{"id":895,"date":"2014-11-02T14:18:00","date_gmt":"2014-11-02T13:18:00","guid":{"rendered":"http:\/\/agora.xtec.cat\/iescorbera\/general\/club-de-lectura-5\/"},"modified":"2016-10-19T17:10:58","modified_gmt":"2016-10-19T15:10:58","slug":"club-de-lectura-5","status":"publish","type":"post","link":"https:\/\/agora.xtec.cat\/iescorbera\/general\/club-de-lectura-5\/","title":{"rendered":"Club de Lectura"},"content":{"rendered":"
<\/a><\/div>\n
AM\u00c9LIE NOTHOMB<\/b><\/span><\/span><\/span><\/div>\n
\u25ba Estupor i tremolors<\/b><\/i><\/span><\/span><\/span><\/b><\/i><\/div>\n
La butxaca (cat.) Anagrama (cast.)<\/span><\/span><\/span><\/div>\n
\u25baCosm\u00e8tica de l\u2019enemic<\/b><\/i><\/span><\/span><\/span><\/div>\n
Columna edicions (cat.) Anagrama (cast.)<\/span><\/span><\/span><\/div>\n
* * *<\/span><\/span><\/span>
\nJuny 2014<\/span><\/div>\n

<\/p>\n

Tot i que l\u2019Am\u00e9lie Nothomb (1967) es va donar a con\u00e8ixer en el m\u00f3n de la literatura franc\u00f2fona amb la publicaci\u00f3 de l\u2019obra <\/span><\/span><\/span>Higiene de l\u2019assass\u00ed<\/i><\/span><\/span><\/span>(1992), no va ser fins l\u2019any 1999 amb el text que proposem en aquesta ocasi\u00f3, <\/span><\/span><\/span>Estupor i tremolors<\/i><\/span><\/span><\/span>, guardonat amb el Gran Premi de Novel\u00b7la de l\u2019Acad\u00e8mia Francesa, que li arrib\u00e0 l\u2019\u00e8xit i el reconeixement de la cr\u00edtica liter\u00e0ria.<\/span><\/span><\/span><\/div>\n
Autora prol\u00edfica \u2014d\u2019en\u00e7\u00e0 1992 ha publicat una novel\u00b7la cada any\u2014 el seu univers literari esdev\u00e9 una exploraci\u00f3 del concepte de frontera \u2014 <\/span><\/span><\/span>\u00abt<\/span><\/span><\/span>ots els meus llibres tracten d\u2019aix\u00f2, de les fronteres\u00bb\u2014 a trav\u00e9s d\u2019esquemes narratius senzills on els personatges, creats sense gaire descripci\u00f3 mitjan\u00e7ant di\u00e0legs morda\u00e7os d\u2019agilitat i intensitat infreq\u00fcents, s\u00f3n portats al l\u00edmit de l\u2019absurd, a aquell conf\u00ed on la terra perd consist\u00e8ncia i es torna movedissa, a escenaris radicals on res s\u00f2lid roman com a punt de suport al qual aferrar-se.<\/span><\/span><\/span><\/div>\n
En termes metaf\u00f2rics, b\u00e9 podr\u00edem dir que el teixit de les seves obres revela l\u2019\u00e0nima d\u2019una filadora inquieta que en comptades ocasions incorpora a la seva filosa colors harm\u00f2nics o tonalitats suaus; m\u00e9s aviat, els seus panys mostren un gust pels contrastos violents, pels tons grisos, que cobren en el conjunt un protagonisme tan destacat que m\u00e9s que no pas la llum \u00e9s la penombra, quan no la foscor, l\u2019element dominant. <\/span><\/span><\/span><\/div>\n
I \u00e9s que l\u2019Am\u00e9lie Nothomb sent predilecci\u00f3 per les situacions inquietants, per aquelles <\/span><\/span><\/span>mise en sc\u00e8ne<\/i><\/span><\/span><\/span>on l\u2019individu es troba sobtadament davant d\u2019una certa irracionalitat que l\u2019interpel\u00b7la, no a l\u2019extrem d\u2019identificar aquesta amb la veu pr\u00f2pia del boig, sin\u00f3 m\u00e9s aviat amb la d\u2019una racionalitat perversa que li for\u00e7a a justificar les seves conviccions tot fent trontollar l\u2019edifici de les seves certeses, de tal manera que un cop introdu\u00efda la pedra en els engranatges de la ra\u00f3, assistim a un proc\u00e9s mil\u00b7lim\u00e8tricament calculat de desballestament d\u2019aquesta.<\/span><\/span><\/span><\/div>\n
La \u201cpedra\u201d pot ser la cultura japonesa (<\/span><\/span><\/span>Estupor i tremolors<\/i><\/span><\/span><\/span>), el personatge Textor Texel (<\/span><\/span><\/span>Cosm\u00e8tica de l\u2019enemic<\/i><\/span><\/span><\/span>), un premi Nobel de literatura, Pr\u00e9textat Tach (<\/span><\/span><\/span>Higiene de l\u2019assass\u00ed<\/i><\/span><\/span><\/span>), un metge ve\u00ed, Palamede (<\/span><\/span><\/span>Les catilin\u00e0ries<\/i><\/span><\/span><\/span>)… <\/span><\/span><\/span><\/div>\n
La funci\u00f3 d\u2019aquests personatges \u2014expressi\u00f3 de la desmesura\u2014 \u00e9s capgirar el mode com es perceben a si mateixos els protagonistes, obrint una dimensi\u00f3 a les seves \u00e0nimes insospitada abans de creuar-se amb ells. <\/span><\/span><\/span><\/div>\n
En aquest sentit, escriu l\u2019Am\u00e9lie Nothomb al comen\u00e7ament de <\/span><\/span><\/span>Les catilin\u00e0ries<\/i><\/span><\/span><\/span>: \u00abRes no sabem de nosaltres mateixos. Quants m\u00e9s anys han transcorregut, menys sabem quina \u00e9s la persona en nom de la qual parlem i actuem. Per\u00f2 aix\u00f2 no \u00e9s un problema. \u00bfQuin inconvenient hi ha en el fet de viure l\u2019exist\u00e8ncia d\u2019un perfecte desconegut? Potser sigui millor aix\u00ed.\u00bb <\/span><\/span><\/span><\/div>\n
D\u2019acord amb el sentit d\u2019aquestes paraules, b\u00e9 podr\u00edem dir que <\/span><\/span><\/span><\/span>Estupor i tremolors<\/span><\/i><\/span><\/span><\/span>no tracta tant de la duresa del mercat laboral japon\u00e8s \u2014basat en un mode quasi militar d\u2019entendre l\u2019ordre dins de l\u2019empresa\u2014 com de l’enfonsament gradual de la identitat de la protagonista, <\/span><\/span><\/span><\/span>la pr\u00f2pia A. Nothomb,<\/span><\/span><\/span>que, sabent qui \u00e9s, segura de si mateixa i de les seves aptituds al comen\u00e7ament del llibre, veu com cauen totes les certeses del seu propi jo fruit d\u2019una successi\u00f3 d\u2019humiliacions a qu\u00e8 \u00e9s sotmesa a l\u2019empresa Yumimoto: no ets una traductora, no parles idiomes, no tens habilitats, no tens dignitat pr\u00f2pia, no ets culta, intel\u00b7ligent ni atractiva i, per sobre de tot, no ets ni ser\u00e0s mai japonesa.<\/span><\/span><\/span><\/span><\/div>\n
D\u2019aquest brutal rebuig neix el retiment de comptes que l\u2019autora duu a terme contra la cultura japonesa a <\/span><\/span><\/span><\/span>Estupor i tremolors<\/span><\/i><\/span><\/span><\/span>, la lectura de la qual es fa suportable per les constants pinzellades sarc\u00e0stiques amb qu\u00e8 A. Nothomb assaona les p\u00e0gines. <\/span><\/span><\/span><\/span><\/div>\n
Respecte a l\u2019altre text, <\/span><\/span><\/span><\/span>Cosm\u00e8tica de l\u2019enemic <\/span><\/i><\/span><\/span><\/span>(2001), novel\u00b7la curta de la qual s\u2019han fet adaptacions teatrals, el mencionat esquema funciona encara amb major precisi\u00f3. Dos \u00fanics personatges a la sala d\u2019espera d\u2019un aeroport mantenen un <\/span><\/span><\/span><\/span>combat dial\u00e8ctic d\u2019intensitat poc com\u00fa. Un \u2014el protagonista, J\u00e9r\u00f4me Angust, representant de la ra\u00f3\u2014 veu com se li atansa un desconegut disposat a parlar sigui com sigui amb ell. Aquest \u00faltim \u2014personatge amoral que demostra saber detalls de la vida del protagonista que aquest ha procurat amagar\u2014 \u00e9s la veu d\u2019aquella racionalitat perversa abans esmentada que, en aquesta ocasi\u00f3, acabar\u00e0 desequilibrant a J\u00e9r\u00f4me Angust en desemmascarar el seu jo ocult. Freud i la seva psicoan\u00e0lisi planen sobre els cap\u00edtols d\u2019una obra el final imprevisible de la qual tanca amb brillantor una m\u00e9s que notable novel\u00b7la.<\/span><\/span><\/span><\/div>\n
Acabem. Estem conven\u00e7uts que mentre la pedrera no s\u2019esgoti l\u2019originalitat de l\u2019esquema d\u2019Am\u00e9lie Nothomb continuar\u00e0 extraient material que col\u00b7locar en els engranatges de la ra\u00f3, fent pal\u00e8s les incoher\u00e8ncies i contradiccions d\u2019un jo que creu saber de si mateix m\u00e9s del que en realitat sap. <\/span><\/span><\/span><\/div>\n
Un darrer advertiment: hi ha un risc moderat d\u2019addicci\u00f3 a la literatura d\u2019aquesta autora belga. L\u2019\u00fanic ant\u00eddot conegut \u00e9s formar part d\u2019un club de lectura de confian\u00e7a. <\/span><\/span><\/span><\/div>\n

 <\/p>\n

(A. Delgado)<\/span><\/span><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"

AM\u00c9LIE NOTHOMB \u25ba Estupor i tremolors La butxaca (cat.) Anagrama (cast.) \u25baCosm\u00e8tica de l\u2019enemic Columna edicions (cat.) Anagrama (cast.) * * * Juny 2014<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[1],"tags":[137],"class_list":["post-895","post","type-post","status-publish","format-standard","hentry","category-general","tag-clubdelectura"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/posts\/895","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/comments?post=895"}],"version-history":[{"count":2,"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/posts\/895\/revisions"}],"predecessor-version":[{"id":1358,"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/posts\/895\/revisions\/1358"}],"wp:attachment":[{"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/media?parent=895"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/categories?post=895"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/agora.xtec.cat\/iescorbera\/wp-json\/wp\/v2\/tags?post=895"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}