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Le Testament Francais Makine, Andrei
Sceptre 1997 0-340-68206-X / 9780340682067 Paperback Good
Each summer, Andrei Makine's narrator and his sister leave the Soviet Union for the mythical land of France-Atlantis. That this country is a beautiful confabulation, a consolation existing only in his maternal grandmother's mind, makes it no less real. Though Charlotte Lemonnier lives in a town on the edge of the steppe, each night she journeys to a long-ago Paris, telling tales that the children then translate with their more Russian minds: "The president of the Republic was bound to have something Stalinesque about him in the portrait sketched by our imagination. Neuilly was peopled with kolkhozniks. And the slow emergence of Paris from the waters evoked a very Russian emotion--that of fleeting relief after one more historic cataclysm
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Le Testament Francais Makine, Andrei
United Kingdom, 16 October 1997 Sceptre 1997 0-340-68206-X / 9780340682067 Softcover Good
Amazon.com Review Each summer, Andrei Makine's narrator and his sister leave the Soviet Union for the mythical land of France-Atlantis. That this country is a beautiful confabulation, a consolation existing only in his maternal grandmother's mind, makes it no less real. Though Charlotte Lemonnier lives in a town on the edge of the steppe, each night she journeys to a long-ago Paris, telling tales that the children then translate with their more Russian minds: "The president of the Republic was bound to have something Stalinesque about him in the portrait sketched by our imagination. Neuilly was peopled with kolkhozniks. And the slow emergence of Paris from the waters evoked a very Russian emotion--that of fleeting relief after one more historic cataclysm ..." Makine's first novel is a singing tribute to the alchemy of inspiration, but it is no less familiar with the sorrows of reality. And it is only as he gets older that the narrator begins to piece together his grandmother's far more tragic past--her experiences in the Great War, the October Revolution, and after. Dreams of My Russian Summers is a love letter to an extraordinary woman (it's hard not to see the book as autobiographical) as well as to language and literature, which the boy turns to in avoidance of history's manipulations. It has all the marks of an instant classic. --This text refers to an out of print or unavailable edition of this title. From Library Journal The first of Makine's four novels to appear in English, this autobiographical novel won the 1995 Prix Medicis for Best Foreign Fiction as well as France's prestigious Prix Goncourt, never before awarded to a non-Frenchman. Its coming-of-age story describes young Andrei's summers with his French grandmother Charlotte in the remote Russian village of Saranza. She came to Russia as a Red Cross nurse during World War I and fell in love with a Russian lawyer who went off to the front and later died a premature death from his war wounds. Charlotte and Andrei spend many summer evenings sharing her memories of turn-of-the-century Paris. As the adolescent Andrei struggles with his identity?is he Russian or French?he discovers that it was possible for Charlotte to live in such a foreign land and retain her "Frenchness" because of her love for her husband. Andrei finally reconciles these contrasting facets of his identity and eventually emigrates to France. Makine has fashioned a deeply felt, lyrically told tale. For all general library collections.?Lisa Rohrbaugh, East Palestine Memorial P.L., Ohio Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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Once upon the River Love Makine, Andrei
United States, 25 November 1999 Penguin 1999 0-14-028362-5 / 9780140283624 Softcover Good
Crease to cover. Review Readers of Andrei Makine's previous novel, Dreams of My Russian Summers, will recognize similar themes in Once upon the River Love: characters living in the vast isolation of the Siberian steppes; an elderly woman with memories of Paris, and, most of all, the power of imagination in young children's lives. In Makine's second novel, three adolescents come of age in the Soviet Union in the mid-1970s. The narrator, Alyosha, and his two friends, Samurai and Utkin, live in Svetlaya, a remote village "reduced to three essential matters: timber, gold, and the chill shadow of the camp. It was beyond us to imagine our futures unfolding outside these three prime elements." Impossible to imagine, that is, until the French actor Jean-Paul Belmondo enters their lives. Into a wintry world of snow and ice, of spiritual paucity, loveless coupling, and quiet despair Belmondo flashes his insouciant smile, vanquishes enemies, seduces willing beauties, and faces every danger with panache. The effect is earth-shattering. "On the whole, we understood little of the universe of Belmondo.... But we perceived the essential: the surprising freedom of this multiple world, where people seemed to escape those implacable laws that ruled our own lives, from the humblest workers' canteen to the imperial hall of the Kremlin, not forgetting the silhouettes of the watchtowers fixed over the camp." What would be an imminently forgettable film in the West becomes a beacon to the three boys; suddenly, the world is much bigger than the frozen Siberian taiga and each boy sees some part of Belmondo in himself: Alyosha the lover, Samurai the warrior, Utkin the poet. Makine's novel is framed with short sections at beginning and end that are set in Brighton Beach, New York, 20 years later. We learn, briefly, what has happened to these young men--and in the disparity between the reality of their destinies and the heroism of their youthful imaginings lies both the irony and the heartbreak of Once upon the River Love --Alix Wilber --This text refers to the From Publishers Weekly Dreams of My Russian Summers, the first novel from Russian ?migr? Makine to be translated into English from his adopted French, astonished readers on both sides of the Atlantic by applying the methods of Proust to exotic contemporary material: the love of French language and culture that a young Russian inherits, with terrible family secrets, from his grandmother. Published in France one year before Dreams, this sensuous, sentimental novel reveals more of the strengths and limitations of Makine's ardent traditionalism. The tale's central event is the arrival of a series of Jean-Paul Belmondo comedies at the local cinema in a small town in Siberia. The movies herald the end of the Soviet era for three local boys by giving them a taste of the WestAfor tough, valiant "Samurai," the heroic gesture as an end in itself; for crippled Utkin, the writer's life as an escape from banality and sexual rejection; for Mitya, the beautiful narrator (nicknamed "Don Juan"), endless erotic adventures. The movie viewings coincide with Alyosha's first, doomed affair with a local prostitute and the initiation of the three youths into French literature (at the hands of Samurai's aristocratic aunt), but the films haunt them even after they grow up to leave the Soviet Union. Richly allegorical, Once Upon the River Love (the title is a pun on the Russian and French names of the Siberian river Amur) is self-consciously retrograde as literature, happy to borrow its concerns and techniques from old French masters. Beneath the artistic conservatism that Makine shares with his great contemporaries Solzhenitsyn and Brodsky lies that nostalgia for a dream-West that illuminates his deliberately mythologized Siberian landscape, where blizzards regularly snow in villages up to the chimneys and every step East or West takes one toward Asia or Europe: his Swann's and Guermantes' Ways. Makine has given American readers another unforgettable novel, which wears its exoticism on its sale
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