and belongs on the top shelf of graphic autobiographies, next to Persepolis, Maus, and Epileptic. I recommend reading this book as soon as you can.
June 3, 2010
An excellent read. Not what I was expecting.
July 16, 2015
I had no idea what this was when I started reading, but it just got real so fast.
It was quite beautiful really; in a sad way. But I like how it ended.
It was quite beautiful really; in a sad way. But I like how it ended.
August 9, 2025
Dans la talentueuse famille Karali, voici Olivier.
Olivier a 7 ans, 8 ans, 10 ans, 12 ans.... Il grandit dans une chouette famille, dans laquelle il se sent bien malgré certaines choses étonnantes. Par exemple, ses grands parents bourgeois sont très croyants et vont à la messe chaque matin, tandis que ses parents, libertaires et libertins, sont anti catho et se baignent nus avec leurs amis.
Un qui a aussi trouvé sa place des deux côtés de la famille, c'est Pierre, le curé. Il est jeune, moderne, drôle, gentil, ouvert et adore les enfants. Il plaît aux bourgeois comme aux hippie Il a même créé sa propre colonie de vacances à la campagne. On y reste un mois entier.
Olivier est sensible au charme joyeux de Pierre qui le cajole, le fait rire, lui apprend des choses. Ça devient l'habitude annuelle : chaque été, Olivier rejoint la colo de Pierre. Il joue, noue des amitiés, tombe amoureux... et est le chouchou de Pierre qui veille sur lui d'un regard ou par quelques mots.
Dans cette bande dessinée, la douceur de l'enfance laisse place, page après page, à l'appréhension, au malaise qui monte. Ces petites choses qui paraissent normales, seraient normale, si ..
Adulte, Olivier passe par différentes phases, avec des bas. L'harmonie familiale est brisée, il est marié et père. Dans un coin de sa tête, il garde encore le "secret de Pierre". Jusqu'au moment où vient le temps de s'en débarrasser pour de bon.
Le dessin d'Alfred est parfait, point fort pour le dessin de couverture.
Il n'y a jamais assez de témoignages. Merci à Olivier Ka pour le sien.
Olivier a 7 ans, 8 ans, 10 ans, 12 ans.... Il grandit dans une chouette famille, dans laquelle il se sent bien malgré certaines choses étonnantes. Par exemple, ses grands parents bourgeois sont très croyants et vont à la messe chaque matin, tandis que ses parents, libertaires et libertins, sont anti catho et se baignent nus avec leurs amis.
Un qui a aussi trouvé sa place des deux côtés de la famille, c'est Pierre, le curé. Il est jeune, moderne, drôle, gentil, ouvert et adore les enfants. Il plaît aux bourgeois comme aux hippie Il a même créé sa propre colonie de vacances à la campagne. On y reste un mois entier.
Olivier est sensible au charme joyeux de Pierre qui le cajole, le fait rire, lui apprend des choses. Ça devient l'habitude annuelle : chaque été, Olivier rejoint la colo de Pierre. Il joue, noue des amitiés, tombe amoureux... et est le chouchou de Pierre qui veille sur lui d'un regard ou par quelques mots.
Dans cette bande dessinée, la douceur de l'enfance laisse place, page après page, à l'appréhension, au malaise qui monte. Ces petites choses qui paraissent normales, seraient normale, si ..
Adulte, Olivier passe par différentes phases, avec des bas. L'harmonie familiale est brisée, il est marié et père. Dans un coin de sa tête, il garde encore le "secret de Pierre". Jusqu'au moment où vient le temps de s'en débarrasser pour de bon.
Le dessin d'Alfred est parfait, point fort pour le dessin de couverture.
Il n'y a jamais assez de témoignages. Merci à Olivier Ka pour le sien.
July 30, 2025
Initially I just needed a few graphic novels to add to my many genres in StoryGraph. I grabbed 3 off the shelf at the library because they were short… I’ll never again think that a ‘comic’ isn’t worth my time.
This was powerful. Powerful!!!
I think I have more in my future!!
I hope it helped…
This was powerful. Powerful!!!
I think I have more in my future!!
I hope it helped…
May 10, 2022
Gripping.
October 23, 2024
Je ne me ferais pas au style graphique d’Alfred mais l’histoire est racontée de façon cinglante
August 1, 2024
Nelagodno
September 11, 2009
When Olivier is 12, he’s molested by a friend of the family – a jolly priest who’s only ever been kind to him before. While he handles the experience in what his mother calls a “mature” way at the time, he’s horrified by it and the memory of his disgust, fear, and betrayal follows him into his 30s. That’s when Olivier decides that he has to “kill” Peter by writing about him and getting him out of his system. This graphic novel is the result.
Each chapter begins with the sentence, “I killed Peter because…” and follows Olivier through his childhood, teenage years, and adulthood as he grows up and explores his thoughts about religion, relationships, sexuality, and, of course, Peter. Dark and painful in places, but extremely honest, Olivier’s story of this one instant of abuse and how it continued to affect him is definitely worth reading. Although the topic of abusive priests has been well-canvassed, to the point where it’s almost a stereotype that people don’t take seriously, Olivier’s story shows how seriously damaging one incident can be, especially when you keep it to yourself.
Alfred, the artist for this disturbing memoir, convinces Olivier to revisit the scene of the incident – a farm that Peter ran as a camp for young people 20 years ago. Olivier had heard that Peter was dead, and so he is surprised to find him at the farmhouse. Their meeting is awkward and only grows more so when Olivier decides that he must confront Peter about what happened all those years ago and make him understand how it has continued to affect him. This revelation brings tears to Peter’s eyes, and one can’t help but wonder what his life has been like during this time, and whether he regrets what he did back then, whether he lived differently because of it, and how it will affect him now. Olivier, however, experiences a kind of catharsis – he’s finally brought his terrible experience full circle and found closure.
The artwork depicting Olivier’s youth is mostly cute and cartoonish, innocent – contrasted with The Incident which takes place all in the dark with the worst moments completely blacked out. As he grows up, it changes. There are more realistic panels, and a whole section of photographs from Olivier and Peter’s meeting. The visual effect is very powerful when combined with Olivier’s words.
Each chapter begins with the sentence, “I killed Peter because…” and follows Olivier through his childhood, teenage years, and adulthood as he grows up and explores his thoughts about religion, relationships, sexuality, and, of course, Peter. Dark and painful in places, but extremely honest, Olivier’s story of this one instant of abuse and how it continued to affect him is definitely worth reading. Although the topic of abusive priests has been well-canvassed, to the point where it’s almost a stereotype that people don’t take seriously, Olivier’s story shows how seriously damaging one incident can be, especially when you keep it to yourself.
Alfred, the artist for this disturbing memoir, convinces Olivier to revisit the scene of the incident – a farm that Peter ran as a camp for young people 20 years ago. Olivier had heard that Peter was dead, and so he is surprised to find him at the farmhouse. Their meeting is awkward and only grows more so when Olivier decides that he must confront Peter about what happened all those years ago and make him understand how it has continued to affect him. This revelation brings tears to Peter’s eyes, and one can’t help but wonder what his life has been like during this time, and whether he regrets what he did back then, whether he lived differently because of it, and how it will affect him now. Olivier, however, experiences a kind of catharsis – he’s finally brought his terrible experience full circle and found closure.
The artwork depicting Olivier’s youth is mostly cute and cartoonish, innocent – contrasted with The Incident which takes place all in the dark with the worst moments completely blacked out. As he grows up, it changes. There are more realistic panels, and a whole section of photographs from Olivier and Peter’s meeting. The visual effect is very powerful when combined with Olivier’s words.
This entire review has been hidden because of spoilers.
March 29, 2018
Autobio story about Ka being molested by a priest when he was twelve, and it's extremely well done. Ka and Alfred do a great job capturing "Ollie"'s youth and innocence, and Alfred does a great job playing with color and layout to turn Ka's world upside down when, as an adult, he has a panic attack brought on by memories of the encounter. It's very well told. I'm kind of happy I didn't read the press material NBM included with it before I read the book, because I didn't realize it was about molestation. Consequently, when the priest Peter is introduced and is a positive figure to young Ollie, I was able to read the early chapters and take Peter at face value, which made his turn really devastating. Those last few pages where you know it's all wrong are horrible. I nearly had to put the book down.
Interestingly, late in the book Ka and Alfred travel back to the small town where it happened, and they capture the trip in photographs, which enforces the reality of it all. I also liked the self-referentialism of having the final chapter of the book essentially be about creating the book, particularly the final chapter of the book, so that Ka could purge himself onto the page.
Interestingly, late in the book Ka and Alfred travel back to the small town where it happened, and they capture the trip in photographs, which enforces the reality of it all. I also liked the self-referentialism of having the final chapter of the book essentially be about creating the book, particularly the final chapter of the book, so that Ka could purge himself onto the page.
July 30, 2014
I haven't read many graphic novels at all. In fact, I think this may only be my second. I found this surprisingly mature and heart wrenching as it details a young boy coming of age and dealing with the inner demons of sexual abuse.
I should also note, this book is a nonfiction piece, which I found to be incredibly refreshing as well as telling in the way it conveys such serious subject matter.
The illustrations are simple, but effective in conveying the overall mood and tone of the story. But the heart of the story really lies in the central character and the way he progresses through time during and after the initial "incident."
Ollie "kills" Peter (his priest camp counselor) by getting this down in writing and letting everyone know. He ultimately overcomes the psychological power Peter has over him as a child and continues to have throughout his adulthood. In doing so, Peter's hold on him is dissipated and Ollie comes to terms with what has happened to him. What makes this such a compelling read is the honesty and vulnerability in confronting the horror and devastation of sexual abuse in one's past.
I especially felt the impact of the actual photographs of the road to the camp in a series of panels toward the end of the story. This really drove the reality of the story home, which evoked a lot of emotion for me.
I felt this was a powerful graphic novel and well done - all the more so because of the nerve it touches in describing someone's journey in meeting their fears, and in the end, ultimately coming through the other side better off for it.
I should also note, this book is a nonfiction piece, which I found to be incredibly refreshing as well as telling in the way it conveys such serious subject matter.
The illustrations are simple, but effective in conveying the overall mood and tone of the story. But the heart of the story really lies in the central character and the way he progresses through time during and after the initial "incident."
Ollie "kills" Peter (his priest camp counselor) by getting this down in writing and letting everyone know. He ultimately overcomes the psychological power Peter has over him as a child and continues to have throughout his adulthood. In doing so, Peter's hold on him is dissipated and Ollie comes to terms with what has happened to him. What makes this such a compelling read is the honesty and vulnerability in confronting the horror and devastation of sexual abuse in one's past.
I especially felt the impact of the actual photographs of the road to the camp in a series of panels toward the end of the story. This really drove the reality of the story home, which evoked a lot of emotion for me.
I felt this was a powerful graphic novel and well done - all the more so because of the nerve it touches in describing someone's journey in meeting their fears, and in the end, ultimately coming through the other side better off for it.
July 13, 2020
Based on a true story, ok, I won't discount the experience or feelings. But a disgustingly stereotypical look at catholic priests, and liberal ones in particular. I grew up Catholic, no longer follow the religion, but I couldn't handle this. And maybe we should talk about some of those oh so perfect conservative priests who have abused many, many boys. pfff.
Worst part perhaps? When I saw the book on the shelf at work I thought, a book about killing a priest? Must be about child molestation, but for some stupid reason I thought maybe it wouldn't be about that, maybe for once in my lifetime someone would talk about something good about a Catholic priest, or one of those who are amazing people who help kids and adults and everyone out. But no. That wouldn't sell.
The priest I grew up with was gay, weird, funny, and do you know what? He never molested a kid in his life. Shit he didn't even like kids. Father Franklin you were a liberal, gay, Catholic priest, and I only have good things to say about you. There. At least one person can break the bad publicity.
Worst part perhaps? When I saw the book on the shelf at work I thought, a book about killing a priest? Must be about child molestation, but for some stupid reason I thought maybe it wouldn't be about that, maybe for once in my lifetime someone would talk about something good about a Catholic priest, or one of those who are amazing people who help kids and adults and everyone out. But no. That wouldn't sell.
The priest I grew up with was gay, weird, funny, and do you know what? He never molested a kid in his life. Shit he didn't even like kids. Father Franklin you were a liberal, gay, Catholic priest, and I only have good things to say about you. There. At least one person can break the bad publicity.
November 7, 2015
Un conte autobiographique violent, ce que le quatrième de couverture ne laissait vraiment pas présager : "Pierre est un curé "de gauche". Il est cool. Il est drôle. C'est pas un prêtre, c'est un bonhomme. Moi, c'est comme si j'avais un nouveau tonton. Un excellent, qui rit, qui chante, qui chatouille."
Joliment scénarisé, dans une forme fragmentaire, par Olivier Ka, qui écrit depuis ses souvenirs ; magnifiquement illustré par Alfred, qui comme toujours propose une plongée dans l'univers cauchemardesque de la pensée qui dérive, à travers plusieurs planches au style parfois radicalement différent.
Une histoire essentielle, de celle qu'on emporte ensuite avec soi.
Joliment scénarisé, dans une forme fragmentaire, par Olivier Ka, qui écrit depuis ses souvenirs ; magnifiquement illustré par Alfred, qui comme toujours propose une plongée dans l'univers cauchemardesque de la pensée qui dérive, à travers plusieurs planches au style parfois radicalement différent.
Une histoire essentielle, de celle qu'on emporte ensuite avec soi.
October 12, 2017
Notons d'abord le rythme : chaque chapitre commence par cette moto "Pourquoi j'ai tué Pierre" et introduit l'âge de notre héros et une nouvelle étape de sa vie.
Son histoire est simple : il s'appelle Olivier et les étés de son adolescence, il les passe dans la colonie de vacances organisée par Pierre, un prêtre ami de la famille.
Notons enfin la narration incroyable qui amène avec délicatesse le sujet et pose, tout en sensibilité, une question terrible.
Son histoire est simple : il s'appelle Olivier et les étés de son adolescence, il les passe dans la colonie de vacances organisée par Pierre, un prêtre ami de la famille.
Notons enfin la narration incroyable qui amène avec délicatesse le sujet et pose, tout en sensibilité, une question terrible.
May 9, 2020
Wow. This book tells a story I’m sure many have experienced but never spoken of, and how one man goes about closing out a chapter of his life.
It’s a heavy read, with mature themes, this is an important book for parents and those who have been betrayed by a trusted adult in their youth, you are not alone and it wasn’t your fault.
It’s a heavy read, with mature themes, this is an important book for parents and those who have been betrayed by a trusted adult in their youth, you are not alone and it wasn’t your fault.
November 19, 2017
La mejor novela gráfica sobre abuso sexual en la infancia que he leído hasta el momento.
January 16, 2020
Holy shit wow.
May 9, 2025
I waited for a very long time to be able to read this book, I couldn’t find a copy of it. A French BD, this book is haunting but also healing. Healing for survivors, with beautiful artwork.
December 6, 2023
Da probal da rastavim ovaj strip na osnovne segmente.
Priča je dobra. Potresna. Nešto za šta se već mnogo puta čulo - a to je seksulano zlostavljanje maloletnik od strane katoličkih sveštenika, ali ujedno i nešto što je vredno ponovnog pričanja, pogotovo kad je autobiografski. Mislim da autor Oliver ovde daje i jedan mnogo širi kontekst u smislu događaja koji su prethodili ovom nemilom događaju a zbog kojih je on to držao u sebi jako dugo, do trenutka kad je odlučio da pretoči priču u strip. Bojao sam se da će kraj biti slabiji ili kliše, ali to nije slučaj.
Što se Alfreda (crtača) tiče čitao sam "Come prima" koji mi se svideo pa sam znao šta da očekujem. Iako je za nijansu slabiji u "...Pierru" nego u "Come prima" Alfred je dostojan svom grafičkom stilu koji je više ilustratorski sa vrlo minimalnim i karikaturnim crtežom dok se pri kraju knjige i poigrava sa stilovima koristeći i originalne fotografije i grafički stilizovane fotografije. I to sve ima smisla i upotrebljeno je na dobar način i u dobrom kontekstu.
Ali.....u zbiru ova dva autora nisu po meni mogli da dobace više od malo jačeg proseka. Najveća mana je što ovo na kraju nije strip. Ovo je kratka autobiografska priča ispraćena ilustracijama u želji da se postigne neka strip forme, ali na žalost po meni nisu uspeli u tome. Ja volim stripove koji se igraju sa formom, ali ovde ta igra nije podigla ni crtež ni priču na onaj viši nivo uz pomoć onog drugog. I sam način kako je pisano po poglavljima, u zavisnosti od Oliverovih godina, a neka su vrlo kratka i tu samo samo kao tačka na timeline-u vredna pomena, uz Alfredove ilustracije, često su mi delovala kao propagandni flajeri (lepi hipsterski flajeri za neogranski sapun ručno pravljen u Belrinu).
Ostaje teskoba nakon pročitane priče, ali nedovoljno upečatljivo sastavljena knjiga da bih joj se ponovo vraćao.
Priča je dobra. Potresna. Nešto za šta se već mnogo puta čulo - a to je seksulano zlostavljanje maloletnik od strane katoličkih sveštenika, ali ujedno i nešto što je vredno ponovnog pričanja, pogotovo kad je autobiografski. Mislim da autor Oliver ovde daje i jedan mnogo širi kontekst u smislu događaja koji su prethodili ovom nemilom događaju a zbog kojih je on to držao u sebi jako dugo, do trenutka kad je odlučio da pretoči priču u strip. Bojao sam se da će kraj biti slabiji ili kliše, ali to nije slučaj.
Što se Alfreda (crtača) tiče čitao sam "Come prima" koji mi se svideo pa sam znao šta da očekujem. Iako je za nijansu slabiji u "...Pierru" nego u "Come prima" Alfred je dostojan svom grafičkom stilu koji je više ilustratorski sa vrlo minimalnim i karikaturnim crtežom dok se pri kraju knjige i poigrava sa stilovima koristeći i originalne fotografije i grafički stilizovane fotografije. I to sve ima smisla i upotrebljeno je na dobar način i u dobrom kontekstu.
Ali.....u zbiru ova dva autora nisu po meni mogli da dobace više od malo jačeg proseka. Najveća mana je što ovo na kraju nije strip. Ovo je kratka autobiografska priča ispraćena ilustracijama u želji da se postigne neka strip forme, ali na žalost po meni nisu uspeli u tome. Ja volim stripove koji se igraju sa formom, ali ovde ta igra nije podigla ni crtež ni priču na onaj viši nivo uz pomoć onog drugog. I sam način kako je pisano po poglavljima, u zavisnosti od Oliverovih godina, a neka su vrlo kratka i tu samo samo kao tačka na timeline-u vredna pomena, uz Alfredove ilustracije, često su mi delovala kao propagandni flajeri (lepi hipsterski flajeri za neogranski sapun ručno pravljen u Belrinu).
Ostaje teskoba nakon pročitane priče, ali nedovoljno upečatljivo sastavljena knjiga da bih joj se ponovo vraćao.
June 27, 2021
I thought this book was fantastic. The work of telling the traumatic story of being the victim of a pedophile priest is no easy task. The author and the artist both did an absolutely excellent job of bringing Ollie, the innocent young boy at the center of the story, to life and into our hearts. The book had me exclaim: WOW! at a certain point. I was never triggered or upset by what was revealed. The art is amazing. The writing is succinct, clear and by the end, gripped me in suspense. Honored to read it and bear witness to one person's healing journey. This is a brave man and a must-read for all childhood sexual abuse survivors from religious predators. We all deserve to heal and it starts with breaking silence and telling our stories! I'm grateful Olivier has such a good friend in the artist, Alfred, who stood by him, as well.
December 10, 2025
Dit boek kreeg ik toegestopt van een slachtoffer van seksueel misbruik binnen een pastorale relatie. Het boek brengt goed in beeld hoe ‘grooming’ eruit kan zien; hoe de impact van seksueel misbruik zich jaren later kan tonen; hoeveel neerslachtigheid en woede seksueel misbruik teweeg kan brengen; en hoe sommige mensen - de auteur van dit boek en de persoon van wie ik het boek kreeg incluis - voorbij die neerslachtigheid en woede kunnen groeien om die emoties te transformeren in een bron van creativiteit en heling. Met daarbij de evidente maar belangrijke toevoeging dat een dergelijke groei pas mogelijk is wanneer de omstandigheden gunstig zijn. En dus moeten we met z’n allen inzetten op dergelijke gunstige omstandigheden. Wordt vervolgd!
November 4, 2018
3.5 stars, rounding down. The story explores Ollie's coming of age and abuse he suffered at the hands of a loved one and family friend. Each chapter sees Ollie age a few more years, following how he's unable to let go of the memories and feels the darkness that has settled into him as decades pass. This book is his cathartic killing of the abuser. The ending gives a slight twist on the memoir, confronting the abuser in real life. The artwork is cartoonish but well adapted to the text and helps to envelop the reader even further in to the darkness of the story. This graphic novel will haunt you with questions long after you finish the last page.
July 5, 2018
This is an evocative work of art about trauma, so only pick it up if you’re feeling strong. The first half is very effective at what it does, which is bring you into the mind of a confused and traumatized child. The second half meanders a bit, and the ending is very metafictional, sort of about the story and sort of about writing the book about the story as a tool for the author to make sense of it. I’m not sure if the sense carries for the reader, but it is a true story so maybe it has as much conclusion as actual life does.
September 27, 2018
Well, according to Goodreads, a rating of four stars means I "really liked it."
But I didn't really like it.
It was very well done. Both the story and the artwork were great. The illustrator's use of color fit the story perfectly. I enjoyed reading the first half, but then it got very dark very quickly. I did not enjoy most of the rest of the book. However, I'm glad I read it.
But I didn't really like it.
It was very well done. Both the story and the artwork were great. The illustrator's use of color fit the story perfectly. I enjoyed reading the first half, but then it got very dark very quickly. I did not enjoy most of the rest of the book. However, I'm glad I read it.
March 11, 2025
Continúo con la relectura de lo mejorcito de mi fondo de cómic. Es una obra maestra y terrible de la que poco se puede decir sin caer en el spoiler. Mejor, léanla y acompañen al protagonista a lo largo de todos esos capítulos con ese mismo mantra de inicio: "He matado a Pierre porque..."
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