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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.
A literary exploration into the serendipitous convergences
underpinning the writing of a novel (here, Ge rard Gavarry s
masterful Hoppla! 1 2 3), this rare and revealing glimpse into the
creative process pulls back the curtain on the composition of a
playful and self-conscious work of fiction.
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