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sofieverbiest's review against another edition
mysterious
reflective
fast-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.0
eb00kie's review against another edition
4.0
One Nobel book review, coming up
I am Romanian and as such I have an undue sense of respect for anything with a stamp of approval, be it the Nobel books, the Oscar movies or my fifth grade lit papers (now framed). There is a point where one has to wonder, what are the standards? What are the requirements?
At the root of it, the literature Nobel is famously based on two manifestly vague deathbed demands: that the candidate should have bestowed "the greatest benefit on mankind" and the condition for literature, "in an ideal direction". The saving grace is that there is but one committee who does the deciding, even if a quick skimming of Nobel lit criteria history showed varying subjectivity. Right now the Swedish are looking for pioneers. Modiano was complimented for his work on "ungraspable human destinies" with central themes of memory, identiy and time.
His case is that of having written a very good book, but a very good book by objective standards. It's delicate, but profound, nonetheless subtle. The chosen themes are powerful, pertinent. The author is original in expression, sometimes reminiscent of the lassitude of Murakami's protagonists, sometimes clear and blunt. In terms of writing style, this is a book of many flavours: motifs, metaphors, a few brushstrokes per rudimentary description to underscore the predominantly interior perspective, unreliable protagonist, flashbacks. It is exquisite. Believe you me, this beginning alone gave meaning to many a restless literature class.
That being said, my appreciation of it is as towards a Rubik, a riddle, a chess game. What I missed was the musicality of words, the punch of the dissonance, the power of the length and rhythm of sentences; French is a very musical language, but such potential was wasted here. I missed the people. I missed the fear, the subtle burn, the annoyance, the rudeness, the stupidity, the humor, the stink of daily interractions. I missed the noise; the work was near deafness and much of the perception was inwards, already processed, internalized. Not all people might feel drama and tragedy, despair and madness, and for the purpose of the book, there was no need. It is a well-balanced book, but not a striking one.
For example, the movie Phoenix (Memory, identity and time - all the more vibrant for a touch of betrayal and confused longing) is equally silent, by design. The context is more powerful, yes, but it has a wonderful tempo in movement, speaking, length of scenes, not to mention the play of colors and focus.
In the end, Pour que tu ne te perdes pas dans le quartier is a bit like the beginning quote I cannot give the reality of facts, I can only present its shadow: like taking a vacation inside a snowglobe.
I am Romanian and as such I have an undue sense of respect for anything with a stamp of approval, be it the Nobel books, the Oscar movies or my fifth grade lit papers (now framed). There is a point where one has to wonder, what are the standards? What are the requirements?
At the root of it, the literature Nobel is famously based on two manifestly vague deathbed demands: that the candidate should have bestowed "the greatest benefit on mankind" and the condition for literature, "in an ideal direction". The saving grace is that there is but one committee who does the deciding, even if a quick skimming of Nobel lit criteria history showed varying subjectivity. Right now the Swedish are looking for pioneers. Modiano was complimented for his work on "ungraspable human destinies" with central themes of memory, identiy and time.
His case is that of having written a very good book, but a very good book by objective standards. It's delicate, but profound, nonetheless subtle. The chosen themes are powerful, pertinent. The author is original in expression, sometimes reminiscent of the lassitude of Murakami's protagonists, sometimes clear and blunt. In terms of writing style, this is a book of many flavours: motifs, metaphors, a few brushstrokes per rudimentary description to underscore the predominantly interior perspective, unreliable protagonist, flashbacks. It is exquisite. Believe you me, this beginning alone gave meaning to many a restless literature class.
That being said, my appreciation of it is as towards a Rubik, a riddle, a chess game. What I missed was the musicality of words, the punch of the dissonance, the power of the length and rhythm of sentences; French is a very musical language, but such potential was wasted here. I missed the people. I missed the fear, the subtle burn, the annoyance, the rudeness, the stupidity, the humor, the stink of daily interractions. I missed the noise; the work was near deafness and much of the perception was inwards, already processed, internalized. Not all people might feel drama and tragedy, despair and madness, and for the purpose of the book, there was no need. It is a well-balanced book, but not a striking one.
For example, the movie Phoenix (Memory, identity and time - all the more vibrant for a touch of betrayal and confused longing) is equally silent, by design. The context is more powerful, yes, but it has a wonderful tempo in movement, speaking, length of scenes, not to mention the play of colors and focus.
In the end, Pour que tu ne te perdes pas dans le quartier is a bit like the beginning quote I cannot give the reality of facts, I can only present its shadow: like taking a vacation inside a snowglobe.
traceymc's review against another edition
dark
mysterious
reflective
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Flaws of characters a main focus? It's complicated
4.0
janadykstra's review against another edition
3.0
I spent the first 2/3 of this book being very confused and willing myself to continue based solely on the fact that it is only 155 pages. I enjoyed the last 50 pages more so than the first 100... When I finished I read many reviews on GR to see if I could make any better sense of what this book was about. I feel like I may need to read it again.
noleek's review against another edition
dark
reflective
slow-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.25
anniecolon's review against another edition
1.0
I’ll be the first to admit, I just didn’t get this one
cynthiak's review against another edition
5.0
Comment définir ce livre ? Impossible, Modiano, c'est l'atmosphère, c'est Paris, c'est le temps qui passe, ce sont les souvenirs qui s'effacent, ce sont les personnages qui s'oublient avant d'être oubliés, c'est la mélancolie, c'est la nostalgie aussi, ce sont les lieux à jamais enfouis, tout Paris est une salle de pas perdus...
kiminohon's review against another edition
mysterious
reflective
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.0
stef369's review against another edition
5.0
Gelezen in originele versie - ik las hiervoor al enkele romans van Modiano en was meteen verkocht. Ook hier weer een roman vol mysterie, heimwee, donkerte... Jean Daragane wordt op een dag opgebeld door een man die zijn telefoonboekje gevonden heeft. Dat werkt "als een insectenbeet waarvan je eerst niets meent te voelen": door het contact met deze mysterieuze Ottolini doemen de duistere, geheimzinnige kinderjaren van Jean weer op. Het blijft allemaal erg vaag, alsof het tot een andere wereld behoort. p. 74: "Il avait peut-être tort de se plonger dans ce passé lointain. A quoi bon? Il n'y pensait plus depuis de nombreuses années, si bien que cette période de sa vie avait fini par lui apparaître à travers une vitre dépolie. Elle laissait filtrer une vague clarté, mais on ne distinguait pas les visages ni même les silhouettes. Une vitre lisse, une sorte d'écran protecteur."
De roman speelt zich eigenlijk af in drie verschillende periodes uit Jean's leven: als kind (heel ver verwijderd en dus uiterst vaag, waarbij vreemd genoeg enkel details in het geheugen verder leven), als jongeman (toen hij een roman begon te schrijven) en als de oudere, volwassen man die hij nu is. Modiano moduleert meesterlijk van de ene tijd naar de andere, zodat je op den duur een wazig, "tijdloos" effect krijgt. We weten dat er in zijn kinderjaren iets gebeurd is, dat het te maken heeft met een louche milieu, maar veel meer komen we niet te weten. En dat is net de "charme" van de roman: het verleden blijft een donker, verloren gat. Ook de omgeving waarin de roman zich afspeelt (in Parijs, en in de achterbuurt) blijkt verlaten en het landschap "denkt" en "voelt" dus mee met het personage.
De roman doet een beetje denken aan "L"herbe de nuit", is een soort diepere uitwerking ervan. Modiano schrijft prachtig. Met eenvoudige woorden en zinnen kan hij een hele diepe magie en poëzie bereiken. Een schitterende auteur.
De roman speelt zich eigenlijk af in drie verschillende periodes uit Jean's leven: als kind (heel ver verwijderd en dus uiterst vaag, waarbij vreemd genoeg enkel details in het geheugen verder leven), als jongeman (toen hij een roman begon te schrijven) en als de oudere, volwassen man die hij nu is. Modiano moduleert meesterlijk van de ene tijd naar de andere, zodat je op den duur een wazig, "tijdloos" effect krijgt. We weten dat er in zijn kinderjaren iets gebeurd is, dat het te maken heeft met een louche milieu, maar veel meer komen we niet te weten. En dat is net de "charme" van de roman: het verleden blijft een donker, verloren gat. Ook de omgeving waarin de roman zich afspeelt (in Parijs, en in de achterbuurt) blijkt verlaten en het landschap "denkt" en "voelt" dus mee met het personage.
De roman doet een beetje denken aan "L"herbe de nuit", is een soort diepere uitwerking ervan. Modiano schrijft prachtig. Met eenvoudige woorden en zinnen kan hij een hele diepe magie en poëzie bereiken. Een schitterende auteur.