When Julie Summers' car breaks down in a sleazy street, a young Arab garage mechanic comes to her rescue. Out of this meeting develops a friendship that turns to love. But soon, despite his attempts to make the most of Julie's wealthy connections, Ab When Julie Summers' car breaks down in a sleazy street, a young Arab garage mechanic comes to her rescue. Out of this meeting develops a friendship that turns to love. But soon, despite his attempts to make the most of Julie's wealthy connections, Abdu is deported from South Africa and Julie insists on going too - but the couple must marry to make the relationship legitimate in the traditional village which is to be their home. Here, whilst Abdu is dedicated to escaping back to the life he has discovered, Julie finds herself slowly drawn in by the charm of her surroundings and new family, creating an unexpected gulf between them 'As gripping as a thriller and as felt as a love song' ...Continua Nascondi
Immigration and emigrating are not issues only in Europe. In this novel, Nadine Gordimer deals with finding a place where we belong by leaving behind what we were born with, whether it be the security of family love and support or the security of a cImmigration and emigrating are not issues only in Europe. In this novel, Nadine Gordimer deals with finding a place where we belong by leaving behind what we were born with, whether it be the security of family love and support or the security of a comfortable life.
It is a surprising, dense story that doesn’t always read smoothly, but every page is worth the effort....Continua Nascondi
“Il realismo è quella postura verbale o iconica che coglie impreparata la realtà, o ci coglie impreparati di fronte alla realtà”. (Walter Siti, Il realismo e l’impossibile).
Qualche anno fa, a una prima lettura, non ho apprezzato i libri di“Il realismo è quella postura verbale o iconica che coglie impreparata la realtà, o ci coglie impreparati di fronte alla realtà”. (Walter Siti, Il realismo e l’impossibile).
Qualche anno fa, a una prima lettura, non ho apprezzato i libri di Nadine Gordimer: mi appariva come interessante per le tematiche e noiosa per gli sviluppi narrativi, mi ricordava quegli autori che nelle antologie scolastiche sulla letteratura del Novecento finiscono sotto etichette vaghe come “Romanzieri borghesi”. Un’autrice grigia.
Con il tempo, cambiando il mio modo di leggere o più semplicemente scegliendo romanzi e racconti diversi, ho scoperto due grandi doni nella Gordimer. Il primo è il modo in cui i suoi personaggi, la cui vita abituale si colloca all’interno di categorie sociali fortemente strutturate nel quadro del Sudafrica prima e dopo l’apartheid, problematizzano la loro identità di etnia, di classe e (aspetto molto importante) di genere, liberati dallo stereotipo e raccontati come unici. Si può essere stranieri al proprio paese di provenienza, estranei alla persona che vive sotto lo stesso tetto, differenti alle aspettative narrative (o sociali) per l’identità di donna e di uomo; nello stesso modo si possono trovare luoghi di scambio comunicativo e di scoperta, a cominciare dal corpo. A proposito di corpi e di luoghi, la Gordimer è capace di sorvolare completamente sulla descrizione fisica o sulla denominazione geografica, per concentrarsi su pensieri ed azioni. Il risultato sono caratteri e personaggi ad un tempo inattesi e credibili, lontani dall’eccentricità come dal cliché. Un realismo che mette in discussione invece di allinearsi a un’aspettativa, un contratto con il lettore sottilmente minato perché non gli liscia il pelo né lo vuole scioccare. Realismo, appunto.
Secondo grande dono della Gordimer è il modo in cui gestisce il passaggio dal particolare all’universale, rifuggendo dal voler essere esemplare (grazie a dio non ho ancora letto un suo racconto o romanzo che fosse “a tesi”) ma arrivando a ricostruire, a partire dai suoi individui, un quadro complesso. La Gordimer non disegna ritratti d’epoca, ma scopre le interconnessioni del mondo. A questo proposito, ho amato molto il romanzo “Un’arma in casa”, con i rovelli asimmetrici degli attori in gioco, le cose inespresse, i sottili e progressivi cambiamenti negli stati d’animo e nella morale, le analogie e differenze tra il disagio dell’individuo e una società violenta.
Dei cinque libri finora letti della Gordimer, l’Aggancio è quello che consiglierei per una prima lettura. Il racconto di sentimenti, pensieri, azioni passa rapido da un personaggio all’altro, leggero, dialoghi indiretti e diretti che si incrociano, glissando dalla terza alla prima persona. Ci sono paragrafi in cui le parole dei protagonisti sembrano quasi evaporare nell’aria subito dopo essere pronunciate. C’è una storia d’amore e di migrazioni. E soprattutto un bellissimo intersecarsi di indefinito e profondo. ...Continua Nascondi
To choose or to accept? Who has more power to make the decision? The two people who come from different levels of world. One is from the bourgeois family, and the other is from nowhere desert in somewhere on earth. The two fall in love right away theTo choose or to accept? Who has more power to make the decision? The two people who come from different levels of world. One is from the bourgeois family, and the other is from nowhere desert in somewhere on earth. The two fall in love right away they met.
Julie Summers, the rich white girl, detests her father's life. Her father has everything, everything that you could imagine. Power, money, and luxuries are right at hand. A capitalist would be a perfect word to describe her father. Julie, therefore, leaves her father's house to work as a seemly independent twentieth century woman. She "chooses" not to be like him. She does not go home to join the fancy party that her father holds every Sunday afternoon. Rather, she hangs out with her multiracial friends at The Table in EL AY cafe. There, The Table, could not smell money at all. They are bohemians. They accept whoever comes to The Table. They talks about everything, politics, society, and literature, but they only talk without doing anything. Or, they cannot do anything.
Julie seems to choose a way of life that she wants, but when her car broke down on the street, she could not do anything, but raises her hands up as in surrender. This is the time when she meets Abdu, the one who comes from nowhere desert. Julie asks him out for a cup of coffee. Their love affair starts immediately. However, Abdu, her lover, is an illegal immigrant, and he gets the last deportation notice. Even though Julie hates her father's family, at this moment, she has no other choices, but goes to her family member to ask for help.
On the other side, Abdu is from a country that no one is familiar with. He wants to change his life, so he comes to South Africa. However, he probably could not do more. He has to leave South Africa in the end. He asks Julie for help. He asks Julie to go back to her father do something for him, but no luck. Julie refuses to ask her father, but ask her uncle. Sadly, power and money could talk. Julie's uncle could not do anything. Abdu has to go back to his own country.
Julie, a love believer, chooses to go back to Abdu's country as his wife. Abdu, a capitalism pursuer, does not want to go back to his country with a white western woman.
Their love fails in the end. Abdu applies other countries' visa right after he goes back to his country. On the other hand, Julie tries to blend in the local life with Abdu's family. Both try to escape their original life. Abdu despises his country is the same as Julie detests her own family. They are the same in one point of view. They all want to change. In the end, Abdu obtains the visa of United States, but Julie refuses to go with him. They make changes in the end. They seem to find their own perfect life for themselves. They find themselves. One finds love and family in the desert while the other goes to the United States to pursue his American Dream.
Julie may not worry the same problems as Abdu, but she has her own problems. She seems to have a lot of choices to choose, but she is still bound to her father. On the other hand, Abdu seems have no choices to go many places that he wants to go, but he has family supports. In the end, a white rich girl may have choices in a world scale, but she may have difficulties to choose freely because of her own family. A poor black boy may not go anywhere because the world does not allow him, but he may decide freely of his own life.
Still smiling, moving his head gently from side to side. There was a litany of the countries he had tried that would not let him in. I'm a drug dealer, a white-slave trader coming to take girls, I'll be a burden on the state, that's what they say, I'Still smiling, moving his head gently from side to side. There was a litany of the countries he had tried that would not let him in. I'm a drug dealer, a white-slave trader coming to take girls, I'll be a burden on the state, that's what they say, I'll steal someone's job, I'll take smaller pay than the local man.
And at this last, they could laugh a moment because that was exactly what he was doing.
It's terrible. Inhuman. Disgraceful.
No. Don't you see them round all the places you like to go, the cafe. Down there, crack you can buy like a box of matches, the street corner gangs who take your wallet, the women any man can buy - who do they work for? The ones from outside who've been let in. Do you think that's a good thing for your country.
But you … you're not one of them.
The law's the same for me. Like for them. Only they are more clever, they have more money - to pay. His long hand opened, the fingers unfolding before her, joint by joint.
There are gestures that decide people's lives: the hand-grasp, the kiss; this was the one, at the border, at immigration, that had no power over her life. ...Continua Nascondi