Search results for ""Author Nicole Ball""

The Weary Sons of Freud lambasts mainstream psychoanalysis for its failure to grapple with pressing political and social matters pertinent to its patients' condition. Gifted with insight and compelled by fury, Catherine Clément contrasts the original, inspirational psychoanalytical work of Freud and Lacan to the obsessive imitations of their uninspired followers-the weary sons of Freud.The analyst's once attentive ear has become deaf to the broader questions of therapeutic practice. Clement asks whether the perspective of socialism, brought to this study by a woman who is herself an analysand, can fill the gap. She reflects on her own history, as well as on that of psychoanalysis and the French left, to show what an activist and feminist restoration of the talking cure might look like.

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We Are the Birds of the Coming Storm is a wild novel that oscillates between fiction and reality. The story centers on two young women: Voltairine, a dancer who no longer dances but whose body is still haunted by the movement of dance, and her soulmate Emile, a young woman recovering from unexpected cardiac arrest. The girls are inseparable, and both their lives have been shattered by the horror of rape. The opening of the dreamlike novel sets a bleak stage as Voltairine watches Emile lying in a hospital bed, her temperature dropping to dangerous levels. Voltairine is filled with sorrow and faces the blunt reality that her soulmate is going to die, chronicling each minute in her diary. However, Emile ultimately survives the attack. Later, at the cinematheque, Voltairine and Emile meet a young girl, whom they call "the little girl at the end of the lane," who is obsessed by the Haymarket Affair of 1886. She's an odd girl, obsessed with words, scribbling pages of notes throughout the movie screenings. She helps draw the pair out of their state of painful helplessness, and eventually the trio openly rebels against the newly elected oppressive regime of barbarian kings who rule their society. We Are the Birds of the Coming Storm explores repression, revolt, and madness, telling a story that is not only revolutionary but also cautionary-of three women who let their spirits fly like birds as the daunting storm ascends.

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Now in paperback, The Red Sofa is a quiet French novella exploring love, memory, and the perspective that travel gives us on both. In The Red Sofa, we meet Anne, a young woman setting off on the Trans-Siberian Railway in order to find her former lover, Gyl, who left twenty years before. As the train moves across post-Soviet Russia and its devastated landscapes, Anne reflects on her past with Gyl and their patriotic struggles, as well as on the neighbor she has just left behind, Clémence Barrot. Rocked by the train’s movements Anne is moved by her memory of Clémence, who is old and whose memory is failing, but who has not lost her taste for life and adventure. Ensconced on her red sofa at home, Clémence loves to tell Anne her life story, mourning lost loved ones and celebrating the lives of brave, rebellious women who went before her. Eventually, Anne’s train trip returns her home having not found Gyl, but having found something much more meaningful—herself.

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In The Red Sofa, we meet Anne, a young woman setting off on the Trans-Siberian Railway in order to find her former lover, Gyl, who left twenty years before. As the train moves across post-Soviet Russia and its devastated landscapes, Anne reflects on her past with Gyl and their patriotic struggles, as well as on the neighbor she has just left behind, Clemence Barrot. Rocked by the train's movements Anne is moved by her memory of Clemence, who is old and whose memory is failing, but who has not lost her taste for life and adventure. Ensconced on her red sofa at home, Clemence loves to tell Anne her life story, mourning lost loved ones and celebrating the lives of brave, rebellious women who went before her. Eventually, Anne's train trip returns her home having not found Gyl, but having found something much more meaningful herself. "A luminous novel about desire, a clear text about the joy of living." Prix Pierre Mac Orlan 2007

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The extraordinary life of Zhuang Zhou sits halfway between fable and philosophy.“It was twenty-five centuries ago in the land of Song, between the Yellow River and the River Huai: Zhuang Zhou was born without a cry with his eyes wide open.” Welcome to China in the fifth century BCE, a colorful, violent, unstable world into which Zhuang is born. Here royals raise huge armies, constantly waging wars against one another. They have slaves, concubines. Gold is everywhere. And so is hunger. Born rich and entitled, Zhuang learns to refuse any official function. His travels bring him closer to ordinary people, from whom he learns how to live a simple and useful life. This is how he will become one of the greatest Chinese philosophers who gave his name to his legendary book, the Zhuangzi, one of the two foundational texts of Taoism—a magnificent procession of lively stories in which we meet dwarfs, virtuous bandits, butchers, powerful lords in their castles, turtles, charming concubines, and false sages. In this remarkable bildungsroman, award-winning French novelist Patrick Rambaud spins out the extraordinary life of Zhuang Zhou—a poetic, cruel, and often humorous tale, halfway between fable and philosophy.

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T., an acclaimed but aging actor, and Efina, a passionate theatergoer, are engaged in an obsessive love affair that careens from attraction to repulsion. They compulsively write letters - often to express their intense dislike of one another - which are sent or unsent, answered or unanswered. They meet, they break up, they marry, and they get divorced. They neither can live with nor without one another, and this impossible state of affairs lasts all their lives. In between, there are other men and many other women, but throughout, the magic of the theater and the art of make-believe endure. Efina is a tumultuous novel about art, love, disdain, and above all - obsession - told in a quirky, highly original style. It presents an unapologetically dysfunctional yet honest relationship, detailing outrageous thoughts and absurd behaviors in clear and precise prose. What could have been a sad tale of failed love is delightfully transformed by Noelle Revaz into a masterpiece of dark humor.

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“Where is your wound?” asks Jean Genet in the lines Laurent Mauvignier uses as an epigraph to The Wound. By the time we have finished this four-part novel, we realize that for many the wound lies four decades back in “the Events” that people have tried to not talk about ever since: the Algerian War. Chronicling the lives of two cousins—Bernard and Rabut—both in the present and at the time of the Algerian War of Independence in the 1960s, we get a full picture of the lasting effects this event had on the men who were involved. Through the fragments of their stories we see the whole history of the war: its atrocities, its horrors, and its hatreds. Mauvignier shows readers how the Algerian War, always present yet always repressed, has sickened the emotional and moral life of everyone it touched—and France itself, perhaps. The epigraph, like the novel, suggests that wounded men may even become the wound itself.

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'Papa, why do you dance when you walk?' When Aden's 8-year-old daughter asks him this one morning in Paris, he is taken aback. The question is innocent, but the answer is not so simple. Unable to resist Bea's inquisitive spirit, he moves silkily between memories of his childhood: from his silent, mysterious mother and the shanty roofs of his neighbourhood to the malicious attack that changed his life forever and the ensuing struggle that made him a man. Anchoring his memories is a Djibouti on the cusp of independence; a land of shifting deserts and immense heat, French-from-France ex-pats, and one lonely and sick boy finding solace in books. Why Do You Dance When You Walk is a poignant and timeless story of the complexity of family, the value of poetry and freedom, and the ripple effect of the traumas that stalk our movement.

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“Everything starts with a song and everything ends with another song,” says the narrator of The Divine Song. Paris is an old Sufi cat who keeps watch over his brilliant yet pathetic master, Sammy Kamau-Williams, the Enchanter. In Sammy, we recognize the African American singer-composer, poet, and novelist Gil Scott-Heron who is best known for his song “The Revolution Will Not Be Televised.” The Divine Song takes us from the shores of Africa to Sammy’s ancestors’ arrival in the Americas in the hold of the slave ships. From there, Abdourahman A. Waberi takes the characters from Tennessee—under the tutelage of Lili Williams, Sammy’s beloved African-born grandmother—to New York and the concert halls of Paris and Berlin, wherever blues and jazz find an enchanted audience. African tales, religious practices, segregation, the civil rights movement, addiction, and jail—Sammy’s life comes to encompass the whole of the African American experience. At a time when social and racial divisions have yet again come into sharp relief, this lyrical novel by one of African literature’s rising stars is necessary reading for anyone who celebrates the resilience of art.

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Passage of Tears cleverly mixes many genres and forms of writing--spy novel, political thriller, diary (replete with childhood memories), travel notebook, legends, parables, incantations, and prayers. Djibril's reminiscences provide a sense of Djibouti's past and its people, while a satire of Muslim fundamentalism is unwittingly delivered through the other Djiboutian voice. Waberi's inventive parody is a lesson in tolerance, while his poetic observations reveal his love and concern for his homeland.

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