Read PDF Dans le ventre de l’ogre (French Edition)

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Actually I was inspired by my son. It would have been very difficult to be lyrical or too poetic with a theme like sex addiction. Your prose is very taut and precise.

Le ventre de l'Ogre

Being a journalist helped me a lot to write fiction, because when you are a reporter and when you go into a city or somewhere and you have to write an article, you have two days and you have to write something, you need to observe everything, you need to be very attentive to the very tiny details: to look at how people walk in the street, how they take a cab, how they grab a cup of coffee in the little cafe in the street. So I think that it helped me to develop my observation sense. You gave up your job as a journalist in order to write this book.

How long was that process, and how much writing did you discard along the way? But you never learn how to climb this mountain. Sam Taylor has translated both of your novels. How closely did you work with him in matching the tone and style of the original French? Sam is a wonderful translator. Will he also be translating your non-fiction book Sexe et mensonges Sex and Lies?

Can you tell me a little bit about that book, and how you were compelled to collect these stories about the sex lives of Moroccan women? I lie about my sexuality because I live in a country where I have no choice but lying. So I interviewed homosexuals, prostitutes, women who had to experience abortion, women who were married, women who were not, poor women, rich women, and it was very interesting to listen to those very brave women who fight and try to be free.

And what do their stories tell us about universal issues of personal freedom, inequality — and just being a woman? So the price I had to pay is too important, too big, it was not worth it. What did that mean to you personally — and to your career? It was like a dream come true, but at the same time I was so surprised.

But it put you on the cover of Elle , and you became some kind of literary superstar. Yes, I think it was not only the fact that I won the prize, it was the fact that I was a young woman, I was from Morocco, from a Muslim country, that I was fighting for the rights of women, for the freedom of speech in my country, so I became sort of an icon without wanting it. When you first moved to Paris at 17, you found the locals unfriendly and selfish compared to where you grew up in Rabat.

Leïla Slimani’s Dans le Jardin de l'Ogre: Eroticism in a repressed world | The Independent

How did you cope with that then, and are you now a fully adjusted Parisian? But since I won the Prix Goncourt I travel a lot and I leave my children at home, I have to leave them with my husband or with the nanny, and so I act selfishly. And I think I should do the same. There is no reason why I should feel guilty about that. So who are some of your favourite monsters in literature? Stavrogin, who is a rapist and monster, Raskolnikov in Crime and Punishment are wonderful monsters. And to be honest I think that we are all monsters, we all have a monster inside of us.

Animasyros at the Onassis Cultural Centre

Some of us are able to control it, and some are not. How far along is that, and can we expect more monsters? So now I have to steal time to write my book, but I hope that next year maybe it will be out in France, and so the year after maybe in the UK. Ratings and reviews 4. Certificate of Excellence - Winner. French, Steakhouse, European.

L'ogre Qui Avait Peur Des Enfants - Les belles histoires de Pomme d'Api

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