By Wajdi Mouawad
Lorsqu’il découvre le meurtre de sa femme, Wahhch Debch est tétanisé : il doit à tout prix savoir qui a fait ça, et qui donc si ce n’est pas lui ? Éperonné par sa douleur, il se lance dans une irrémissible chasse à l’homme en suivant l’odeur sacrée, millénaire et animale du sang versé. Seul et abandonné par l’espérance, il s’embarque dans une furieuse odyssée à travers l’Amérique, territoire de toutes les violences et de toutes les beautés. Les mémoires infernales qui sommeillent en lui, ensevelies dans les replis de son enfance, se réveillent du nord au sud, au touch de l’humanité des uns et de los angeles bestialité des autres. Pour lever le voile sur le mensonge de ses origines, Wahhch devra-t-il lâcher le chien de sa colère et faire le sacrifice de son âme ?
Par son projet, par sa tenue, par son accomplissement, ce roman-Minotaure repousse les bornes de los angeles littérature. Anima est une bête, à los angeles fois réelle et fabuleuse, qui veut dévorer l’Inoubliable.
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Where had that come from? Where, indeed. Experiences of anger. The sense of being culturally marginal. Entombed. At a career dead end. Couldn’t write, no success with poetry, none with critical book, none with jobs. A couple of miscarriages already under my belt; there would be eight. The dream life of the cave. My poem says it is not Orpheus who turns back to Eurydice but rather she who turns away from him, because she wants to go deeper into the underground cave. ’s “Eurydice,” a poem I had not known, although I was in an intertextual relation with it.
M. (QED). In short, the girls had no male life experience. This was a perfect example of vacuum-sealed exclusion by gender; we certainly were not male, a simple fact, and the argument was doing its level best to deny our potential via intricate snarls of assertion masquerading as fact. This thinking tried to cut the ground from under us. 3 It is clear that my narration right here and now of this “before” has placed a premium on a kind of parcivalian innocence; I am implying that I wandered, with a baf®ed charm, into many structured ritual sites but unerringly neglected to ask any questions.
For the Etruscans” has had a career of its own. It has been taken as an example of what it set out to study—of “the” female aesthetic. However, what it actually says is that women, like other members of “(ambiguously) non-hegemonic” social groups, are driven to use structural, rhetorical, and You are reading copyrighted material published by the University of Alabama Press. S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press.
Anima by Wajdi Mouawad