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Hoppla! 1 2 3 (French Literature)

door Gérard Gavarry

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1611,295,836 (2.5)4
The tale is simple, if grim: a disenfranchised teenage boy from the housing projects on the outskirts of Paris rapes and murders the manager of the supermarket where his mother works. But Gerard Gavarry is a writer who knows how literary inventiveness can shed new light on a serious subject, and Hoppla! tells its story three times, in three separate sections, each in a different tone or mode and with different sets of images and vocabularies. The first relies on tropical images and the characters speak in a lexicon borrowed from the coconut industry--as if the Parisian suburbs had been transported to an exotic shore; the second is nautical in nature; the third invokes the mythology of the centaur, and ancient Greece butts up against modern-day France. Gavarry's bloody and poetic narrative takes dead aim at the social, political, and personal roots of violence, and argues for the transformative power of fiction.… (meer)
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This French novel is set in a contemporary Parisian suburb, which is populated by troubled and unemployed immigrant youths. The protagonist, Ti-Jus, is one of these youths, an aggressive and sexually magnetic young man, whose mother works at a nearby supermarket. His mother, who also works as a seamstress at home, asks him to deliver a dress to the manager of the supermarket she works at. Ti-Jus and a friend go to the manager's apartment, and while she is trying on the dress, he enters her bedroom, then rapes and kills her. The two young men then casually leave the apartment; end of story.

The same story is told in three different modes, each about 50 pages in length. IMO, the author was more concerned with stylistic technique than he was with telling the story of troubled immigrant youth in France, which was what I was hoping to read about. I quit the novel after 75 pages out of sheer boredom. ( )
  kidzdoc | Aug 8, 2009 |
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The tale is simple, if grim: a disenfranchised teenage boy from the housing projects on the outskirts of Paris rapes and murders the manager of the supermarket where his mother works. But Gerard Gavarry is a writer who knows how literary inventiveness can shed new light on a serious subject, and Hoppla! tells its story three times, in three separate sections, each in a different tone or mode and with different sets of images and vocabularies. The first relies on tropical images and the characters speak in a lexicon borrowed from the coconut industry--as if the Parisian suburbs had been transported to an exotic shore; the second is nautical in nature; the third invokes the mythology of the centaur, and ancient Greece butts up against modern-day France. Gavarry's bloody and poetic narrative takes dead aim at the social, political, and personal roots of violence, and argues for the transformative power of fiction.

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