Delphine de Vigan, página 2 de 4

En Théo, un adolescent que es troba dividit entre uns pares enfrontats, i el seu amic Mathis tenen un secret. La seva mestra, l’Hélène, que tampoc no va tenir una infància fàcil i que sospita que alg

El debut teatral de Delphine de Vigan. Un acercamiento a los detalles más sutiles de la existencia humana. En su primera incursión en el género teatral, Delphine de Vigan nos sitúa en el corazón de un rodaje de cine, desplazando su mirada hacia aquellos que habitan el ultimo escalon de la industria: los figurantes. Cuerpos anonimos que al final no seran mas que una sombra desenfocada, pero que pasan horas esperando y soportando todo tipo de incomodidades sin que nadie se preocupe de ellos. Cuerpos que, pese a todo, son imprescindibles para dotar de realismo y verosimilitud a la ficcion. Orso, Cecile, Bruno, Joyce y Nora son un grupo de figurantes habituales de todo tipo de peliculas que aguardan indicaciones.En las interminables esperas entre toma y toma, matan el tiempo compartiendo anecdotas, se someten a la rutina absurda de los cambios de vestuario y se enfrentan a la certeza de que, cuando finalmente llegue el momento de aparecer en pantalla, quiza nadie repare en ellos. Poco a poco, las mascaras van cayendo y se revelan confesiones mas intimas: la fatiga de Cecile tras años trabajando en un hospital, la necesidad de pertenencia de Bruno, la rabia de Nora frente a un sistema que la relega incluso cuando actua, el deseo de Joyce de ser vista apenas un instante, la inseguridad de OrsoLas escenas, que oscilan entre lo comico y lo melancolico, revelan un ecosistema precario: horarios abusivos, pruebas interminables, y una insalvable fractura jerarquica entre las estrellas y los desconocidos.De Vigan reflexiona sobre el valor y la posicion de cada individuo en la sociedad y convierte a los invisibles en protagonistas. Los figurantes combina humor, ternura y melancolia, recupera en cierto modo la tradicion de Beckett o Chejov, donde la vida cotidiana se convierte en un escenario lleno de pequeñas tragedias y comedias, y nos recuerda que todos somos figurantes en la vasta historia que nos sobrepasa.

Elle avait l'air si jeune. En même temps il m'avait semblé qu'elle connaissait vraiment la vie, ou plutôt qu'elle connaissait de la vie quelque chose qui faisait peur. D. V. Adolescente surdouée, Lou Bertignac rêve d'amour, observe les gens, collectionne les mots, multiplie les expériences domestiques et les théories fantaisistes. Jusqu'au jour où elle rencontre No, une jeune fille à peine plus âgée qu'elle. No, ses vêtements sales, son visage fatigué, No dont la solitude et l'errance questionnent le monde. Pour la sauver, Lou se lance alors dans une expérience de grande envergure menée contre le destin. Mais nul n'est à l'abri.

Un matí d'hivern, Delphine de Vigan va entrar a l'apartament de la seva mare, Lucile, i se la va trobar morta estirada al llit. Arran d'aquesta mort sobtada en circumstàncies poc clares, l'escriptora

"Zer gertatzen da gure esker onak adierazi aurretik hitzak galtzen baditugu? Esker onak eleberrian, Delphine de Viganek oroimenaren eta isiltasunaren ertzak arakatzen ditu, gogoan gordetako zor txiki eta handien inguruan. Michka, adineko emakume bat, hitzak galtzen hasten da, eta horrekin batera, sortzen zaizkionak ezin adieraziz gelditzen da. Bere ondoan, Mariek eta Jeromek bizitzaren esanahia berriz topatuko dute, esker onaren ahalmenean eta zaurgarritasunaren edertasunean.Michkaren auzoa da Marie: txikia zenean eta bere amak alde egiten zuenean, Michkak zaintzen zuen. Jerome, berriz, geriatrikoko logopeda da, eta, afasia baten erruz galtzen ari den hizketa, partzialki bada ere, berreskuratu nahi dio Michkari.Estilo neurritsu, apaindura gutxikoan idatzita, bi ahotsetara egindako narrazio honek oroimenaz, iraganaz, zahartzeaz, hitzez, ontasunaz hitz egiten digu, eta gure bizitzetan garrantzitsuak izan zirenekiko esker onaz. Hiru pertsonaia ahaztezin hauek testu hunkigarri eta samur honetan txirikordatuz elkartzen dira, eta irakurlea beren bizipenetan sakontzera gonbidatzen dituzte, galdetuz: norentzat gordetzen dituzu oraindik zure azken hitz esker onekoak?"

Encore aujourd'hui, il m'est difficile d'expliquer comment notre relation s'est développée si rapidement, et de quelle manière L. a pu, en l'espace de quelques mois, occuper une place dans ma vie. L.

Una bellísima novela sobre la gratitud, sobre lo importante que es poder dar las gracias a aquellos que nos han ayudado en la vida.«Hoy ha muerto una anciana a la que yo quería. A menudo pensaba: "Le

Everyday Mathilde takes the Metro, then the commuter train to the office of a large multi-national where she works in the marketing department. Every day, the same routine, the same trains. But something happened a while ago - she dared to voice a different opinion from her moody boss, Jacques. Bit by bit she finds herself frozen out of everything, with no work to do. Thibault is a paramedic. Every day he drives to the addresses he receives from his controller. The city spares him no grief: traffic jams, elusive parking spaces, delivery trucks blocking his route. He is well aware that he may be the only human being many of the people he visits will see for the entire day and is well acquainted with the symptomatic illnesses, the major disasters, the hustle and bustle and, of course, the immense, pervading loneliness of the city. Before one day in May, Mathilde and Thibault had never met. They were just two anonymous figures in a crowd, pushed and shoved and pressured continuously by the loveless, urban world. Underground Time is a novel of quiet violence - the violence of office-bullying, the violence of the brutality of the city - in which our two characters move towards an inevitable meeting. 'Two solitary existences cross paths in this poignant chronicle, a new testimony to de Vigan's superb eloquence' Lire

Warum hat Lucile sich fur den Freitod entschieden? Diese Frage treibt Delphine seit dem Tag um, an dem sie ihre Mutter tot aufgefunden hat. Schon als Kind findet sie Lucile schoner, talentierter, unkonventioneller als andere Mutter aber auch immer wieder kuhl und distanziert. Auf ihrer Spurensuche tragt sie die Erinnerungen der gesamten Familie zusammen. Es entsteht das Portrat einer widerspruchlichen und geheimnisvollen Frau, die ihr ganzes Leben auf der Suche war nach Liebe, Gluck und nicht zuletzt nach sich selbst.

Mathilde, eine junge Frau mit drei Kindern, lebt in Paris. Ihre Söhne sind ihr ganzes Glück, ihren Beruf betreibt sie mit Leidenschaft, doch seit kurzem wird sie von Tag zu Tag mehr schikaniert. Eines Tages sucht sie eine Wahrsagerin auf. Die alte Frau prophezeit ihr eine Begegnung mit einem Mann und nennt ihr sogar das exakte Datum: der 20. Mai. Mathilde sehnt den Tag herbei. Sie träumt von der großen Veränderung. Von einer Beziehung, die wieder die Liebe in ihr Leben bringt und ihr Kraft gibt. Endlich bricht der 20. Mai an ...

Only a teenager when Delphine was born, Lucile raised two daughters largely alone. She was a former child model from a Bohemian family, younger and more glamorous than the other mothers: always in lipstick, wayward and wonderful. But as Delphine grew up, Lucile's occasional sadness gave way to overwhelming despair and delusion. She became convinced she was telepathic, in control of the Paris metro system; she gave away all her money; she was hospitalized, medicated, and released in a kind of trance. Young Delphine was left to wonder: What changed her, or what shaped her all along? In this brilliant investigation into her own family history, Delphine de Vigan attempts to "write her mother," seeking out something essential as she interviews aging relatives, listens to recordings, and reads Lucile's own writings. It is a history of luminous beauty and rambunctious joy, of dark secrets and silences. There are untimely deaths and failures of memory. There are revelations and there is the ultimately unknowable. And in the face of the unknowable, personal history becomes fiction: De Vigan must choose from differing accounts and fill in important gaps, using her writer's imagination to reconstruct a life. De Vigan writes her most expansive novel yet with acute self-awareness and marvelous sympathy. Nothing Holds Back the Night is a remarkable work, universally recognizable and singularly heartbreaking.

Matthieu Brin ha alcanzado el éxito con su primera novela y las cartas de admiradoras se agolpan en su buzón. Una de ellas le llama particularmente la atención. Es de una joven con la que mantuvo una breve e intensa relacion hace mas de diez años, poco antes de su matrimonio. La carta y su autora empiezan a obsesionarle y a afectar a su hasta entonces apacible vida familiar. La urgencia del deseo despierta su creatividad y resquebraja su estabilidad. Una tarde de diciembre es la historia de una mujer que escribe al hombre a quien una vez amo y al que nunca consiguio olvidar. Un testimonio revelador sobre lo fragil que puede ser la relacion de pareja frente al desgaste del tiempo.

Lou Bertignac has an IQ of 160 and a good friend in class rebel Lucas. At home her father puts a brave face on things but cries in secret in the bathroom, while her mother rarely speaks and hardly ever leaves the house. To escape this desolate world, Lou goes often to Gare d'Austerlitz to see the big emotions in the smiles and tears of arrival and departure. But there she also sees the homeless, meets a girl called No, only a few years older than herself, and decides to make homelessness the topic of her class presentation. Bit by bit, Lou and No become friends until, the project over, No disappears. Heartbroken, Lou asks her parents the unaskable question and her parents say: Yes, No can come to live with them. So Lou goes down into the underworld of Paris's street people to bring her friend up to the light of a home and family life, she thinks.

Everyday Mathilde takes the Metro, then the commuter train to the office of a large multi-national where she works in the marketing department. Everyday, the same routine, the same trains. But something happened a while ago - she dared to voice a different opinion from her moody boss, Jacques. Bit by bit she finds herself frozen out of everything, with no work to do. Thibault is a paramedic. Everyday he drives to the addresses he receives from his controller. The city spares him no grief: traffic jams, elusive parking spaces, delivery trucks blocking his route. He is well aware that he may be the only human being many of the people he visits will see for the entire day and is well acquainted with the symptomatic illnesses, the major disasters, the hustle and bustle and, of course, the immense, pervading loneliness of the city. Before one day in May, Mathilde and Thibault had never met. They were just two anonymous figures in a crowd, pushed and shoved and pressured continuously by the loveless, urban world. "Underground Time" is a novel of quiet violence - the violence of office-bullying, the violence of the brutality of the city - in which our two characters move towards an inevitable meeting. 'Two solitary existences cross paths in this poignant chronicle, a new testimony to de Vigan's superb eloquence' - "Lire".

Lou is a thirteen year old girl living in Paris. She is an exceptional student with an IQ of 160 who is excelling in school.But Lou lives a lonely life with a mother who is suffering with depression and a father who is caught up taking care of her mother. She is a tiny girl, much shorter than her schoolmates,who is neglected by her parents and forgotten about by her classmates. Her intelligence however affords her a freedom on a higher level and Delphine De Vigan uses this to narrate a story on homelessness set against the backdrop of one of the most grandiose and beautiful cities in the world-Paris. Tenderly written, Delphine De Vigan tackles the issue of homelessness using the voice of Lou. It is a beautiful idea that such a little girl can take on the large problem of homelessness. Lou meets an older homeless girl called No with whom she strikes up a friendship and eventually No comes to live with Lou and her parents. This book gives the reader philosophical insights into how society can continue to let people live on the streets and Lou's innocence generates a powerful narrative. De Vigan tackles the issues head on and her language is simple. These two methods lend the novel a strong emotional foundation. No and Me topped the bestseller charts in France where it was the bookseller choice in 2007. Bloomsbury is publishing two editions for adults and for teenagers. I didn't know beginning the book that it was a crossover novel but it became clear very quickly. It is highly recommendable for young teenagers, a coming of age story and a good introduction to philosophy. An interesting read and a super translation from the original French story.