La Souterraine (Littérature) (French Edition)

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L'Extragroupe (fr) de reprises de Léo Ferré de la Souterraine | supermiro

Your selected photo is:. Visit his literary websites, describing his odd books of fiction and poetry in his two mother-tongues, English and French, which include 25 photobooks.

It has a very gentle surface and a savage undertow. You are saying something which no one particularly wants to hear and saying it, furthermore from a particularly intimidating point of view.

Albert Russo

Much imagination, sensitivity and quality of style About "Eclats de malachite" "Splinters of malachite": Largely autobiographical, this work is written in the manner of an exorcism, it is engrossing and reveals a very real talent. His prose is that of a poet wounded by the claws of a ferocious society. He speaks as a poet when describing the beauty of Africa.

From this eminent polyglot such forays are not surprising. But above all, this is South Africa depicted by someone who knows it intimately well. And Albert Russo succeeds in giving us a lesson in ethnology with a verve few masters could possibly match. Prudence is raised as a poor white Afrikaner, but one day, the apartheid witch sneaks into her new school under the guise of a freckled classmate, then, brutally, the little girl will be wrenched from her roots and thrust amid the Colored community of District Six, compelled to share henceforth the fate of the underdog.

Here, the absurdity of apartheid is scanned by a writer whose style is the reflection of his soul, in which language and culture constantly crossfertilize. And, ultimately, he leads us to believe in a Cape of hope. Le Nouvel Athanor, Paris: Within these inner confines, Russo invites us to penetrate his densely imaged cosmic verse.

Russo is an unforgettable poet who, time and time again, compels the reader to that ever fertile, elusive, and mysterious land of the creative artist. This review was signed by Bettina Knapp who has authored more than 45 books. Albert speaks seven languages and loves to interact with people of different cultures and horizons.

He has lived in three different continents, which opened his mind to the world's variety of cultures and ways of thinking. Albert abhors any type of violence and especially those incited by the so-called 'men of god' whose sole preoccupation is power, revenge and murder, in other words terrorism, which is the plague of our century.

Albert Russo is well-known for his excellent books. He released his first book in called Zapinette Video through Xlibris. We invite you to look at his more than 20 trade and picture books, including 'The benevolent American in the heart of darkness', 'The crowded world of solitude', volumes 1 stories and 2 poetry , as well as his photo books, 'Mexicana', 'Sri Lanka' and 'Italia Nostra', among others.

With his intense interest in African life, the young Russo also engaged with knowledge beyond narrow stratifications of colonial custom. For many years he has been resident in Paris. Wherever he has lived, Russo has concerned himself with one hard-burning commitment: He draws on the many cultures he has been privileged to know, and he is always respectul of diversity.

Where does it take place?

But Russo is no mere reporter. While he works with words, and while his work is concerned with place and the spirit of place, he is more interested in visitation than visits. These visitations are of course a form of fabulism--that is, utilizing the fable as a subtext of the animal nature of man.

In one of his recent fictions, for example, he writes of a man who falls in love with a tree--his love is so ardent he wills himself into a tree in order to root out any foreignness in his love affair. In this personal fable Russo suggests the Greek myth of Pan love and even the Adamastor legend, that Titan who has turned cruelly into a rock out of unbridled passion for a goddess.

Russo suggests other legends as well, and certainly the crossing of boundaries, psychological, emotional as well as physical and territorial--hybrid phenomena now sweeping into the attention of all of Africa and the Middle East--is to be found within the feelingful contours of his tale. Fabulism is now a recognized presence in our literary lives. It goes by other names: Underneath all the manifestations of this phenomenon is the artistic credo that creation is larger than life, and that the progeny created enhances the life that gave being to it.

In sum, the artist is saying that life is larger than life if given the opportunity to be lived magnificently. His fiction represents, in essence, a belief, in the endless perceivable possibilities of mind. For his art, while enlarging, is not showered with sun. His dark hues are those of ironic vision. Russo may be said to be very much a part of the end of this century.

Critic and professor of English at C. He is the editor of the prize-winning literary journal Confrontation , and the author of Africa in Modern Literature and other works. His poetry has been collected in Homes ot Locks and mysteries , and appears in leading periodicals. He has also written a biography of Joseph Conrad and of Sam Shepard , both critically acclaimed. Essay by Adam Donaldson Powell. These titles include impressions from travels around the world, quirkiness and humour in human experience, studies of sculptures, autobiographical essays with photography as the medium, and more.

Had Russo not had such a passion for art and literature, he would surely have had a fine career as a photojournalist for commercial publishers of travel books, travel guides and travel magazines. Some of his photography books are combinations of texts and pictures, and others are without texts. Personally, I prefer the books that consist of photographs alone as I do not always relate to the accompanying texts and find them sometimes to be as annoying as I find signatures on the front side of paintings when the signatures not only do not add to the overall work of art, but actually detract from the viewing experience.

But this is a question of personal taste.

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I think this is true for many if not most persons who enjoy photography books as works of art. These are almost exclusively full-colour photos.. I am certain that Russo would find even more exciting nuances and enigmatic photographic puzzles through the usage of light, shadows, layers of greyness etc. The book is exactly what the title suggests: Here Russo includes both photographs of people colour and some black and white , photographs of letters and telefaxes, telegrams, articles on Russo as an author etc.

The book leaves us with a yearning to discover that personal aspect which Russo has not commented on, but which most other artists and authors usually make no bones about proclaiming ad nauseam: I have previously reviewed this book and commented: It is not difficult to understand that Mr. There is something folkloric and joyful in this fictionalized world which recalls Hispanic fiction. The high school is similar to an army barracks where love and revenge lurk. Surrounded by armed police very similar to the militia successive Turkish governments sent to calm down political opponents to different parts of the country, daily life amounts to a series of fears and uproars.

For the disreputable hero figures, the only possible redemption is love whereas common violence tries to extend its domination. All these meanings are present and harped on in this novel which manages to be altogether realistic and depressing: At the same time, it does contain a love story which is also altogether unromantic. But it i s first and foremost a gang story where all characters remain tied up together: The novel also introduces a new landscape: The energy pervading the novel being mostly made up of hate, a sense of revenge and devastation.

After giving us fragments of a destitute life, lost hopes and hints of a deep culpability and his aspiration for violent feats, can we say the character is a bad boy? Yes, but this time more in thought than in effect. Here, delinquency can be seen as a form of political struggle and, in a way, justified by social conditions.

Largely unemployed, bored and ready for any action that may break the daily routine, the boys embody the other face of jet-setters in Istanbul. Teeming with political and anti-Western criticism, the novel never really manages to install a real writing, also because the atmosphere of the early s on the Asian side of the city with a flavor of gentrification and unremarkable style is best transmitted through movies. Akarsu calls up an image of gentrified youth tempted by illegal feats but their aspirations do not sound very convincing.

Their action range is wider, the topography of the city extends to the limits set by the motorway: Beyond drug consumption, suicide attempts and the ordinary lot of young drifters, life at large seems to enter the narration. There is, in most literatures, a specific genre integrating hooligans as revolted, problematic characters. Thus, probably the most striking fact in this part of Turkish Literature we decided to dwell upon remains the emergence of suburban description and atmosphere, even when not exclusively related to delinquents or marginalized youths.

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Big City life is emerging, as seen through sociologically-tempted eyes and relying on a critical turn that is, critical of the urban schemes and structures as well unknown until then. All these characters play with the limits of morals, and adults tolerance, the transgression society can effectively deal with: Very little adventure, a taste for naturalism and the disappearance of positive characters indicate a wish to introduce new aesthetics where different styles are competing, as varied, complex, antinomic as the city itself.

Aux limites de la ville: Plan 1 - The turning-point of the s. Istanbul Agrandir Original jpeg, k. Zeytinburnu Agrandir Original jpeg, 56k. Agrandir Original jpeg, 90k.