Souvenir D'Enfrance

the two narrative trajecories of Georges Perec's W create parallel stories that seemingly are unconnected (and that's all I'll write about that,so as not to give anything away). Perec employs inventive literary devices within the two stories--clever, clever, clever! This book astonished me, which hasn't happened in a while!

You know those dreams that are especially absurd, but quite realistic? So realistic that reality and fiction have a strange way of mixing the next morning? You awake thinking that your boyfriend is angry at you for cheating on him. With Val Kilmer. Or that you won the Apprentice and are now working for Donald Trump, not at your pathetic job shelving books in the library. And for that brief second reality is clouded and hazy. You have to spend a minute or two telling yourself that you don't even know Val Kilmer. Such is Georges Perec's W, or the Memory of Childhood. It is a confounding blend of reality and fiction. In the beginning it is easy to make a clear distinction, but by the time you reach the end you are not sure where one ends and the other begins. It takes a second to sort it all out Be forewarned. This is not a book for the Danielle Steele fan. The story is a twisting dual narrative. One narrative is a memoir of Perec's own childhood during the Holocaust. The other a created story about an island obsessed with sport. Both stories seemingly have nothing to do with the other, but by the end of the book you understand that one was written for the other, the effect much like transposing two photographs on top of each other. Perec's childhood is with recounted (not in italics) with factual lists-he had a mother, a father, a potty, a cot-and a confession that he has little memory of his childhood. He tells the reader how he remembers his childhood-recalling to the reader the way he recalls it, not how it may have actually happened. (He adds addendums now that he is older to help aid the confused reader.) He retells his childhood devoid of emotion-his mother is sent to the death camps, his father killed in combat, he is sent to different border schools. It is stark in black and white print, told with a voice of indifference. It is this lack of emotionalism that sets the tone for the other story-the story of W (in italics). Woven just as elusively in his memory of childhood is the story of W. W is a tiny island that at first glance seems to be a land of joy and triumph-a land where the Olympic ideal is revered and honored. It is in the tale, in this island of W that we learn of unspeakable horrors, where champions are elevated like gods and losers killed, beaten, and tortured. A land where Law is chaos and deceit is rewarded. A place where there is no value for human life, just the result it is capable of producing. It is this grotesque story that is charged with emotion and we recoil in repulsion. It is in this story that Perec connects with his own memory of childhood and shares with us how he feels. Perec tells us, "How can you explain that what he is seeing is not anything horrific, not a nightmare he will suddenly awake from, something he can rid his mind of? How can you explain that this is life, real life . . . wherever you turn your eyes, that's what you will see, you will not see anything else, and that is

Georges Perec's "W, or The Memory of Childhood" is both an autobiographical and fictional look at the world Perec grew up in around the time of World War to and the Nazi occupation of Europe. The work introduces two alternating stories; the first, an observation of an island, W, off Tierra del Fuego, and the second, an autobiographical piece, rely heavily on one another to accurately present an allegorical look at a place easily compared to Nazi Germany. "W, or The Memory of Childhood" begins in a captivating narrative of Gaspard Winckler, a man who deserted the war and is discovered by one investigating the disappearance of a paraplegic child who bears the same name. Because Gaspard took the child's name in taking a new identity to avoid capture after deserting, he is commissioned to find the child whose body is discovered missing from the wreckage of his mother's yacht after an accident claimed everyone on board's life. This task leads to the island of W, scrupulously depicted as a place where athletic domination reigns supreme and physical capabilities are all that determine a person's worth. When coupled with the autobiographical section of the life of Perec, one gains a clear understanding of his intentions in taking us to W. The reader becomes aware of the horrible circumstances under which the people of W must live. The simultaneous offering of the two stories allows the reader to sympathize wholly with Perec's plight during childhood, as we are able to grasp on multiple levels the tribulations he experienced growing up as a Jew under the Nazis. For one to obtain a complete recognition of the effect the Nazi regime had during World War II, one must read the allegory and autobiography in alternating fashions as presented. In this manner, we can accurately see, especially in "Part Two" of the narrative, Perec's feelings and interpretations of the Nazi regime and how his life was affected by the fear inflicted by them. For example, Perec was baptized to save himself from being branded in similar fashion to the way novices were branded on the island of W, which, if the representative symbol of the island alone was observed more closely, one could see that it can be rearranged to form either a Star of David or a swastika (such rearrangements of symbols were observed intimately in Perec's autobiographical section). Intriguingly, Perec struggles to separate actual memories from those he has either invented of have been invented for him. He is aware that there are memories he actually recalls himself, such as his mother being sent to a concentration camp and his father dying in war, and those he's unsure if he invented. The concept of real and imagined memories adds complexity to the autobiography and allows one to sympathize further with Perec as he is unable to perform basic memory recollection due to the traumas faced during childhood. One is unable to deny that "W, or The Memory of Childhood" portrays a powerful message to the reader concer

Some memories are so terrible that revisiting them is more than a person can stand. And yet there are stories that need to be told. Goerges Perec, who lost both his childhood and his parents to the Nazis in World War II deals with this problem by telling two stories, one real, and one metaphorical.The real story of his youth is told almost dispassionately, as if he cannot bear to bring up the emotions of that time- or perhaps it is an accurate telling of a childhood in which emotion was repressed as a way of surviving. The metaphorical tale of the nation of "W" is also told from a distant, and somehwhat dispassionate perspective; it is a cruel land, but the narrator speaks of it as a historian or an anthropolist might.It is only when the two are read together (the chapters alternate) that the full effect is appreciated by the reader. The cruelties of "W" are in fact alternate tellings of the realities left out of the true narration. Through this, the true horror of Perec's childhood emerges.

It's about time this book was reissued in English, in a fine translation by Perec's standard-bearer in the Anglophone world. Perec's half-fictive and half-autobiographical masterpiece is an original and devastating approach to one of the most difficult historical moments of the recent past, the Holocaust. "W or the Memory of Childhood" embodies all of the violence of this historical tragedy and of memories of such tragedy.There are two narrative threads running through this book, touching each other occasionally in a manner that illuminates both in strange and arresting ways. Half of the chapters are "W," the fictional account of a man, Gaspard Winckler, who has survived a war by adopting the identity of a parapalegic (the real Gaspard Winckler) who later dies in a shipwreck off the Tierra del Fuego. Prodded by the mysterious Otto Apfelstahl, the living Gaspard embarks on a journey to recover his memory of the real Gaspard, to discover who he was and how he died. This journey becomes, in the second half of "W," a description in coldly anthropological terms of a seemingly totalitarian island-state, in which citizens are forced to compete in brutal and naked athletic games for things like food and the right to procreate--the basics of human life.The other half of the chapters are Perec's own autobiographical contributions, beginning, despite the promising title of the book, with the admission, "I have no memory of childhood." Perec's voice sifts through his rubbled past--his father's death in the French Army, his mother's transportation to Auschwitz, his being concealed in a Catholic school and raised by his relatives--and attempts to separate what he remembers from what he has been taught to remember through photos, language, etc. His reflections are marked with a humor that is endearing in light of his horrifying experiences, and with a subtlety that is astounding in light of the atrocities to which the text must bear remote witness.The two narratives, "W" and "The Memory of Childhood," weave around each other like ivy, finally becoming, in a stunning and climactic final chapter, part and parcel of one story. Perec's ultimate fusion of his willful fictions and his awe-full remembrances is powerful and well-presaged; the entire universe of the book builds beautifully and disturbingly toward this final moment, as the fictions become more like fact and the autobiography occupies itself increasingly with fictions.Bellos' translation is superb, even if one does lose some of the very productive puns of the original (the moment early on, for example, when "l'Histoire avec sa grande hache" should make us think simultaneously of History with a capital H and History with its big axe; Bellos sticks with the capital H rendering of the phrase). (From what I can tell, he has not modified his original translation of the book substantially, if at all.)"W or the Memory of Childhood" is a sobering, touching, daunting and disturbing reminder of some of the worst o