The novel of Adam and Eve.
Fata Morgana| N° d'inventaire | 23697 |
| Format | 14 x 22 |
| Détails | 176 p., paperback. |
| Publication | Saint-Clement-de-Rivière, 2015 |
| Etat | Nine |
| ISBN | 9782851949202 |
"Time passed, as I said. The enigma posed by John's messages became obsessive, for lack of other news and also because it reawakened old concerns. I began to reread the Bible, and to everyone I met, I spoke of Genesis. Thus I verified that everyone visualizes it in their own way: throw in the names of Adam and Eve, and you will immediately obtain a story perfectly representative of your interlocutor, in truth their mental portrait."
The narrator of The Romance of Adam and Eve fortuitously meets a photographer who has been trained in Russia to discover the resurrection of a paradise that Stalin supposedly had built as a living tableau of communist ideology. A few photographic signs of this investigation reach him in eclipses until they finally fall silent. The narrator's destiny will consist of trying to understand this surge towards the unknown. It is then tempting to reduce the novel to a scholarly fable about the conceptions of paradise in the West: a perfect universe, from which man has fallen, has been succeeded by a world with a bright future. If the photographer has set out behind the visible, it is the lure of any external paradise that he reveals to the narrator: paradise is only within man, it is therefore hell. His novel is the story of this disillusionment because the world has no escape. And it is necessary to accept this situation or live in the semblance.
"Time passed, as I said. The enigma posed by John's messages became obsessive, for lack of other news and also because it reawakened old concerns. I began to reread the Bible, and to everyone I met, I spoke of Genesis. Thus I verified that everyone visualizes it in their own way: throw in the names of Adam and Eve, and you will immediately obtain a story perfectly representative of your interlocutor, in truth their mental portrait."
The narrator of The Romance of Adam and Eve fortuitously meets a photographer who has been trained in Russia to discover the resurrection of a paradise that Stalin supposedly had built as a living tableau of communist ideology. A few photographic signs of this investigation reach him in eclipses until they finally fall silent. The narrator's destiny will consist of trying to understand this surge towards the unknown. It is then tempting to reduce the novel to a scholarly fable about the conceptions of paradise in the West: a perfect universe, from which man has fallen, has been succeeded by a world with a bright future. If the photographer has set out behind the visible, it is the lure of any external paradise that he reveals to the narrator: paradise is only within man, it is therefore hell. His novel is the story of this disillusionment because the world has no escape. And it is necessary to accept this situation or live in the semblance.