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History of Violence: A Novel

de Édouard Louis

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345974,460 (3.73)5
History of Violence is international bestselling French author Edouard Louis's autobiographical novel about surviving a shocking sexual assault and coping with the post-traumatic stress disorder of its aftermath. On Christmas Eve 2012, in Paris, the novelist Édouard Louis was raped and almost murdered by a man he had just met. This act of violence left Louis shattered; its aftermath made him a stranger to himself and sent him back to the village, the family, and the past he had sworn to leave behind. A bestseller in France,History of Violence is a short nonfiction novel in the tradition of Truman Capote'sIn Cold Blood, but with the victim as its subject. Moving seamlessly and hypnotically between past and present, between Louis's voice and the voice of an imagined narrator,History of Violencehas the exactness of a police report and the searching, unflinching curiosity of memoir at its best. It records not only the casual racism and homophobia of French society but also their subtle effects on lovers, brothers and sisters, husbands and wives. It represents a great step forward for a young writer whose acuity, skill, and depth are unmatched by any novelist of his generation, in French or English.… (més)
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Es mostren 1-5 de 9 (següent | mostra-les totes)
Es un libro de cuya tragedia qué auto narra el autor es trágicamente morbosa ( )
  cmriverav | Feb 15, 2023 |
Louis er blevet en af de mest fremtrædende franske forfatter med sine selvbiografiske romaner om at vokse op i en nordfransk arbejderklasse præget af vold og fordomme. Selvom Louis er flygtet fra den baggrund, både fysisk til Paris og mentalt, så er han dybt optaget af at forstå den.

Voldens historie handler om en julenat. Fortælleren, der også bærer forfatterens navn og fortid, er på vej hjem fra en juleaften hos vennerne Didier og Geoffroy, da han bliver opsøgt af en ung mand, Reda. Édouard er egentlig træt, men han er også seksuelt tiltrukket af den smukke mand, så han ender med at invitere ham med hjem. Her elsker de flere gange, og Reda fortæller lidt om sin baggrund. Han er vokset op i Frankrig, men hans far, der er kabyler, er indvandret fra Nordafrika.

Netop da de to skal til at skilles, opdager Édouard, at Reda har stjålet en masse af hans ting og særligt sin telefon er han desperat efter at få tilbage. På et øjeblik skifter stemningen fra kærlig til morderisk, og det ender med, at Reda først prøver at kvæle ham med et halstørklæde og derefter voldtager ham brutalt på hans egen seng.

Dagen efter tager Édouard på hospitalet for at få en forebyggende AIDS-behandling og bliver desuden overtalt til at anmelde overfaldet til politiet.

Handlingen er altså ret enkel, men romanen er alligevel kompleks. For det første er der de mange fortællinger om voldtægten og de mange fortællerpositioner: Édouard fortæller, hvordan han fortæller det skete på hospitalet, til sine venner og til politiet, men også hvordan hans følelser omkring det skete hele tiden ændrer sig. Særligt besøget hos politiet er ubehageligt, og skildringen giver desværre mindelser om de oplevelser, som mange kvindelige voldtægtsofre har berettet om. Samtidig oplever han, at hans historie på den ene side skal koges ned til fakta og forløb, på den anden side fornemmer han tydeligt betjentenes slet skjulte racisme – aha! en nordafrikaner! Endelig har Édouard fortalt historien til sin søster Clara, og nu står han bag en dør i hendes hus og lytter til, at hun genfortæller det skete for sin mand.

Det lyder mere indviklet, end det opleves, men de mange synsvinkler og fortællestemmer gør det muligt for Louis (altså forfatteren) hele tiden at reflektere over, hvad det er han oplever og hvorfor han føler, som han gør. Det er nemlig magtpåliggende for ham, at gengive de mange modsatrettede følelser, der knytter sig til det skete. Især vil han gerne fastholde det nuancerede billede af Reda, og han bliver forskrækket over den pludselige racisme og frygt, han begynder at betragte verden med.

Voldens historie er en sjældent vellykket roman, der formår at håndtere de mange synsvinkler og fastholde nuancerne om et svært emne. Det er en hård bog at læse, men den er afgjort tiden værd. Jeg glæder mig til at læse mere fra Louis’ hånd. ( )
  Henrik_Madsen | Jul 23, 2022 |
It is not an easy book to review perhaps because you cannot analyze the literary value of a personal account trauma post an attempted murder and rape.

All I can say is it was a cleverly crafted novel with beautiful prose that touched upon the topics of racism, homophobia and victim shaming while giving an unfiltered and raw account of trauma.
( )
  Akankshadsh | Oct 1, 2020 |
Ik vond dit minder goed dan Eddy Bellegueule: er wordt verteld hoe Edouard (EL zegt zelf voortdurend dat aan zijn romans niets verzonnen is, zie mijn bespreking van EB, volkomen onwaar, maar wel met een kern van waarheid, dus ik doe even of dit hemzelf allemaal zo is overkomen) beroofd, verkracht en bijna vermoord is door een Berberjongen die hij/die hem in de nacht van 24 op 25 december in Parijs oppikt. Het verhaal wordt grotendeels verteld door zijn zuster aan haar (zwijgende) man, wat een nogal gekunstelde vorm is, op zich, en ook omdat die zuster spreektalig (vermoeiend leesbaar) Frans gebruikt, maar wel met te veel inzicht voor haar achtergrond als arbeidersmeisje uit een dorp. In feite hoor je Edouard, die haar alles verteld heeft want hij moet er steeds weer over praten, in haar versie, niet alleen de feiten maar ook de inzichten, ook als ze Edouards inzichten en oordelen in twijfel trekt. Een kleiner deel vertelt Edouard cq de verteller in eigen persoon. Er staan veel goede dingen in, inzichten en gedachten(spinsels) over hoe het voelt beroofd te worden terwijl je jezelf als medeslachtoffer van de maatschappij ziet, hoe onbegrijpelijk het hele handelen van Reda, de dader, is: eerst een aantal malen bevredigende seks, tederheid, later dreigen, schreeuwen, stelen, poging tot wurgen, dreigen met vuurwapen, verkrachting tot bloedens toe, maar dan weer ontkennen, toneelspelen, oprecht strelen, verwarring over zijn eigen gevoelens, gesymboliseerd in het laatste Pardon als hij vertrekt. Toeval en improvisatie als drijfveren bij zo'n ingrijpende gebeurtenis. Ook goed hoe vernederend de machinerie is die je bij aangifte in beweging zet, en hoe dwingend. Maar minder vond ik, naast de opzet met de vertellende zuster: dat het wel erg langdradig is en, daarmee samenhangend, dat EL zich wel erg als het centrum van het universum beschouwt van wie elke handeling en elke gedachte ongelofelijk de moeite waard is. En ook wel de, ondanks de ernst van de zaak, in mijn ogen enigszins hysterische reactie van EL. Maar misschien zou ik wel anders piepen als mij zoiets was overkomen. ( )
  Harm-Jan | Oct 19, 2018 |
I will get thisout of the way first: I hate the term "nonfiction novel". That is an oxymoron. Wikipedia (for what that's worth) describes memoir, biography, and autobiography as "forms" of the nonfiction novel.

This particular book is subtitled "a novel". I believe it is actually a memoir. Memoirs don't have to be exactly factual, they are just as much about the author's perception, memory, and recall of events. Two people could wrote memoirs of the same events and the facts would seem to be different. This is why eyewitness accounts often can't be trusted. In any case, this book is shelved with the novels. Louis' first book was also a "nonfiction novel" (memoir, based on summaries of it). There is a perfectly good term for the form Louis writes, why not use it?! Unless the events in these books did not actually occur, in which case there is no "nonfiction" to be had. I will assume they did.
————
In this book Louis explains, discusses, struggles with, and ruminates on the Christmas Eve when he was raped and nearly killed by a man he had met hours before. He is clearly struggling with self-blame, as well as confusion and second-guessing his own actions, including his final decision to go to the police, who made him question his choices and decisions. Much of the story is he listening to his sister describe what he had told her to his husband, with some of her commentary. Is this a "novel" because he never actually eavesdropped on sister? If he even has a sister? Perhaps this is his way of telling the tale without telling it, as the words are coming out of his "sister's" mouth?

Moving and interesting, I just wish it was called a memoir. ( )
  Dreesie | Aug 30, 2018 |
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» Afegeix-hi altres autors (4 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
Louis, Édouardautor primaritotes les edicionsconfirmat
Ascari, FabrizioTraductorautor secundarialgunes edicionsconfirmat
Ghoos, ReintjeTraductorautor secundarialgunes edicionsconfirmat
Polachowska, JoannaTraductorautor secundarialgunes edicionsconfirmat
Schmidt-Henkel, HinrichTraductorautor secundarialgunes edicionsconfirmat
Stein, LorinTraductorautor secundarialgunes edicionsconfirmat
Van der Sterre, Jan PieterTraductorautor secundarialgunes edicionsconfirmat

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Wikipedia en anglès (1)

History of Violence is international bestselling French author Edouard Louis's autobiographical novel about surviving a shocking sexual assault and coping with the post-traumatic stress disorder of its aftermath. On Christmas Eve 2012, in Paris, the novelist Édouard Louis was raped and almost murdered by a man he had just met. This act of violence left Louis shattered; its aftermath made him a stranger to himself and sent him back to the village, the family, and the past he had sworn to leave behind. A bestseller in France,History of Violence is a short nonfiction novel in the tradition of Truman Capote'sIn Cold Blood, but with the victim as its subject. Moving seamlessly and hypnotically between past and present, between Louis's voice and the voice of an imagined narrator,History of Violencehas the exactness of a police report and the searching, unflinching curiosity of memoir at its best. It records not only the casual racism and homophobia of French society but also their subtle effects on lovers, brothers and sisters, husbands and wives. It represents a great step forward for a young writer whose acuity, skill, and depth are unmatched by any novelist of his generation, in French or English.

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