Annie Ernaux, página 3 de 8

Uma jovem de 23 anos, estudante universitária brilhante, descobre que está grávida. Tomada pela vergonha, consciente de que aquela gravidez representará um falhanço social para si e para a sua família, sabe que no podera ter aquela criança. Mas, na França de 1963, o aborto e ilegal e no existe ninguem a quem possa acorrer. Quarenta anos mais tarde, as memorias daquele acontecimento continuam presentes, num trauma impossivel de ultrapassar e cujas sombras se estendem para alem da historia individual. Escrito com uma clareza acutilante, sem artificios, este e um romance poderoso sobre sofrimento, justiça e a condiço feminina. Escrito por Annie Ernaux em 1999, foi adaptado ao cinema em 2021 por Audrey Diwan, num filme vencedor do Leo de Ouro em Veneza.

Cada libro deAnnie Ernaux nos conduce, sin tapujos ni sentimentalismos, a compartir, en lo más hondo, las experiencias y emociones más intransferibles de una mujer, que gracias al talento literario de la autora se convierten en vivencias universales.Ernauxse dio a conocer conEl lugarganadora delPremio Renaudot en 1984, una narracion intimista, descarnadamente autobiografica, que abre mediante la escritura un camino hacia el conocimiento del ser humano.En abril de 1967, la narradora, por entonces una joven aspirante a profesora de secundaria, supera el examen de capacitacion en un liceo de Lyon para mayor orgullo de su padre, propietario de un pequeño comercio. Para el, proveniente del durisimo medio rural de sus abuelos, esto significa otro paso adelante en su dificil ascenso social en una ciudad de provincias. Sin embargo, poco le dura esta satisfaccion, ya que fallece dos meses despues.Padre ehija polarizarandos perfiles sociales, pues ambos han traspasado sus respectivos lugares dentro de la sociedad.El lugarse centra, pues, no solo en los complejos y prejuicios, los usos y las normas de comportamiento de un segmento social de limites difusos, cuyo espejo es la culta y educada burguesia urbana, sino tambien en la dolorosa incapacidad de hallar el espacio propio que la sociedad tiene prefijado a cada individuo.

"A partir del mes de septiembre del año pasado, no hice otra cosa que esperar a un hombreá: que me llamara y que viniera a verme"á; así empieza la historia sobre la pasión de una mujer culta, inteligente, economicamente independiente, divorciada y con hijos ya mayores, que pierde la cabeza por un diplomatico de un pais del Este "que cultiva su parecido con Alain Delon" y siente especial debilidad por la buena ropa y los coches aparatosos. Si el tema que da lugar a esta novela es aparentemente trivial, no lo es en absoluto la vida que lo alienta. Muy pocas veces antes se habia hablado con tan descarnado descaro, por ejemplo, del sexo masculino o del deseo que idiotiza, que trastoca. La escritura aseptica y desnuda de Annie Ernaux consigue introducirnos, con la precision de un entomologo que observa un insecto, en el febril, extasiado y devastador desvario que cualquier mujer -¿y cualquier hombrea?-, en cualquier lugar del mundo, ha experimentado sin duda al menos una vez en su vida.

My father tried to kill my mother one Sunday in June in the early afternoon Thus begins Shame the probing story of the twelve year old girl who will become Annie Ernaux and the traumatic memory

Los libros deAnnie Ernaux, como recordarán los lectores españoles gracias a sus novelasPura pasión yLa vergüenza (Andanzas 182 y 376, Fábula 98), son fruto de la urgencia de escribir, de relatar sus

«La otra hija» es una larga carta que Annie Ernaux le escribe a Ginette, la hermana muerta a la que nunca conoció, pero cuya sombra siempre la acompaña desde aquel lejano domingo de agosto de 1950 en

Getting Lost is the diary kept by Annie Ernaux during the year and a half she had a secret love affair with a younger, married man, an attaché to the Soviet embassy in Paris. Her novel, Simple Passio

Una giovane coppia si sposa, condivide una casa, fa due figli. Anche se animata da ideali egualitari e progressisti, la famiglia presto si sbilancia e tutto il peso delle incombenze di ogni giorno ricade esclusivamente sulla moglie. Uningiustizia quotidiana, normale, che vivono moltissime donne. Con sguardo implacabile "La donna gelata" traccia un percorso di liberazione capace di trasformare linconfessabile orrore per la propria vita in coraggiosa e spietata presa di coscienza. Alternando limpeto di una requisitoria alla precisione di unindagine, Ernaux ci consegna unanalisi dellistituzione matrimoniale che non ha uguali nella letteratura contemporanea.

Una donna racconta la relazione con un ragazzo di trentanni piu giovane. Unavventura che a poco a poco si trasforma in una storia damore e diviene per la narratrice un viaggio nel tempo in cui il presente si mescola alla memoria dei rapporti passati e della propria esistenza sociale e sessuale. Con Il ragazzo Annie Ernaux compone una miniatura perfetta descrivendo limpeto e lo scandalo di una passione e lasciandosi attraversare dal piacere inappellabile di scrivere la vita. Arricchiscono il volume tre discorsi in cui lautrice riflette sulla scrittura, la condizione femminile e la memoria.

1958ko uda da. Udalekuetako begirale lanak egiten dituen bitartean, familiatik urrun, lehen aldiz, hemezortzi urteko neska bat ausarki sartzen da mundu helduan: maitasuna eta sexua, gazte izatearen nahasmena, damuak, aske eta heldu izateko irrika... Neska baten memoria eleberrian, Annie Ernauxek gizon batekin igarotako lehen gaua oroitzen du, marka ezabaezina uzten dion gaua: urte askoan ez du bere burua ezagutu nahi izan «58ko neska» hartan. Berrogeita hamar urte baino gehiago igaro eta, azkenean, horiei aurre egiteko gai sentitzen da. Garai hartako argazki eta gutunetan murgildu, atzendutako oroitzapenak berriro argitu, eta orri hauek idatziko ditu kezka eta min sekretuez, indarkeriaz, lotsaz eta isiluneez zipriztinduta, bere gaztaroaren erretratu intimoa osatzeko.

En el panorama de la literatura francesa,Annie Ernaux ocupa un lugar muy especial, no sólo por los temas que elige, sino también por su capacidad de tratar las pasiones menos controladas—y no siempre

« Relisant ces pages, je m'aperçois que j'ai déjà oublié beaucoup de scènes et de faits. Il me semble même que ce n'est pas moi qui les ai transcrits. Ce sont comme des traces de temps et d'histoire, des fragments du texte que nous écrivons tous rien qu'en vivant. Pourtant, je sais aussi que dans les notations de cette vie extérieure, plus que dans un journal intime, se dessinent ma propre histoire et les figures de ma ressemblance. » Annie Ernaux.

“Había dejado a W. unos meses antes, él me dijo que se iba a ir a vivir con una mujer, pero no quiso decirme su nombre. A partir de ese momento fui presa de los celos. La imagen y la existencia de la

A powerful meditation on ageing and familial love, I Remain in Darkness recounts Annie Ernaux's attempts to help her mother recover from Alzheimer's disease, and then, when that proves futile, to bear witness to the older woman's gradual decline and her own experience as a daughter losing a beloved parent. Haunting and devastatingly poignant, I Remain in Darkness showcases Ernaux's unique talent for evoking life's darkest and most bewildering episodes.

Considered by many to be the iconic French memoirist's defining work, The Years is a narrative of the period 1941 to 2006 told through the lens of memory, impressions past and present, cultural habits, language, photos, books, songs, radio, television, advertising and news headlines. Annie Ernaux invents a form that is subjective and impersonal, private and communal, and a new genre - the collective autobiography - in order to capture the passing of time. At the confluence of autofiction and sociology, The Years is 'a Remembrance of Things Past for our age of media domination and consumerism' (New York Times), a monumental account of twentieth-century French history as refracted through the life of one woman.

I too wanted to forget that girl. Really forget her, that is, stop yearning to write about her. Stop thinking that I have to write about this girl and her desire and madness, her idiocy and pride, her hunger and her blood that ceased to flow. I have never managed to do so.' In A Girl's Story, her latest book, Annie Ernaux revisits the summer of 1958, spent working as a holiday camp instructor in Normandy, and recounts the first night she spent with a man. When he moves on, she realizes she has submitted her will to his and finds that she is a slave without a master. Now, sixty years later, she finds she can obliterate the intervening years and return to consider this young woman whom she wanted to forget completely. In writing A Girl's Story, which brings to life her indelible memories of that summer, Ernaux discovers that here was the vital, violent and dolorous origin of her writing life, built out of shame, violence and betrayal.

Annie Ernaux's father died exactly two months after she passed her exams for a teaching certificate. Barely educated and valued since childhood strictly for his labour, Ernaux's father had grown into a hard, practical man who showed his family little affection. Narrating his slow ascent towards material comfort, Ernaux's cold observation in A Man's Place reveals the shame that haunted her father throughout his life. She scrutinizes the importance he attributed to manners and language that came so unnaturally to him as he struggled to provide for his family with a grocery store and cafe in rural France. Over the course of the book, Ernaux grows up to become the uncompromising observer now familiar to the world, while her father matures into old age with a staid appreciation for life as it is and for a daughter he cautiously, even reluctantly admires.

Because Ernaux has written about her mother ( A Woman's Story ), her father ( A Man's Place ) and herself ( Cleaned Out ), one can almost hear an anxious tremor in the narrator's (Ernaux's?) lover's voice as he says, "You won't write a book about me." But she has. Actually, it's not about him but about their affair and even more about the intense time between their intimacies. "I've experienced pleasure," she says, "as future pain." At the peak of their liaison, the successful, well-educated narrator is able to concentrate only on what furthers or reflects her passions: she shops for clothes, listens to popular songs, reads the horoscopes in women's magazines, watches pornographic television, searches for a theater showing Nagisa Oshima's carnal In the Realm of the Senses and, of course, waits anxiously by the phone. Whether or not "A," a married Eastern European businessman, was "worth it," is, she says, "of no consequence." Ernaux alternates between writerly objectivity and total immersion, blurring the line between fiction and autobiography. Throughout, one finds oneself noting, "but, of course, this is a novel" only to add a few pages later "but, of course, this is real life." Since less time has elapsed between events recorded here and those she so poignantly recalled in her earlier books, perhaps it is just this lack of reflective distance that makes Simple Passion less successful than its predecessors. Copyright 1993 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.