Rekindling the Vividness of the Past: Assia Djebar’s Films and Fiction. By ANNE To film La nouba, Djebar went back to the mountains of her . Sa guerre a lui apparait muette .. restitue ce qui est arrive a la fille dans U amour, la fan- tasia. Gafaiti, Hafid: La diasporisation de la litterature postcoloniale: Assia Djebar, ” La guerre interieure: la metaphore cognitive de la guerre dans L’ amour, la. Amour, La Fantasia (L’) (Romans, Nouvelles, Recits (Domaine Francais)) Assia Djebar, qui s’est imposée au tout premier rang (les écrivains de son pays, passé lointain, la conquête par les Français en , et du passé récent, la guerre.

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A challenging, complex read, particularly the first half set in the sdue largely to the history and many names, places, and words that I was not familiar with.

She speaks of this.

L’Amour, La fantasia, Assia Djebar – Lettres & Arts

Unfortunately the more far-reaching elements of th Such a rich text but entirely too academic-ish for me. Perhaps silence is more powerful, implying resistance. Upon completing the book I thought about all she recounted and how pleased I am that I persevered.

A book that I can honestly say I hated, from the first page to the very last one. As if they were finding a way of forgetting their imprisonment, getting their own back on the men who kept them in the background: It’s a piece of literature that defies easy categorization.

Although most readers revel in this highly complex structure, I admire, but do not enjoy it. It is written in the second person in French the even more intimate tu formand tells the story of a pregnant Algerian hostage on a French ship. Djebar writes of Algeria in French, the country that enslaved her people, the language that let her mother treat her father as an equal, the language that isolated her from the women of her own family.


One just has to remember that some of the narrative is, in the end, overwhelmingly in her perspective. There are no discussion topics on this book yet. Such a rich text but entirely too academic-ish for me. To confirm my suspicions, barely a few pages in, I realized I hated the reading this book. I don’t know if it is because it was originally written in French always a wonder when not reading in the original languageor because I only knew a smattering of Algerian history going in, thanks to Wikipedia.

Some find voice in the French language.

Fantasia: An Algerian Cavalcade

I admire the scale and aims of this project. He wanted to give young Assia the same advantage of education, the French language, and freedom from the Muslim veil that her young cousins were already forced to wear. Blair, translated as Fantasia: Do I even understand it?

I quite loved this raising of women’s voices that plays with the deeply collective nature of their experience. Xmore interweaves stories from across cultures, genders and time in order to create a history of Algeria that focuses on being inclusive and understanding that good and bad are in everyone.

L’Amour, La fantasia, Assia Djebar

The text would posit that separation as a recreation of the Manichaean physical colonial world within the assja. But what is the significance behind the urge of so many fighting men to relive in print this month of July ? But when the book moves back into the battlefield–oh, so boring.

Not just difficult French vocabulary but also Arabic and Berber vocabulary which weren’t familiar. But those very French words, the language of the conquerers and destroyers, are used to pass on here, in this novel, the very heartfelt, qmore intimate emotions of the author.


Try as she might, Djebar cannot escape colonial aesthetic and evaluative standards. Captured by the Guerrw, she sneers “What are you going to do, execute a girl? Both Arabic-French dictionaries she quotes ascribe this only to women, but one calls it a cry of joy, and the other a howl of despair.

But the police were not seen to be the greatest danger In time to the rhythm of the rebatoI am alternately the besieged foreigner and the native swaggering off to die, so there is seemingly endless strife between the spoken and written word A story comes near the end of the al, interspersed with an old woman telling of her hardships in supporting the freedom struggle, the house burned down about her, tramping into the hills.

Where will this tunnel of interior silence lead?

The “I” might be Djebar herself, or at least as much as the real woman Fatima-Zohra Imalayen cares to reveal through her nom-de-plume. Open Preview See a Problem? Oct 01, Alexis rated it liked it Shelves: How could she say ‘I’, since that amoree be to scorn the blanket-formulae which ensure that each individual journeys through life in a collective resignation?

So, why, then, didn’t Djebar write the story of this painful history from to and beyond in Arabic? This one came to me as a recommendation to follow Clarice Lispector’s short stories. How could a woman speak aloud, even in Arabic, unless on the threshold of extreme age?

Return to Book Page. Still a lovely cjebar to humanize the experience of the French conquest of Algeria and the National Liberation movement.