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It is the director Alfred Hitchcock who proposed the concept of MacGuffin. He is responsible for one thing or one person or another whose main purpose is to trigger the intrusion. The Holy Grail is a common example, the title statue of Dashiell's Hammetts "Riddarfalken from Malta" is another.
In Virginia Despentes "Vernon Subutex 1", there are video tapes with an interview that a fast-paced French singer did with himself.
The main character of Vernon was part of the first band of the butter singer. It's an old rocker at the former owner of the Revolver record store in Paris. When we meet him, he faces the chasm of removing housing subsidies.
The main character of Vernon was part of the first band of the butter singer. It's an old rocker at the former owner of the Revolver record store in Paris.
Then Despentes goes away start a chain of small portraits. Vernon quickly drops off his luggage, including videotapes, and looks for temporary housing wherever he can find them. At the same time, the rumor circulates about groups that no one has ever seen, but that could be worth something. While Vernon sinks deeper into the homelessness of homelessness, he has ignored a host of producers, journalists, detectives and other stakeholders in the ports.
The French Virginie Despentes is so big and rock star that the publisher has dropped his name from the cover. Despentes has enough. She made herself known very early as a generation voice and had a scandal in 2000 with the filming of her own novel "Fuck Me", a story of revenge and militant-feminist that made the film "Fuck Me". the subject of a diligent debate on Swedish cultural sites.
"Vernon Subutex 1" is widely acclaimed and is a trilogy already completed in France. Swedish translator Kristoffer Leandoer shines with her creative touch.
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And it needs a multilingual translator of the subculture to orient himself in all the idiocies gathered in the relay Despentes across Paris. In addition, she is furiously angry at the moment, but without being satirical. Most characters who enter the narrative role are delights: privileged in some cases, but people who have the great time behind them.
It is clear that the good years ended at the turn of the millennium. A film producer remembers how to build a fortune on high-profile films until the '90s. "Today, you wonder who is number one on the sales list, no one can find more prestige in the absence of figures. " He sums it up: "The crowd just loves the excrement."
He also disqualified Facebook 's thirties today as "egocentric psychopaths on the verge of insanity".
Another voice of Despent belongs to the fund dealer Kiko, who discovers that the old world is over and does not understand why we still learn to read the working class. "The next time you call for the European population, it will be for war."
So run this novel along characters often weakly linked. Despentes visits a "White Power-Snub", a former porn star, a housewife seller, a female publisher, a Muslim girl – and many others. It is a painting of our time, extremely amusing, furious and wild casting. In addition, it is often very amusing, in all the misery.
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