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Chargement... The Kindly Ones (original 2006; édition 2009)par Jonathan Littell (Autor)
Information sur l'oeuvreLes Bienveillantes par Jonathan Littell (2006)
  
Unread books (38) EU Fiction: 1950-2022 (167) » 4 plus Actuellement, il n'y a pas de discussions au sujet de ce livre.   Joop-le-philosophe | Nov 26, 2018 |   ) natazouf | May 1, 2014 |  ) Ambroise7021 | Dec 28, 2013 | Avec ‘Les Bienveillantes’, Jonathan Littell nous offre le prototype du roman parfait, concurrent idéal aux prix littéraires. Le style, d’abord, est élégant, il impose un récit rythmé et accrocheur qui progresse avec une égale constance dans l’ouvrage. Le travail préparatoire ensuite, constitue une véritable mine de détails concernant aussi bien l’administration nazie que les réalités sociologiques de l’époque. De même encore, l’angle sous lequel le sujet est abordé ne peut que fédérer ; traitant l’un des drames les plus singuliers de l’Histoire, Littell le tire à lui, en mettant en scène l’incapacité existentielle des hommes à s’en défendre. L’habileté de l’écrivain réussit ainsi à transmuer ce sujet en un témoignage d’une universalité troublante. Alors, dans cette perfection, que penser d’un tel roman qui, à peine édité, fait déjà figure de “classique” ? Si l’on ne peut en effet n’être qu’admiratif devant cette capacité à dépeindre “l’irresponsabilité” des personnages, si l’on ne peut que sentir ce souffle russe se déverser sur cette succession de personnages bruts, suivant les ordres de l’Autorité comme Sisyphe traîne son rocher, sa qualité révèle l’ambiguïté d’une telle entreprise. Bien qu’intimement relié à un moment précis de l’histoire, le récit semble déjà s’en extraire et s’impose comme hors du temps, toujours d’actualité. Reste qu’une telle qualité devient presque frustrante et rares sont les moments où l’on sent l’auteur au bord de l’abîme, où l’on perçoit une véritable prise de risque sinon dans cette justification un peu lourde à laquelle se livre son héros dans les premières pages pour légitimer le récit de l’horreur, comme s’il découvrait, étonné, que l’indicible, l’inimaginable, peut s’écrire, peut s’étaler et se dire à nouveau. ( ) vdb | Nov 21, 2010 | clinchamps | May 31, 2009 |
 Some of these ambitions are brilliantly realized; others much less so. But all of them make Littell’s book a serious one, deserving of serious treatment. While some will denounce Littell’s cool-eyed authorial sympathy for Aue as “obscene”—and by “sympathy” I mean simply his attempt to comprehend the character—his project seems infinitely more valuable than the reflexive gesture of writing off all those millions of killers as “monsters” or “inhuman,” which allows us too easily to draw a solid line between “them” and “us.” [...] Aue is a human brother with whom we can sympathize (by which I mean, accept that he is not simply “inhuman”), or he is a sex-crazed, incestuous, homosexual, matricidal coprophage; but you can’t have your Schwarzwälder Kirschtorte and eat it, too.  The novel’s gushing fans [...] seem to have mistaken perversity for daring, pretension for ambition, an odious stunt for contrarian cleverness. Willfully sensationalistic and deliberately repellent, “The Kindly Ones” [...] is an overstuffed suitcase of a book, consisting of an endless succession of scenes in which Jews are tortured, mutilated, shot, gassed or stuffed in ovens, intercut with an equally endless succession of scenes chronicling the narrator’s incestuous and sadomasochistic fantasies. The novel [...] reads like a pointless compilation of atrocities and anti-Semitic remarks, pointlessly combined with a gross collection of sexual fantasies. Notwithstanding the controversial subject matter, this is an extraordinarily powerful novel that leads the stunned reader through extremes of both realism and surrealism on an exhausting journey through some of the darkest recesses of European history. The Kindly Ones reveals something that is desperate and depressing but profoundly important, now as ever. Max Aue, the SS executioner, states the truth with typically brutal clarity: "I am a man like other men, I am a man like you."  Littell has been very faithful to real events: his research is impressive [...] Littell, a Jew, rightly believes that the prime duty of a writer as well as a historian is to understand. He has succeeded in putting himself inside the tortured mind of his character. The Kindly Ones never descends into the sort of faction that is the curse of contemporary history [...] a great work of literary fiction, to which readers and scholars will turn for decades to come. The novel is diabolically (and I use the word advisedly) clever. It is also impressive, not merely as an act of impersonation but perhaps above all for the fiendish diligence with which it is carried out. [...] This tour de force, which not everyone will welcome, outclasses all other fictions and will continue to do so for some time to come. No summary can do it justice. Appartient à la série éditorialeGallimard, Folio (4685) Prix et récompensesListes notables
Fictional memoir of Dr. Max Aue, a former Nazi officer who survived the war and has reinvented himself, many years later, as a middle-class entrepreneur and family man in northern France. Max is an intellectual steeped in philosophy, literature, and classical music. He is also a cold-blooded assassin and the consummate bureaucrat. Through the eyes of this cultivated yet monstrous man, we experience the horrors of the Second World War and the Nazi genocide of the Jews in graphic, disturbingly precise detail from the dark and disturbing point of view of the executioner rather than the victim. During the period from June 1941 through April 1945, Max is posted to Poland, the Ukraine, and the Caucasus; he is present at the Battle of Stalingrad, at Auschwitz and Cracow; he visits occupied Paris and lives through the chaos of the final days of the Nazi regime in Berlin. Although Max is a totally imagined character, his world is peopled by real historical figures, such as Eichmann, Himmler, Goring, Speer, Heydrich, Hoss, and Hitler himself. Aucune description trouvée dans une bibliothèque |
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 Google Books — Chargement...GenresClassification décimale de Melvil (CDD)843.92Literature French and related languages French fiction Modern Period 21st CenturyClassification de la Bibliothèque du CongrèsÉvaluationMoyenne: (3.93)
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