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4.00
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Jan 08, 2026
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0593381203
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| 1,536
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really liked it
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Safia Elhillo is one of my favorite poets. The January Children and Girls That Never Die are two stellar poetry collections that I'd highly recommend.
Safia Elhillo is one of my favorite poets. The January Children and Girls That Never Die are two stellar poetry collections that I'd highly recommend. In recent years, she also started delving into the YA genre. As of right now, she has written two novels in verse for a younger audience: Home Is Not A Country and Bright Red Fruit. I've read Home Is Not A Country twice. Both times I wasn't really wowed by it. Elhillo's poetry is beautiful, but the storytelling was quite messy and the whole novel didn't feel authentic. Bright Red Fruit is a big leap from Elhillo's YA debut and works much better both as a story and as a compelling work of poetry. Bright Red Fruit is an intriguing, honest novel about a teenage girl's journey into the slam poetry scene and her relationship to an older man that takes advantage of her. Samira has the reputation of being a "bad girl" in her community. No matter how hard she tries, she can't shake her reputation. She's never gotten the benefit of the doubt—not from her mother or the aunties who watch her like a hawk: "but the religion we really practice is the religion / of reputation fear of a deity replaced by fear / of each other the whispers the rumors / the disgrace the brittleness of a family's good name / of a family's honor the brittleness of the girls / who hold it in our clumsy hands". Despite being grounded in two wonderful friendships to her best girlfriends ("Tamadur / i tell her about the poetry workshop, & she squeals / with excitement, already rattling off the names / of famous sudanese writers & calling me their child" <33 girls supporting girls, we love to see it!), Samira turns to an online poetry forum for solace. There, she catches the eye of an older, charismatic poet named Horus. For the first time, Samira feels wanted. She doesn't recognize the manipulative nature of Horus and the fact that he is not only taking advantage of her talent but also abusing his power as an adult. call a myth what it is:Bright Red Fruit borrows its epigraph from Louise Glück's "Persephone the Wanderer" (published in Averno, 2006): "in the tale of Persephone / which should be read / as an argument between the mother and the lover— / the daughter is just meat." The myth of Persephone plays a significant role in the novel's conception, with Samira being likened to Persephone, her relationship to her mother mirroring that of Persephone and Demeter, and Horus being a stand-in for Hades. This likeness is pretty basic and the analogies didn't work all the time, but especially the mother-daughter-relationship is incredibly well done in Bright Red Fruit. At one point, Samira reflects: "it used to be enough, to be her girl / her only daughter, only other person / in this house, until it wasn't. until / i awoke to new hungers, the whole world / in its colors tempting me like fruit / like the seven seeds of pomegranate / that ruined persephone." Elhillo does a fantastic job at both making us understand Samira and where she's coming from as well as her mother. The latter being incredibly interesting and useful for younger audiences, who tend to sympathise with Samira but have problems relating to the older generation. The fears of Samira's mother aren't unfounded. It is dangerous to chat with strangers online, to meet up with them in the park, to invite them to your house when no one's home. We see what happens to Samira, we see how Horus uses her, and how he almost manages to violate her. Samira's mother admits to her: "with every year that passes i feel you slipping / through my fingers, & you're all i have" – which is so incredibly vulnerable, because it not only shows her love and fear for her daughter, but also the circumstance that she gave up everything for her daughter, fleeing from Sudan to the US, so that her daughter could have a better life. "you're all i have" is an incredibly vulnerable admission. I love that the two reconcile at the end and that Samira finally comes clean and tells her everything that went down with Horus as well as the bullying the received from the community due to her bad reputation. Her mother straight up tells her: "i will always come get you. / i will always choose you first", and that she's incredibly sorry that Samira didn't feel safe enough to open up to her. There are so many instances in this novel in which Horus threatens Samira ("I will tell your mother that you invited me into your home, and she won't like that at all, won't she?") that feel really dangerous to a teenager but as an adult you know for a fact that Horus would never follow through because as an adult he would be 100% incriminating himself, under no circumstances will he admit to another adult that he has a "relationship" with a minor. But as a minor, Samira doesn't realise this. And there are so many instances where you just want her to tell her mother but it takes her so long because of her mother's harsh regime. At the end, her mother tells her that she'll start teaching Arabic at the Sunday school Samira was bullied out of – which is great because it gives her mother a purpose outside of her daughter. And she also tells her: "but i wanted you to know that if you did want to go, / if you do, you will have me there with you, / & anyone who wants to say anything / will have to say it to my face" – which is just wonderful and shows how far the two have come! My favorite character in the entire novel, though, is Farah – "farah / our word of warning / of endless cautioning / the line our mothers draw / in the sand / & dare us to cross". She's the girl who was exiled for her bad reputation, the one who got away. And she's the one who, now, teaches the poetry course that Samira takes part in. It's wonderful to see how much she cares for her students and that she stands up for them. She fights so much for Samira, seeks out her mother to put in a good word for her etc. etc. I loved her character so, so much, and I love that someone like her was included in this novel! Overall, Bright Red Fruit is a wonderful novel about consent and the power of opening up to your friends and loved ones. Elhillo has grown so much as a YA writer and even though I found the plot predictable, I'd still shove this book into any teenager's hands. It's easily read in one sitting and gripping enough to hold your attention. I haven't read anything in December and then absolutely flew through this book one Sunday morning. Highly recommend, especially if you're a fan of Elizabeth Acevedo's The Poet X. The parallel between these two books is uncanny, and both are worth the read! ...more |
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1
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Dec 28, 2025
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Dec 28, 2025
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Dec 15, 2025
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Hardcover
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1846553776
| 9781846553776
| 1846553776
| 3.93
| 1,775
| Jan 01, 2005
| Jan 01, 2010
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Oct 14, 2025
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0571368123
| 9780571368129
| 0571368123
| 4.04
| 22,945
| 1988
| Mar 04, 2021
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Jun 27, 2025
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0571373194
| 9780571373192
| 0571373194
| 4.14
| 636
| Jan 17, 2023
| Aug 01, 2022
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it was ok
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Black and Female features three essays by Tsitsi Dangarembga: "Writing While Black and Female", "Black, Female and the Superwoman Black Feminist" and
Black and Female features three essays by Tsitsi Dangarembga: "Writing While Black and Female", "Black, Female and the Superwoman Black Feminist" and "Decolonisation as Revolutionary Imagining". I hadn't read anything of Dangarembga's prior to this, but I am aware of her legacy and importance. Tsitsi Dangarembga's debut novel, Nervous Conditions (1988), as the first novel to be published in English by a Black woman from Zimbabwe. Last year, I bought a copy and put Black and Female in my shopping card as well because it sounded interesting and I love a good nonfiction. Unfortunately, this book of essays didn't do much for me. I didn't find any essay particularly insightful and couldn't shake the feeling that Dangarembga's thoughts were kind of all over the place. I did appreciate learning a little bit about herself, especially her experience in the foster care system growing up, but I assume that this is not her best work. As this is her nonfiction debut, this seems very likely. As Nervous Conditions is on my TBR, I still look forward to reading it because I assume her fiction work is much better. I have been in flight since I left the womb, and probably before, given the circumstances I was born into and the effect of these circumstances on my prenatal environment.Tsitsi Dangarembga was born on 4 February 1959 in Mutoko, Southern Rhodesia (now Zimbabwe), a small town where her parents taught at the nearby mission school. From the ages of two to six, Dangarembga lived in England, while her parents pursued higher education. She returned to Rhodesia with her family in 1965, the year of the colony's Unilateral Declaration of Independence. Dangarembga completed her A-Levels at Arundel School, an elite, predominantly white girls' school in the capital, Salisbury (today Harare), and in 1977 went to the University of Cambridge to study medicine at Sidney Sussex College. There, she experienced racism and isolation and left after three years, returning in 1980 to Zimbabwe several months before the country's independence. Dangarembga worked briefly as a teacher, before taking up studies in medicine and psychology at the University of Zimbabwe while working for two years as a copywriter at a marketing agency. She wrote three plays during this period: Lost of the Soil (1983), She No Longer Weeps, and The Third One. In 1988, her first novel, Nervous Conditions, was published. It's important to know this context before diving into Black and Female, as Dangaremga references her past but doesn't give you the complete run-down. In the first essay (the strongest of the three!), "Writing While Black and Female", Dangarembga examines what it is like to write as a Black woman. Dangarembga similarly notes that it is through silence that the destructive legacy of empire is perpetuated. When the victim speaks, points to where they are in pain and indicates who has caused it, they find space for healing: "Through writing, I cultivate my being to bring forth forests that replenish our depleted humanity." "Empire could not bear to hear our screams because it knew it caused them." In 1977, Audre Lorde made this exact same argument in her talk "The Transformation of Silence into Language and Action" from which the popular quote "Your silence cannot protect you." stems. So Dangarembga's thoughts on this matter don't feel particularly original or new. Dangarembga understood the power of words from a young age. When she and her brother were taken from Zimbabwe to England, they were forced to stay in a foster home while their parents worked and studied. It was an experience that "sliced her in two", leaving her with a "never-ending emptiness". In the midst of powerlessness, words were a way of regaining agency. She wrote a diary as a teenager, and gradually began to think more seriously about the narratives she wove: "With words I could do things. I could make good what was no more. Then perhaps I could bind the things that mattered to me with words and not experience their loss. I could beat the nameless things that sharpened the guillotine and came for me after I was tucked into bed." "Writing assures me that I am more than merely blackness and femaleness. Writing assures me that I am." Though writing helped her process what was happening to her, she initially struggled to place her own life at the centre of her work. There was no significant black female character in her first play. This changed once she became more involved in feminist activism at the University of Zimbabwe, at which she enrolled shortly after independence. It was then that she was able to recognise the pervasive "pressures on me to not be myself, but to stand in for something else". Revolutionary literature that glorified the struggle for independence was the order of the day – few "were concerned with the individual personhood of young black Zimbabwean girls". Nervous Conditions struggled to find a publisher in Zimbabwe and was eventually taken on by a small feminist press in the UK. The collection includes two other essays: "Black, Female and the Superwoman Black Feminist", sweeping sociopolitical history of Zimbabwean women, and "Decolonisation as Revolutionary Imagining", an examination of Zimbabwe's project of decolonisation, which, Dangarembga stresses, did not end with independence. In the latter, she shows with painstaking clarity, how the political elite has betrayed her countrymen. She argues that activists must also decolonise how we produce and share knowledge, and how we see ourselves. She describes blackness as "condition imposed on me, rather than being … experienced". For Dangarembga, it is a political identity that has little to do with colour, but rather with the common experiences black people endure. She continues: "Other melanated people became complicit," in upholding the structures of the empire. "Such complicity may be conscious or unconscious … melanated people are often rewarded for their acquiescence to the demands of a white world with economic elevation, or with other things that are valued in that world, such as social stature." The final pages of the book are characterised by a fierce urgency. Dangarembga believes the challenges of climate change, immigration and inequality place the world at a crucial juncture. "If the logic of the Enlightenment was racism, slavery, genocide and colonisation, decolonisation is the only logic that offers hope of future," she writes. The task – to uproot a half-a-millennium-old practice – is immense, but "the trajectory of current and future generations depends on that uprooting." The sentiment is true and I share many of her fears, hopes, and dreams. However, Dangarembga's essays (especially the latter two) remain on the surface level and don't provide any new ideas. I can't say that I was chewing her words, that she was providing food for thought. She stated the obvious, that which we all already know. I'm not saying it's bad, I'm just saying I was hoping for something else entirely. ...more |
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Aug 02, 2025
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Aug 23, 2025
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Jun 27, 2025
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392830027X
| 9783928300278
| 392830027X
| 4.29
| 170
| 1993
| 1993
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Feb 26, 2025
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B0DVFJYYQV
| 4.60
| 5
| 1984
| 1984
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really liked it
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Thomas Sankara was a Burkinabè military officer, Marxist revolutionary and Pan-Africanist who served as President of Burkina Faso from his coup in 198
Thomas Sankara was a Burkinabè military officer, Marxist revolutionary and Pan-Africanist who served as President of Burkina Faso from his coup in 1983 to his assassination in 1987. Or as I like to refer to him: He was the man. He told it like it is. It's a true shame that he was assassinated so soon (...or at all). The source of the evil was political and so the only cure must be a political one.At the age of 33, Sankara became the President of the Republic of Upper Volta and launched an unprecedented series of social, ecological, and economic reforms. In 1984, Sankara oversaw the renaming of the country to Burkina Faso ('Land of Incorruptible People'), with its people being called Burkinabé ('upright people'). His foreign policies were centred on anti-imperialism and he rejected loans and capital from organizations such as the International Monetary Fund. However he welcomed some foreign aid in an effort to boost the domestic economy, diversify the sources of assistance, and make Burkina Faso self-sufficient. His domestic policies included famine prevention, agrarian expansion, land reform, and suspending rural poll taxes, as well as a nationwide literacy campaign and vaccination program to reduce meningitis, yellow fever and measles. Sankara's health programmes distributed millions of doses of vaccines to children across Burkina Faso. His government also focused on building schools, health centres, water reservoirs, and infrastructure projects. He combatted desertification of the Sahel by planting more than 10 million trees. Socially, his government enforced the prohibition of female genital mutilation, forced marriages and polygamy. This man got shit done! Sankara's revolutionary programmes and reforms for African self-reliance made him an icon to many Africans as well as people from all over the world. Thomas Sankara defined his program as anti-imperialist. In this respect, France became the main target of revolutionary rhetoric. When President François Mitterrand visited Burkina Faso in November 1986, Sankara criticized the French for having received Pieter Botha, the Prime Minister of South Africa, which still enforced apartheid; and Jonas Savimbi, the leader of UNITA, in France, referring to both men as 'covered in blood from head to toe'. In response, France reduced its economic aid to Burkina Faso by 80% between 1983 and 1985. Denouncing the support of the United States to Israel and South Africa, he called on African countries to boycott the 1984 Summer Olympics in Los Angeles. At the United Nations General Assembly, he denounced the invasion of Grenada by the United States. The latter nation responded by implementing trade sanctions against Burkina Faso. Also at the UN, Sankara called for an end to the veto power granted to the great powers. In the name of the 'right of peoples to sovereignty', he supported the national demands of the Western Sahara, Palestine, the Nicaraguan Sandinistas, and the South African ANC. If all of this sounds interesting to you you should definitely check out Sankara's speeches, among which you'll find his amazingly bold speech before the General Assembly of the United Nations in 1984. Calling out US politics right in front of US politicians? Chef's kiss. Calling out the UN's hypocrisy when it comes to South Africa and Israel right in front/ at the UN? Chef's fucking kiss. Like I said, Sankara was the man. Nobody did it like him. Some years ago, I read another of his brilliant speeches on women's rights and fell in love with him. I vowed to read up more on his life and philosophy but never did. If you have any good recommendations for biographies or nonfiction works, hit me up! I want to read them! His speech before the General Assembly of the United Nations in 1984 is a favorite in my household. My dad's obsessed with it and he wanted me to listen to it for ages. I never did because I feared I wouldn't understand his French well enough. Now I finally found the time to seek out an English translation and wowza – it's amazing. The power this speech holds is one to be reckoned with. I would highly recommend reading it fully but I will leave you with my favorite quotes: "Aid is supposed to help development, but one can look in vain in what used to be Upper Volta to see any sign of any kind of development." "I rise up on behalf of all who seek in vain any forum in the world to make their voices heard and to have themselves taken seriously." "...and like all the rights of peoples it is a right which can be gained only through the struggle of the peoples." "It is our blood that nourished the rise of capitalism, that made possible our present condition of dependence and consolidated our underdevelopment." It was fascinated (and saddening) to see how timely his speech is 40 fucking years later. Western countries still think themselves the mighty ones and in the right to exploit African nations, Palestinians are still fighting for their freedom, capitalism is still fucking us all over. But Sankara sets an empowering example of what do to in a situation of powerlessness: rise up, gather your people and your force, speak up, fight. Fight. Fight. Fight. The ending of this speech reads like a prophecy: "Fatherland or death: we shall triumph." Sankara didn't triumph then. Death was his. But it doesn't have to be ours. ...more |
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1
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Nov 13, 2024
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Nov 13, 2024
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Nov 05, 2024
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Paperback
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284876886X
| 9782848768861
| 284876886X
| 4.18
| 15,917
| Aug 19, 2021
| Aug 19, 2021
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None
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Jun 10, 2024
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Paperback
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3838971663
| 9783838971667
| 3838971663
| 3.00
| 4
| 2017
| 2017
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liked it
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Letzte Woche habe ich das erste Mal bei der Bundeszentrale für politische Bildung bestellt. Es sind zwei Comics geworden – Alphabet des Ankommens und
Letzte Woche habe ich das erste Mal bei der Bundeszentrale für politische Bildung bestellt. Es sind zwei Comics geworden – Alphabet des Ankommens und Widerstand / Résistance. Gestern kamen beide Bücher in tadellosem Zustand bei mir an. 4,50€ pro Buch (ein Hardcover, ein Paperback) – ich bin begeistert! Ich werde in Zukunft bestimmt noch öfter bei der BpB bestellen. Beim Alphabet des Ankommens handelt es sich um 12 Comicreportagen über den Neuanfang in einem fremden Land von Journalist*innen und Zeichner*innen aus 10 Ländern. Die Reportagen wurden ursprünglich online veröffentlicht, bevor die BpB die 12 Reportagen auch in einem Sammelband in gedruckter Ausgabe herausgab. Das Projekt des Deutschen Comicvereins enstand Anfang 2017 im Rahmen eines Workshops, der von der Bundeszentrale für politische Bildung gefördert wurde. Die Idee hinter dem Projekt war es, das journalistische Mittel der Comicreportagen auch im deutschsprachigen Raum zu etablieren, da diese hier immer noch rar gesät sind. Comics werden oft starke Subjektivität und mangelnde Seriosität vorgeworfen – das dies nicht stimmen muss, zeigen die vorliegenden 12 Reportagen, die gut recherchiert und erarbeitet wurden. Während in Frankreich und den USA in den letzten Jahren zahlreiche comicjournalistische Magazine, Online-Plattformen und Kollektive aus dem Boden geschossen sind, wird die Disziplin im deutschsprachigen Raum noch kritisch beäugt. Das ist verwunderlich, da Comics und sogenannte Graphic Novel im fiktionalen Bereich zu Kassenschlagern werden (siehe bspw. Heartstopper von Alice Oseman). Und auch im Journalismus geht es darum, immer neue Wege zu finden, vor allem das jüngere Publikum und/oder Menschen mit kurzer Aufmerksamkeitsspanne bei der Stange zu halten. Comicreportagen eignen sich perfekt dafür. Um die menschliche Dimension der Migration stärker in den Fokus zu rücken, hat der Deutsche Comicverein im Frühjahr 2017 das Projekt "Alphabet des Ankommens" aufgelegt. Dieses zielte explizit auf Aspekte des Privat- und Alltagslebens ab: Wie lange beeinflusst die Erfahrung politischer Verfolgung die Psyche? Kann man sich von den Geschmäckern der Kindheit je ganz verabschieden? Wie kommuniziert man mit Menschen, deren Sprache man noch nicht beherrscht und deren Umgangsformen man nicht kennt? Im Verlauf des einwöchigen Workshops wurden jeweils 12 Tandems (bestehend aus je 1 Zeichner*in und 1 Journalist*in) gebildet, die zu unterschiedlichen Aspekten rund um Migration und Ankommen in einem fremden Land recherchierten und eine Comicreportage entwickelten. Die Comics wurden sowohl auf Deutsch, Englisch, Französisch und Arabisch verfasst. In dem Sammelband liegen sie sowohl im Original- als auch in Übersetzung vor. Themen der Comicreportagen sind zum Beispiel der FC Lampedusa, in dem seit 2015 in Hamburg Fußballspieler aus aller Welt kicken ("Der freie Platz"), der feministische Kampf einer jungen Palästinenserin ("Fremdkörper"), die menschlichen Konsequenzen einer verschärften Asylpolitik ("Auf der Viersener Wartebank") oder die Tücken der Wohnungssuche ("Wohnungsfragen"). Themen, die Migrant*innen beschäftigen; Probleme, die Migrant*innen nur allzu gut kennen. Die Entstehung der Reportagen war sehr unterschiedlich, wie hier anhand von zwei Beiträgen beispielhaft gezeigt werden soll: Jens Wiesner hat die Story des indonesischen Studenten E. Sukarno, der sich durch den Dschungel des deutschen Aufenthalts- und Arbeitsrechts schlagen muss, vorrecherchiert und in den Workshop mitgebracht. An journalistischem Material – zum Großteil Interviewausschnitte, Hintergrundinformationen, Zahlen, Fakten und Fotos aller Beteiligten – mangelte es nicht. Wiesner und sein Teampartner, der Zeichner Markus Köninger, standen zuerst vor der Aufgabe, das vorhandene Material zu sichten, zu entschlacken und auf eine funktionierende Storyline zu reduzieren. Die Comicreportage "Uncharted Waters", die daraus entstand, ist mit Abstand meine liebste in dem ganzen Sammelband. Weitere Highlights waren "Zwischen den Saiten" von Silke Weber und Simone Kesting und "Brot, Salz und verrückter Käse" von Mohammad Al Ajeel und Julia Kluge. Eine andere Herangehensweise haben die italienische Zeichnerin Alice Socal und der eritreische Journalist Ahmed Mohammed Omer gewählt. Letzterer wollte eine Reportage über die unterschiedlichen Verhaltenskonventionen im öffentlichen Raum in Eritrea und Deutschland machen. Um das ganze anschaulich zu gestalten, schlug er vor, seinen Bekannten Merhawi Baire, der wie Omer aus Eritrea stammt, bei seinen täglichen U-Bahn-Fahrten durch Hamburg zu begleiten. Außer einem kurzen Script gab es noch nicht viel Material. Deshalb setzten sich Socal und Omer kurzerhand mit Baire in die U-Bahn, um die nötigen atmosphärischen Elemente und konkreten Situationen einzufangen. Aus diesen Skizzen und einzelnen Interviews mit Baire schrieb Omer einen längeren Fließtext, den Socal in Szenen umwandelte. Die Comicreportage "Across the Sahara and onto the Metro" ist somit zum Großteil aus einem auf unmittelbarer, erlebter Recherche basierenden Arbeitsprozess hervorgegangen. Obwohl alle 12 Comicreportagen recht kurzweilig sind und aufgrund ihrer Kürze nicht tief in die jeweilige Thematik einsteigen können, habe ich diesen Sammelband einfach nur genossen. Jede Reportage ist einzigartig auf ihre eigene Art und Weise. Und obwohl ich nicht immer mit dem Erzählstil klarkam oder den Zeichenstil toll fand, – wirklich ansprechend fand ich tatsächlich nur den Zeichenstil von Julia Kluge (...der würde auch sooo gut zu einem Kinderbuch passen!) – war jede Reportage auf ihre Art interessant und den kleinen Einblick, den man in die Lebensrealität anderer Menschen bekam, wertvoll. Ich kann den Sammelband wirklich wärmstens empfehlen. ...more |
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Jun 04, 2024
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Jun 04, 2024
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Jun 03, 2024
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Paperback
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3838972058
| 9783838972053
| 3838972058
| 4.15
| 13
| 2020
| 2020
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really liked it
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Widerstand. Drei Generationen antikolonialer Protest in Kamerun ist ein Comic, der von der Initiative Perspektivwechsel e.V. erarbeitet wurde und hera
Widerstand. Drei Generationen antikolonialer Protest in Kamerun ist ein Comic, der von der Initiative Perspektivwechsel e.V. erarbeitet wurde und herausgegeben wird. In den drei im Comic versammelten Reportagen wird vom Kampf gegen die europäischen Kolonialmächte bzw. kolonialen Kontinuitäten in unterschiedlichen zeitlichen Epochen in Kamerun erzählt. Ich bin auf das Projekt durch das Buch „Deutschland, deine Kolonien“: Geschichte und Gegenwart einer verdrängten Zeit aufmerksam geworden. Da ich selbst kamerunische Wurzeln habe und bisher nur wenig Bücher von kamerunischen Künstler*innen und Autor*innen las, war ich sofort Feuer und Flamme. Der Comic ist sowohl als deutschsprachiges Softcover über die Initiative Perspektivwechsel e.V. gegen eine Spende erhältlich als auch in einer bilingualen (französisch-deutschen) Hardcover-Ausgabe über die Bundeszentrale für politische Bildung. Ich habe den Comic auf letzterem Weg für 4,50€ gekauft und gleich noch Alphabet des Ankommens für denselben Preis mitgenommen. Es lohnt sich, auf beiden Webseiten mal vorbeizuschauen! Kamerun war offiziell 76 Jahre lang eine Kolonie: 1884 bis 1919 von Deutschland, 1919 dann aufgeteilt und jeweils bis 1960 von Frankreich und Großbritannien. Wenn wir Europäer*innen an die Kolonialzeit zurückdenken, betrachten wir diese meist exklusiv aus einer europäischen Perspektive, mit Fokus auf unsere Länder, unsere "Helden", unsere Anliegen in Afrika. Die Perspektive der kolonisierten Menschen kommt viel zu kurz, und so auch ihr Widerstand. Vielen Menschen, vor allem auch in Deutschland, ist das Ausmaß der deutschen rassistischen Kolonialpolitik (in Kamerun und anderenorts) nicht bewusst. Es herrscht der Irrglaube, dass wir nicht so "schlimm" gewesen seien, wie die Franzosen und Briten. Viele Deutsche wissen deshalb auch nicht um die verschiedenen Formen des Protests und Kampfes, die die europäische Invasion mit sich brachte. Der Comic Widerstand möchte mit diesen Irrglauben aufräumen und Bildungslücken schließen. Der Comic wurde durch drei Mitglieder der Initiative Perspektivwechsel e.V. verfasst – Hilaire Djoko, Katharina Lipowsky und Bathilde Maestracci – und durch zwei Zeichner – Franky Mindja und Daniel Assako – realisiert. Das Besondere (und für mich wirklich Tolle) daran ist, dass mit Hilaire, Franky und Daniel drei Kameruner an diesem Projekt direkt beteiligt sind. Das ist nicht üblich und vielen Publikationen im deutschen Raum, vor allem im Bereich Comic & Graphic Novel, mangelt es an Diversität und dem Einbeziehen von betroffenen Stimmen. Ebenso toll finde ich es, dass der Comic in der Ausgabe der BpB auch in französischer Form vorliegt und somit auch in kamerunischen Schulen und Universitäten eingesetzt werden kann. Ich habe die französische Version gelesen und würde sagen, dass man den Comic ab dem Level B1, spätestens B2, auch in deutschen Schulen im Französisch-Unterricht einsetzen kann. Und das ist einfach nur klasse. Dieser Comic passt nicht nur in den Geschichtsunterricht, er kann auch im Fremdsprachenunterricht als Lehrmittel dienen und eine tolle Diskussionsgrundlage darstellen. Kapitel 1: Kampf gegen Segregation durch Rudolf Manga Bell, 1910-1914 König Rudolf Manga Bell war mir bereits vor der Lektüre ein Begriff, da er zu den ikonischsten Figuren des antikolonialen Widerstands in Kamerun zählt. 1873 in Douala geboren war er ein Enkel von König Ndumbé Lobé, der den "Schutzvertrag" 1884 mit Deutschland unterzeichnet hatte. Die Familie Bell pflegte jahrelang gute Beziehungen nach Deutschland. Rudolf Manga Bell selbst wurde in Aalen ausgebildet und lebte fünf Jahre bei einer deutschen Gastfamilie. Das Jahr 1902 stellte einen Bruch dieser guten Beziehungen dar. Hatte sich die deutsche Kolonialpolitik bis dahin auf die Ausbeutung von Ressourcen "beschränkt", war die deutsche Kolonialverwaltung nun daran interessiert, das gesamte Gebiet der Douala unter ihre Kontrolle zu bringen und durch Umsiedlungen der Bevölkerung dieses zu segregieren, sprich getrennte Zonen für die weißen deutschen Siedler und die Schwarze Bevölkerung festzulegen. Bell und andere Douala wehrten sich vehement gegen dieses Vorhaben, teils auch in offenen Briefen, die sie an den Reichstag schickten. Sie beschwerten sich über Enteignungen, Zwangsarbeit ohne Lohn, willkürliche Verhaftungen sowie Prügelstrafen, das Niederreißen von Häusern ohne Genehmigung und die rechtsbeugenden Handlungen durch den Gouverneur Jesko von Puttkamer. Die Kolonialverwaltung versuchte Bell zu entmachten und durch Bestechungen Reibungen innerhalb der Douala zu schüren. Der Konflikt fand 1910 seinen Höhepunkt, als die neue Kolonialleitung unter Otto Gleim versuchte, das Gebiet der Doula zu segregieren, mit dem fadenscheinigen Grund der "Malariaprävention". Bell richtete Petitionen an Gouvernement und an den Reichstag, schickte 1912 seinen Sekretär Ngoso Din nach Berlin, nahm Kontakt zur deutschen Opposition und christlichen Missionen auf und schaltete einen Berliner Anwalt in dem Fall ein. Daraufhin wurde er von der deutschen Besatzung angeklagt und verfolgt. 1914 wurde er schließlich wegen "Hochverrats" zum Tode durch den Strang verurteilt, ohne fairen Prozess. Rudolf Manga Bell wurde mit seinem Sekretär Ngoso Din am 8. August 1914 in Douala durch Erhängen hingerichtet. Seine letzten Worte waren: "Unschuldiges Blut hängt ihr auf. Umsonst tötet ihr mich. Aber die Folge davon wird die größte sein." Die Geschichte rund um Rudolf Manga Bell zeigt das brutale Vorgehen der deutschen Kolonialverwaltung in Kamerun und räumt mit dem Mythos der "zahmen Deutschen" auf. Zudem stellt es einen nationalen Helden in den Fokus, dessen Geschichte und Schicksal auch in Deutschland mehr Menschen kennen sollten. Kapitel 2: Die Anlu-Rebellion durch die Frauen aus Kom, 1958-1961 Die zweite Geschichte führt uns in den Nordwesten Kameruns und zu einem Aufstand, von dem ich vor der Lektüre des Comics noch nie etwas gehört hatte. Es geht hier um tausende Frauen aus Kom, die sich kurz vor der Unabhängigkeit Kameruns gegen neue Landwirtschaftsgesetze und die Verdrängung ihrer traditionellen Lebensweise durch die Kolonialpolitik der Briten zur Wehr setzten. Während des mehrjährigen Protestes dominierten sie in vielen Teilen des Königreichs Kom immer wieder das Dorfgeschehen. Sie organisierten sich in Dorfräten und unterstützten ihre Aktivitäten gegenseitig. Als Protestform wählten sie das traditionelle Strafinstrument Anlu. Dieser Ritus hatte in der präkolonialen Zeit eine Vielzahl von wichtigen Funktionen: Er sollte zum einen den Schutz, die Würde und die Autorität der Frauen sicher stellen. Er sicherte aber auch die Aufrechterhaltung der sozialen Ordnung und die Reproduktion der Kom-Gesellschaft. Eine wichtige Komponente des Anlu ist das Entblößen der primären und sekundären Geschlechtsteile durch die Frauen. Obwohl es während der Proteste auch zu Inhaftierungen und brutalen Vorgehen durch die britische Kolonialverwaltung kommt, sind die Frauen am Ende erfolgreich und die neue Gesetzgebung wird wieder aufgehoben. Diese Geschichte ist besonders wichtig, da sie den Widerstand von Frauen im Speziellen in den Fokus rückt. Geschichten rund um Kolonialismus und kolonialen Widerstand handeln oft von Männern. Frauen agieren, wenn überhaupt, im Hintergrund. Das ist hier anders, und deshalb ist das Herausstellen dieser Epoche so wichtig. Kapitel 3: De-Kolonisierung der Stadt durch André Blaise Essama, 2013-heute Seit 2013 setzt sich der Aktivist André Blaise Essama für die Abschaffung von Statuen und Straßennamen ehemaliger französischer Kolonialherren ein. Diese Diskurs kenne ich nur zu gut aus Berlin (siehe Umbenennung des Gröbenufers oder der M*-Straße) und so war es umso schöner zu sehen, dass es diese Bestrebungen auch in Kamerun gibt. Ich war tatsächlich überrascht davon, wieviele Überbleibsel aus der Kolonialzeit bis heute das Stadtbild in kamerunischen Großstädten prägen, von der Statue Gustav Nachtigalls vor dem Rathaus in Douala oder der Statue Karl von Gravenreuths im Präsidentenpalast. Der Aktivist Essama möchte Orte schaffen, die an antikoloniale Kämpfer*innen erinnern. Im dritten Kapitel wird davon erzählt, wie sein Vorhaben in der kamerunischen Bevölkerung wahrgenommen wird, von "der ist doch ein Spinner" zu begeistertem Zuspruch. Hatte er bislang vor allem Relikte aus der Kolonialzeit angeprangert, zerstörte er 2016 die zeitgenössische Kunstinstallation der französischen Künstlerin Sylvie Blocher in Douala. Die Aktion Essamas war das Topthema auf allen Kanälen. Wie soll mit dem kolonialen Erbe in Kameruns Städten umgegangen werden? Wie soll daran erinnert werden? Essama sagt: "Wir müssen zuvor unsere eigene Geschichte bearbeiten, unseren eigenen Ikonen Raum in der Stadt geben bevor wir internationale Künstler ausstellen." In dem Begleitinterview zum Kapitel wird darauf hingewiesen, dass es in Kamerun an Erinnerungsorten (wie bspw. Museen) fehlt. Kämpfe um Deutungshoheiten werden somit im Straßenbild ausgefochten. Ich fand alle drei Kapitel super spannend und super aufbereitet. Da es sich um Comic-Kurzreportagen handelt, ist es unbedingt notwendig, sich noch weiterführend zu informieren und es nicht bei dieser kurzen Lektüre zu belassen. Dennoch ist sie ein toller Ausgangspunkt und vor allem auch deshalb so wertvoll, da sie sich für die verschiedensten Altersklassen anbietet. Ich bin richtig froh, dass es diesen Comic gibt! ...more |
Notes are private!
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1
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Jun 05, 2024
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Jun 05, 2024
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Jun 03, 2024
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Hardcover
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B0DM45MTPK
| 4.00
| 147
| 2022
| 2022
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liked it
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Diese Essaysammlung findet sich schon seit Jahren im Katalog der Landeszentrale für politische Bildung Berlin. Doch erst im Mai diesen Jahres habe ich
Diese Essaysammlung findet sich schon seit Jahren im Katalog der Landeszentrale für politische Bildung Berlin. Doch erst im Mai diesen Jahres habe ich es geschafft, sie mal mitzunehmen. Ich war überrascht, wie leicht mir die Lektüre fiel und wie schnell ich mit dem Buch durch war – ich hatte zunächst befürchtet, dass dies ein Kandidat sein könnte, der länger auf meinem SuB verweilt. Bei der erneuten Durchsicht des Buches für meine Rezension fiel mir dafür auf, wieviel ich von den erlesenen Informationen auch gleich wieder vergessen hatte. Finde ich immer super ärgerlich, aber das ist wohl eher ein Problem meiner Hirnleistung als des Buches selbst. Das Buch wird's wohl noch eine Weile in der LpB hier in Berlin geben – also Berlin people, falls ihr Zeit habt, nichts wie hin! Beim Rassismus geht es nie nur um Vorurteile, sondern immer auch um eine Rechtfertigung für die asymmetrische Ausbeutung von Arbeitskraft.»Deutschland, deine Kolonien« bietet einen guten Einstieg in die Kolonialgeschichte Deutschlands. Das Buch ist gut recherchiert (wenn auch teils die Belege fehlen!), hat aber keinen akademischen Anspruch. Die Sprache ist leicht, die Sachverhalte werden anschaulich erklärt. Es kommen sowohl Zeitzeugen als Forscher*innen zu Wort. Es gibt Thementafeln, Zeitsträhle, Bilder und Übersichten. Und jeder Essay beleuchtet einen unterschiedlichen Aspekt des deutschen Kolonialismus. Es wird sowohl die Vergangenheit aufgerollt, als auch koloniale Kontinuitäten bis in die Gegenwart sichtbar gemacht. Persönlich hätte ich mir gewünscht, dass die Essays noch tiefer ins Thema einsteigen und unbekanntere Aspekte der deutschen Kolonialgeschichte beleuchten. Des Weiteren hätte ich mir gewünscht, dass sich mehr Essays mit den ehemaligen deutschen Kolonien in Asien und in Übersee beschäftigt hätten. Es ist grundsätzlich nichts Schlechtes, wenn der Fokus auf den ehemaligen afrikanischen Kolonien liegt, aber es gab wirklich nur einen einzigen Essay über eine ehemalige chinesische Kolonie und ein Kurzinterview zur bedrohten Sprache "Unserdeutsch" in Australien und Papua-Neuguinea. Das ist dann doch etwas wenig. Bereits im Vorwort wird deutlich, was der Anspruch dieses Buches ist: die Herausgeber*innen wollen mit der vorherrschenden verklärenden Kolonialromantik in Deutschland aufräumen. Schluss mit "Deutschland hatte doch gar nicht so viele Kolonien", Schluss mit "Deutschland war doch gar nicht so schlimm wie England oder Frankreich", Schluss mit all diesen Mythen. Deutsche Kolonialgeschichte hat leider noch keinen Einzug in den breiten deutschen Diskurs erhalten. Deutsche Schulcurricula weisen Lücken und blinde Flecken auf, wo die schonungslose Auseinandersetzung mit deutschem Kolonialismus ihren Platz finden müsste. Der breiten Bevölkerung sind viele Aspekte des deutschen Kolonialismus überhaupt nicht bewusst. Diese Essaysammlung ist ein erster Weg, diese Lücke zu schließen. [Es gibt natürlich auch zig andere Sachbücher, die sich mit diesem Thema beschäftigen. Sie müssen halt nur gelesen werden!] Im ersten Kapitel, "Im Goldrausch", geht es um die ersten deutschen Kolonien. Diese waren nämlich private Unternehmungen. Alle Kapitel, die die deutsche Kolonialgeschichte vor 1884 beleuchteten, fand ich super spannend. Das ist nämlich auch ein blinder Fleck für mich. In dem Kapitel wird die Augsburger Handelsfamilie Welser vorgestellt, die im 16. Jahrhundert in Venezuela auf reiche Ausbeute (=Gold) hoffte und die erste deutsche Kolonie, 'Klein-Venedig', gründete. Das Gebiet reichte vom westlichsten Punkt Cabo de la Vela im heutigen Kolumbien bis Maracapaná, nahe der heutigen Stadt Cumaná im Osten Venezuelas. Als einzige deutsche Handelsfamilie hatten sie 1528 einen Vertrag zur Ausbeutung spanischer Kolonien in Südamerika erhalten. Die sogenannte Welser-Kolonie war eine frühe Stufe des globalen Kapitalismus. Doch die Kolonialisten stießen in der Region weder auf das erhoffte Gold noch Silber. Da die Bilanz miserabel war und das ganze Unterfangen zu einem wirtschaftlichen Desaster zu werden drohte, versklavte Alfingers Eroberungstrupp Indigene und verkaufte sie auf den karibischen Märkten, um wenigstens noch etwas "Profit" aus dem Unterfangen schlagen zu können. In einer späteren Infotafel wird zudem die Geschichte der 1682 gegründeten "Brandenburgisch-Afrikanischen Compagnie" dargestellt, die in im 17. Jahrhundert 30.000 Afrikaner*innen in die Karibik verschleppte. Ein weiterer für mich interessanter Essay, "Wie Deutsche die Sklaverei finanzierten", beschreibt, dass Dynastien wie die Fugger bereits in den frühen 1600er-Jahren den portugiesischen Sklavenhandel finanzierten und damit zum Aufschwung der Regionen beitrugen, die Waren für den transatlantischen Handel herstellten. Tuch- und Leinweber in Süddeutschland, Schlesien und später Westfalen profitierten davon, dass ihre Waren gegen versklavte Menschen getauscht wurden. All dies sind Aspekte, die mir in dieser Form nicht bewusst waren. Im Essay "Friede ist zugleich mein Tod" wird das Schicksal des Nama-Anführers Hendrik Witbooi (eigentlich ǃNanseb ǀGabemab) beleuchtet. Dieser war seit Ende des Jahres 1888 Kaptein des mit den Nama verwandten Volks der Orlam und führte die Nama-Aufstände gegen die deutsche Kolonialmacht Anfang des 20. Jahrhunderts an. Der deutsche Oberbefehlshaber von Trotha ging mit etwa 1.500 Soldaten, zwanzig Geschützen und zwei Maschinengewehren gegen die ca. 750 mit Gewehren bewaffneten Kämpfer Witboois vor. Witbooi selbst starb 1905 im Gefecht. Was beachtlich ist, ist, dass Witboois Briefe, die in diesem Jahrzehnt entstanden, enthalten sind. Heute gehören sie zum UNESCO-Weltkulturerbe und wurden in mehrere Sprachen übersetzt. Die deutsche Übersetzung, Afrika den Afrikanern! Aufzeichnungen eines Nama-Häuptlings aus der Zeit der deutschen Eroberung Südwestafrikas 1884-1894, wurde 1982 von Wolfgang Reinhard herausgegeben. In dem Essay "Von der Musterkolonie zum Massaker" wird die Geschichte der deutschen Kolonie Kiautschou aufgerollt. Kiautschou war ein 1898 vom Kaiserreich China an das Deutsche Kaiserreich zwangsverpachtetes Gebiet im Süden der Shandong-Halbinsel an der chinesischen Ostküste, mit der Hauptstadt Qingdao. Kiautschou sollte zu einer Vorzeigekolonie werden. Dazu gehörten neben dem Aufbau einer Kolonialverwaltung v.a. die Schaffung einer modernen Infrastruktur mit der Anlage von Straßen, dem Aufbau eines Frischwasserversorgungssystems und einer funktionierenden Kanalisation. Doch das dieser Traum nur heiße Luft war, zeigte sich schnell. Auf dem Gebiet der Rechtsprechung waren unterschiedliche Gerichte für Einheimische, Zivilisten, Marinesoldaten und für Streitigkeiten zwischen Chinesen und Nicht-Chinesen zuständig, wobei Europäer milder bestraft wurden als Einheimische. Zudem wurde Rassentrennung der Wohngebiete von Anfang an zu einem Markenzeichen der Stadt. Als Motiv wurden "hygienische Gründe" angeführt. Auch das Gesellschaftsleben war durch die rassische Trennung zwischen Chinesen und Europäern geprägt. Und obwohl 1909 eine Deutsch-Chinesische Hochschule errichtet wurde, mit der sich das Deutsche Reich schmückte, schlossen bis zur japanischen Machtübernahme 6 Jahre später nur 20 Studenten ihr Studium ab. Als linguistisch interessierte Person fand ich das Interview zu Unserdeutsch besonders spannend. Unserdeutsch ist eine sterbende Kreolsprache im Südwestpazifik, die heute hauptsächlich in Australien und zu einem geringen Teil in Papua-Neuguinea gesprochen wird. Sie ist zu Beginn des 20. Jahrhunderts im Umfeld einer katholischen Internatsschule in der einstigen deutschen Südseekolonie Deutsch-Neuguinea entstanden. Nach heutigem Kenntnisstand ist Unserdeutsch die einzige Kreolsprache der Welt, deren Wortschatz auf dem Deutschen basiert. Ihre grammatische und lautliche Struktur ist jedoch deutlich stärker vom örtlichen Tok Pisin beeinflusst. Im Jahr 2020 wird Unserdeutsch nur noch von weniger als 100 älteren Menschen als Erstsprache gesprochen (Durchschnittsalter: 75 Jahre). Die Kinder wurden in der Missionsschule in Hochdeutsch unterrichtet und durften auch im Alltag nur Hochdeutsch sprechen. Die Verwendung von Tok Pisin, das von den meisten Kindern bei Eintritt in die Mission als Erstsprache gesprochen wurde, war als Sprache der "Kanaken" strikt verboten. Im Zuge des erzwungenen Erwerbs des Hochdeutschen etablierten die Kinder eine pidginisierte, d. h. vereinfachte und restrukturierte Form des Deutschen für die Kommunikation unter sich, deren Vokabular einerseits weitgehend dem Deutschen entnommen wurde, deren grammatische und lautliche Struktur aber andererseits stark an Tok Pisin angelehnt war. Zu Kolonialzeiten war es üblich, dass Forscher skrupellos mit Afrikanern experimentierten, allen voran die Deutschen. Auch Robert Koch zwang kranke Menschen in Konzentrationslager und testete an ihnen neue Gegenmittel. Auch diesen grausamen Aspekt deutscher Kolonialgeschichte verhandelt dieses Buch. 1906 zog Koch im Auftrag der deutschen Reichsregierung für zwei Jahre auf die Ssese-Inseln im Viktoriasee. Dort fand er einen Seuchenherd für die Schlafkrankheit, die in nur wenigen Jahren eine Viertelmillion Menschen im heutigen Uganda dahingerafft hatte. Als Medikament testete Koch das arsenhaltige Mittel Atoxyl. Dass es in hoher Dosierung giftig ist, war bekannt. Trotzdem erhöhte er die Dosis schrittweise auf ein Gramm Atoxyl, spritzte in Intervallen von sieben bis zehn Tagen und nahm Schmerzen, Erblindung und den Tod tausender Menschen billigend in Kauf. Diese Experimente wurden in Deutschland an Tieren durchgeführt. An Menschen waren sie verboten. In Afrika hat Koch aber die Menschen als Forschungssubjekte benutzt, auf eine Art und Weise, in der es in Deutschland nie erlaubt gewesen wäre. Um pro Tag rund 1000 Patienten zu untersuchen, isolierte er vermeintlich Kranke in sogenannten Konzentrationslagern: Einer Ansammlung von Strohhütten und rudimentären Zelten, die bei Sturm umgeweht wurden. Es fehlte an allem: Decken, sauberem Wasser, zu essen gab es oft nur Mehl und Salz. Wie viele Menschen allein wegen dieser Zustände starben, weiß niemand. ...more |
Notes are private!
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1
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May 27, 2024
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May 29, 2024
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May 22, 2024
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Paperback
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1668012464
| 9781668012468
| 1668012464
| 3.87
| 129
| Dec 03, 2024
| Dec 03, 2024
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really liked it
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Rémy truly does it all: Rwanda-born and Namibia-raised, he went to university in South Africa and is not only a writer of fiction, nonfiction and poet
Rémy truly does it all: Rwanda-born and Namibia-raised, he went to university in South Africa and is not only a writer of fiction, nonfiction and poetry, but also an educator, editor, photographer and founder of Doek, a Namibian arts organization; Namibia’s first literary magazine; and the biennial Doek Literary Festival. And on top of that, he's my favorite author. Only Stars Know the Meaning of Space is one of my favorite novels of all time, and I'm still bitter about the fact that he's so underrated. Ya'll need to give this man a chance! Read his fucking work! Subtitled “A Literary Mixtape,” Only Stars Know the Meaning of Space is not a straightforward short-story collection, but instead alternates between one through-line narrative — the A-Side — and 10 semi-independent stories — the B-Side. Only half-way through did I realise that the book was structured this way. I genuinely cannot wait to reread this short story collection because the interconnectedness (and trying to connect the strings between the stories) made the whole reading experience so much more enjoyable. I really struggled with the first few stories and was confused and unsure about where Rémy was headed, but with each subsequent story, Only Stars Know the Meaning of Space wrote its way into my heart, and I finished the book with the biggest smile on my face and an ache in my heart. The A-Side follows a writer whose parents named him The Way, the Goal, the Destination on the Horizon, but whose friends call him Rambo. He’s about to turn 30 in the first story, “The Hope, the Prayer, and the Anthem (Or, the Fall So Far),” which serves as an introduction of sorts as he lays out the biggest parts of his life: his literary dreams and ambitions (to be headlining literary events and rumored to be having an affair with Zadie Smith); his parents’ love story and his mother’s relatively recent death; his ride-or-die friends (Franco, Rinzlo, Lindo and Cicero — hence the need for the writer to be given a nickname with an O at its end); his ex-girlfriend (he’s not over her); the things he’s spent his 20s doing instead of writing (sleeping around, reading, learning salsa, teaching). “You’re twenty-nine, fam,” he says toward the end of the story, with a “paperback to your name.” Which made me think, true, but that’s also more than most! Throughout the book, the A-Side stories expand on elements hinted at or briefly mentioned in the first story. His mother’s death looms large throughout these, with the piece right in the middle of the book, “Tornado (or, The Only Poem You Ever Wrote),” confronting the awful night when he was summoned to the hospital at 3 a.m. by his brother. Still, the tone of most of the A-Side stories is lighthearted, with the writer being an undeniably funny narrator. So much so that you can't shake the feeling that Rambo serves as a stand-in for Rémy himself. In "Crunchy Green Apples (or, Omo)", he observes: "People think stricter immigration laws make borders safer, protect the labor pool, and keep criminals out but they just make Jollof rice weaker." In "Little Brother", Rémy excellently showcases strained family dynamics all of us are all too familiar with. Our narrator, the "older brother" notes when his mother, yet again, makes fun of his shortcomings: "My brother wet his bed until he was eleven and she's never used him as material for her comedy specials." Another instance of Rémy impeccable humoristic style is the opening paragraph of "The Giver of Nicknames", which I have to quote in full: "When we were clowns, children, and things—before we sprouted personalities, individual hopes, and collective guilt; before we reconciled all aspects of our conflicting beings—there were four Donovans at our school: Donovan “Donnie Blanco” Mitchell, the rapist; Donovan “Donnie Darko” Manyika, the fastest kid in our phrontistery; the short-lived Donovan Latrell who, hoping to be called Donnie Brasco or DL when he realised there weren’t enough Donnies to go around, was called Fatty; and Mr. Donovan, our English teacher—Mr. D for short." This was one of my favorite stories to begin with, as it tackles issues of classism (and rich people getting away with shit they shouldn't get away with) so accurately and wonderfully. Rémy's humorous tone throughout is the cherry on top that really hammers the point home. The writer’s trajectory is largely one of growth and maturity, with each story focusing on a different aspect of his life such as the girlfriend and the breakup, a woman he was involved with who always showed up with bruises from her “gangster boyfriend”, the era when his teenage self became tired of getting into fistfights and started going to the library instead (and then got his friends to fall for books too). The “Gangster's Girlfriend” was by far my least favorite story in this collection because Rémy didn't strike the right note. I'm sure he wanted to let his audiences know that his narrator is an asshole misogynist but therefore, the whole story made light of domestic violence and read as incredibly sexist, e.g. when describing the woman's bruises, the narrator notices: "You couldn't pull your gaze away from her face. The Gangster made her cheek look like it was expecting." During a different incident, he says: "Whatever logic you spilled into her didn't take root in her uterus walls, because a couple of days later she'd show up looking like a peach Mike Tyson used for speed practice." I don't know about you but I can't see the humor in that situation and therefore thought that the jokes, made at the expense of the victim, showed bad taste. All but one of the stories have been published before; quite a few won, or were shortlisted for, prestigious awards. It’s odd that the writer’s narrative still works and the A-Side stories weave so seemingly together. Many of the B-Side stories seem to be entirely unrelated to the A-Side narrative in terms of plot or characters. “Wicked,” for example, follows a woman in Nairobi having an affair with a married man who goes to the U.N. refugee center in Dadaab, Kenya, every month to see whether his wife and daughter have shown up there. “Annus Horribilis” is a beautiful and stylish piece about a couple’s first and terrible year that is mostly told through a six-page sentence full of parentheticals — and while it’s tempting to try to fit the writer and his ex into the piece, it’s clearly not about them. In “Annus Horribilis”, Namibia is describes as "a place no films were made of, a city no poets serenaded with verse, a place of small, unrecorded tragedies..." It's safe to say, Rémy is finally the one putting Namibia on the map. Then there are the ones that clearly do link up to the A-Side in some way: “Seven Silences of the Heart,” for instance, is narrated by the spirit of the writer’s miscarried would-be sibling, and “Granddaughter of the Octopus” ends up being about the writer’s great-grandmother. What’s striking about quite a few of the stories — A- and B-sides alike — is the way they focus on groups of people moving through life together, for better and for worse. Two especially striking standalones are “The Neighborhood Watch,” about a group of people living under a bridge in Windhoek, Namibia, who work together to collect food and material goods in order to survive, and “Important Terminology for Military-Age Males”, a story originally told through the means of the alphabet (with 26 little paragraphs for each letter), about the horrors committed by South African Defense Force soldiers during the years-long South African Border War (also known as the Namibian War of Independence). "I'm not ready to be alone. And you say: 'You won't be. Just hold the light—help and hope are on the way.'"Rémy's message is a beautiful one: we can only do this life thing together. Despite some shortcomings, I ended up rating Only Stars Know the Meaning of Space five stars. I was blindsided by how real the second half of this collection gets. Rémy is so vulnerable and raw, I found it utterly touching. In "Love Is A Neglected Thing", our narrator states: "Nothing wants to die—everything fights to cling to life when the dark beyond starts blocking the light." Which is beautifully poetic but also tragically true. The death of Rambo's mother looms over the A-Side. It is her death that makes him realise how utterly alone he is. In "The Sage of the Six Paths", we find this haunting passage: "But my mother's death was a tectonic event. The cracks went all the way to my core, turning it into a void, imperceptible to the naked eye, only glimpsed sideways through silent lulls in conversations, or painful and distancing absences in my affections and friendships. I was alone." And Rémy spoke to my own fears in a way that I didn't expect. The loss of a mother is an event of such magnitude and despair that I don't even wanna entertain that thought or how it will pertain to my life in the future. The last story ends on our narrator's 30th birthday: "Franco calls me. ‘Happy birthday, bro,’ he says. ‘Everything you gain now, you gain yourself. And everything you lose, you lose by yourself too.’ ‘That's some sage shit, Franco.’ He laughs. ‘So how do you feel, old man?’ 'So far, so good.’ Sort of." And bestie babes, let me tell you, it made me wanna cry. Because in that "So far, so good. Sort of." is so much truth. That's what it feels like to live and love and share your life with other people. And so it came as no surprise that Rémy, during the end credits, tells his mom: "My mother—we're still here: so far, so good." Yeah, okay, I'm bawling now. Good bye! ...more |
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it was amazing
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This novel came to me in the weirdest way. Initially I was very enthusiastic about Adichie’s work and put books like Americanah and Purple Hibiscus on
This novel came to me in the weirdest way. Initially I was very enthusiastic about Adichie’s work and put books like Americanah and Purple Hibiscus on my reading list. Then I was made aware of the fact that she voiced transphobic comments in a 2017 interview on Britain’s Channel 4 News in which she differentiated strictly between women and trans women – “When people talk about, ‘Are trans women women?’ my feeling is trans women are trans women.” Part of me wants to give her the benefit of the doubt since she goes on explaining that cis women and trans women go through different experiences – but where Adichie seems to mean that trans women are “more privileged” because they “grew up as men”, I’m of the opinion that trans women are at a higher risk of societal ostracism compared to cis women. I did no longer want to support her financially, so the opportunity to read her work grew slim (I don’t use my local library bc I annotate everything). By chance I stumbled upon a giveaway of one of her books on Instagram – Half of a Yellow Sun – and actually won it. What are the odds? It’s a super nice edition by an independent publishing press from Berlin that is limited and signed by the author. It costs 138,00€ regularly… like?? I am still in awe that I won it. And since this is already super weird, it was fated that this book would become one of my favorite reads of 2024. Of course. Do with that information what you will. Read up on Adichie’s interview yourself, form your own opinion. If possible, get the book secondhand or from your library. I think it’s worth reading. “Odenigbo climbed up to the podium waving his Biafran flag: swaths of red, black and green and, at the center, a luminous half of a yellow sun.”Half of a Yellow Sun tells the story of the Biafran War (1967–70) with the help of three POV characters: Ugwu, Olanna, and Richard. The books jumps between different timelines and events and covers the 60s and early 70s. Adichie grew up in the aftermath of the Biafran War. In an interview, she said: “The need to write about it came from growing up in its shadow. This thing that I didn’t quite understand was my legacy. It hovered over everything.” With Half of a Yellow Sun, she illuminated this shadow. Ugwu, to me the heart and soul of the narrative, is introduced in the first chapter. He’s a 13-year-old village boy who is sent to work as a houseboy for university professor Odenigbo. The two of them share a special bond, as Odenigbo doesn’t believe in traditional “servitude” and grants Ugwu privileges denied to other boys of his profession. Ugwu is given his own room, and most importantly, Odenigbo ensures his education and demands he stays in school. From the jump, Ugwu idolises his “Master” and looks up to him. Coming from a small village, he is mesmerised by Odenigbo’s house, the “magic of the running water”, the man’s prolific use of the English language and so on and so forth. The banter between the two and their growing relationship (“My name is not Sah. Call me Odenigbo.” “Yes, Sah.”) is endearing and I immediately took a liking to both characters, despite their flaws. Ugwu’s biggest flaw, possibly, is his girl-craziness. I understand that girls and women are a fascinating topic for teenage boys, and that fantasising about them is part of most boys’ upbringing, however, Ugwu takes it a step too far. Adichie makes the conscious choice to show how the patriarchal structures of Nigerian society doesn’t halt before the minds of younger people. In one of the more eery passages, Ugwu is fascinated by tear gas and thinks to himself that he should drug his crush the next time he sees her. By the end of the novel, Ugwu is the character who has undergone the biggest change. Ugwu is abducted and forced into the army. There, he is involved in a gang rape. It is an incredibly difficult scene to read, and I’m not certain that Adichie pulls it off successfully, but it does show the specific gendered horrors of war as they pertain to women and children. Ugwu is disgusted by his actions, but not strong enough to resist the peer pressure. After the rape, we can no longer see him as the adorable innocent kid we’ve come to love. Our feelings towards him become more conflicted, however, (and maybe I only speak for myself) I was tremendously relieved when we found out that he was still alive and not dead as presumed by one of the other characters. The twist at the end (literally only revealed in the last line – a stroke of genius on Adichie’s part, if you ask me) was the most important part of the novel to me, and endeared me to Ugwu again. To make you understand the twist, I have to go into a bit more detail concerning one of the other POV characters: Richard. Richard is a white journalist from England who comes to live and work in Nigeria. At first, he is in a relationship with the older white woman Susan, but eventually leaves her for Kainene, Olanna’s sister. Richard desperately wants to become part of Nigerian society. He learns Igbo, he learns their customs, he wants to marry Kainene. He came to Nigeria in the first place to do some research for his book. When the war breaks out, Richard thinks that “he would be Biafran in a way he could never have been Nigerian – he was here at the beginning; he had shared in the birth. He would belong.” He wished to write a novel about the struggle for Biafran independence entitled “The World Was Silent When We Died”. Many of the Black Igbo characters take issue with this project, and the title specifically. His wife gives him the reality check that the “we” in the title is misleading, since it does in fact not include Richard and people like him. It takes Richard a long time to reckon with his own privileges and realise that the war is not his story to tell. Colonel Madu, one of Kainene’s friends who has a low opinion of most white people, berates Richard: “Of course I asked because you are white. They will take what you write more seriously because you are white. Look, the truth is that this is not your war. This is not your cause. Your government will evacuate you in a minute if you ask them to. So it is not enough to carry limp branches and shout power, power to show that you support Biafra. If you really want to contribute, this is the way that you can. The world has to know the truth of what is happening, because they simply cannot remain silent while we die.” Half of a Yellow Sun is a scathing look at how Western media is more interested in the death of one white man than that of hundreds of Black men and women. We should read it and be ashamed of our institutions. Throughout the novel we find interspersed chapters of “The World Was Silent When We Died”. The reader naturally presumes that these were written by Richard. It is only in the last line that Adichie reveals that Ugwu is the author of the book: Ugwu writes his dedication last: For Master, my good man.And when I tell you that I broke down crying when I read this, even that would be an understatement. I still have tears in my eyes writing this review. It is so powerful. On the one hand because it is Richard’s full circle moment. He finally understood that it was not his place to tell this story and that Africans (in this case: Igbo people) have not just the right but the need to tell their own stories. And on the other hand, more importantly, it is Ugwu’s full circle moment as well (I’m still so sappy about this, you don’t even know). Ugwu becomes an empowering and an empowered character. He is no longer the houseboy idolizing Odenigbo’s English – Ugwu is now the “Master,” controlling his own identity and working for the good of his family and culture, using English phrases like “my good man” for his own purposes, subverting the colonizer’s tools to strengthen Nigeria – just as Adichie herself does as a Nigerian writing in English, bringing awareness, humanity, and beauty to a past tragedy. It is such a clever double entendre that Adichie pulled off this twist, I don’t think I’ll ever recover from this. Ugwu’s formation as an author (through the education he receives both from Odenigbo and his experiences as a houseboy and a soldier) are a combination of formal education and informal lessons he learns through living life in the position he is forced to live it in. Adichie shows the power of education, how it can be used to combat unjust power-structures, even as that anti-colonial expression takes place in English. [For a debate and counter argument of that read Ngugi wa Thiong’o’s Decolonising the Mind.] Ugwu’s formation as an author is bi-lingual; he is fluent in both Igbo—a result of having grown up in an Igbo village, and English—learned from three years in the village school and subsequent years in the Nsukka school in which Odenigbo enrolls him. He also learns about postcolonial studies via Odenigbo’s dinners with other Igbo academics. These “salons” that Odenigbo hosts clearly affect Ugwu’s intellectual formation. Adichie writes that “late at night, after Master was in bed, Ugwu would sit on the same chair and imagine himself speaking swift English, talking to rapt imaginary guests, using words like decolonize and pan-Africanism, molding his voice after Master’s”. Odenigbo’s intellectual anti-colonialism is presented again in a later scene. Upon learning that Ugwu never attended school after “standard two” level due to his father’s inability to continue paying tuition, Odenigbo tells Ugwu, “‘Your father should have borrowed!’ [in Igbo]… and then, in English, ‘Education is a priority! How can we resist exploitation if we don’t have the tools to understand exploitation?’”). Odenigbo then enrolls Ugwu in a school in Nsukka where his education continues largely in English, which demonstrates the paradox Adichie herself embodies: that a postcolonial education can be anticolonial, while still taking place in a colonial language such as English. The paradox of attempting to destroy the occidental primacy of postcolonial education, while simultaneously seeking to excel by its dictates, is further highlighted when Odenigbo tells Ugwu what he must do to succeed in school: “There are two answers to the things they will teach you about our land: the real answer and the answer you give in school to pass. You must read books and learn both answers. I will give you books, excellent books. They will teach you that a white man called Mungo Park discovered River Niger. That is rubbish. Our people fished in the Niger long before Mungo Park’s grandfather was born. But in your exam, write that it was Mungo Park. To me, this is why Ugwu is the heart and soul of this text; its message hinges on his formation. Though I have to say that I took interest in all of the characters, especially Olanna and Kainene, twin sisters and daughters of an influential Igbo business man, and their complicated relationship with one another. I was immediately invested in their story, when Adichie wrote: “Nothing had happened – no momentous quarrel, no significant incident – rather, they had simply drifted apart, but it was Kainene who now anchored herself firmly in a distant place so that they could not drift back together.” Holy shit. I needed to know what happened between them… and you cannot fathom the joy I felt when the two of them finally reconciled, and the heartbreak I underwent when Kainene goes missing shortly before the war ends. Their story is so tragic and haunting, and exemplary for what a lot of Igbo families went through. Overall, Half of a Yellow Sun is an incredible novel. The characters are amazing, the plot is engaging, the message is important and strongly voice. Calling out colonialism and its effects on Nigerian society is always appreciated. Adichie pulls off so many things at once in this, it’s mesmerising. And I really held it together until that last sentence, ya’ll. And that’s a feat in and of itself because this is a heartbreaking book. Powerful, but oh so damn heartbreaking. It took me some weeks to recover from this and I already know I will reread it in the future. ...more |
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Oct 08, 2023
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3847900285
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| 3847900285
| 3.32
| 251
| Sep 01, 2016
| Sep 29, 2017
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Uff. Erstmal ausatmen. 3 Sterne sind sehr großzügig, aber ich mag, was in diesem Roman steckt, kann seine literarische und kulturelle Bedeutung wertsc
Uff. Erstmal ausatmen. 3 Sterne sind sehr großzügig, aber ich mag, was in diesem Roman steckt, kann seine literarische und kulturelle Bedeutung wertschätzen, ich mag einfach nur nicht, wie Zamir diese Geschichte erzählt. Denn er tut es in einem Satz. Auf über 250 Seiten. Es ist zum Schreien. Wer stream of consciousness mag, gib' ihm, ansonsten braucht man wirklich einen langen Atem und viel Geduld, um diesem Roman folgen zu können. Oft hätte ich das Buch gerne einfach in die Ecke gepfeffert und nie wieder aufgehoben, aber die Bücher, die uns von den Komoren, einem kleinen afrikanischen Inselstaat mit gerade mal 800.000 Einwohnern, zur Verfügung stehen sind rar. Das Land hat keine ausschweifende literarische Geschichte oder Tradition und so fiel mir Ali Zamirs Die Schiffbrüchige in die Hände. Und eines muss man Zamir lassen, wenn man etwas über die Komoren erfahren will, ist man hier genau richtig. Im stürmischen Indischen Ozean ertrinkt die siebzehnjährige Anguille (= Aal), Zwillingsschwester von Crotale (= Klapperschlange) und Tochter von Connaît-tout (= Alleskenner), einem komorischen Fischer, der als Pseudo-Moralist und Philosoph das Leben auf leere Formeln reduziert. In der ihr verbleibenden Zeit "schnappt sie sich die Vergangenheit" und macht sich daran, die Geheimnisse ihres aus dem Meer geborenen und zum Meer zurückkehrenden Aallebens zu erzählen, jene Geheimnisse, die normalerweise unter der Stille und der Dunkelheit des Felsens verborgen sind. Eine Geschichte von enttäuschter Liebe, von betrogener Liebe, die sich endlos wiederholt, eine Illustration der Gier der Menschen, die, von ihrem Geist oder ihrem Körper beherrscht, vergessen, dass zwischen "Kopf und Arsch" ein Herz liegt. Es geht darum, sich Gehör zu verschaffen, ihre Freiheit und Einzigartigkeit herauszuschreien, zu zeigen, dass sie existiert hat, dass sie "ihr Leben und ihre Taten selbst gewählt hat", dass sie auf der "dunklen Bühne der Welt" die Schauspielerin ihrer eigenen Tragödie war, anstatt diese mit Bitterkeit zu verlassen "wie ein Dummkopf, der seine Rolle schlecht gespielt hat". Denn in dieser Welt, die kein Ende hat, "müssen die Schauspieler zwangsläufig desertieren, indem sie sich hinter die Kulissen schleichen", und das "mit einem süßen Geschmack im Hals". Das zeigt, wie wichtig es für sie ist, die Aufmerksamkeit des Publikums zu gewinnen und sie während der gesamten Erzählung zu behalten. Und wie dringend das Unterfangen ist, wenn sie es zu Ende bringen will, bevor sie "in den [letzten] Schlaf fällt". Die Geschichte, die Ali Zamir in Anguille sous roche (= etwas ist im Busch) erzählt, indem er seine Fantasie "wie die Bewegung des Meeres" schweifen lässt, ist ein "verbales Abenteuer", das in einem langen Satz von über 250 Seiten abläuft und nur durch wenige Pausen in Form von fünf Kapitel-Titelseiten "aufgelockert" wird. Neben der Schilderung des Alltagslebens von Anguille und ihrer Familie sowie der lokalen Bräuche (Essen, Kleidung und Feiern etc.) geht es in diesem "aaligen" Roman, der in der Stadt Mutsamudu auf der Insel Anjouan spielt, die hauptsächlich von Fischern bevölkert wird, offensichtlich vor allem um Sprache. Daher ist Die Schiffbrüchige wohl von Anfang an, aufgrund seines Anspruchs und seiner Erzählweise, zum Scheitern verurteilt, zumindest wenn es um kommerziellen Erfolg geht. Wer will sich schon auf einen 250 Seiten-langen Schachtelsatz einlassen? Zamir versucht seine eigene Sprache zu finden. Und das gelingt ihm auch. Ich kann aber sagen, dass es nicht meine Sprache ist. Die Schiffbrüchige ist zwar originell, wortgewaltig und witzig, aber eben auch unglaublich anstrengend, langatmig und um sich selbst kreisend. Sowohl inhaltlich als auch sprachlich wiederholt sich Zamir ständig. Und ich verstehe warum: im Moment des Todes läuft das Leben eben nicht wie ein Spielfilm ab, sondern eher wie in einem Zeitraffer, in dem alles gleichzeitig erscheint. Anguille ertrinkt. Man muss ihren langen Monolog wie in Apnoe lesen, mitgerissen von einem die Zeit aufhebenden Strom von Worten, einem unerbittlichen Strom, der manchmal von Leerstellen durchbrochen wird, die Absätze markieren und deren Fluss durch leichte Kommas angeregt wird. Und die Erzählerin selbst bringt ihr Selbstgespräch immer wieder in Gang, indem sie die stummen Zuhörer, an die sie sich wendet, zum Zeugen macht, sie anspricht und befragt und mit einbezieht, sich selbst geißelt und ermutigt, damit sie es schafft, ihre Erzählung rechtzeitig zu Ende zu bringen. Leider geht dieser schönen Stilübung, die alles andere als eitel ist, irgendwann die Luft aus. Das liegt vor allem daran, dass die Geschichte (trotz einiger Überraschungen am Ende) zu langatmig ist, da sich der Autor darin erschöpft, sie bis ins kleinste Detail totzuerzählen. Man fragt sich, ob er seine Geschichte nur deshalb so ausufern lässt, um die beeindruckende Menge seiner stereotypen und originellen Ausdrücke unterbringen zu können. Es ist einiges in diesem Roman zu finden. Eine neue Sprache – die zwar nicht immer funktioniert, aber immer ein Erlebnis ist. Spannende Charaktere, die mal mehr und mal weniger Klischees bedienen. Eine reiche (mir fremde) Landschaft, die zum Leben erwacht. Zwischen den Zeilen finden wir Ausflüge in die Kolonisation der Komoren, die Rolle von Frauen in der komorischen Gesellschaft, den Wunsch nach einem besseren Leben. Vieles kennt man, vieles nicht. Ihr müsst selbst wissen, ob ihr euch auf diese Reise begeben wollt. ...more |
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3608950192
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| 3.43
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| Jan 01, 1982
| Jan 01, 1982
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Es gibt viele gute Gründe, Doris Lessing zu lesen. Als eine von nur 17 Frauen erhielt sie zu Lebzeiten den Nobelpreis für Literatur. Ihre interessante
Es gibt viele gute Gründe, Doris Lessing zu lesen. Als eine von nur 17 Frauen erhielt sie zu Lebzeiten den Nobelpreis für Literatur. Ihre interessante Biographie zieht sich durch ihr schriftstellerisches Werk, wuchs sie doch als Weiße im Simbabwe der 20er- und 30er-Jahre auf. Und dennoch sind es nicht die Gründe, die mich zu Doris Lessing brachten. Bei mir war es etwas simpler: meine Mutter brachte mir dieses schmale Büchlein aus der Wäscherei mit. Sie fand es dort in dem kleinen Bücherregal und fand es ansprechend. Ich auch. Ich liebe Bücher, die ein kleines Format aufweisen und gebunden sind. Zudem liebe ich kurze Bücher und so musste ich nicht lange überlegen: diese Novelle würde ich lesen. "Eldorado" erzählt die Geschichte eines Mannes, der, aus England eingewandert, in der Weite des südafrikanischen Hochlands sein Glück als Farmer machen will. Da es ausbleibt, verliert er sich in neue Träume: er verfällt dem Fieber des Goldes. Die Besessenheit seiner Suche, die Zwanghaftigkeit seiner Erfolgserwartung und die Illusion, das Irrlicht Glück mit der Wünschelrute zu bannen, entfremden ihn seiner Wirklichkeit und wirken zerstörerisch auf die Menschen seiner Umgebung. In Mondscheinnächten stand er da und blickte über die Felder, die jetzt wie eine grüne Meeresfläche wirkten, auf der die weißen Maisspitzen wie Gischt wogten; oder am Mittag blickte er über die ausgedehnten Flächen aus braun aufgeworfenen Erdschollen, warm durchdrungen vom Sonnenlicht; oder bei Sonnenuntergang, wenn das Buschland meilenweit goldenrot aufflammte. Weite – das war es, was er brauchte. Um das zu finden, hatte er England verlassen.Doris Lessing verbrachte 25 Jahre ihres Lebens in Simbabwe, den Großteil davon auf einer Farm. Diese unterschied sich sehr von der englischen Vorstellung einer Farm: 3.000 Hektar nicht eingezäuntes Buschland, Kopjes, Vleis, von denen ein paar hundert Hektar kultiviert wurden und der Rest unberührt blieb, aber mit allen Arten von Wild bevölkert war. Die Familie lebte in Lomagundi, nicht weit südlich vom Sambesi, wo ein paar Dutzend weiße Farmer Tabak und Mais anbauten und eine kleine Handvoll Bergleute nach Gold grub. Es ist naheliegend, dass Lessing viele persönliche Eindrücke in "Eldorado" einarbeitete. Das riesige Stück Land im Besitz der Familie Lessing, eine Maisfarm, brachte, ebenfalls wie die Farm von Alec in der Geschichte, keinen Reichtum, sodass ihre Mutter den Traum, ein großbürgerliches Dasein "unter den Wilden" zu führen, aufgeben musste. Mit vierzehn Jahren brach Doris die Schule ab und arbeitete erst als Kindermädchen und dann als Sekretärin. Die Protagonisten aus "Eldorado" – der versessene Alec, seine unter ihm leidende Ehefrau Maggie und der gemeinsame Sohn Paul – wachsen einem nicht unbedingt ans Herz. Meine Sympathie mit weißen Siedlern auf afrikanischem Gebiet, die Ressourcen ausschlachten und wenig für die Einwohner des Landes übrig haben, hält sich generell in Grenzen, aber Alec wäre auch in jedem anderen Kontext ein Unsympath gewesen. Lessing schafft es auf wenigen Seiten, die verkorkste Familiendynamik lebendig werden zu lassen. Als Leser versteht man, warum Maggie letztlich resigniert und selbst ihren Ehering ihrem verrückten Mann überlässt, damit er diesen schmelzen kann; man versteht, warum Paul seinen Vater hasst, weil dieser "seine Mutter ermordet hat" und schließlich Zuflucht bei dem Nachbarn James sucht, der um einiges erfolgreicher ist (und schließlich gemeinsam mit Paul jenes Gold findet, das Alec in seinen irren Suchen stets verborgen geblieben ist). Man versteht sie und doch fühlt man nicht mit ihnen. Ich bin mir nicht sicher, ob ich mehr von Lessing lesen will. Es gibt viele andere afrikanische Autor*innen, die ich lieber lesen würde. So interessiert mich, sowohl auf der Seite der Autor*innen als auch der Charaktere, eine Schwarze Perspektive auf den afrikanischen Kontinent weitaus mehr als eine weiße. Schwarze Autorinnen aus Simbabwe, die ich empfehlen kann sind: NoViolet Bulawayo, Tsitsi Dangarembga, Petina Gappah und Panashe Chigumadzi. ...more |
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really liked it
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20 poems about different forms of silence. Absolutely stunning! From one silence to another20 poems about different forms of silence. Absolutely stunning! From one silence to anotherOriginal French: D'un silence à l'autreChehem Watta, 60, is a poet and writer. The nomadic society from which he comes is one of his main sources of inspiration. In the 1980s, he was among the first students to come to France to train in psychology at the request of his country, Djibouti. He went on to work in senior administration as well as for the United Nations Development Program (UNDP). Watta remembers: "In French universities, Djiboutians were looking to enroll where there were compatriots who could help them out. Personally, I did not have a scholarship and my family could not support me. My parents, nomadic pastoralists, were responsible for the transhumance of their animals and I could not count on them. In a family of 17 children, I was the last, and the only one to go to school. I had to manage on my own. In France, Djiboutians welcomed me and supported me a lot. [...] Life was difficult. You had to find your place and it was every man for himself. Only our compatriots really helped us. I landed in Chaumont, in central-eastern France, and like everyone else I was surprised by the cold. A friend of mine put us up in his house and eight of us slept in a small room. Soon enough, we dropped out because we couldn't afford to pay for the agricultural high school anymore. With some friends, we went to Paris, where there were more Djiboutians. But for me, it still wasn't enough. I had to go back to Djibouti and work in the national education system in order to be able to come back to France a little later. The Djiboutian government gave me a scholarship on the condition that I study psychology because there were no psychologists in the country. I accepted, and I lived in France under difficult but acceptable conditions." Watta witnessed a shift in the importance that France held for Africa, in particular the loss of its influence in its former colonies: "In Djibouti, France is neither detested nor detestable. But it is true that there are other players and that during this political, economic and linguistic opening with the Arab-Muslim world in particular, France's influence has been diluted. France has almost become a partner like any other, even if we continue to speak French and have a deep attachment to the language. What marked the Djiboutians of my generation was Francophonie [a loosely united group of nations in which French is the first, or significant, language]. It imprinted itself on our imaginations and allowed us to enter into literature. In the mid-1990s, the Centre Culturel Arthur Rimbaud invited great writers, not only French but also Francophones. It was the golden age of Francophonie in Djibouti, a magnificent overture for Africa. Then, investments in the cultural sector were reduced and France lost its prestige. In another area, I also think that visa restrictions have tarnished France's image. Traveling or studying abroad can create very strong relationships with a country." Nowadays, Djibouti has become a French-speaking island surrounded by English- and Arabic-speaking countries. Watta says that "continuing to speak and write French is a breath of fresh air." It's one of the reasons why he never stopped publishing his own work in French. When I was researching authors from Djibouti for my "Read Around Africa"-project, I stumbled upon Chehem Watta. I hadn't heard of him before and it was incredibly hard to find any information on his life online. (Much of what is cited above comes from an interview he gave in Le Monde only two weeks ago... so from an interview that wasn't yet online when I stumbled upon Watta.) Nonetheless, I decided to give him a shot because I found one of his poetry collections, Sur le fil ténu des departs, online for a cheap price and I saw that it was illustrated by Patrick Singh. Looking at Patrick Singh's gorgeous illustrations online is what pushed me over the edge and I clicked the "order" button. I am incredibly happy that I gave Watta a chance. In this collection, we find 20 poems in which he explores the theme of silence, how it can be shaped, and the different forms it can take. It's a very lyrical and somewhat abstract collection but I really enjoyed the flow of Watta's beautiful language. Here's poem #19 as an example: There is the forgotten silenceOriginal French: Il y a le silence oubliéDespite my shitty translation, I think Watta's impeccable use of words and metaphors can still be grasped. Unfortunately, this collection hasn't been translated to English but if you understand French, I'd definitely recommend giving it a go! Fun fact: I ended up ordered a used copy through a big German retailer and GUESS WHAT?? It ended up being a signed edition with a truly heartfelt handwritten dedication from Watta to this copy's previous owner. I am so happy to have it but coincidences like this also always make me wonder who (aka WHICH ASSHOLE :D) would unhaul an intimate copy like this?? ...more |
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3150090563
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Reclam is a German publishing house which, among other things, publishes stories in different languages, usually on the B1-C1 level, with vocabulary a
Reclam is a German publishing house which, among other things, publishes stories in different languages, usually on the B1-C1 level, with vocabulary aids and insightful afterwords. I love reading books in French by them because their selected texts usually fit my language level perfectly and I find their vocabulary aids useful and to the point. Unfortunately, despite the vast amount of French stories they have published, I often struggle finding texts that sound interesting to me. Their selection of authors could be more diverse, in terms of race and origin of the author, and I find that a lot of the stories published are either boring or inconsequential. Tahar Ben Jelloun's Les Raisins de la galère had been on my list for quite a while, since he's one of the few Maghrebian authors published by Reclam. But since I feared that this particular coming-of-age story would be littered with clichés I never picked it up. But when I then found it in a little open library I couldn't say no. I had to take it home with me. Unfortunately, my initial skepticism proved right. Les Raisins de la galère is, in fact, littered with clichés. To me, it feels like Tahar Ben Jelloun tried to write a book to "prove" that North American immigrants in France "aren't all criminals" – which in and out of itself is a shitty premise, if you ask me, because why play into and adhere to white people's expectations or perceptions of your community? – but he also went about it in the dumbest way. Most of the immigrant characters in this book are, in fact, either criminal or hella radical. Make it make sense??? On top of that, our main character, Nadia, suffers from the "I'm not like other girls"-syndrom and it's annoying as hell. She doesn't wanna get married because marriage is a tool to oppress women. Okay, cool. She was also top of her class and the apple of her father's eye. Okay, cool. It seems like Tahar Ben Jelloun was writing outside of his depth here. Not a child of immigrants himself – but rather a North African intellectual who freely divides his time between Morocco and France, and has overall few points of contact with the community he writes about in this book – it becomes clear that Tahar Ben Jelloun has only a faint idea of what life in Paris's banlieues is like for immigrants from the Maghreb. Additionally, he's a man of the older generation who fails to capture the spirit and reality of young(er) people. A lot of his writing felt very inauthentic and as if he didn't know what he was writing about. I also had huge problems with the message of this book. Tahar Ben Jelloun perpetuates that as immigrants you have to "earn the respect" of the white French people, he insinuates that there are people who merit that respect and others who don't. I don't subscribe to that world view. Nobody should have to prove their humanity. With this book, Tahar Ben Jelloun plays into the stereotypes and fears that white French people have when it comes to their immigrant neighbors. In the novel, Nadia, who grows up in a Parisian suburb in a family of Algerian immigrants, quickly realises that as a Muslim woman she has few chances in life. Her mother opposes her wish to become a mechanic; in general, her mother is not thrilled that Nadia is striving in her education. Nadia is constantly surrounded by racism, crime and drugs. All of her childhood friends succumb to at least one of these things. Nadia only dates white men, of course. And Muslim men are afraid of her because "she's not like other girls" and takes action into her own hands and has the ambition to become a politician. That particular subplot was the weirdest of them all ... without any introduction/explanation, she starts running for mayor?? And then, after realising that the political party she worked for only used her for diversity points, she becomes depressed. Okay, cool. So, yeah, this book didn't offer a new or interesting perspective and overall felt hella messy and inauthentic to me. Tahar Ben Jelloun failed to capture the voice of a young ambitious woman and instead gave us a litany of struggles and stereotypes that stripped her of her humanity. Not good. But I'm glad that I read it in French because I enjoy improving my language skills. Also, fun little anecdote, I let my father read the first few pages to me and we had a splendid time and laughed our asses off. So, I'll always associate this cherished memory with this book! ...more |
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As I struggled a lot with understanding this poetry collection (yes, my French is too rusty to get the nuances of poetry), I decided to translate the
As I struggled a lot with understanding this poetry collection (yes, my French is too rusty to get the nuances of poetry), I decided to translate the wonderful introduction by Odile Cazenave into English. It provides great insight into what Danaï's Paroles de mes regards is all about. As none of you will be familiar with him or his work, and there are literally no sources online to find out more, I hope this "review" can be helpful, at least in some way. *** "Paroles de mes regards", to make the look speak, that the look speaks, is it not the first and ultimate desire of the poet to read and interpret for us the look, this bridge of the soul, all in turn opened or closed, to also say its look, the look of the poet who is posed on the world? To translate the world hidden behind the eyes of each and every one of us, to express out loud what these windows conceal of secrets, of riches, but also of pain, of violence or of anguish, this is what Ouaga-Ballé Danaï commits himself and us to. Summoning the child-adult but also the word of the griot, the poet appeals both to that part of childhood which gives him a grip on the world to approach it in all its truth, and to the word par excellence, the memory glance which retraces the link between yesterday and today, in the first and ultimate journey. To question the griot's gaze in order to understand, to understand the link between yesterday and today, between what was and what is no longer; to fill again the word and the gaze with its first meaning, to revive the empty and bloodless language: one finds here some echoes of "Mon Amour l'Autre" (2003), also of "Djim Zouglou l'enfant des rues" (2003), in the degree of violence, of pain, of a universe of repulsion, of dereliction, but also of love and communication, in the poet-novelist-storyteller who makes himself "a pilgrim on the paths of time". Invoking the word-look-memory of the griot, the poet lets redefine before our eyes the thread of memory, the painful steps that mark the long journey of Africa and the land of the poet in particular. The gaze hardens, becomes accusatory to underline the shameless exploitation of certain resources, by the leaders of the North in relation to the South, the new gold of today, the Black gold which soils the original matrix and is accompanied by corruption and blood. Images of the land, of the raped/entrenched people, images of dominating impositions, "modern day barbarians" in the context of globalization that is completing the exsanguination of Africa, emerge; a threaded metaphor of a violent, abused Africa, "always coveted never loved." Learn to go beyond the images of death, war and apocalypse, abjection and repulsion, and face the silence of the heart, the "cries of silence", the poet exhorts us and becomes a griot, reviving the memory to fill the "silence of the past". To refuse "the languid steps" and "the staggering glance" and to contemplate the past of a new glance like the expatriate who returns after a long absence and notes with pain the transformations, the decaying of the beloved country; but which with love and lucidity, summons the word and the glance to reaffirm the richness of its ground, its culture: "my land is not a fallow land / my culture is not a land to be fattened / my civilization is not a land to planarize / because / the soil is rich in its essence". Forcing ourselves to look at ourselves, to wash away the indifference of the world, not to look away but to offer a look that does not scrimp, and to reconnect with the memory that carries; refusing to allow nomadic words to be lost, refusing to be an undocumented person of the word. To become a child-adult, to rediscover the vigor of the essential word, the brilliant and hopeful gaze, to exhaust a rap rhythm, to hammer, to cadence, to bring down the masks, and beyond, to break the cycle and the vicious circle of "the millennial odyssey of eternal recommencement". To become a triumphant cry and believe in Africa again. And we, in our turn, dive into this look and listen to the rising word. *** I was very curious about this poetry collection because I stumbled upon its author when I was researching Chadian literature. Those who have "read around the world" or "read around Africa" will know that Chad is one of the harder countries to find (translated) literature from. As I am always interested in poetry I thought I would opt for a poetry collection instead of a novel. Paroles de mes regards seemed like a good choice because it was readily available through my local bookseller for only 8,o0€. Also, reading this book in its original form would bring me closer to accomplishing my goal of wanting to read 12 books in French this year. Unfortunately, I struggled with understanding Danaï's poetry. I lacked context (and couldn't find any resources online to look him up, or his work) and had a hard time understanding every single word. My French is rusty and poetry is hard to understand as it is. Similarly to what I did with Rabearivelo's work (a Malagassy poet who is now one of my favorites), I will reread Danaï's collection next year with a dictionary. Overall, I enjoyed what I understood. Danaï's language flows nicely, and I picked up on some beautiful imagery: "perdu dans les mémoires avides / chaque visage chaque sourire / est encastré dans les murs du présent" or "au bout du voyage / la peur morte sur les lames du rêve / comme la nébuleuse nuit mangée par les leurres de l'aube / sur les rives de la liberté / attend la barque / dans la mémoire de ma terre / je déposerai des fleurs / dans les paroles de mes regards / tu retrouveras ta mémoire / immortelle". I am looking forward to giving this collection a second shot and reading it properly! ...more |
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0747584796
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Set in a fictional West African location most resembling Sierra Leone, Aminatta Forna's Ancestor Stones is made up of multi-layered stories narrated t
Set in a fictional West African location most resembling Sierra Leone, Aminatta Forna's Ancestor Stones is made up of multi-layered stories narrated through the voices of four women in the Kholifa family: cousins Asana, Mary, Hawa and Serah , whose different mothers are all married to the patriarch Gibril, a rich man who, by the time he dies aged 100, has acquired 11 wives. Asana, the oldest, is the daughter of Gibril's first wife Namina, a revered position because she assumes authority over subsequent wives. Her story begins in 1926 with her father's journey into the forest to found a new village, Rofathane, and start a coffee plantation. When she is 10 her favoured twin brother Alusani dies, and Asana hopes to win her mother's affections, but Namina, believing her daughter is possessed by the dead twin, becomes obsessed with exorcising his spirit instead. Next, in 1931, we hear from Mary, whose mother Sakie is Gibril's third wife. Sakie has two preoccupations, selling snuff and following the traditional spiritual practice of reading and talking to stones. But when a Muslim preacher comes to the district, imposing a strict moral code, Sakie's fearful husband forces her to relinquish both. Sakie falls into depression, leaves the village and eventually goes insane. Her daughter, until this point named Mariama, is sent to a convent where she is baptised courtesy of funds raised by a school in Idaho as part of their Pagan Baby Project. They also send her a good Catholic name, Mary. Hawa's story begins in 1939. She is the daughter of the lowly-ranked sixth wife, Tenkamu, who is, to the other wives' chagrin, her husband's favourite. Scorned and envied by the women, when Tenkamu falls sick she is blamed for any misfortune that befalls the village. When she dies, Hawa exacts revenge on her mother's accusers. The youngest cousin is Serah, speaking in 1950; her mother Saffie is ranked at number 10 and therefore has no status at all. Saffie is falsely accused of adultery, which leads to her departure from the village. Serah marries and studies in Britain, where she gains independence, but when they return home she faces the dilemma of an unfaithful husband too easily readjusting to the social mores of a polygamous culture. Loss is a thread running through the novel, especially the loss of mothers; so too is the spirit world, which hovers around the material one. All the women are subject to the hierarchies of the polygamous family structure, which works for or against them, while malicious gossip and small-community pressure to conform is shown to destroy lives. Even so, Asana looks back in 1998 on life in Rofathane with nostalgia: "There existed an order, an order in which everybody had their place. An imperfect order. An order we understood." The women's triumphs and tragedies are played out within a society in transition over the better part of a century: colonialism, independence and the horrors of civil war are so subtly and deftly woven into the stories that it takes a while to realise that major national shifts have taken place. While the four narrators are vehicles for inspired storytelling and beautifully crafted prose, it's a shame that their voices are not more distinctive, as eventually they blend into each other and it's easy to get lost. And they are sometimes too respectfully portrayed, lacking the foibles and humour that would create more empathy. Aminatta Forna made her debut with a highly praised memoir, The Devil that Danced on the Water. This is her first novel, but it is too slick and polished to read like one. The women who form the center of this almost century-long family saga never truly come to life. Forna's writing style veers towards kitsch too often, and she continuously makes the rookie mistakes of telling and explaining every little thing instead of just showing them and letting her readers come to their own conclusions. Forna constantly tells you how to feel about her characters and the events they live through, it's a shame as her debut novel had much potential. Forna explores how the past can be a burden as well as a gift: In the meantime a certain giddiness had come over my aunts as if the time spent remembering the girls and women they once had been had invigorated the spirits. They'd lifted the past from their own shoulders and handed it to me. I didn't see it as a burden at all. Rather a treasure trove of memories, of lives lived and lessons learned, of terrors faced and pleasures tasted.But I still wish she had focused on the young Abie and the present more than on her aunts and their lives. Abie's character had the most potential to me, yet we only briefly catch a glimpse of her in the prologue and epilogue. A missed opportunity, in my humble opinion. ...more |
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2070466981
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it was ok
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At the beginning of the year I chose five authors - Morrison, Mukasonga, Stanišić, Condé and du Maurier – to read at least two books from in 2022. No
At the beginning of the year I chose five authors - Morrison, Mukasonga, Stanišić, Condé and du Maurier – to read at least two books from in 2022. No one is more surprised than myself that I actually followed through with that project. L'Iguifou, a short story collection by Scholastique Mukasonga, is the book to make that list complete. Mukasonga wrote one of my favorite books from last year. Her debut memoir, Inyenzi ou les Cafards ("Cockroaches") spoke of the 1994 genocide against the Tutsi in Rwanda in a way that was not just highly moving and emotional but also educational and urgent. I loved how carefully Mukasonga took us with her through her own life, detailing what it was like to grow up Tutsi in a hostile society, facing deportation and exile with her family, being forced to attend segregated schools only to have higher education in Rwanda being completely barred from her. She spoke of the unspeakable, her feelings of despair and numbness, of being one of the few members of her large family to live abroad, and therefore being amongst the few survivors of the genocide. Of being unaffected, yet so affected by it. She spoke of her late return to Rwanda, how it took her a decade to recover from the trauma of having her entire family murdered until she could set foot on her home soil again. Inyenzi ou les Cafards is a truly powerful read and one I can recommend wholeheartedly. Due to being so impressed by her writing and the subject of her stories (Rwandan society and culture, and the 1994 genocide) I put her on my reading list for 2022. Unfortunately, both of the books I checked out from her this year – La Femme aux pieds nus ("The Barefoot Woman"), a memoir honoring her mother Stéphania, and L'Igioufou ("Igifu") – didn't really do it for me. They pale in comparison to her debut. La Femme aux pieds nus wasn't as urgent, I'd even say that it was quite boring in parts. Mukasonga dwelled on the mundane, even though there would've been much more interesting things to be written about. L'Iguifou falls into the same trap. This book collects five short stories, only one of which was truly convincing. The rest were meh or downright bad, especially the second story about a young boy looking after cattle was a painfully slow and useless read. I didn't connect to any of the characters and Mukasonga didn't manage to make me care for them... which is a feat in itself since all the stories circle the topic of the 1994 genocide in Rwanda, a topic I deeply care about. The narrator of "L'Igiufou", the opening story, addresses the reader directly – as though the reader, too, were a Tutsi woman thinking back upon the chronic hunger she endured as a child. It's an interesting concept and the story is quite imaginative, but ultimately it dwindles down into nothingness. What stuck with me was Iguifou, the God of Hunger, every Tutsi's "cruel guardian angel" that they are more familiar with than they would like. Mukasonga details how the girl in her story longs for death, to be finally liberated from that feeling of insatiable hunger. The second story, and my least favorite, "La gloire de la vache", tells of a young man looking back on his family's experience of displacement and internal exile. We learn of the importance that cows have for the Tutsi, as the narrator describes how daily milking and cow-herding serve as communal practices of self-sustenance. By the story's end, not only the boy's family's cow but his entire family has been killed in the genocide, and the narrator — the sole survivor — has been unable to fulfill his father's main wish: to protect the cow. The parallels to Mukasonga's own life are clear and yet they didn't land with me as a reader. The only thing that made my breath catch is the story's ending: Mukasonga reveals that the man is now a university professor in Kigali. Next door to him lives a Hutu with whom he sometimes shares a beer. "He’s my neighbor," says the narrator, "that’s all I want to know about him." That sentence makes a chill run down my spine because I often think about Tutsis living alongside Hutu in Rwanda today. Putting myself in their shoes, the anger, fear and resentment they must still hold (yet suppress) is something I cannot imagine. The third story, "La peur", was my absolute favorite. It picks up on the second story insofar as the protagonist has left Rwanda but cannot strip herself of her fear and trauma that was inflicted through the genocide, that fear is a shadow that never departs. She is eloquent about the ways in which fear ruled and still reigns over the lives of Tutsis. Recalling her life in Nyamata as a constant enactment of vigilance, she speaks of the "everyday fear" (what will happen to us today?) and and intermittent outbreaks of "the great fear" (when will they extinguish all of us?). The fourth story could've been amazing but unfortunately fell short as well. In it, Mukasonga details the plight of women in Rwanda in the late 60s and 70s. Helena, a Tutsi woman, is known for being beautiful. Having to exchange "sexual favors" with her teachers as a teenager, she becomes a prostitute as a grownup. Perhaps the most directly political story in this collection, "Le malheur d'être belle" offers piercing insights into the quota system then in place for educational opportunities for Tutsis; the myriad pernicious effects of the Hutu "social revolution"; and the rampant abuse of and violence against Tutsi women at all levels of society. Unfortunately, the appearance of real political figures, like President Mobutu, felt weird and clumsy to me. It made the story feel more gimmicky and less powerful. The final story, "Le deuil", explores the aftermath of an unspeakable loss. Here, the Tutsi protagonist lives in France. Numbed by loss, she keeps with her at all times a list of family members killed during the genocide. She is drawn to the funerals of strangers, becoming what she calls "a parasite of their grief" as she tries to compensate for what she cannot offer her own dead: her physical presence. It's definitely one of the stronger stories in this collection. Again, it mirrors Mukasonga's own life and experiences, and this time this incorporation of auto-fiction really worked for me. I rooted for the narrator when she finally decided to return to the place of her family's murder. I wanted her to be able to deal with that chapter, even if closing it might never be possible. At the story's end, an old man articulates what the protagonist herself has come to understand: no traces of her dead family members will ever be found in any physical venue: "You won’t find your dead in the graves or the bones or the latrine. That’s not where they’re waiting for you. They’re inside you. They only survive in you, and you only survive through them."Writing this review and flipping through my copy of the book made me realize that I might not be done with this book just yet. I just now realised that the five stories form a linear progression from living before the genocide, going through it and dealing with it afterwards. I can definitely see myself rereading this short story collection in the future ... and I have an inkling that I might appreciate it more the second time around. We shall see! ...more |
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3.87
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