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In nineteenth-century Chile, Aurora del Valle suffers a brutal trauma that erases all recollections of the first five years of her life. Raised by her regal and ambitious grandmother Paulina del Valle, Aurora grows up in a privileged environment but is tormented by horrible nightmares. When she is forced to recognize her betrayal at the hands of the man she loves, and to cope with the resulting solitude, she explores the mystery of her past.… (plus d'informations)
>ISABEL ALLENDE : Portrait sépia (Grasset Paris. 2001. 392 pages) Se reporter au compte rendu de Nadia BEAUDOIN In: (2001). Compte rendu de [Nouveautés]. Québec français, n° 124 (hiver 2001–2002), p. 13… ; (en ligne), URL : https://id.erudit.org/iderudit/55870ac
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
And that's why I have to go back to so many places in the future, there to find myself and constantly examine myself with no witness but the moon and then whistle with joy, ambling over rocks and clods of earth, with no task but to live, with no family but the road.
--Pablo Neruda, End of the World (Wind)
Dédicace
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
For Carmen Balcells and Ramon Huidobro, two lions born on the same day, forever alive.
Premiers mots
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
I came into the world one Tuesday in the autumn of 1880, in San Francisco, in the home of my maternal grandparents.
Citations
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
My mother never takes a stitch with an unthreaded needle.
Nothing is free in this world. You would pay a very dear price for those trinkets.
… she believed that photography and painting are not competing arts but basically different: the painter interprets reality, and the camera captures it. In the former everything is fiction, while the second is the sum of the real plus the sensibility of the photographer.
In the anguish of identifying what was lacking in me, I devoted hours and hours to shooting self-portraits, some before a large mirror I had brought to my studio, others standing before the camera. I took hundreds of photographs; in some I am dressed, in some I’m naked; I examined myself from every angle, and the only thing I discovered was a crepuscular sadness.
Memory is fiction. We select the brightest and the darkest, ignoring what we are ashamed of, and so embroider the broad tapestry of our lives. Through photography and the written word I try desperately to conquer the transitory nature of my existence, to trap moments before they evanesce, to untangle the confusion of my past.
In the end, the only thing we have in abundance is the memory we have woven. Each of us chooses the tone for telling his or her own story; I would like to choose the durable clarity of a platinum print, but nothing in my destiny possesses that luminosity. I live among diffuse shadings, veiled mysteries, uncertainties; the tone for telling my life is closer to that of a portrait in sepia.
Derniers mots
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
EPILOGUE. Each of us chooses the tone for telling his or her own story; I would like to choose the durable clarity of a platinum print, but nothing in my destiny possesses that luminosity. I live among diffuse shadings, veiled mysteries, uncertainties; the tone for telling my life is closer to that of a portrait in sepia.
In nineteenth-century Chile, Aurora del Valle suffers a brutal trauma that erases all recollections of the first five years of her life. Raised by her regal and ambitious grandmother Paulina del Valle, Aurora grows up in a privileged environment but is tormented by horrible nightmares. When she is forced to recognize her betrayal at the hands of the man she loves, and to cope with the resulting solitude, she explores the mystery of her past.
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