Une fable égyptienne, kafkaïenne à souhait
▻http://bandedessinee.blog.lemonde.fr/2016/05/31/une-fable-egyptienne-kafkaienne-a-souhait/#xtor=RSS-32280322
Le Caire, 6 octobre 1981. La foule se presse dans les rues de la capitale égyptienne autour du président et de quelques hauts dignitaires internationaux pour assister à une parade militaire commémorant la guerre du Kippour. Sous le coup d’une … Continuer la lecture →
#Adaptation #Bande_dessinée #Le_Comité #Sonallah_Ibrahim #Thomas_Azuélos
Le Comité on Vimeo
C’est un ami qui vient de publier une adaption du Comité de #Sonallah_Ibrahim (que j’ai traduit il y a des lustres...). C’est beau et « très égyptien » !
▻https://www.facebook.com/Le-Comit%C3%A9-914457005333788
Une bande dessinée de Thomas Azuélos
inspirée du roman de Sonallah Ibrahim,
aux éditions Cambourakis.
Sortie début mai 2016.
En avant-première aux Rencontres du 9ème art
à Aix-en-Provence, les 1,2 et 3 avril.
Le Caire, 1981.
Anouar el-Sadate est mort. Assassiné en direct
à la télévision. Le pays a retenu son souffle.
Le vice-président Hosni Moubarak a survécu
à l’attentat et lui a succédé.
Pharaon est mort. Vive Pharaon.
Il a prêté serment et nous avons recommencé
à respirer.
Saïd veut rencontrer le Comité, une organisation
mystérieuse et insaisissable qui seule permettra
son épanouissement personnel et social.
Mais comment l’approcher ?
Sur l’auteur, Thomas #Azuelos, ici : azuel.free.fr
Revolution on Ice
►http://www.jadaliyya.com/pages/index/15874/revolution-on-ice
Given how forthright and brave many of these writers had been in speaking against the corruption of the military-police state, given how deeply they had embraced popular revolution, this was a truly remarkable development. Writers who had composed elegies for martyrs killed by the police and army began to sing the praises of generals who were moving in on Muslim Brother protesters. Public intellectuals who had spoken for months about the power of the people in the street suddenly discovered that the barracks and the palace were the places to be after all. There have been notable exceptions to this (Belal Fadl, for instance), but for the most part, this shift has affected a majority of the literary class.
“Among all the defections, Sonallah Ibrahim’s was the most serious, precisely because he is arguably the most politically and aesthetically autonomous writer working in Egypt. Ibrahim has long been celebrated by Arab critics as an accomplished stylist with a fierce commitment both to literary experimentation and political forthrightness. Likewise, he has been praised for his principled stance of personal independence—an example of good art and good politics together in a single person.”
“For all these reasons, Ibrahim has long enjoyed the deep respect of the Egyptian Left. And for all these reasons, Ibrahim’s embrace of the new authoritarian regime should compel us to look again at his oeuvre for what it says about Leftist intellectuals, state power, and revolution. As it happens, Ibrahim’s 2011 novel, al-Jalid, offers a rich reflection on just these subjects—and, in turn, a productive avenue for thinking about Ibrahim’s stance toward the possibility of social change.”