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By Albertine Sarrazin

As alive as a Godard motion picture, this misplaced vintage of ’60s French literature is back

As if the reader have been driving shotgun, this intensely brilliant novel captures a existence at the lam. “L’astragale” is the French be aware for the ankle bone Albertine Sarrazin’s heroine Anne breaks as she leaps from her penitentiary mobilephone to freedom. As she drags herself down the line, clear of the legal partitions, she is rescued through Julien, himself a small-time felony, who retains her hidden. They fall in love. worry of seize, stories of her felony mobilephone, claustrophobia in her hideaways: each element is fiercely felt.

Astragal burst onto the French literary scene in 1965; its fiery and vivacious kind used to be completely new, and Sarrazin turned a celeb in a single day. yet as destiny may have it, Sarrazin herself saved operating into difficulty with the legislation, at the same time she grew to become a star. 

She died from a botched surgical procedure on the top of her popularity. Sarrazin’s existence and paintings (her novels are semi-autobiographical) were the topic of severe fascination in France; a brand new version of Astragal is presently being filmed. Patti Smith, who introduced Astragal to the eye of recent instructions, contributes an enthusiastic advent to at least one of her favourite writers.  

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Este cepticismo de princípio explica que o seu primeiro sentimento tenha sido de irritada surpresa quando ouviu, no telefone, a voz da secretária do director, Senhor Silva, está convocado para uma reunião hoje, às quatro horas, disse-o assim secamente, como se estivesse a ler um recado escrito, cautelosamente redigido para que não faltasse nele nenhuma palavra indispensável nem outra se intrometesse que pudesse diminuir o efeito de aflição mental, de desgarramento lógico, agora que surpresa e irritação não têm mais sentido perante a evidência de que o décimo terceiro dia, afinal, não poupa os espíritos fortes, além de governar os que o não são.

Para o revisor que conhece o seu lugar, o autor, como tal, é infalível. Sabe-se, por exemplo, que o revisor de Nietzsche, sendo embora fervoroso crente, resistiu à tentação de introduzir, também ele, a palavra Não numa certa página, transformando em Deus não morreu o Deus está morto do filósofo. Os revisores, se pudessem, se não estivessem atados de pés e mãos por um conjunto de proibições mais impositivo que o código penal, saberiam mudar a face do mundo, implantar o reino da felicidade universal, dando de beber a quem tem sede, de comer a quem tem fome, paz aos que vivem agitados, alegria aos tristes, companhia aos solitários, esperança a quem a tinha perdida, para não falar da fácil liquidação das misérias e dos crimes, porque tudo eles fariam pela simples mudança das palavras, e se alguém tem dúvidas sobre estas novas demiurgias não tem mais que lembrar-se de que assim mesmo foi o mundo feito e feito o homem, com palavras, umas e não outras, para que assim ficasse e não doutra maneira.

Por de mais sabido que, em caso de tensão internacional grave, a primeira actividade industrial que logo dá sinal de instabilidade e quebra é o turismo. Ora, se a situação, aqui, nesta cidade de Lisboa, fosse efectivamente de iminência de cerco e assalto, não estariam estes turistas a chegar, são os primeiros da manhã, em dois autocarros, um de japoneses, óculos e máquinas fotográficas, outro de anoraques e calças de cores americanas. Reúnem-se atrás dos intérpretes, e lado a lado, em duas colunas separadas, lançam-se à subida, vão entrar pela Rua do Chão da Feira, a porta onde está o nicho de S.

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