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La Théo des fleuves
Théodora est une enfant du fleuve. Née Rom, elle a voyagé au gré des vents. Traversant le temps, elle a vécu plusieurs vies. Née à l’aube du XXe siècle, elle le traverse tout entier. Temps de guerres, de communisme, d’oppressions répétées, l’histoire des Roms se révèle au fil du roman et se confond avec celle du siècle. Naître femme, c’est s’exposer à la tutelle des pères et des maris, Théodora le comprendra vite. Tout comme elle pressentira aussi que par la lecture et l’écriture, elle échappera à la fatalité.La force du travail de Jean Marc Turine réside dans son souci de donner la parole aux sans voix, aux opprimés, aux victimes et de se dresser, sans relâche, contre la guerre et l’exclusion. Les voix de son récit s’entremêlent pour nous emporter dans une histoire forte et entière, qui ne laisse pas le lecteur indifférent et le pousse à reconsidérer les questions de l’exil et de l’exclusion à la lumière de l’histoire contemporaine.
224 pages, Paperback
Published January 1, 2017
27 people want to read
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Displaying 1 - 5 of 5 reviews
April 4, 2020
Начинът, по който гледат на нас, не се е променил. Онова, което се е променило, е, че вече не могат да ни отхвърлят открито. Просто малко по-лицемерно.
January 4, 2020
„Теа от Поречието“ е романът, донесъл Голямата награда на петте континента на франкофонията на белгийския писател Жан-Марк Тюрин през 2018 г. В него Тюрин описва съдбата на една жена, на една циганка, проживяла цялото превратно 20-то столетие. Разказът непрестанно се движи между настоящето и миналото и представя лутанията не само на героинята, но и на цял един народ. „С този текст исках да отдам почит на този презиран и малтретиран народ навсякъде из Европа и да кажа своето „не“ на един първичен и толкова разпространен расизъм – антициганизма“ – заявява Тюрин.
April 19, 2020
Расизъм? Защо, защо....защо му трябват на света такива неща.
Хубава книга.
Хубава книга.
January 5, 2020
Lyrical and thoughtful - to a point - but ultimately tarnished by some extremely clumsy undergraduate, soixante-huitard politics.
The idea of a novel exploring the Roma experience of the pre- and post war: great. There's tons of lyricism and magical charm in the settings, that for the most part avoids sailing too close to Magical Realist silliness. At points, I did start to find the elevation of our Theo to the status of some sort of visiting gypsy queen a little stretched, but, y'know, it worked as a whole. I also found the community of exiles idea very charming - a sort of bro Moby Dick. As a rule, I'm wary about writers striding into the Holocaust - instant pathos all too easy, etc - but the fact of this being set in Romania and leading on Roma gave it license and felt worthwhile. There's a very relevant internationalist message in here too, of course: rivers and winds knowing no borders; the migrant of today having a precedent in the eternal migrants: Roma and Jews.
Where it lost me - and the 'stool in the pool' - was, I'm afraid, when it turned its attention to International Relations. Firstly, a small point: the Vietnam War wasn't a liberation to hold up, and Ho Chi Minh et al aren’t a model for anyone: they substituted one murderous regime for another and somehow you've rather let Moscow off the hook on the moral responsibility question if you don't mention that in the context too.
Secondly, a much bigger point: the West Bank (Cisjordanie) chapters. Marvel at the sheer offensiveness of describing Israeli conscripts as 'piétinant sur l'intelligence de leurs ancetres' ('trampling on the intelligence of their ancestors') - I mean, seriously? The melodrama too: shooting a little girl (honestly: like they sit there taking pot shots at kids? Like there isn’t an international media filming you? Like this is some Serbian paramilitary group?). And making that climactic episode the very trigger for the (Jewish) Nahum’s subsequent decision to go mute and scorn the world. It’s all terribly hammy and all agonisingly reductive and asymmetric.
When you write about the Holocaust and fascism, don’t go drawing crass paralells with the West Bank: it’s shrill and it’s crass as fuck.It’s that pure idiot Boomer Hippy hot take I used to hear about Israel and survivors: that somehow because your people have experienced industrial mass extermination, you - only you! - are to henceforth defend yourselves with grapefruits and bunches of flowers when your neighbours decide to periodically try to run you into the sea. Oh, and boss: they wear olive. Or green. They don’t wear khaki. ‘Write about what you know’.
So, lyrical and occasionally charmingly, bearably magical. But politically, 'ca met les pieds dans le plat'. It’s a shame, but those kind of undergraduate politics are usually integral to a writer and are no accident. I haven’t read anything by Turine before. I hope they don’t all go this way.
The idea of a novel exploring the Roma experience of the pre- and post war: great. There's tons of lyricism and magical charm in the settings, that for the most part avoids sailing too close to Magical Realist silliness. At points, I did start to find the elevation of our Theo to the status of some sort of visiting gypsy queen a little stretched, but, y'know, it worked as a whole. I also found the community of exiles idea very charming - a sort of bro Moby Dick. As a rule, I'm wary about writers striding into the Holocaust - instant pathos all too easy, etc - but the fact of this being set in Romania and leading on Roma gave it license and felt worthwhile. There's a very relevant internationalist message in here too, of course: rivers and winds knowing no borders; the migrant of today having a precedent in the eternal migrants: Roma and Jews.
Where it lost me - and the 'stool in the pool' - was, I'm afraid, when it turned its attention to International Relations. Firstly, a small point: the Vietnam War wasn't a liberation to hold up, and Ho Chi Minh et al aren’t a model for anyone: they substituted one murderous regime for another and somehow you've rather let Moscow off the hook on the moral responsibility question if you don't mention that in the context too.
Secondly, a much bigger point: the West Bank (Cisjordanie) chapters. Marvel at the sheer offensiveness of describing Israeli conscripts as 'piétinant sur l'intelligence de leurs ancetres' ('trampling on the intelligence of their ancestors') - I mean, seriously? The melodrama too: shooting a little girl (honestly: like they sit there taking pot shots at kids? Like there isn’t an international media filming you? Like this is some Serbian paramilitary group?). And making that climactic episode the very trigger for the (Jewish) Nahum’s subsequent decision to go mute and scorn the world. It’s all terribly hammy and all agonisingly reductive and asymmetric.
When you write about the Holocaust and fascism, don’t go drawing crass paralells with the West Bank: it’s shrill and it’s crass as fuck.It’s that pure idiot Boomer Hippy hot take I used to hear about Israel and survivors: that somehow because your people have experienced industrial mass extermination, you - only you! - are to henceforth defend yourselves with grapefruits and bunches of flowers when your neighbours decide to periodically try to run you into the sea. Oh, and boss: they wear olive. Or green. They don’t wear khaki. ‘Write about what you know’.
So, lyrical and occasionally charmingly, bearably magical. But politically, 'ca met les pieds dans le plat'. It’s a shame, but those kind of undergraduate politics are usually integral to a writer and are no accident. I haven’t read anything by Turine before. I hope they don’t all go this way.
January 3, 2021
Тази книга не е просто за ромите, не е само за ромите.
Тя е за всички нас- "белите негри", париите на света, мачканите, експлоатираните, унижените и оскърбените.
Тя не е просто за ужасите на нацизма и комунизма- два братски тиранични авторитаризма, смлели в кървавите си колелета хиляди и милиони съдби.
Тя е за всички онези "бичи вратове", които с едната си ръка милват обични съпруги и благи дечица, а с другата ръка погазват беззащитните, изнасилват жените, посичат с ножове децата. Дали ще е нацистки офицер или прост началник-смяна в завод-затвор: няма разлика, черният бог е един и същ, обвит в своята изроденост.
А някъде там вълните полюшват кораб, наречен "Спасение", хипарлива дъгоцветна Нирвана. И песента на циганите издува платната.
Лахто дром.
Тя е за всички нас- "белите негри", париите на света, мачканите, експлоатираните, унижените и оскърбените.
Тя не е просто за ужасите на нацизма и комунизма- два братски тиранични авторитаризма, смлели в кървавите си колелета хиляди и милиони съдби.
Тя е за всички онези "бичи вратове", които с едната си ръка милват обични съпруги и благи дечица, а с другата ръка погазват беззащитните, изнасилват жените, посичат с ножове децата. Дали ще е нацистки офицер или прост началник-смяна в завод-затвор: няма разлика, черният бог е един и същ, обвит в своята изроденост.
А някъде там вълните полюшват кораб, наречен "Спасение", хипарлива дъгоцветна Нирвана. И песента на циганите издува платната.
Лахто дром.
Displaying 1 - 5 of 5 reviews