Of their first two autobiographies, Maria Larrea and Polina Panassenko evoke the seek for the origin

11:00 a.m., September 7, 2022

Two votes. One was born in 1979, in Bilbao, Spain; the opposite was born in 1989, in Moscow, USSR. Written face-to-face, the 2 writers speak about their attachment to language, household and freedom. Maria Larrea and Polina Panassenko have a narrative in widespread that consists of different tales. It’s as much as them to decide on and never to decide on. They arrive from completely different shores: two households for one; two nations for one another. The 2 novelists pursue inventive careers alongside the selection of literature. Maria Larrea is a director and screenwriter whereas Polina Panassenko is an actress and translator. They dwell between worlds, languages, universes. They’re tears and reconciliations.

Russia and France. The narrator has an appointment at Bobigny’s courtroom. She arrived in Saint-Étienne as a toddler, in 1993, the day after the autumn of the USSR, in 1991. Polina then turned Pauline, however right now Pauline desires to grow to be Polina once more. Twenty years have handed and he or she lives in Montreuil. The narrator due to this fact has an appointment at Bobigny’s courtroom to try to exchange her French first title (Pauline) together with her start title (Polina). Her personal manner of being French is to not be afraid to return throughout as non-French. Polina is the primary title of her Jewish paternal grandmother. The grandmother was initially known as Pesach. His household fled pogroms in Ukraine and Lithuania. When his son was born, Pesach made his title Russian to guard his household within the Soviet Union. Pesach turned Polina. In France, a free nation, Pauline desires to grow to be Polina once more. His grandmother inherited the resistance; the granddaughter desires to radiate confidence. From concern to the center.

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Gripping and comedic scenes cemented by finely written writing. The vacations in Russia with the grandparents, the keep within the hospital of the mom, the friendship in kindergarten between the “stutterer” and the “Russian”, the story of the swamp, the retired neighbors. The model is impudence, tongue drawn, invention. The emotion right here is sort of a curler coaster. Pleasure and ache, ache and pleasure. In maintain your tongue, distorts a picture. From her room, Polina sees her father arriving by automobile. The car parking zone is beneath. The daddy parks the automobile, opens the door, stretches his legs. He stays there for some time, a very long time, earlier than getting out of the automobile. His spouse is useless. Polina Panasenko ordained maintain your tongue to his mom. She writes in regards to the ghostly and acrobatics of women and men and the way one tries to stroll straight on stony paths.

Ties of coronary heart, ties of blood

Spain and France. A narrative within the type of Russian dolls, onion peels, a prepare hiding a prepare. A double abandonment. The narrator, Maria, is the daughter of a father (Julian, born in 1943) who was left behind in Bilbao and despatched to the Mercy orphanage, and of a mom (Victoria, born in 1947) who was left behind in Galicia and is housed within the Monastery of Santa Catalina. . Julian and Victoria meet, fall in love, get married. They flee Francoism, distress, the previous and arrive in France. The fantastic thing about Paris glistens earlier than their hopeful eyes. The truth is completely different. The daddy turns into the guardian of the Théâtre de la Michodiere and the mom takes care of the family. Little Mary grows between them. Their violence, their love. The daddy drinks an excessive amount of alcohol, the mom makes use of too many medication. Maria just isn’t blissful to be Spanish among the many French and poor among the many wealthy.

The one faith of the Basque father is ETA. The mom’s solely residing area is the tv within the lodge. They spend their holidays in Bilbao in July, in an condominium they personal. Maria goes out at evening and takes increasingly more medication. On December 31, 1999, the daddy threatens the director of the Paris theater with a weapon. He has been fired. The mom finds one other caretaker’s home. Silence closes over the drifting trio. Maria follows movie research at La Femis. She takes herself out of her atmosphere. She marries a beloved man, bears kids. She is 27 years previous when the playing cards are drawn to her. She understands that her start hides a secret. The investigation begins. Lastly the reality. Maria Larrea devoted her e book to Victoria and Julian. His poor and fragile Hispanic immigrant dad and mom. Coronary heart ties, blood ties. Maria Larrea wrote a boiling and noisy household portrait. All the pieces is vitality. It kills the silence with nice fireplace. It places the phrases collectively and ultimately pays tribute to those that come out of nowhere. The daughter says about her dad and mom: “Those who had nothing and gave me every thing. »

Two completely different and distinctive voices

Robust scene. Maria sinks into the ocean, screams and cries, finally ends up laughing on the sand. Two completely different and peculiar voices, Polina Panassenko and Maria Larrea, inform of clenched fists, free tongues, hurried steps. Their two paper look-alikes wander by means of their youth, their free identities, their future. Each authors devoted their novels to their dad and mom. Maria Larrea has left the guards’ field; Polina Panassenko has misplaced her Russian accent. By the grace of the phrases, they arrive again to it of their playful and critical manner.

Maria Larrea’s dad and mom purchase a brand new condominium in Bilbao with the little cash they’ve saved. The mom won’t ever tire of the solar pouring in by means of the window on the eighth ground over the previous summers. A burning gentle. The Russian household of Polina Panassenko strikes right into a fourteen-storey constructing in Saint-Étienne. Their condominium is on the ninth ground. The mom takes photos for the grandparents at residence. The family members {photograph} themselves like this, with the Saint-Etienne constructing within the background. The prints are coming. The mom counts the flooring. She circles the lounge and the bed room on the ninth ground with a pen. On the again she notes: our home windows. To what do lives give, if not on the surface?

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