Florence R. Loti I. Loti II. Et dans tous les accoutrements.
Malcom de Chazal. Man Ray. Hautement jubilatoire. Non que le texte soit ardu. New York. Typique du livre dont on ne sait que faire — le lire? Hubert Nyssen est plus humble que de coutume. Y gagne-t-on vraiment? Presse enfantine. Proust I. Proust II. Tout cela semble bien loin. Au milieu de ce fatras, donc, quelques notations qui ne manquent pas de pertinence. Rimbaud I. Rimbaud II. Segalen I.
Segalen II. Malheureusement, ce volume-ci est bien convenu et manque totalement de fantaisie. Italia Nostra. Saint Malo with love. Website: www. The savannah stretched in monotonous coppertones, dotted here and there by blisterlike anthills, then tiny clusters of huts would unstring under the plane's tarnished wings. But the bush reigned sovereign and ubiquitous, as if between it and the atmosphere any other object or living particle became an intruder. A soft rustle drew him out of his musings: the stewardess was passing a tray of candies. She wore her hair in narrow braids and the whiteness of her teeth sparkled in contrast with her ebony features.
Fabien stared at her for a while, projecting his thoughts into the velvety pupils of the young woman, imagining her draped in a gaudy loin-cloth. She was startingly beautiful. The collected stories". ISBN: Paperback. ISBN: Hardcover. Email: Orders Xlibris. Fax - Telephone: 1.
You may also order the book through Amazon, Barnes and Nobles, Booksam. Critic and professor of English at C. He is the editor of the prize-winning literary journal Confrontation, and the author of Africa in Modern Literature and other works. His poetry has been collected in Homes ot Locks and mysteries, and appears in leading periodicals.
He has also written a biography of Joseph Conrad and of Sam Shepard, both critically acclaimed. Science fiction and fantasy are other paths trodden by Albert Russo in his quest for a pre-Babel reconciliation of man with himself in all his constitutive dimensions, linguistic and social, but also generic and transcendental.
Guide Le Dieu des Papillons (Romans contemporains) (French Edition)
With his intense interest in African life, the young Russo also engaged with knowledge beyond narrow stratifications of colonial custom. For many years he has been resident in Paris. Wherever he has lived, Russo has concerned himself with one hard-burning commitment: to achieve an illumination of vision in his writing that suggests by the force of its light some direction for understanding of human behavior and action.
He draws on the many cultures he has been privileged to know, and he is always respectul of diversity.
But Russo is no mere reporter. While he works with words, and while his work is concerned with place and the spirit of place, he is more interested in visitation than visits. These visitations are of course a form of fabulism--that is, utilizing the fable as a subtext of the animal nature of man. In one of his recent fictions, for example, he writes of a man who falls in love with a tree--his love is so ardent he wills himself into a tree in order to root out any foreignness in his love affair.
In this personal fable Russo suggests the Greek myth of Pan love and even the Adamastor legend, that Titan who has turned cruelly into a rock out of unbridled passion for a goddess. Russo suggests other legends as well, and certainly the crossing of boundaries, psychological, emotional as well as physical and territorial--hybrid phenomena now sweeping into the attention of all of Africa and the Middle East--is to be found within the feelingful contours of his tale.
Fabulism is now a recognized presence in our literary lives. It goes by other names: magic realism is one of them. Underneath all the manifestations of this phenomenon is the artistic credo that creation is larger than life, and that the progeny created enhances the life that gave being to it.
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In sum, the artist is saying that life is larger than life if given the opportunity to be lived magnificently. His fiction represents, in essence, a belief, in the endless perceivable possibilities of mind.
For his art, while enlarging, is not showered with sun. His dark hues are those of ironic vision. Russo may be said to be very much a part of the beginning of this century. His concentration is on the inevitabilities of unknowingness; thus his resort is to the superrational as a way of steadying himself in the darkness. David Alexander , Small Press Review.
As goes the Zen proverb, the difference between heaven and hell is the thickness of a leaf. In the stories making up the Crowded World of Solitude collection Albert Russo may be said to be writing about what Indian gurus call avidya, and what Tibetan holy men call namparshespa, the darkness of the mind, obscured by multiple veils of ignorance. Most, indeed virtually all, of the characters in Russo's short stories are lost in existential mazes, and most don't have a clue about how to find their way out.
In some ways I see Albert Russo as a kind of shaman or holy man. Writing is simultaneously his religion and the cross to which he's nailed. He walks a path through a labyrinth, searching for truth, and he does not fear the distant snorts and echoes of cloven hoofs that may signal the presence of a Minotaur in the maze. He seems to have sought for this core reality -- call it samadhi -- amid the four corners of the earth, and many of the stories do indeed seem much like reports from the bloody beachheads of existence, Russo as life's war correspondent pinned down by enemy fire making an effort to be heard above the din of mortars dropping closer and closer with each true line, each true sentence.
In reading these stories you get the impression that all Russo's characters are playing "truth or dare" games with one another, facing off in mortal combats in which the losers can end up maimed for life; the special grace or holiness that invests them at first destroyed or severely damaged by contact with the unclean.
But that's one of the things Russo's telling us -- life, beneath the surface, is like this.
We are as innocent and unknowing of the full implications of the transformations and metamorphoses we undergo as water changing to ice or the head of a match struck suddenly into flame. This collection is as much a manifesto as a retrospective, as much a biography as a work of fiction, as much an engrossing statement of fact as a diverting concoction of fable. The stories, sometimes outwardly simple, are dense with meaning beneath the surface. Read once, most will haunt the mind till read at least twice.
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The first volume of the trilogy, Beyond the Great Water, is divided into two sections, part one being African Stories, part two being mainstream short fiction. The theme of metamorphosis, of the transformational moment and revelational event, of existential sin and arcane punishment, seems to run through all three books. I am uncertain of whether Russo himself is aware of this or not, for his writings surely probe the depths of his own unconscious mind from which they dredge up archetypal images from a deep internal reservoir.
The stories deal with the mutability of existence, and at their conclusions, something, usually the characters, sometimes society or even larger aspects of the physical universe, is changed forever; often, it must be added, for the worse.