The prologue’s short dialogue between father and son, which sets the novel’s tone, identifies the key geopolitical issues with the acuity of a ten-year-old’s perception of the times’ changing winds. To Gabriel’s question : Why are the Tutsis and Hutus fighting?, his father responds, Because they don’t have the same nose. Then, ironizing on the persistence of children, the narrator recalls a classmate categorizing Cyrano de Bergerac as Tutsi, before concluding: “Le fond de l’air avait changé. Peu importe le nez qu’on avait, on pouvait le sentir” (Something in the air had changed. And you could smell it, no matter what kind of nose you had). Petit pays thus moves from the personal to national and international political tensions, with Gabriel’s parents’ breakup presaging the civil war that would tear Burundi apart and that continues to this day, with its summary trials of human-rights activists, hate propaganda, and ideological signposts that characterize genocides. Written in 2015, the year of the terrorist attacks on Charlie Hebdo and of the concomitant question of hospitality for migrants and refugees, the novel opens with Gabriel remembering his eleventh birthday, as he turns thirty-three in Paris, alone in a bar, where a TV flashes images of refugees fleeing war just as he had twenty years before, and deciding to return to Bujumbura . With its luminous ode to a childhood bathing in Burundi’s beauty; the realism of snatched conversations and radio broadcasts about unfolding political events; and the acumen of the contemporary orality of its raplike punch lines, Petit pays circumscribes the fragility of everyone’s cul-de-sac, in a personal hymn to reading and writing as humanity’s safe haven and safeguard. (Editorial note: An English translation by Sarah Ardizzone, Small Country, was published by Hogarth in 2018.) Sarah Davies Cordova University of Wisconsin–Milwaukee Grégoire Bouillier Le Dossier M, livre 2: Après et bien avant Paris. Flammarion. 2018. 868 pages. A scant two months after winning the prestigious, quirky Prix Décembre for the first volume, Grégoire Bouillier brought out the second half of his Le Dossier M. Like its predecessor, this massive tome is an unwieldy, unconstrained cornucopia of thoughts and memories around the author’s relationship with the inscrutable M. The book’s contents even spilled out onto a website dedicated to presenting various mementos and realia at ledossierm .fr. For all the heterogeneity Bouillier provides, though, the two volumes betray wholly dissimilar emotional modes. The first volume was more or less in medias res, describing and expressing the wild love Bouillier experienced, while this second Julián Herbert Tomb Song Trans. Christina MacSweeney Graywolf Press Mexican author Julián Herbert finds himself at his mother’s side as she is dying of leukemia, and he can’t help but relive his childhood as the son of a prostitute, surrounded by half-siblings and constantly in motion. Tomb Song modulates between different kinds of prose in a story that is chaotic, absurd, and painfully poignant. Ming Holden Refuge Kore Press Refuge is the remarkable memoir of a young woman who has put herself in harm’s way time and again to lend much-needed aid to refugees in Africa, Syria, and Asia. Holden exhibits a laudable self-awareness of how her privilege as a white westerner gives her access to resources that might otherwise be unavailable to those she serves and delivers her message of universal humanism with style and grace. Nota Bene WORLDLIT.ORG 79 volume takes on a bleaker, more retrospective stance befitting its subtitle, “After and Long Before.” For most novelists, the plot and characters must precede the writing; their work consists of arranging words in a way that appropriately depicts these constructs. Bouillier, however, lets the words he sets down take the lead; everything else follows, with little regard for linearity or logical progression. Emotion, rather, is the governing concern. And so Bouillier decides to reveal, at the end of volume 2, just how several episodes described in volume 1 turned out to be false: “Mistakes, retakes: these were, from the very start, the two pillars supporting my story of M.” Perhaps...
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