By Hélène Vachon
Pour son most popular roman adulte, Hélène Vachon a choisi d’utiliser l. a. voie introspective, celle de l’artiste-peintre Alison Moser qui s’interroge sur les rapports humains. Individu en marge, c’est à travers le récit d’une component de sa vie que l’auteure reveal une imaginative and prescient du monde qui questionne l’essentiel.
Grâce à l’interaction de l’héroïne avec une galerie de personnages tous plus bigarrés les uns que les autres, Hélène Vachon arrive à jeter le doute sur notre disposition à los angeles sociabilité. Avec un type tout en nuances, voici un roman où on laisse au lecteur le soin de juger par lui-même los angeles portée des événements.
Alison Moser, artiste-peintre, peint des photographs de Monsieur, Madame Tout-le-monde pour gagner sa vie. De cet paintings strictement alimentaire, elle tire bien peu de choses.
Heureusement que dans son entourage des gens los angeles forcent à se remettre en query et à ébranler sa bohème. Il y a Doria, l. a. lointaine tante de Penwick qui accepte les travers de sa nièce sans , l’ex-conjoint Linder trop parfait pour elle, le couple Allan-Léa dont los angeles relation s’effrite, Hunter, le sans-abri, Warren, le nouveau voisin de palier et, bien sûr, SDF, le chien qui ne prend pas trop de position. Dans cet univers singulier, Alison lutte pour trouver un sens à sa vie.
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Pour son premiere roman adulte, Hélène Vachon a choisi d’utiliser los angeles voie introspective, celle de l’artiste-peintre Alison Moser qui s’interroge sur les rapports humains. Individu en marge, c’est à travers le récit d’une component de sa vie que l’auteure disclose une imaginative and prescient du monde qui questionne l’essentiel.
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Additional info for La Tête ailleurs
30). He finds calm by submerging himself in a tank of tropical fish, where “the world outside ceased to exist” (Williams 1992, p. 11), symbolising an escape into an imagined, psychological space. At the same time, the ferocity of nature reflects Jay’s inner turmoil as “[t]he southeaster moved rapidly over Devil’s Peak, down the barren mountain slopes, and battered the city below. Papers whipped off the street. Sign boards rattled. Tempers were fired” (Williams 1992, p. 3). Jason begins to look for clues to his past as he embarks on a quest for his grandfather’s missing yellowwood box.
Williams voices feelings that reflect the contrast between physical and psychological space when Jay is told that his grandfather “said that too many people here either had their heads in the sand or were living in some European fantasy; not enough people were living here, in this country, this South Africa” (Williams 1992, p. 121). In his search for his grandfather’s box, he comes to realise that the space between races is constructed by perceptions and attitudes. He finds his grandfather, himself, and his identity as a South African in the yellow-wood box containing his grandfather’s diaries and stories which prompt him to find his passion for writing and “as he typed, so he took the first steps of his adult life […].
A red kite in a pale sky. Cape Town: Tafelberg. Inggs, J. (2004). Space and race in contemporary South African English youth literature. In Change and renewal in children’s literature (pp. 25–33). Westport, CT: Praeger. Inggs, J. (2007). Effacing difference? The multiple images of South African adolescents. English in Africa, 34(2), 35–49. Inggs, J. (2014). Listening to others: Jenny Robson’s books for young South Africans. In B. A. Lehman, J. Heale, A. Hill, T. Van der Walt, & M. ), Creating books for the young in the New South Africa (pp.