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Die Kunst, Champagner zu trinken
Rare Book
Hardcover
First published August 20, 2014
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About the author
Amélie Nothomb
98 books5,697 followersAmélie Nothomb, born Fabienne Claire Nothomb, was born in Etterbeek, Belgium on 9 July 1966, to Belgian diplomats. Although Nothomb claims to have been born in Japan, she actually began living in Japan at the age of two until she was five years old. Subsequently, she lived in China, New York, Bangladesh, Burma, the United Kingdom (Coventry) and Laos.
She is from a distinguished Belgian political family; she is notably the grand-niece of Charles-Ferdinand Nothomb, a Belgian foreign minister (1980-1981). Her first novel, Hygiène de l'assassin, was published in 1992. Since then, she has published approximately one novel per year with a.o. Les Catilinaires (1995), Stupeur Et Tremblements (1999) and Métaphysique des tubes (2000).
She has been awarded numerous prizes, including the 1999 Grand Prix du roman de l'Académie française; the Prix René-Fallet; and twice the Prix Alain-Fournier.
While in Japan, she attended a local school and learned Japanese. When she was five the family moved to China. "Quitter le Japon fut pour moi un arrachement" ("Leaving Japan was a wrenching separation for me") she writes in Fear and Trembling. Nothomb moved often, and did not live in Europe until she was 17, when she moved to Brussels. There, she reportedly felt as much a stranger as everywhere else. She studied philology at the Université Libre de Bruxelles. After some family tensions, she returned to Japan to work in a big Japanese company in Tokyo. Her experience of this time is told in Fear and Trembling. She has written a romanticized biography (Robert des noms propres) for the French female singer RoBERT in 2002 and during the period 2000-2002 she wrote the lyrics for nine tracks of the same artist. Many ideas inserted in her books come from the conversations she had with an Italian man, from late eighties and during the nineties. She used the French Minitel, while he used the Italian Videotel system, connected with the French one. They never met personally.
Source: Wikipedia
She is from a distinguished Belgian political family; she is notably the grand-niece of Charles-Ferdinand Nothomb, a Belgian foreign minister (1980-1981). Her first novel, Hygiène de l'assassin, was published in 1992. Since then, she has published approximately one novel per year with a.o. Les Catilinaires (1995), Stupeur Et Tremblements (1999) and Métaphysique des tubes (2000).
She has been awarded numerous prizes, including the 1999 Grand Prix du roman de l'Académie française; the Prix René-Fallet; and twice the Prix Alain-Fournier.
While in Japan, she attended a local school and learned Japanese. When she was five the family moved to China. "Quitter le Japon fut pour moi un arrachement" ("Leaving Japan was a wrenching separation for me") she writes in Fear and Trembling. Nothomb moved often, and did not live in Europe until she was 17, when she moved to Brussels. There, she reportedly felt as much a stranger as everywhere else. She studied philology at the Université Libre de Bruxelles. After some family tensions, she returned to Japan to work in a big Japanese company in Tokyo. Her experience of this time is told in Fear and Trembling. She has written a romanticized biography (Robert des noms propres) for the French female singer RoBERT in 2002 and during the period 2000-2002 she wrote the lyrics for nine tracks of the same artist. Many ideas inserted in her books come from the conversations she had with an Italian man, from late eighties and during the nineties. She used the French Minitel, while he used the Italian Videotel system, connected with the French one. They never met personally.
Source: Wikipedia
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Displaying 1 - 30 of 476 reviews
January 18, 2016
There is something precocious about Amélie Nothomb's writing, which is why I like her novels. Hygiene and the Assassin (Hygiène de l'assassin) and Life Form (Une forme de vie) remain my favorites. While her 23rd novel doesn't quite hit the high marks of Nothomb's previous work, Pétronille is nonetheless a sparkling flute of champagne with a rather dark and disturbing ending. It tells the story of a thirty-year-old novelist named Amélie Nothomb, and her self-destructive friendship with Pétronille Fanto, a writer in her early twenties, and the personal demons they hide from each other. Pétronille is also a novel about the aesthetics of intoxication and, more specifically, the aesthetics of drinking champagne with the right "comvinion" (someone with whom one can attain the sublime). "Intoxication doesn’t just happen," Nothomb observes. "It’s an art, one that requires talent and application."
January 30, 2019
Pétronille feels like a string of unrelated anecdotal scenes until it has you by the throat in a choke hold, and you realize a little too late that something very serious is going on here. How does Nothomb do that? She first disarms by making me think I'm reading something breezy and inconsequential. There are an abundance of comic set pieces in this short novel, one after another, my favorite being a traumatic, hilarious account of an interview the character Amélie Nothomb conducts with Vivienne Westwood and her poodle. It's a story that could win New Journalism awards if this weren't fiction. But even as I'm laughing I'm also being seduced and compelled by Nothomb's story of a vibrant, intimate, unsettling friendship that goes horribly awry, a story that touches all the ways we can find delight in a friendship, and be hurt by it. A wonderful novel by a unique storyteller.
January 8, 2022
Todos saben (Faaa... ¿Por qué iban a saber?) que me gusta mucho el "estilo Nothomb". Pero este libro me ha pasado un poquito por el costado. Muchos piensan que es un ejemplo de "buena idea, fallida ejecución". Y da pena porque en el fondo es un agasajo festivo a la relación autor/lector. O sea, no es poca cosa.
Pétronille es una lectora de las novelas de Nothomb con quien mantiene correspondencia y a quien conoce personalmente durante una sesión donde la autora belga firma sus libros. Pétronille también es escritora, bebedora compulsiva, dolorosamente frontal, un ser humano ambiguo e intempestivo. Igual que Amélie, pero sin refinar. Una tipa rara más que excéntrica. Y sí, todos tenemos la sensación de que es Amélie hablándole al espejo. Ambas entablan durante años una relación extraña, punzante y, sobre todo, etílica. Una historia donde la autora lleva el surrealismo y la ridiculez al límite, con su humor "especial" y con un final totalmente inesperado.
Más allá de las críticas y las formalidades, por qué no levantar la copa por todas las Amélie y las Pétronille que hacen este mundo más interesante y desconcertante. Y por todos los gatos que vagan solitarios por los techos de París ¡Salud!
Pétronille es una lectora de las novelas de Nothomb con quien mantiene correspondencia y a quien conoce personalmente durante una sesión donde la autora belga firma sus libros. Pétronille también es escritora, bebedora compulsiva, dolorosamente frontal, un ser humano ambiguo e intempestivo. Igual que Amélie, pero sin refinar. Una tipa rara más que excéntrica. Y sí, todos tenemos la sensación de que es Amélie hablándole al espejo. Ambas entablan durante años una relación extraña, punzante y, sobre todo, etílica. Una historia donde la autora lleva el surrealismo y la ridiculez al límite, con su humor "especial" y con un final totalmente inesperado.
Más allá de las críticas y las formalidades, por qué no levantar la copa por todas las Amélie y las Pétronille que hacen este mundo más interesante y desconcertante. Y por todos los gatos que vagan solitarios por los techos de París ¡Salud!
November 29, 2016
Amélie Nothomb firma en Pétronille una nueva excentricidad literaria disfrazada de esas autoficciones suyas que tanto nos gusta leer. Con más o menos acierto, lo bueno de Nothomb es que siempre arriesga y experimenta con distintas formas de narrar, ofreciendo en sus novelas un gran margen de beneficio por una módica inversión de tiempo. Aun cuando se trata de un texto poco inspirado y superficial como este, los libros de Nothomb requieren tan poco esfuerzo por parte del lector y son tan delirantes que nunca una lectura suya sabe a desperdiciada. En el caso de Pétronille, esta sensación se duplica en el momento en que Amélie Nothomb describe su encuentro durante una firma de libros con una chica con la que lleva tiempo manteniendo una relación por correspondencia. Pétronille Fanto es un ser de aspecto amenazante y andrógino que arrastra a la autora hacia una espiral de exaltación etílica de la amistad, batallas dialécticas repletas de pedantería, confidencias íntimas, veladas críticas al sistema editorial y, en general, cualquier ocurrencia aleatoria que se le pasase a la autora por la cabeza en ese momento. Así pues, Pétronille se convierte en una sugerente pero fallida exploración del binomio lector-escritor en su vertiente más ambigua, retorcida y destructiva donde brilla más el hilarante ego de las protagonistas que sus propias cavilaciones sobre el tema. El final es absolutamente genial e inesperado, pero el resto del libro... bueno, pues no.
February 7, 2017
От добрите книги на Амели.
January 29, 2016
What a great little book, like a meta-mishmash of The Odd Couple, Thelma and Louise, and My Dinner With Andre, mixed with a dash of Absolutely Fabulous and of course cut with Nothomb's clever and self-deprecating playful wit.
This is a fictionalized "autobiographical" account of the author's real-life friendship/drinking buddy-ship with a literary admirer and up and coming author whose fictional persona is "Petronille Fanto." The scrappy, feisty Petronille (a "street urchin" worthy of Zazie or other predecessors in French art and literature) arrives on the scene of the protagonist "Amelie Nothomb's" book signing just at the moment when Amelie has mastered the art of getting perfectly, lucidly lit on champagne, yet is in desperate need of a companion with whom to imbibe. Petronille, elle est parfaite. Or is she?
The book accounts the too-rapidly-sipped champagne-fueled adventures, from the streets of Paris and London, to Alpine ski slopes, to a dangerous underground punk art "happening," of these two eccentric and talented unlikely besties (and ultimately fictional frenemies?): one older and one younger, one established and one emerging, one appeasing and gracious and one curt and brash, one descended from Belgian nobility and one the child of communist parents from working-class outer Parisian suburbs.
In a slim, quick-reading volume we get accounts of getting magnificently soused that would please Parker and Loos, balanced with funny yet poignant fictionalized memoir that would please David Sedaris, balanced yet still with something a bit more existential and substantial that might please de Beauvoir: a meditation on the role of chance and risk in friendship, writing, and creative life.
This is a fictionalized "autobiographical" account of the author's real-life friendship/drinking buddy-ship with a literary admirer and up and coming author whose fictional persona is "Petronille Fanto." The scrappy, feisty Petronille (a "street urchin" worthy of Zazie or other predecessors in French art and literature) arrives on the scene of the protagonist "Amelie Nothomb's" book signing just at the moment when Amelie has mastered the art of getting perfectly, lucidly lit on champagne, yet is in desperate need of a companion with whom to imbibe. Petronille, elle est parfaite. Or is she?
The book accounts the too-rapidly-sipped champagne-fueled adventures, from the streets of Paris and London, to Alpine ski slopes, to a dangerous underground punk art "happening," of these two eccentric and talented unlikely besties (and ultimately fictional frenemies?): one older and one younger, one established and one emerging, one appeasing and gracious and one curt and brash, one descended from Belgian nobility and one the child of communist parents from working-class outer Parisian suburbs.
In a slim, quick-reading volume we get accounts of getting magnificently soused that would please Parker and Loos, balanced with funny yet poignant fictionalized memoir that would please David Sedaris, balanced yet still with something a bit more existential and substantial that might please de Beauvoir: a meditation on the role of chance and risk in friendship, writing, and creative life.
May 3, 2018
Bere con l’intenzione di evitare l’ebbrezza è tanto disonorevole quanto ascoltare musica sacra proteggendosi contro il sentimento del sublime
Amen, sorella Amélie.
Mi ricordo ancora quella volta in cui ti leggevo di nascosto all’ultima fila durante le lezioni di economia (o era diritto?) e scrivevi di ortiche e champagne e mi veniva un languorino e finivo sempre alle macchinette che scusa, ma alla Cattolica ci sono solo la Fiesta, i taralli, la Schiacciatina o la S di frolla con il caffè equo e solidale in questi casi - sempre siano lodate le macchinette della mia alma mater, che mi hanno nutrito durante lauree e master e continuano a farlo quelle volte in cui ho del tempo libero e mi dedico a torturare giovani studenti di spagnolo.
Dicevo: Amélie, ma ti sembra carino tirare sempre in ballo il Veuve-Clicquot o il Dom Perignon per giustificare lo stat alterato dei tuoi personaggi quando stanno a Parigi? Come sei borghese! Ha ragione Pétronille a riprenderti.
Stavi firmando copie a Parigi - primo punto a tuo favore in questo romanzo: ci snoccioli nomi di gradevoli librerie in quel di Parigi che esistono veramente (ho controllato su Google) e questo mi piace, ci farò un giro. Però Amé, non ti crede nessuno quando racconti che da Shakespeare & co. non eri mai andata, suvvia.
Durante un firmacopie incontri lei, Pétronille Fanto, una lettrice accanito di quelle che ti scrive anche - Amé, pensa io sono di quel tipo lì. Non solo: sono anni che cerco di venire ai tuoi firmacopie, ma succedono sempre catastrofi sul mio cammino, credo (credo crederesti anche tu) che questo sia un segno.
L’incontro con Pétronille è una manna perché a te fare la bevitrice solitaria non piace e cerchi una compagna di bevute all’altezza - ovvio, io non sono mai venuta ai tuoi firmacopie, mannaggia, sennò il problema era risolto.
Inizia un’amicizia tra Amélie e Pétronille, giovane autrice dall’età indefinita, folletto rognoso, troll dalle belle fatture appassionata di Marlowe e di poeti inglesi di età shakespeariana, androgino scavezzacollo senza riguardi, adorabile stronzetta, ingollatrice di nobili bollicine, convinta comunista dell’ancien regime, attaccabrighe molesta, sciatrice asmatica, camminatrice di deserti, abbandonatrice di mecenati, cavia umana di farmaci elvetici, fuori di testa, insomma una che è meglio perderla che trovarla e che per di più ti sfrutta facendosi forte del fatto che tu ammiri il suo talento senza riguardo.
Io a questa Pétronille le avrei rotto la bottiglia dello champagne in testa al terzo capitolo, ma io non sono te Amé.
Infatti, si vede come finisce il romanzo - punto a favore 2: non lo posso dire. Non mi piace come finisce il romanzo, anzi. Però mi piace come hai scelto di far concludere quest’amicizia.
Credo che sia tutta una storia sul genio della creazione e dello champagne, su come uno scrittore vive il suo talento, la sua capacità e la sua arte.
O forse no.
Forse è una storia sulla degustazione dello champagne - punto a favore 3: io amo lo champagne. Però sono rimasta con la voglia chiusa l’ultima pagina. Ho avuto una voglia perenne durante le pagine, Amélie. Mi chiedo solo perché tu non sia molto da Moet.
Amélie a me piace perché ti trascina in queste sue storie strampalate e ti coinvolge. È pop, veloce, è una Polaroid, uno spettacolo di fuochi d’artificio, un giro sull’Ortobruco Tour di Gardaland. Non è il miglior romanzo che leggerai nella tua vita. Ma ti lascerà una sensazione molto piacevole.
Se non altro perché da qualche parte in tutto lo champagne, non affronta temi banalissimi.
Ho un solo ultimo dubbio che ‘mi perplime’: Amélie, gioia mia, come cavolo è fatto un vestito da vivandiera del Sacro Graal?
Amen, sorella Amélie.
Mi ricordo ancora quella volta in cui ti leggevo di nascosto all’ultima fila durante le lezioni di economia (o era diritto?) e scrivevi di ortiche e champagne e mi veniva un languorino e finivo sempre alle macchinette che scusa, ma alla Cattolica ci sono solo la Fiesta, i taralli, la Schiacciatina o la S di frolla con il caffè equo e solidale in questi casi - sempre siano lodate le macchinette della mia alma mater, che mi hanno nutrito durante lauree e master e continuano a farlo quelle volte in cui ho del tempo libero e mi dedico a torturare giovani studenti di spagnolo.
Dicevo: Amélie, ma ti sembra carino tirare sempre in ballo il Veuve-Clicquot o il Dom Perignon per giustificare lo stat alterato dei tuoi personaggi quando stanno a Parigi? Come sei borghese! Ha ragione Pétronille a riprenderti.
Stavi firmando copie a Parigi - primo punto a tuo favore in questo romanzo: ci snoccioli nomi di gradevoli librerie in quel di Parigi che esistono veramente (ho controllato su Google) e questo mi piace, ci farò un giro. Però Amé, non ti crede nessuno quando racconti che da Shakespeare & co. non eri mai andata, suvvia.
Durante un firmacopie incontri lei, Pétronille Fanto, una lettrice accanito di quelle che ti scrive anche - Amé, pensa io sono di quel tipo lì. Non solo: sono anni che cerco di venire ai tuoi firmacopie, ma succedono sempre catastrofi sul mio cammino, credo (credo crederesti anche tu) che questo sia un segno.
L’incontro con Pétronille è una manna perché a te fare la bevitrice solitaria non piace e cerchi una compagna di bevute all’altezza - ovvio, io non sono mai venuta ai tuoi firmacopie, mannaggia, sennò il problema era risolto.
Inizia un’amicizia tra Amélie e Pétronille, giovane autrice dall’età indefinita, folletto rognoso, troll dalle belle fatture appassionata di Marlowe e di poeti inglesi di età shakespeariana, androgino scavezzacollo senza riguardi, adorabile stronzetta, ingollatrice di nobili bollicine, convinta comunista dell’ancien regime, attaccabrighe molesta, sciatrice asmatica, camminatrice di deserti, abbandonatrice di mecenati, cavia umana di farmaci elvetici, fuori di testa, insomma una che è meglio perderla che trovarla e che per di più ti sfrutta facendosi forte del fatto che tu ammiri il suo talento senza riguardo.
Io a questa Pétronille le avrei rotto la bottiglia dello champagne in testa al terzo capitolo, ma io non sono te Amé.
Infatti, si vede come finisce il romanzo - punto a favore 2: non lo posso dire. Non mi piace come finisce il romanzo, anzi. Però mi piace come hai scelto di far concludere quest’amicizia.
Credo che sia tutta una storia sul genio della creazione e dello champagne, su come uno scrittore vive il suo talento, la sua capacità e la sua arte.
O forse no.
Forse è una storia sulla degustazione dello champagne - punto a favore 3: io amo lo champagne. Però sono rimasta con la voglia chiusa l’ultima pagina. Ho avuto una voglia perenne durante le pagine, Amélie. Mi chiedo solo perché tu non sia molto da Moet.
Amélie a me piace perché ti trascina in queste sue storie strampalate e ti coinvolge. È pop, veloce, è una Polaroid, uno spettacolo di fuochi d’artificio, un giro sull’Ortobruco Tour di Gardaland. Non è il miglior romanzo che leggerai nella tua vita. Ma ti lascerà una sensazione molto piacevole.
Se non altro perché da qualche parte in tutto lo champagne, non affronta temi banalissimi.
Ho un solo ultimo dubbio che ‘mi perplime’: Amélie, gioia mia, come cavolo è fatto un vestito da vivandiera del Sacro Graal?
December 7, 2019
Mi primera lectura de esta autora y es que tras leer y ver tantas alabanzas de ella la tenía como una lectura pendiente obligatoria. Elegí este libro al azar sin saber que era una de sus últimas obras simplemente porque me llamó la atención la foto de la portada con esa enigmática señora mirándome. La historia que nos cuenta es una mezcla entre biografía y novela porque la protagonista Petronille es el alter ego de una escritora amiga de la propia Nothomb. Nos cuenta la historia de su amistad entre copas de champan . La historia en principio es muy simple pero esta muy bien escrita y llena de frases para marcar. Después de este primer encuentro con Nothomb ya me encuentro en el club de sus fieles lectores y tengo ganas de ir leyendo todas su obras.
August 6, 2025
O carte pe cat de micuta pe atat de complexa in povestea unei tovarasii literare bazate pe o idee cel putin stranie, de a bea sampania cum se cuvine, de a fi invaluit in splendoarea ei. Mi-a placut mult totul la aceasta carte, personajele, dialogurile, sugestiile literare şi insasi finalul mi s-a parut ceva la care nu m-as fi gandit. Este o lectura usoara dar palpitanta si cum s-ar spune, aduce primului gust de șampanie.
October 8, 2014
Le Nothomb de l'année 2014 est arrivé ! Fidèle à moi-même, je l'ai lu. Je vais la faire courte, mais un peu moins que ses 4e de couvertures quand même. Alors la Nothomb, on aime ou pas. Moi j'aime, hormis quelques ratages qui m'ont déçue et laissée perplexe il me semble qu'elle reprend du poil de la bête depuis deux ou trois ans. Dans ce TROP COURT récit de feignasse, Amélie nous parle de son amour du champagne et de sa copine de beuverie, ancienne groupie devenue elle-même auteur (oui, auteur, sans e, comme le préconise l'Académie française, merci.) Basé sur sa réelle amitié avec cet auteur, le récit couvre plusieurs années, et tel quel, il n'a rien de bien mirobolant, mais le style, car OUI il y a un style ! OUI il y a quelque chose dans l'écriture d'Amélie Nothomb qui sort du lot, fait à peu près 90% du travail. Cela s'appelle la finesse d'esprit, la science du mot juste, et pour une personne du niveau linguistique de Nothomb, je dis chapeau à l'auteur de réussir à ne pas en mettre plein les yeux avec des tournures alambiquées et un vocabulaire superflu. L'apparente simplicité du style de Nothomb fait oublier à certains lecteurs à quel point chaque mot est choisi à bon escient, et que la simplicité n'implique pas médicocrité. Nothomb ne fait pas dans le pompeux, ni dans le spectaculaire, et j'aime ! Son humour particulier et son sens de l'autodérision sont irrésistibles. Voilà, j'aime !
April 22, 2015
Un libro breve, come sempre, ma che in lettura dà la sensazione di essere assai più lungo senza per questo essere noioso. Amelie Nothomb non si smentisce. Il suo stile è sempre uguale e ci racconta le sue storie surreali a cavallo dell'autobiografico senza deluderci quasi mai. Questo libro rappresenta il vero piacere della lettura, del leggere una narrazione ben scritta e di entrare nel mondo stravagante e surreale di una scrittrice giovane e atipica. Da ricordare di diluire la lettura, come per tutti gli autori. Questa regola vale molto per Amelie Nothomb, da evitare, sull'onda dell'entusiasmo, di leggere in modo convulsivo tutti i suoi romanzi in fila. Dopo una giusta pausa la nuova lettura è sicuramente apprezzata e si ritrova quello che ci è tanto piaciuto senza quello spiacevole effetto assuefazione e saturazione.
August 29, 2018
Solo por el final y el personaje singular de Pétronille, merece la pena el libro. Pero es que además tiene buenos dialogos, habla del mundo de los libros, hay absurdo y champagne.
De nuevo Nothomb no me ha decepcionado.
De nuevo Nothomb no me ha decepcionado.
June 17, 2016
Pues la adoro ! Me encanta toda ella, su escritura, su humor y este libro!
Si tienes un rato libre, una copita cerca y ganas tremendas de saborearla, te la recomiendo.
Si tienes un rato libre, una copita cerca y ganas tremendas de saborearla, te la recomiendo.
October 14, 2018
3'5
La contemplación de los paisajes es lo que más cosas dice de nosotros.
La contemplación de los paisajes es lo que más cosas dice de nosotros.
September 27, 2024
What did I just read?! 👀
As usual, Nothomb is a mastermind! The way she creates characters and the endings she makes... Are leaving me speechless. ❤️
As usual, Nothomb is a mastermind! The way she creates characters and the endings she makes... Are leaving me speechless. ❤️
May 6, 2024
Ein recht unterhaltsamer Spaß für zwischendurch. Viel hängen bleibt wie so oft jedoch nicht.
August 15, 2016
« En effet, j'appartiens à la race de ceux qui pleurent quand leurs amis partent sans connaître la date de leur retour. J'ai une très grande expérience des séparations, je sais mieux que personne leur danger : quitter quelqu'un en se promettant qu'on va se revoir, cela présage les choses les plus graves. Le cas le plus fréquent, c'est qu'on ne revoit pas l'individu en question. Et ce n'est pas la pire éventualité. La pire consiste à revoir la personne et à ne pas la reconnaître, soit qu'elle ait réellement beaucoup changé, soit qu'on lui découvre alors un aspect incroyablement déplaisant qui devait exister déjà mais sur lequel on avait réussi à s'aveugler, au nom de cette étrange forme d'amour si mystérieuse, si dangereuse et dont l'enjeu échappe toujours : l'amitié. » page 126
Ahh Madame Nothomb, la narcissique ! Si je n'aime pas du tout l'auteure pour diverses raisons, je dois reconnaître qu'elle sait manier la langue française pour la rendre magnifique, mais en toute simplicité. Lire un livre d'Amélie Nothomb, c'est un peu comme regarder Plushenko patiner, ça a l'air tellement simple, et pourtant...
Au-delà de ça (ça étant un langage et une plume superbes), malheureusement, ce roman n'a absolument aucune importance, aucune "utilité". Ce sont les radotages d'une femme qui aime un peu trop sa propre personne, mais ça divertit vraiment bien entre deux gros romans... Et ça m'a un peu donné envie de boire du champagne, c'est dire, car je n'aime pas ça !
Ahh Madame Nothomb, la narcissique ! Si je n'aime pas du tout l'auteure pour diverses raisons, je dois reconnaître qu'elle sait manier la langue française pour la rendre magnifique, mais en toute simplicité. Lire un livre d'Amélie Nothomb, c'est un peu comme regarder Plushenko patiner, ça a l'air tellement simple, et pourtant...
Au-delà de ça (ça étant un langage et une plume superbes), malheureusement, ce roman n'a absolument aucune importance, aucune "utilité". Ce sont les radotages d'une femme qui aime un peu trop sa propre personne, mais ça divertit vraiment bien entre deux gros romans... Et ça m'a un peu donné envie de boire du champagne, c'est dire, car je n'aime pas ça !
March 21, 2016
I should have known; just noticed it's Europa. I don't understand the enthusiasm at all; strikes me as fluff.
August 22, 2016
Desde el principio, noté que Pétronille era un juego narrativo donde se mezclaban la ficción y la realidad de Amélie Nothomb, lo cual me confundía pero también no dejaba de generarme curiosidad. Esta mezcla de ficción y autobiografía hacen de la novela un divertido camino por la amistad de dos mujeres, la escritora y Pétronille una curiosa mujer amante de la época isabelina. Ambas inician su amistad por los libros de Nothomb pero la refuerzan al darse cuenta que las dos saben disfrutar del champagne. Definitivamente es una oda a la amistad femenina, al riesgo y la diversión que puedes llegar a tener cuando encuentras esa alma gemela con la que puedes disfrutar borracheras.
Corta y cargada de humor negro, Pétronille es una novela que habla de la ebriedad, en todos los sentidos, no sólo al beber alcohol sino también al disfrutar la vida.
Corta y cargada de humor negro, Pétronille es una novela que habla de la ebriedad, en todos los sentidos, no sólo al beber alcohol sino también al disfrutar la vida.
November 14, 2014
J'ai vénéré Nothomb dans mes jeunes années, j'aime encore sa plume mais ses sujets m'ennuient parfois (comme dans celui-là) et ses fins sont de plus en plus bâclées, il me semble. Elle fait bien monter la tension à certains moments, a une écriture ample, et il faut toujours que ça se termine en 2-3 paragraphes complètement précipités. La première fois, j'ai hurlé, maintenant je commence à me dire que c'est un peu sa marque de commerce...
August 29, 2021
Romanul este despre prietenia feminină, în care protagonista este în căutarea unei partenere de băut.
Aici găsești multă șampanie, umor și energie.
Deși finalul nu a fost clar pentru mine, am o avut o lectură relaxantă numai bună pentru vacanță.
Aici găsești multă șampanie, umor și energie.
Deși finalul nu a fost clar pentru mine, am o avut o lectură relaxantă numai bună pentru vacanță.
February 14, 2017
Бях убедена, че вървим към скучните три звезди, но финалът ѝ издейства четвъртата.
Цялото ревю е публикувано в Аз чета
Ако Фредерик Бегбеде е „лошото момче на френската литература“, то Амели Нотомб е лудата аристократична братовчедка от Белгия. Появява се всяка година, предизвиква леко възмущение и паника сред консервативната буржоазна сбирка на роднините, изпива шампанското и си тръгва по-рано, за да даде на всички достатъчно време да клюкарстват по неин адрес.
Амели Нотомб умее да разказва делнични истории с апломб и аристократичност, които ги превръщат в необикновени и шикозни приключения. Може би затова читателите от цял свят поглъщат книгите й със страст и надежда – че малко от това лустро ще полепне и по тях като златен прашец, ще замени изветрялата напитка на деня с искрящо, ледено шампанско.
За любовта си към шампанското Амели Нотомб е писала и друг път – последно четохме за нея в „Синята брада„. Но докато там афинитетът към шампанското беше поредното проявление на фетиша към цветовете на главните герои, то в „Петрония“ (изд. „Colibri“, превод Светла Лекарска) на пиедестал е поставен самият еликсир на боговете.
амели нотомб„Петрония“ успешно може да се продава и в магазините за вино като наръчник на начинаещите дегустатори на шампанско. Макар че Амели Нотомб не дегустира, а пие. И пиенето на шампанско при нея е почти езотерично преживяване, което граничи с транс, тантра, божествено откровение… Освен наръчник, тази книга е и любовно писмо към шампанското – питие, което по нашите географски ширини силно подценяваме и дълбоко не разбираме. А то, също като любовта, е дваж по-хубаво, когато е споделено.
Ето защо Амели тръгва на лов за компания по чашка. Съдбата сама довежда при нея Петрония – младо момиче, обвито в загадъчна ексцентричност почти колкото самата Нотомб. През следващите години двете споделят безброй бутилки шампанско, няколко пътувания и съкровени тайни, които могат да бъдат отключени само от достатъчно количество алкохол.
Най-ценното за мен в романа бяха разказите на Амели за началото на писателската й кариера и срещите й с читатели в различни книжарници в Париж. За ужасното интервю с Вивиан Уестууд и срещите си с агенти – писателският живот присъства в целия роман като тънка червена линия, като нишката на Ариадна, която води двете героини през лабиринтите на Париж и живота.
Постепенно Амели осъзнава, че Петрония е пъзел, но винаги не й достигат няколко ключови парченца, за да схване цялата картина.
Въпреки че харесвам романите, в които Амели Нотомб разказва личния си живот през литературна призма, ми липсват книги като „Хигиена на убиеца“ (която завиниги ще върхът на творчеството й за мен). Книги като „Петрония“ и „Щастливата носталгия“, в които Нотомб говори за писането си, прави този копнеж още по-болезнен. Надявам се да видим скоро на български споменатия в „Петрония“ роман „Сярна киселина“ (Acide sulfurique).
А дотогава – Santé! с чаша френско шампанско.
Цялото ревю е публикувано в Аз чета
Ако Фредерик Бегбеде е „лошото момче на френската литература“, то Амели Нотомб е лудата аристократична братовчедка от Белгия. Появява се всяка година, предизвиква леко възмущение и паника сред консервативната буржоазна сбирка на роднините, изпива шампанското и си тръгва по-рано, за да даде на всички достатъчно време да клюкарстват по неин адрес.
Амели Нотомб умее да разказва делнични истории с апломб и аристократичност, които ги превръщат в необикновени и шикозни приключения. Може би затова читателите от цял свят поглъщат книгите й със страст и надежда – че малко от това лустро ще полепне и по тях като златен прашец, ще замени изветрялата напитка на деня с искрящо, ледено шампанско.
Франция е вълшебна страна, където и в най-незначителното кафене могат по всяко време да ви сервират шампанско с идеална температура.
За любовта си към шампанското Амели Нотомб е писала и друг път – последно четохме за нея в „Синята брада„. Но докато там афинитетът към шампанското беше поредното проявление на фетиша към цветовете на главните герои, то в „Петрония“ (изд. „Colibri“, превод Светла Лекарска) на пиедестал е поставен самият еликсир на боговете.
„Рьодерер“ имаше вкуса на френския лукс според разбиранията в царска Русия. Щастието изпълни устата ми.
амели нотомб„Петрония“ успешно може да се продава и в магазините за вино като наръчник на начинаещите дегустатори на шампанско. Макар че Амели Нотомб не дегустира, а пие. И пиенето на шампанско при нея е почти езотерично преживяване, което граничи с транс, тантра, божествено откровение… Освен наръчник, тази книга е и любовно писмо към шампанското – питие, което по нашите географски ширини силно подценяваме и дълбоко не разбираме. А то, също като любовта, е дваж по-хубаво, когато е споделено.
Ето защо Амели тръгва на лов за компания по чашка. Съдбата сама довежда при нея Петрония – младо момиче, обвито в загадъчна ексцентричност почти колкото самата Нотомб. През следващите години двете споделят безброй бутилки шампанско, няколко пътувания и съкровени тайни, които могат да бъдат отключени само от достатъчно количество алкохол.
Най-ценното за мен в романа бяха разказите на Амели за началото на писателската й кариера и срещите й с читатели в различни книжарници в Париж. За ужасното интервю с Вивиан Уестууд и срещите си с агенти – писателският живот присъства в целия роман като тънка червена линия, като нишката на Ариадна, която води двете героини през лабиринтите на Париж и живота.
Постепенно Амели осъзнава, че Петрония е пъзел, но винаги не й достигат няколко ключови парченца, за да схване цялата картина.
Въпреки че харесвам романите, в които Амели Нотомб разказва личния си живот през литературна призма, ми липсват книги като „Хигиена на убиеца“ (която завиниги ще върхът на творчеството й за мен). Книги като „Петрония“ и „Щастливата носталгия“, в които Нотомб говори за писането си, прави този копнеж още по-болезнен. Надявам се да видим скоро на български споменатия в „Петрония“ роман „Сярна киселина“ (Acide sulfurique).
А дотогава – Santé! с чаша френско шампанско.
January 11, 2016
Pétronille se veut être le récit de la rencontre et des expériences conjointes d'Amélie et de l'une de ses admiratrices, devenue une amie proche. Même si je l'ai lu en moins de deux heures, ce roman m'a posé beaucoup de soucis.
Déjà, je trouve qu'Amélie (l'auteure) ramène tout à elle, et dans une histoire qui est supposée parler en grande partie de quelqu'un d'autre, c'est assez dérangeant.
Ensuite, je n'aime pas trop le caractère d'Amélie (le personnage), tantôt supérieure et qui juge son amie, tantôt coincée et qui s'efface devant elle. Pour moi ce n'est pas très cohérent, et que ce soit pour un personnage comme pour l'autre, les traits de caractère et les expériences sont trop exagérés.
La fin, qui me fait penser à "Robert des noms propres" est bâclée, surréaliste et dénuée de sens.
Que dire du champagne, de plus en plus présent dans les oeuvres d'Amélie. Ici je n'ai pas l'impression qu'elle essaye de partager quelque chose avec nous à ce sujet, mais qu'écrire sur le champagne est tout simplement une décision égoïste. D'Amélie pour Amélie.
Cela dit, comme tous ses autres romans, il reste très facile et rapide à lire, et ne manque pas d'humour ! J'ai adoré la scène avec Vivienne Westwood et son chien où on découvrait pour une fois une Amélie différente. Je pense qu'Amélie est meilleure dans le purement fictif, comme "Barbe bleue" ou "Acide sulfurique" par exemple. Dès qu'il s'agit de sa vie ou de celle de quelqu'un d'autre, je trouve qu'elle se perd.
Déjà, je trouve qu'Amélie (l'auteure) ramène tout à elle, et dans une histoire qui est supposée parler en grande partie de quelqu'un d'autre, c'est assez dérangeant.
Ensuite, je n'aime pas trop le caractère d'Amélie (le personnage), tantôt supérieure et qui juge son amie, tantôt coincée et qui s'efface devant elle. Pour moi ce n'est pas très cohérent, et que ce soit pour un personnage comme pour l'autre, les traits de caractère et les expériences sont trop exagérés.
La fin, qui me fait penser à "Robert des noms propres" est bâclée, surréaliste et dénuée de sens.
Que dire du champagne, de plus en plus présent dans les oeuvres d'Amélie. Ici je n'ai pas l'impression qu'elle essaye de partager quelque chose avec nous à ce sujet, mais qu'écrire sur le champagne est tout simplement une décision égoïste. D'Amélie pour Amélie.
Cela dit, comme tous ses autres romans, il reste très facile et rapide à lire, et ne manque pas d'humour ! J'ai adoré la scène avec Vivienne Westwood et son chien où on découvrait pour une fois une Amélie différente. Je pense qu'Amélie est meilleure dans le purement fictif, comme "Barbe bleue" ou "Acide sulfurique" par exemple. Dès qu'il s'agit de sa vie ou de celle de quelqu'un d'autre, je trouve qu'elle se perd.
October 15, 2014
In her last few books, Amélie Nothomb has been using the same writing ingredients to weave her stories together. So, even if the story appears to be new, it really is not. Therefore, I hope Nothomb’s next book will have more of the unexpected than expected like in her earlier publications.
But, this book did have memorable moments like Nothomb’s interview with Vivienne Westwood, which apparently is true. Or, when, she visits her writer friend, Pétronille, at a Russian Roulette bar, which is probably not true.
Lastly, her writing itself is always superb and bubbly like a nice flute of champagne, so I was not completely disappointed. And yes, this book is almost like a champagne directory. The characters often turn to drinking champagne to put more sparkle into their lives.
But, this book did have memorable moments like Nothomb’s interview with Vivienne Westwood, which apparently is true. Or, when, she visits her writer friend, Pétronille, at a Russian Roulette bar, which is probably not true.
Lastly, her writing itself is always superb and bubbly like a nice flute of champagne, so I was not completely disappointed. And yes, this book is almost like a champagne directory. The characters often turn to drinking champagne to put more sparkle into their lives.
March 25, 2016
Me ha gustado, ha sido una expriencia burbujeante y sorprendente.
De relectura directa para buscar a Nothomb
http://entremontonesdelibros.blogspot...
De relectura directa para buscar a Nothomb
http://entremontonesdelibros.blogspot...
April 13, 2016
Another odd book from one of my favourite authors. I laughed aloud while reading this - so strange and funny. A novel about friendship, the writing life, and the enjoyment that champagne provides. Read it for a refreshing change- the style and ending are unique.
March 24, 2016
Una pasada de libro y una pasada de final.
November 2, 2015
And that evening, when she informed me that she was going to be doing a signing in a prestigious Parisian bookstore, and I congratulated her, I saw her begin to fume with anger. I tried to get to the bottom of it. Out it came:
“Those bourgeois booksellers ought to be paying the writers who come and waste two hours of their life signing books for them!”
“Now now, Pétronille, what are you on about? Booksellers already have a hard enough time as it is making ends meet. As far as a bookseller is concerned, they’re taking a risk, inviting an author to sign at their store, but for the author, it’s a gift!”
“You really buy all that, don’t you? You’re so naïve! I maintain that all work deserves a salary. To do a book signing without being paid puts you in a precarious situation.”
I was speechless.
“Hey, the tide’s gone out,” she complained, handing me her empty champagne flute.
“We’ve drunk the entire bottle.”
“So let’s kill another one.”
“No, I think we’ll leave it there.”
I had noticed that the more she drank the more she ventured into the far left of the left.
“What, only one bottle? You, Amélie Nothomb, with your apartment bubbling over with champagne? It’s obscene! It’s disgusting. It’s…”
“Making things precarious?” I suggested.
“Exactly.”
***
In late 1997, thirty-year-old rising literary star Amélie Nothomb moves to Paris. While there, she embarks on a search for a drinking companion—not just any old lover of liquor, however; Nothomb is in search of a partner whose adoration for champagne, specifically, matches her own. Hers is a love unbridled by proper etiquette or thoughts of what goes best with what—an obsession for the drink itself, no matter its source or vintage. To this end, she meets at one of her book signings a young woman named Pétronille Fanto. The two had been corresponding for some time—Pétronille is an academic and literary hopeful who has admired Nothomb’s career from afar. Upon meeting for the first time, Nothomb is immediately taken by the young, somewhat androgynous fan and invites her to join her in imbibing. Thus, a friendship is born.
Nothomb and Fanto’s relationship, however, is unconventional and segmented by large gaps of time and stark ideological differences—some rooted in politics (Nothomb is the daughter of a diplomat; Fanto the child of a proletarian upbringing), others in the ways in which authors function both within and outside of the traditional literary scene and with varying degrees of success. These differences in viewpoint form the crux of the narrative’s conflict, much of which has to do with Fanto’s suspicious nature. From the beginning she views Nothomb’s invitation to go drinking as a person belonging to the literati deciding to “slum it” for a night with a member of the working class:
“Are you going to start up with the class struggle and dialectical materialism?” I asked. “When I invited you, I didn’t know the first thing about your background.”
“Your caste senses these things.”
The narrator does eventually succeed in winning Fanto’s trust, to some extent, as the two rotate in and out of each other’s lives—as Nothomb continues to publish to expected levels of success, while Fanto’s tumultuous literary career begins in earnest. Gradually, as the two reconnect over and over again, Nothomb begins to see in Fanto a dissatisfaction and arrogance at odds with her own success, as Fanto’s views inch ever closer to the far left, to the point where nothing about being a creative satisfies her anger and frustration at the realization that she is indeed a part of a system she so despises, and has not managed to dismantle it from within or succeed in spite of it.
This dissatisfaction hits its apex when Fanto, having had enough of the literary world and all associated with it, embarks on a trip to the Sahara, which she travels on foot over the course of thirteen months. When she returns from said trip, her distaste for Parisian and literary culture is even greater than it was before she left. She sees, in her inability to survive solely off her creative output, the flaws inherent to the very industry she’s a part of: that it is not output or talent or even who one knows, but personality—that a personality as strange and untethered as Nothomb’s is that percentage of a percentage needed to truly stand out amongst all other creatives in an otherwise unforgiving field. It’s then that Fanto is forced to supplement her income, first as a pharmaceutical test subject, and then as a performance artist of sorts staging actual games of Russian roulette for a potentially unsuspecting audience.
Much of Nothomb’s output veers into the semi-autobiographical. Several of her books, including Fear and Trembling and Tokyo Fiancée, are fictions based in reality, with locations, characters, and cues pulled straight from the author’s life. Pétronille is different—while it is autobiographical in that it stars an author named Amélie Nothomb who has written and published books identical to what’s detailed within the text, the novel feels more deliberately existential than some of the others of this ilk, with its titular character, potentially, an entirely fictitious construction meant to externalize a facet of the author’s personality. For the most part, this existentialism is kept to a minimum, with the author occasionally remarking on difficulties faced in her career, such as the time she was accused of plagiarism or the hostile response received by her novel Sulphuric Acid. It’s in this novel’s close, which I will refrain from spoiling, where the existential subtext is made text and an act of performative aggression becomes the author’s undoing as Fanto, whom Nothomb was fascinated by for so many years, is revealed as the stark underside of the frivolity to which they’d celebrated in so many instances—a gloriously disgruntled down note criticizing artistic identities inherent, constructed, and stolen.
It’s of some curiosity as to whether Pétronille Fanto, or some version of her, ever existed in the first place. From her introduction, Fanto’s appearance seldom changes—she almost always resembles that of a fifteen-year-old boy, even after more than a decade has passed. As the story progresses, more and more she appears the voice of Nothomb’s doubts as to her own writing and success. This is driven home in sequences such as when Nothomb goes to London to interview dame Vivienne Westwood and is met with an obstinate, disinterested subject who would sooner have Nothomb walk her dog for her than entertain any one of the author’s questions. In the aftermath of this unfortunate meeting, Nothomb calls Fanto and offers to pay her way to London—seeking Fanto as if she were a switch the author flips to silence whatever questions she might have regarding her worth.
In many ways, the novel’s thesis is isolated in a motto ascribed to both Christopher Marlowe and the titular Pétronille: Quod me nutrit, me destruit (That which nourishes me destroys me). Nothomb writes about her career and the literary scene into which she has inserted herself as a nervous child might discuss a popular group into which they’ve been drawn yet still feel isolated from. In Fanto, she’s given her doubts and loneliness a name and a career all its own, one that directly questions and confronts her own concerns toward the Paris literary scene and its aggressively bourgeois leanings. In Pétronille, the author finds new ways in which to strip her skin for the audience, revealing increasingly personal depths—something that she continues to do seemingly effortlessly, and with exceptional skill.
“Those bourgeois booksellers ought to be paying the writers who come and waste two hours of their life signing books for them!”
“Now now, Pétronille, what are you on about? Booksellers already have a hard enough time as it is making ends meet. As far as a bookseller is concerned, they’re taking a risk, inviting an author to sign at their store, but for the author, it’s a gift!”
“You really buy all that, don’t you? You’re so naïve! I maintain that all work deserves a salary. To do a book signing without being paid puts you in a precarious situation.”
I was speechless.
“Hey, the tide’s gone out,” she complained, handing me her empty champagne flute.
“We’ve drunk the entire bottle.”
“So let’s kill another one.”
“No, I think we’ll leave it there.”
I had noticed that the more she drank the more she ventured into the far left of the left.
“What, only one bottle? You, Amélie Nothomb, with your apartment bubbling over with champagne? It’s obscene! It’s disgusting. It’s…”
“Making things precarious?” I suggested.
“Exactly.”
***
In late 1997, thirty-year-old rising literary star Amélie Nothomb moves to Paris. While there, she embarks on a search for a drinking companion—not just any old lover of liquor, however; Nothomb is in search of a partner whose adoration for champagne, specifically, matches her own. Hers is a love unbridled by proper etiquette or thoughts of what goes best with what—an obsession for the drink itself, no matter its source or vintage. To this end, she meets at one of her book signings a young woman named Pétronille Fanto. The two had been corresponding for some time—Pétronille is an academic and literary hopeful who has admired Nothomb’s career from afar. Upon meeting for the first time, Nothomb is immediately taken by the young, somewhat androgynous fan and invites her to join her in imbibing. Thus, a friendship is born.
Nothomb and Fanto’s relationship, however, is unconventional and segmented by large gaps of time and stark ideological differences—some rooted in politics (Nothomb is the daughter of a diplomat; Fanto the child of a proletarian upbringing), others in the ways in which authors function both within and outside of the traditional literary scene and with varying degrees of success. These differences in viewpoint form the crux of the narrative’s conflict, much of which has to do with Fanto’s suspicious nature. From the beginning she views Nothomb’s invitation to go drinking as a person belonging to the literati deciding to “slum it” for a night with a member of the working class:
“Are you going to start up with the class struggle and dialectical materialism?” I asked. “When I invited you, I didn’t know the first thing about your background.”
“Your caste senses these things.”
The narrator does eventually succeed in winning Fanto’s trust, to some extent, as the two rotate in and out of each other’s lives—as Nothomb continues to publish to expected levels of success, while Fanto’s tumultuous literary career begins in earnest. Gradually, as the two reconnect over and over again, Nothomb begins to see in Fanto a dissatisfaction and arrogance at odds with her own success, as Fanto’s views inch ever closer to the far left, to the point where nothing about being a creative satisfies her anger and frustration at the realization that she is indeed a part of a system she so despises, and has not managed to dismantle it from within or succeed in spite of it.
This dissatisfaction hits its apex when Fanto, having had enough of the literary world and all associated with it, embarks on a trip to the Sahara, which she travels on foot over the course of thirteen months. When she returns from said trip, her distaste for Parisian and literary culture is even greater than it was before she left. She sees, in her inability to survive solely off her creative output, the flaws inherent to the very industry she’s a part of: that it is not output or talent or even who one knows, but personality—that a personality as strange and untethered as Nothomb’s is that percentage of a percentage needed to truly stand out amongst all other creatives in an otherwise unforgiving field. It’s then that Fanto is forced to supplement her income, first as a pharmaceutical test subject, and then as a performance artist of sorts staging actual games of Russian roulette for a potentially unsuspecting audience.
Much of Nothomb’s output veers into the semi-autobiographical. Several of her books, including Fear and Trembling and Tokyo Fiancée, are fictions based in reality, with locations, characters, and cues pulled straight from the author’s life. Pétronille is different—while it is autobiographical in that it stars an author named Amélie Nothomb who has written and published books identical to what’s detailed within the text, the novel feels more deliberately existential than some of the others of this ilk, with its titular character, potentially, an entirely fictitious construction meant to externalize a facet of the author’s personality. For the most part, this existentialism is kept to a minimum, with the author occasionally remarking on difficulties faced in her career, such as the time she was accused of plagiarism or the hostile response received by her novel Sulphuric Acid. It’s in this novel’s close, which I will refrain from spoiling, where the existential subtext is made text and an act of performative aggression becomes the author’s undoing as Fanto, whom Nothomb was fascinated by for so many years, is revealed as the stark underside of the frivolity to which they’d celebrated in so many instances—a gloriously disgruntled down note criticizing artistic identities inherent, constructed, and stolen.
It’s of some curiosity as to whether Pétronille Fanto, or some version of her, ever existed in the first place. From her introduction, Fanto’s appearance seldom changes—she almost always resembles that of a fifteen-year-old boy, even after more than a decade has passed. As the story progresses, more and more she appears the voice of Nothomb’s doubts as to her own writing and success. This is driven home in sequences such as when Nothomb goes to London to interview dame Vivienne Westwood and is met with an obstinate, disinterested subject who would sooner have Nothomb walk her dog for her than entertain any one of the author’s questions. In the aftermath of this unfortunate meeting, Nothomb calls Fanto and offers to pay her way to London—seeking Fanto as if she were a switch the author flips to silence whatever questions she might have regarding her worth.
In many ways, the novel’s thesis is isolated in a motto ascribed to both Christopher Marlowe and the titular Pétronille: Quod me nutrit, me destruit (That which nourishes me destroys me). Nothomb writes about her career and the literary scene into which she has inserted herself as a nervous child might discuss a popular group into which they’ve been drawn yet still feel isolated from. In Fanto, she’s given her doubts and loneliness a name and a career all its own, one that directly questions and confronts her own concerns toward the Paris literary scene and its aggressively bourgeois leanings. In Pétronille, the author finds new ways in which to strip her skin for the audience, revealing increasingly personal depths—something that she continues to do seemingly effortlessly, and with exceptional skill.
June 23, 2019
Beschreibung
Zwei Schriftstellerinnen, eine Leidenschaft: Amélie und Pétronille suchen den Rausch – in der Literatur und im Champagner. In Paris besuchen sie eine Degustation im Ritz, sie feiern in London und in den Alpen. Doch es gibt Dämonen, die sich auch im besten Schaumwein nicht ertränken lassen. Ein spritziger Roman über die Trunkenheit – und eine Ode an die Freundschaft.
Kurzmeinung
In einem Rutsch durchgelesen konnte mich Nothomb für diese Lektüre sehr schnell einnehmen.
Pétronille ist ein überraschender und doch irgendwie zuverlässiger Charakter. Über Konventionen hinweg wird eine wunderbar vier-rückte Freundschaft zur konträren Amelie gezeichnet. Eine prickelnde, amüsante Lektüre nicht ohne Tiefe, die man idealerweise mit etwas perligem genießt! Empfehlung!
Zwei Schriftstellerinnen, eine Leidenschaft: Amélie und Pétronille suchen den Rausch – in der Literatur und im Champagner. In Paris besuchen sie eine Degustation im Ritz, sie feiern in London und in den Alpen. Doch es gibt Dämonen, die sich auch im besten Schaumwein nicht ertränken lassen. Ein spritziger Roman über die Trunkenheit – und eine Ode an die Freundschaft.
Kurzmeinung
In einem Rutsch durchgelesen konnte mich Nothomb für diese Lektüre sehr schnell einnehmen.
Pétronille ist ein überraschender und doch irgendwie zuverlässiger Charakter. Über Konventionen hinweg wird eine wunderbar vier-rückte Freundschaft zur konträren Amelie gezeichnet. Eine prickelnde, amüsante Lektüre nicht ohne Tiefe, die man idealerweise mit etwas perligem genießt! Empfehlung!
June 26, 2024
Amo las ocurrencias de esta mujer. Muy divertido. Atenti al final!
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