The startling, best-selling French novel about a young Moslem woman forcibly confined by her repressive and abusive family in Algiers. This first novel, a harrowing journey into the mind of an Algerian teenager who knows of the world only what she sees from her bedroom window, was an immediate sensation upon its publication in France, where it won the prestigious Prix du Livre International.
Nina Bouraoui (born on 31 July 1967) is a French writer born in Rennes, Ille-et-Vilaine, of an Algerian father and a French mother. She spent the first fourteen years of her life in Algiers, then Zürich and Abu Dhabi. She now lives in Paris.
Her novels are mostly written in the first person and, with the exception of Avant les hommes (Before the Men), have been said by the author to be works of "auto-fiction". This is even the case for Le Bal des Murènes (The ball of moray eels), which, like Avant les hommes, has a male narrator. Since writing her first novel in 1991, Bouraoui has affirmed the influence of Marguerite Duras in her work, although the life narratives and works many other artists are also to be found in her novels (and songs). This is particularly true of Mes Mauvaises Pensées (My Bad Thoughts) which bears the imprint of Hervé Guibert, Annie Ernaux, David Lynch, Eileen Gray, and Violette Leduc amongst others. Questions of identity, desire, memory, writing, childhood and celebrity culture are some of the major themes of her work.
Un llibre que en acabar-lo provoca que respiris alleujada. Amb un estil complicat en el qual m'ha costat entrar, et fa viure rera una finestra a Alger en un món femení on les mares odien a les filles per haver nascut filles; mentre que les filles detesten les mares perquè són les perpetuadores de la condició d'objecte gestant i de la presó en què viuen. Mort en vida. Violència patriarcal interioritzada i acceptada fins i tot per les víctimes.
La voyeuse interdite provides a slow, detailed, intriguing look into the life of a young Algerian teen sequestered to her house, or her prison. Fikria, confined in terms of geography and gender, touches upon the themes of silence, solitude, and objectification, as well as the need for female solidarity.
This book certainly lets one experience women's confinement to the home. "A Moslem woman leaves her house twice: for her marriage and for her funeral"89-90).
The description and portrayal of a mother betraying her daughters was interesting. In effect the mother's sole pride was in her daughter's marriage. It was the only time she could be happy; however, she never looked at her daughter.