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Un entretien avec Edna O’Brien au sujet de «La maison du splendide isolement »
Désolé mais il est en anglais et c’est tout ce que j’ai de disponible pour le moment(Je ferai mieux la prochaine fois)
On peut voir aussi le DVD «A mi-mots» où elle parle (dans les bonus) de cet excellent livre.
MM: Your research for this trilogy was quite diligent throughout. I know you went into the intricacies of tractors for Wild Decembers, but you also went to see Dominic McGlinchy for House of Splendid Isolation, in which an Irish terrorist on the run comes to an elderly woman's house and stays there. How did that come about? What transpired in your discussions with McGlinchy, and what were your impressions?
EO'B: A lot, which I'd love to tell you. But I would first like to say something that matters to me. There is time present, time past and time future, and a work of fiction embodies all three. In that sense a novel has mythic undercurrent. House of Splendid Isolation begins like this: "History is everywhere, it seeps into the soil, like rain, or hail, or snow, or blood. A house remembers, an outhouse remembers, a people ruminate, the tale differs with the teller."
The only way I could write about "The Troubles", as it is loosely called, was to bring an IRA crusader from the North to an empty house where a woman, alone and old, is locked in her own sense of history. I was castigated for it, especially in England. One critic suggested that I be relieved of the talent I seemed to have. He didn't say how! That's the kind of thing you have to put up with and to move on from.
My first conscious connection with Dominic McGlinchy was in the early 1970s when he was captured on St Patrick's Day in a house in Clare not far from the nursing-home where my father was. A few years later I was in Dublin at a public event and enquired about him. A woman shouted across to her husband, "Darling, whatever happened to Dominic McGlinchy?" The reply came with extraordinary clairvoyance, "He was shot outside a telephone kiosk." Well, he eventually was.
I wrote to him and to the governor at Portlaoise, and was given permission to visit. You can't make notes or anything, and the first time I went to the portakabin, he and a guard were chivalrously preparing for my visit. They were throwing chairs around to make it habitable. I asked, "Which of you is Dominic?" and he said, "Me."
He told me a great deal about his life, growing up in Bellaghy, Catholic families such as his victimized in all sorts of ways. He was fourteen when he was first interned without having committed any crime, and that instilled in him the resolve to join the IRA. We know the killings and the butcheries on both sides of the divide, and believe me I do not wish to be dead on the Shankill Road or the Falls Road or any other road, but responsibility for those terrible and tragic years lies with both the British government and the intransigence of unionist domination.
Désolé mais il est en anglais et c’est tout ce que j’ai de disponible pour le moment(Je ferai mieux la prochaine fois)
On peut voir aussi le DVD «A mi-mots» où elle parle (dans les bonus) de cet excellent livre.
MM: Your research for this trilogy was quite diligent throughout. I know you went into the intricacies of tractors for Wild Decembers, but you also went to see Dominic McGlinchy for House of Splendid Isolation, in which an Irish terrorist on the run comes to an elderly woman's house and stays there. How did that come about? What transpired in your discussions with McGlinchy, and what were your impressions?
EO'B: A lot, which I'd love to tell you. But I would first like to say something that matters to me. There is time present, time past and time future, and a work of fiction embodies all three. In that sense a novel has mythic undercurrent. House of Splendid Isolation begins like this: "History is everywhere, it seeps into the soil, like rain, or hail, or snow, or blood. A house remembers, an outhouse remembers, a people ruminate, the tale differs with the teller."
The only way I could write about "The Troubles", as it is loosely called, was to bring an IRA crusader from the North to an empty house where a woman, alone and old, is locked in her own sense of history. I was castigated for it, especially in England. One critic suggested that I be relieved of the talent I seemed to have. He didn't say how! That's the kind of thing you have to put up with and to move on from.
My first conscious connection with Dominic McGlinchy was in the early 1970s when he was captured on St Patrick's Day in a house in Clare not far from the nursing-home where my father was. A few years later I was in Dublin at a public event and enquired about him. A woman shouted across to her husband, "Darling, whatever happened to Dominic McGlinchy?" The reply came with extraordinary clairvoyance, "He was shot outside a telephone kiosk." Well, he eventually was.
I wrote to him and to the governor at Portlaoise, and was given permission to visit. You can't make notes or anything, and the first time I went to the portakabin, he and a guard were chivalrously preparing for my visit. They were throwing chairs around to make it habitable. I asked, "Which of you is Dominic?" and he said, "Me."
He told me a great deal about his life, growing up in Bellaghy, Catholic families such as his victimized in all sorts of ways. He was fourteen when he was first interned without having committed any crime, and that instilled in him the resolve to join the IRA. We know the killings and the butcheries on both sides of the divide, and believe me I do not wish to be dead on the Shankill Road or the Falls Road or any other road, but responsibility for those terrible and tragic years lies with both the British government and the intransigence of unionist domination.
Merci Eireann! J'aime toujours comme Edna O'Brien parle de ses ouvrages. Je me souviens d'un bel entretien dans lequel elle racontait la genèse de son livre "Dans la forêt". Ce qu'elle en disait était par moments bien plus intéressant que le contenu du bouquin en lui-même!
Dans cet article en anglais que tu proposes, j'ai extrait cette phrase qui résume tout: "He was fourteen when he was first interned without having committed any crime, and that instilled in him the resolve to join the IRA. "
Encore merci!
Dans cet article en anglais que tu proposes, j'ai extrait cette phrase qui résume tout: "He was fourteen when he was first interned without having committed any crime, and that instilled in him the resolve to join the IRA. "
Encore merci!
Le DVD contient effectivement l’entretien qui était passé sur Arte (vers 23 heures évidement) avec en plus 55 minutes de bonus. C’est un coffret 10/18 vendu avec le livre «Décembres fous»
Je ne suis pas un inconditionnel d’Edna O’ Brien, mais «La maison du splendide isolement » est magnifique. Je viens de retrouver le tout premier livre d’Edna O’Brien que j’ai lu «Une rose dans le cœur» avec une nouvelle qui m’avait beaucoup plu à l’époque «La créature». Connais-tu ?
Je ne suis pas un inconditionnel d’Edna O’ Brien, mais «La maison du splendide isolement » est magnifique. Je viens de retrouver le tout premier livre d’Edna O’Brien que j’ai lu «Une rose dans le cœur» avec une nouvelle qui m’avait beaucoup plu à l’époque «La créature». Connais-tu ?
Ha non, je ne l'ai pas lu.
"(Je m'excuse auprès de Sahkti pour l'empunt du titre de sa critique...je n'en voyais pas d'autre.)"
Tout excusé Spirit! Et très contente que tu aimes ce livre.
Tout excusé Spirit! Et très contente que tu aimes ce livre.
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