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J'aurais adoré être ethnologue #3
La tectonique des plaques
Cuites, dérapages et autres séismes dans sa vie de jeune mère célibataire. À 35 ans, Margaux Motin raconte les récents bouleversements qui ont secoué son existence. En magnitude 10 sur l'échelle de Richter, sa nouvelle histoire d'amour avec son meilleur pote, pour qui elle change radicalement de vie. Et comme toute nana post-trentenaire qui prend des décisions très vite, le retour de flammes sera brutal.
192 pages, Hardcover
First published May 8, 2013
About the author
Margaux Motin
68 books93 followersMargaux Motin, née le 25 juillet 1978, est une illustratrice et blogueuse française. Elle est la sœur de la chorégraphe Marion Motin. Sur son blog Margaux Motin, elle expose des anecdotes de sa vie de trentenaire
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Displaying 1 - 30 of 168 reviews
March 15, 2022
The art is okaaay, but the observations are very obvious and trite, and it's all a bit 'girls are like this' and 'men are like this'.. nope.
February 13, 2020
What beautiful illustrations for such a bland book. It wants to be quirky and fun but has the same vibe as every Live Love Laugh mommy blog out there.
December 13, 2019
Oh so very French! Divorce, motherhood, romance and heartbreak, all in high heels and fashionable clothes, while smoking and drinking wine. Funny and very sexy cartoons, but a bit of a scattered reading experience.
July 29, 2017
Não sei por que ainda me surpreendo com meu poder de subestimar as coisas. Falando de praticidade, considero HQs leituras de respiro, de se fazer entre um livro denso e outro. Sei que não é o melhor pensamento e asseguro que eu e meu analista interior já estamos trabalhando nisso, porém é algo que vem de estalo na minha cabeça. Havia acabado de ser destroçado intelectualmente por Deuses Americanos do Neil Gaiman e peguei Placas Tectônicas na esperança de uma viagem expressa rumo à felicidade. E recebi muito mais do que isso.
Placas Tectônicas trata de convergências internas. Os cataclismas pessoais que lidamos no dia-a-dia. Abordando assuntos que, num mínimo desvio, poderiam tomar rumos melancólicos, como o fim de um relacionamento, o estágio de transição entre comprometida e solteira e a força necessária para seguir em frete, sua vida de mãe solteira e situações do cotidiano, Margaux (depois dessa leitura sinto que já somos íntimos, logo primeiros nomes se fazem necessários) traz uma quantidade abrasiva de humor e personalidade, mesclados a um traço maravilhoso, que tornam a experiência mais leve e rotineira sem deixar de ser válida. Um retrato fidedigno de quando tudo parece fazer sentido exceto nós mesmos.
De uns tempos para cá desenvolvi certa obsessão pela funcionalidade da famigerada — na qual me incluo — geração Y, e Margaux mostrou-se uma personalidade extremamente representativa do nosso meio. Somos a geração conturbada. Aqueles julgados pelo imediatismo e o desespero de sermos as estrelas mais brilhantes da galáxia. Não é uma mentira tão grosseira assim, mas a urgência de nós Millenials é por figuras representativas, algo empregue sem moderação em Placas Tectônicas. Ao transformar-se em personagem, Margaux torna-se um espelho no qual seu reflexo pode moldar-se a diferentes formas dependendo de quem o admire, mas a essência sempre lembrará aquilo que nos une: identificação.
Acredito que essa HQ converse muito com Comer, Rezar e (pra mim existe um “e” ali, vamos aceitar e seguir em frente) Amar, um dos meus filmes favoritos da vida e que até hoje não li o livro por medo de afetar o que essa história representa pra mim. Não nego que, analisando de forma crua e objetiva, seja um montante nada discreto de white people problems, mas isso não desmerece a história de Liz Gilbert e, por osmose, a de Margaux Motin. Uma crise é uma crise, não importa que seja existencial, financeira ou familiar, se uma pessoa sente-se perdida no espaço e no tempo, é verdadeira e, sendo assim, importa.
É uma obra que se encaixa no meu tipo favorito de leitura: aquela que, tamanha a entrega emocional e verdade impressa pelo autor, no fim, parece que somos amigos de infância. Com tanta coisa na cabeça — vestibular, saúde querendo das uns sustos, cobranças externas e internas —, senti que a pressão minava minhas leituras e tornava a minha escrita difícil. Então surgiu Margaux, e foi como abrir uma janela para permitir que o ar desabafasse um cômodo incrustado de poeira. Uma sacudida nas minhas próprias placas que me tirou de uma bad que ameaçava permanecer indefinidamente. E há quem diga que a literatura é algo efêmero.
Placas Tectônicas trata de convergências internas. Os cataclismas pessoais que lidamos no dia-a-dia. Abordando assuntos que, num mínimo desvio, poderiam tomar rumos melancólicos, como o fim de um relacionamento, o estágio de transição entre comprometida e solteira e a força necessária para seguir em frete, sua vida de mãe solteira e situações do cotidiano, Margaux (depois dessa leitura sinto que já somos íntimos, logo primeiros nomes se fazem necessários) traz uma quantidade abrasiva de humor e personalidade, mesclados a um traço maravilhoso, que tornam a experiência mais leve e rotineira sem deixar de ser válida. Um retrato fidedigno de quando tudo parece fazer sentido exceto nós mesmos.
De uns tempos para cá desenvolvi certa obsessão pela funcionalidade da famigerada — na qual me incluo — geração Y, e Margaux mostrou-se uma personalidade extremamente representativa do nosso meio. Somos a geração conturbada. Aqueles julgados pelo imediatismo e o desespero de sermos as estrelas mais brilhantes da galáxia. Não é uma mentira tão grosseira assim, mas a urgência de nós Millenials é por figuras representativas, algo empregue sem moderação em Placas Tectônicas. Ao transformar-se em personagem, Margaux torna-se um espelho no qual seu reflexo pode moldar-se a diferentes formas dependendo de quem o admire, mas a essência sempre lembrará aquilo que nos une: identificação.
Acredito que essa HQ converse muito com Comer, Rezar e (pra mim existe um “e” ali, vamos aceitar e seguir em frente) Amar, um dos meus filmes favoritos da vida e que até hoje não li o livro por medo de afetar o que essa história representa pra mim. Não nego que, analisando de forma crua e objetiva, seja um montante nada discreto de white people problems, mas isso não desmerece a história de Liz Gilbert e, por osmose, a de Margaux Motin. Uma crise é uma crise, não importa que seja existencial, financeira ou familiar, se uma pessoa sente-se perdida no espaço e no tempo, é verdadeira e, sendo assim, importa.
É uma obra que se encaixa no meu tipo favorito de leitura: aquela que, tamanha a entrega emocional e verdade impressa pelo autor, no fim, parece que somos amigos de infância. Com tanta coisa na cabeça — vestibular, saúde querendo das uns sustos, cobranças externas e internas —, senti que a pressão minava minhas leituras e tornava a minha escrita difícil. Então surgiu Margaux, e foi como abrir uma janela para permitir que o ar desabafasse um cômodo incrustado de poeira. Uma sacudida nas minhas próprias placas que me tirou de uma bad que ameaçava permanecer indefinidamente. E há quem diga que a literatura é algo efêmero.
July 25, 2021
In her memoir Plate Tectonics, the very Parisian Margaux Motin navigates her new life as a divorced single parent; she unexpectedly finds romance with one of her friends.
Motin's art is expressive, animated, and bucks the panel-to-panel structure found in most comics or graphic novels. Instead, the short vignettes - sometimes spanning a few pages, sometimes just one - often fill the full page, or a quick setup at the top half, and resolution in the second half below. Motin uses beautiful gradients and watercolors, and has very strong fashion design, particularly patterned shirts and leggings, and oh, the shoes. I want all the shoes. But more importantly, it's a very pretty book with a distinct style. While the cursive typeface was also pretty, it was often difficult to read, particularly in long paragraphs or big speech bubbles.
In the story itself, Motin keeps the reader at such a distance that it's impossible to invest in the narrative that loosely connects the vignettes, which already feel disjointed. Understandably, she is not interested in sharing the story of her marriage and divorce - that is literally put in a box and tossed away in the opening pages - nor is it necessary. We then meet her daughter (whom she only calls "Pumpkin"), her mother, and a group of girlfriends, suggesting this is a love story between mother and daughter, sisterhood, etc. And then, out of nowhere, see her with a man, a "thousand year old friend" who then immediately becomes her love interest. (We never learn his name.)
There are several complications a dating, single parent would likely encounter, especially if the new beau is an old friend, and if her daughter is a precocious five year old. How to discuss her marriage and divorce that he likely witnessed? When will he meet Pumpkin, or does she already know him as "Mommy's [platonic] friend," and how will their relationship develop? How do "adult sleepovers" and romantic getaways work? And in Motin's case, what is dating like after ten years of celibate parenting?
Instead, Pumpkin disappears from the narrative, and any answers are hidden from the reader, while the relationship progresses off-page. Motin and Pumpkin even move to Basque, moving in with the boyfriend, without actually revealing the meeting, the move, or the home. On one page only late in the book, Motin is shown with her boyfriend, Pumpkin, and another young child, suggesting that her boyfriend even had a daughter of his own.
Anything to provide more color to their relationship, such as fear of commitment, creating a blended family, and balancing new romance with parenting, even the boyfriend's personality are barely mentioned if at all. Frankly, aside from one short scene about Motin's fear of wasps, and mentioning the move, sex (and scenes "around" sex) is all we're shown in their relationship. It is hard for the reader to invest in a relationship that shows nothing else.
How much privacy does the author retain in their memoir, while giving the audience a full and satisfying story? There is no right answer, but Bechdel's Fun Home and Kobabe's Gender Queer, respectively, balance sharing their lives without leaving burning questions central to the narrative unanswered. Motin certainly has a right to privacy for herself and others in her life, and she doesn't need to share every sordid detail. But choosing to frame the story around a new romantic relationship, but revealing very little, is problematic to say the least.
Instead, the book leans more heavily on comedic scenes about having a young child, anxiety, and new romance, none of which felt particularly original. It didn't help that Motin was constantly drinking wine and smoking (like I said, very Parisian), and dressed in stilettos while cooking. To each their own, I'm not bashing a fellow woman on fashion and lifestyle choices, but it felt rather privileged and therefore to some degree rather whiney, without the other aforementioned details to make her life more interesting, or more sympathetic. She flippantly uses the phrase "slitting wrists" one too many times (in fact, once is too many); there is a comparison to children and mental illness that should NOT have made it to print; and the title comes from Motin dabbling in another culture, which also felt a bit uncomfortable, though the metaphor was interesting enough that it could have been explored more.
Motin's memoir has a lot of good going for it visually, but the story was truly lacking. The narrative might have been stronger if Motin focused on her relationship with her daughter, the strongest relationship in the book, rather than a hidden romantic relationship.
More reviews on my blog, Reading Art!
Motin's art is expressive, animated, and bucks the panel-to-panel structure found in most comics or graphic novels. Instead, the short vignettes - sometimes spanning a few pages, sometimes just one - often fill the full page, or a quick setup at the top half, and resolution in the second half below. Motin uses beautiful gradients and watercolors, and has very strong fashion design, particularly patterned shirts and leggings, and oh, the shoes. I want all the shoes. But more importantly, it's a very pretty book with a distinct style. While the cursive typeface was also pretty, it was often difficult to read, particularly in long paragraphs or big speech bubbles.
In the story itself, Motin keeps the reader at such a distance that it's impossible to invest in the narrative that loosely connects the vignettes, which already feel disjointed. Understandably, she is not interested in sharing the story of her marriage and divorce - that is literally put in a box and tossed away in the opening pages - nor is it necessary. We then meet her daughter (whom she only calls "Pumpkin"), her mother, and a group of girlfriends, suggesting this is a love story between mother and daughter, sisterhood, etc. And then, out of nowhere, see her with a man, a "thousand year old friend" who then immediately becomes her love interest. (We never learn his name.)
There are several complications a dating, single parent would likely encounter, especially if the new beau is an old friend, and if her daughter is a precocious five year old. How to discuss her marriage and divorce that he likely witnessed? When will he meet Pumpkin, or does she already know him as "Mommy's [platonic] friend," and how will their relationship develop? How do "adult sleepovers" and romantic getaways work? And in Motin's case, what is dating like after ten years of celibate parenting?
Instead, Pumpkin disappears from the narrative, and any answers are hidden from the reader, while the relationship progresses off-page. Motin and Pumpkin even move to Basque, moving in with the boyfriend, without actually revealing the meeting, the move, or the home. On one page only late in the book, Motin is shown with her boyfriend, Pumpkin, and another young child, suggesting that her boyfriend even had a daughter of his own.
Anything to provide more color to their relationship, such as fear of commitment, creating a blended family, and balancing new romance with parenting, even the boyfriend's personality are barely mentioned if at all. Frankly, aside from one short scene about Motin's fear of wasps, and mentioning the move, sex (and scenes "around" sex) is all we're shown in their relationship. It is hard for the reader to invest in a relationship that shows nothing else.
How much privacy does the author retain in their memoir, while giving the audience a full and satisfying story? There is no right answer, but Bechdel's Fun Home and Kobabe's Gender Queer, respectively, balance sharing their lives without leaving burning questions central to the narrative unanswered. Motin certainly has a right to privacy for herself and others in her life, and she doesn't need to share every sordid detail. But choosing to frame the story around a new romantic relationship, but revealing very little, is problematic to say the least.
Instead, the book leans more heavily on comedic scenes about having a young child, anxiety, and new romance, none of which felt particularly original. It didn't help that Motin was constantly drinking wine and smoking (like I said, very Parisian), and dressed in stilettos while cooking. To each their own, I'm not bashing a fellow woman on fashion and lifestyle choices, but it felt rather privileged and therefore to some degree rather whiney, without the other aforementioned details to make her life more interesting, or more sympathetic. She flippantly uses the phrase "slitting wrists" one too many times (in fact, once is too many); there is a comparison to children and mental illness that should NOT have made it to print; and the title comes from Motin dabbling in another culture, which also felt a bit uncomfortable, though the metaphor was interesting enough that it could have been explored more.
Motin's memoir has a lot of good going for it visually, but the story was truly lacking. The narrative might have been stronger if Motin focused on her relationship with her daughter, the strongest relationship in the book, rather than a hidden romantic relationship.
More reviews on my blog, Reading Art!
February 18, 2020
Extremely scattered, almost impossible to follow, Plate Tectonics nonetheless holds a few charms. Namely, Margaux Motin's art is very charming, often giving off a sexy Disney vibe. I'd like to see it put to use in a non-fiction tale with a true through-line.
Plate Tectonics is ostensibly about Motin's recovery from a divorce (and the ensuing rebound romance), but the delivery wildly varies. Most of the story is delivered in one-shots that are only rarely amusing or revelatory.
Primarily, it's Motin complaining, drinking wine, or being wistful. Fine, fine, that can be enjoyable if done cleverly! But the one-shots are slap-dash and random, and they're paired with some of the worst lettering I've seen, a truly difficult to decipher cursive that, at best, fits the French vibe of the book. While Motin gets in a few good zingers, they're few and far between in a book that's dense with dull nonsense.
Plate Tectonics is ostensibly about Motin's recovery from a divorce (and the ensuing rebound romance), but the delivery wildly varies. Most of the story is delivered in one-shots that are only rarely amusing or revelatory.
Primarily, it's Motin complaining, drinking wine, or being wistful. Fine, fine, that can be enjoyable if done cleverly! But the one-shots are slap-dash and random, and they're paired with some of the worst lettering I've seen, a truly difficult to decipher cursive that, at best, fits the French vibe of the book. While Motin gets in a few good zingers, they're few and far between in a book that's dense with dull nonsense.
July 12, 2016
QUE QUADRINHO MARAVILHOSO <3
May 19, 2017
Le meilleur des 3 tomes !
December 27, 2019
Love the illustration style. The poses had personality to them.
I just don't think I'm the audience for this writing. It tries really hard to be quirky and comes off as full of itself.
The guy she has a post-divorce relationship with (who I guess is her best friend according to the synopsis but doesn't show up until they're already basically dating) comes off as never having had a girlfriend before. Ex. "He's just gotten over me farting in my sleep. If I shatter the myth of lady sexytime in the shower, it'll kill him."
Line that knocked this down from two stars to one star: "Kids are like a mental illness: ignore the little voices in your head, and you can have a normal life." After all the times she jokes about slitting her wrists (I think in at least three separate instances), this came off as jumping to be edgy but landing as insensitive and out of touch.
Seen most of the punchlines and points before.
I just don't think I'm the audience for this writing. It tries really hard to be quirky and comes off as full of itself.
The guy she has a post-divorce relationship with (who I guess is her best friend according to the synopsis but doesn't show up until they're already basically dating) comes off as never having had a girlfriend before. Ex. "He's just gotten over me farting in my sleep. If I shatter the myth of lady sexytime in the shower, it'll kill him."
Line that knocked this down from two stars to one star: "Kids are like a mental illness: ignore the little voices in your head, and you can have a normal life." After all the times she jokes about slitting her wrists (I think in at least three separate instances), this came off as jumping to be edgy but landing as insensitive and out of touch.
Seen most of the punchlines and points before.
January 19, 2017
Lu beaucoup trop vite. Beau, sensible et juste.
April 27, 2020
A tratti delizioso, probabilmente da donne, ma non saprei dire.
Non è un romanzo, sono poco più che strisce. Il tratto è piacevole, e si parla della vita di una giovane donna francese, divorziata e con una figlia piccola, del rapporto con la amiche, con la madre, con la figlia, con gli uomini.
Leggero. 3.5, ma non certo 4.
Non è un romanzo, sono poco più che strisce. Il tratto è piacevole, e si parla della vita di una giovane donna francese, divorziata e con una figlia piccola, del rapporto con la amiche, con la madre, con la figlia, con gli uomini.
Leggero. 3.5, ma non certo 4.
March 1, 2019
FR
Parfois drôle ou touchant, et parfois pas du tout fait pour moi.
EN
Sometimes funny and moving, and sometimes not for me at all.
Parfois drôle ou touchant, et parfois pas du tout fait pour moi.
EN
Sometimes funny and moving, and sometimes not for me at all.
January 4, 2022
"hahaha she's so crazy"
não gostei.
não gostei.
April 2, 2020
Ho adorato questo libro della Motin, un concentrato di risate oneste su situazioni e sfighe della vita reale di una donna e mamma single.
I disegni sono deliziosi, i dialoghi divertenti, solo alcune scenette le ho trovate un po' forzate sul cliché 'mamma alcolizzata uh, che ridere' ma per il resto davvero carino!
I disegni sono deliziosi, i dialoghi divertenti, solo alcune scenette le ho trovate un po' forzate sul cliché 'mamma alcolizzata uh, che ridere' ma per il resto davvero carino!
December 28, 2020
Ah ben là c'est mieux
January 19, 2020
J'ai lu cet album sans vraiment me douter que ses deux précédents étaient à lire avant (et encore, est-ce vraiment nécessaire ?) parce que (comme d'hab) ce livre m'a tendu les bras à la bibli. Et que j'adore les dessins de Margaux Motin.
Mais dix ans après sa parution, j'ai l'impression que certaines choses ont mal vieilli. L'ensemble est un peu superficiel, et même s'il s'agit que de dix ans, j'ai l'impression que les personnages sont très ancrés dans les années 2010 (le look ? les situations ? une impression générale ?). Certaines autres choses sont intemporelles, et malgré la légèreté du ton, il y a une certaine gravité (ça parle de ruptures après tout) qui se lit et se comprend quelle que soit l'année.
Au milieu de tout ça, il y a un peu de poésie et c'est joli.
À découvrir !
Mais dix ans après sa parution, j'ai l'impression que certaines choses ont mal vieilli. L'ensemble est un peu superficiel, et même s'il s'agit que de dix ans, j'ai l'impression que les personnages sont très ancrés dans les années 2010 (le look ? les situations ? une impression générale ?). Certaines autres choses sont intemporelles, et malgré la légèreté du ton, il y a une certaine gravité (ça parle de ruptures après tout) qui se lit et se comprend quelle que soit l'année.
Au milieu de tout ça, il y a un peu de poésie et c'est joli.
À découvrir !
March 27, 2016
Mais um quadrinho maravilhoso lançado pela Nemo aqui no Brasil! Margaux Motin desconstrói a cada página, um pouquinho de vários esteriótipos e comportamentos impostos a mulheres na sociedade. Como se não bastasse ela faz isso com um bom humor ácido, irônico e com inúmeras referências a cultura pop. MARAVILHOSA.
April 8, 2020
I didn't follow every story or why it was important, and I didn't relate much to the focus on fashion. The script font was also hard to read, albeit unique. Otherwise, I loved the art style, use of color, and the portrayal of Pumpkin's personality. I related to the "United States of Margaux" a whole lot. I would read more by this creator.
July 9, 2021
"... estou ocupada vivendo"
Eu já tinha minhas dúvidas, agora tenho certeza que somos máquinas programadas de fábrica! Real! Quase toda mulher já fez, já sentiu, ja falou algo ou tudo o que a Margaux retrata aqui em Placas Tectônicas.
É assustador, a parte do banheiro sou euuuuu todos os dias!!! 🤣🤣
Não é possível fomos todos programados antes!
Eu já tinha minhas dúvidas, agora tenho certeza que somos máquinas programadas de fábrica! Real! Quase toda mulher já fez, já sentiu, ja falou algo ou tudo o que a Margaux retrata aqui em Placas Tectônicas.
É assustador, a parte do banheiro sou euuuuu todos os dias!!! 🤣🤣
Não é possível fomos todos programados antes!
April 30, 2020
I feel shitty typing this but I felt like this was basic. Tired, stereotypical jokes. Major meh, nothing to latch on to intellectually.
September 18, 2020
Is this really what straight women are like
May 14, 2015
'La terre est bleue comme un orange'
'New beginnings are often disguised as painful endings'
'New beginnings are often disguised as painful endings'
May 23, 2020
La lettura di questa graphic è stata piacevolissima, è stato un viaggio nella vita di Margaux Motin, nella sua quotidianità, ma che l tempo stesso può essere un viaggio personale, perché la sua vicenda può essere quella di ogni donna. Lei, giovane e madre, è una donna che dopo la separazione e con una figlia affronta la vita non dimenticando il "fanciullino" che è dentro di lei (come avrebbe suggerito Pascoli). Divertente, ironico, a volte malinconico, profondo e intenso. Bellissime le tavole in cui al disegno subentrano elementi reali, per esempio il suo vestito al cui interno c'è un paesaggio reale: il sole al tramonto. Lei bellissima e decisa a riprendere in mano la sua vita e Vivere. Una sorta di diario che può essere condiviso universalmente. Una bellissima lettura, piacevole, qualche volte mi ha commossa, ma il finale ha saputo riscaldarmi il cuore. ❤ Consiglio di leggerlo!!
January 1, 2021
Fumetto meraviglioso pieno di ironia ma soprattutto di voglia di ricominciare e tornare a vivere dopo un colpo durissimo al cuore. Come si può ritrovare la forza dentro se stesse, non lasciandosi abbattere irrimediabilmente e riscattarsi! La protagonista è molto ben costruita e resta nel suo personaggio nel corso della vicenda e piano piano si scopre sempre di più su di lei e sulle sue emozioni!!
April 21, 2020
Carino e leggero (bellissime le illustrazioni) ma troppi luoghi comuni, soprattutto legati al rapporto di coppia, che spererei fossero superati ormai da anni. Anche le scenette sulla "madre alcolizzata" non le ho apprezzate.
September 25, 2022
A arte é muito massa é gostei de como ela trabalha com fotografias e diferentes estilos ao longo do livro. Mas tem umas ideias que ficaram bem datadas e isso acabou pesando. Também queria que a coisa das placas tivesse aparecido um pouco antes, meio como fio condutor da história.
July 17, 2022
2,5/5
Les dessins sont graves sympas, un peu dans le style de ceux de Pénélope Bagieu mais j’avoue que les sujets abordés… je sais pas trop accroché 🤷🏻♀️
Les dessins sont graves sympas, un peu dans le style de ceux de Pénélope Bagieu mais j’avoue que les sujets abordés… je sais pas trop accroché 🤷🏻♀️
March 21, 2021
Margaux Motin parla a ogni ragazza europea nata negli anni 80. Un fumetto francesissimo e freschissimo. Che bel disegno e quanta verità!
October 27, 2021
La storia autoironica e irriverente di cui non sapevate di avere bisogno!
Non sono una madre single, divorziata, appena trasferita, e con un lavoro digitale, ma a Margaux ho voluto bene lo stesso!
Non sono una madre single, divorziata, appena trasferita, e con un lavoro digitale, ma a Margaux ho voluto bene lo stesso!
April 22, 2021
Illustrazioni bellissime, ma non sono riuscita ad empatizzare completamente con la protagonista
Displaying 1 - 30 of 168 reviews