Read e-book online J'ai tué papa PDF

By Mélanie Richoz

ISBN-10: 2832107389

ISBN-13: 9782832107386

Antoine n'est pas un enfant comme les autres : il est handicapé. Mais c'est pourtant bien un enfant, comme les autres enfants...

Confronté à l’hospitalisation de son père, le jeune Antoine livre ses réactions, auxquelles font écho celles de ses mom and dad.

Un roman bouleversant, à trois voix, qui nous plonge dans le quotidien d’un garçon autiste


« C’était donc lundi. Un lundi trois. C’est mon chiffre favori parce que je suis né en mars, le trois justement, et que mars est le troisième mois de l’année. Ma date de naissance, c’est le lundi 3.3.2003. Et aussi, nous sommes trois à vivre à los angeles maison. Papa, moi et maman. L’homme, l’enfant et l. a. femme. Le Père, le Fils et le Saint-Esprit. Le tyrannosaure Rex, le diplodocus et le stégosaure. Les trois mages de l. a. constellation d’Orion. »


- « Antoine a 12 ans, aime les dinosaures et est autiste. Un matin, alors que son père doit être hospitalisé, le garçon nous raconte sa notion de l’événement, et celle du monde tel qu’il le ressent dans sa vie quotidienne. Dans ce roman à trois voix, son père et sa mère nous font eux aussi partager leur imaginative and prescient de cette tragique histoire, et des difficultés qu’ils rencontrent depuis los angeles naissance d’Antoine. Mélanie Richoz nous offre un texte bouleversant, drôle et tendre sur les relatives familiales et sur los angeles différence. » Librairie Payot

- « J’ai tué papa réussit le pari d’aborder avec délicatesse le thème difficile de l’autisme, tout en évitant l’écueil du misérabilisme. » Audrey Bovet, Sept Info

« Tristement réaliste, le drame à trois voix de cette attachante famille génère pourtant une étrange petite musique pleine d'espoir. » Marie-Claire

« J'ai tué papa reste avant tout un roman, avec un équilibre réussi entre le langage enfantin du jeune narrateur et l. a. langue littéraire. » Éric Bulliard, La Gruyère


Mélanie Richoz signe ici son troisième roman après Tourterelle (2012) et Mue (2013). Elle est aussi l’auteure du Bain et l. a. Douche froide (2014), recueil de nouvelles sélectionné pour le Prix du public de l. a. RTS 2015. Ces livres ont tous été publiés aux Éditions Slatkine.

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If we shift our focus from endings to formal and conceptual beginnings, the sense of a binary structure, which valorizes an idyllic notion of motherhood over a demonized masculinity, is dislodged. What is revealed instead is that Wharton is as skeptical of an idealization of motherhood as she is of the patriarchal system under which the characters live. While Charity certainly seeks both a surrogate mother as well her own maternal biological origins, these origins are not the ideal she hopes to find.

As equals for good” (10). 5 A focus on the ending of Summer has sparked significant debate among critics. Many of these scholars accurately depict Wharton’s strong critique of patriarchal social structures that contain and appropriate female agency. But many of these same critics also want to see embedded in this critique a type of idealization of motherhood, which has been “depreciated, disdained, and ultimately, destroyed” by the representations of patriarchy in the novel (Elbert 4). Monika Elbert reads Wharton as mourning the loss of “motherhood,” represented by the “primeval mother within [Charity]” (7).

In many ways, Wharton’s novel is an example of what Margaret Homans and other theorists have called an adoption narrative. A particularly apt exemplification of what Homans calls “the unknowability of origins,” the narrative illustrates the fact that although knowledge about Charity’s past is “intensely but apprehensively sought” it is “not finally available” (“Adoption” 5). This unavailability or fictionality is directly connected by Wharton to the fictive nature of the maternal ideal.  . usually understood as the key to a character’s identity” (Homans, “Adoption” 10).

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J'ai tué papa by Mélanie Richoz

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