Read L'Ogre by Jacques Chessex Online


Détruire son père. En faire un petit tas de cendres au fond d'une urne. Comme du sable. De la poussière anonyme et sans voix. Cela peut sembler facile à une époque où la jeunesse tuait ses pères en écoutant Joan Baez et Donovan. C'est impossible pour Jean Calmet, professeur de latin à Lausanne. Comme il vient d'assister à la crémation de son père, les fantômes et les outraDétruire son père. En faire un petit tas de cendres au fond d'une urne. Comme du sable. De la poussière anonyme et sans voix. Cela peut sembler facile à une époque où la jeunesse tuait ses pères en écoutant Joan Baez et Donovan. C'est impossible pour Jean Calmet, professeur de latin à Lausanne. Comme il vient d'assister à la crémation de son père, les fantômes et les outrages du passé reviennent le tyranniser. Dans ce livre qui obtint le prix Goncourt en 1973, Chessex déroule le fil d'une vie dévorée par un ogre jouisseur et tonitruant, qui aura volé le plaisir de vivre à sa progéniture et crédité sa lâcheté. Un père ne meurt jamais......

Title : L'Ogre
Author :
Rating :
ISBN : 9782246111436
Format Type : Paperback
Number of Pages : 208 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

L'Ogre Reviews

  • Kirk Johnson
    2019-04-19 23:51

    Some books soothe, some enchant, some break: this one goes thundering in my head. It's a product of Camus and Joyce at their best, and while it's a bleak book, it's full of so much picturesque beauty - a painter's book - and a product of so much love - that one hardly knows what to do with it. Perhaps no one has simulated my neurotic brain so well.

  • Czarny Pies
    2019-04-20 19:58

    Chaque chapitre de "L'Ogre" commence avec une citation du livre de Job ce qui laisse prévoir que Dieu mettra fin aux tourments du protagoniste Jean Benjamin Calmet à la fin. Hélas, "Dieu est un salaud" est Jean est un perdant né dont Dieu se lave les mains. Jean va mourir bien malheureux. "L'Ogre" n'est pas une lecture réjouissante.Jean est un pauvre type tyranisé par son pére. Le roman commence avec la mort du père. Pour s'assurer qu'il ne revient pas, Jean ne l'enterre pas; il l'incère. Cependant, c'est la peine perdu. Jean demeure si tyranisé par son père-ogre qu'il n'est pas capable de bander quand il le veut le plus. Si Dieu est indifférent au sort de Jean la déesse Isis de L'Âne d'or d' Apulée ne l'est pas. Elle arrive dans la forme d'une fille de dix-neuf ans pour susciter son ardeur mais elle ne réussit pas.Jean qui enseigne le Latin à un gymnase réfléchit aux montres de la littérature classique comme le Minotaur et Chronos qui mangent les enfants. La crise ultime survient quand il accompagne un groupe des étudiants au Kornhausplatz où il voit la statue du Kindlifresserbrunnen en train de manger des enfants. Jean comprend que c'est trop tard et que son cas est sans espoir. Peu après il va mettre fin à ses jours "L'Ogre" est un roman puissant mais complètement dépourvu d'espoir. Il plaira à ceux qui ont aimé "Le rois des Aulnes" de Michel Tournier.

  • Janet
    2019-03-31 18:54

    I'm not quite sure what to make of this book. It has only now been translated into English but was originally written and published in French in 1973. It is important to realize this spirit of the times because it is strongly reflected in the novel; it is all about old power versus new ideals. Jean Calmet has recently lost his father, an authoritative man and doctor, whom he feared as a child. He thinks he is finally free from this ogre but he couldn't be more wrong. Gradually we see that his father's hold on him increases up to a point where it is literally killing him. Even though Jean constantly claims that his father was a tyrant, it doesn't really show in the book. Ok, in flashbacks the father doesn't strike as a gentle, feeling person, but I've known worse cases. In the meantime, Jean Calmet realizes his own position. He can't beat his father but as a teacher of the young generation, he himself becomes a figure of power. The end is rather tragic and the lonely figure of Jean Calmet will probably stay with me for a long time. This book will not be to everyone's taste but addicts of French existentialism will love this one.

  • Enno
    2019-04-02 00:12

    A very beautifully written book that won the Prix Goncourt in 1973. Although recently deceased, his patriarchal ogre-father continues to haunt Jean Calmet for the rest of his life. Relationships with other people who exert any form of authority make him very uncomfortable as well and Jean is slowly turning into an ogre himself. Apart from authority, the book is also largely about death - from the pain of loved ones dying to the absurdly comical, commercialised way in which the funeral industry approaches it.

  • Alex
    2019-04-26 17:48

    Un livre intéressant où on sent l'angoisse du personnage principal s'accroître au fil de l'histoire. Ne pas lire si vous êtes déprimé!

  • Luke
    2019-04-04 19:45

    [1973, famous for winning The Prix Goncourt]The sad fall of a Swiss teacher under the weight of the memory/ghost of his recently deceased, oppressive father.Bit over oedipal at times, but good with its exposé of the hushed up, hidden and lasting psychological abuses of the patriarchal nuclear family (unfortunately only looks at the impact on the youngest son really though).Some uncomfortable and dubious teacher-student relationships (sixth form and older though, so not like Lolita, but still saturated in power games).Jean Calmet is also not amazing in his attitude towards female autonomy.Feels a bit aged in its preoccupations now - post-war baby-boomer generational conflict. Very similar to Camus' L'Étranger in its existential mood, except Meursault is replaced with the more nervous and anxious Jean Calmet, slightly resembling Joyce's Stephen Daedalus in his struggles to fly away from the weight of the past and paternal constrictions, but with less of Daedalus' oomph - Calmet is a crushed man.Another book where the lead character is a male literature teacher/professor...Although set at the end of the 60s, not too much '68 mood in the air, just a more rebellious inflection within the students.Good writing though. Good description.Good descriptions of everyday tyrannous characters to be found.Hitting ending.'They gathered, they started to walk again through the little streets. The afternoon was turning a sepia gold: in the sky a tint of brown sugar, heavy, a bit soporific. They were about to reach a bridge guarded by obelisks when the class stopped and stared at a stupefying monument. Shouts and laughter mingled. Jean Calmet, who had been walking like a somnambulist for a moment, lifted his eyes and was struck with amazement: an Ogre was sitting at the top of the shaft of a fountain, devouring an already half swallowed child whose bare buttocks and little dimpled thighs thrashed about on his bloody chest! Jean Calmet screwed up his eye to see better: the scene was dreadful. Thick-set, his face broad, his mouth distended, immense, his wide-spaced teeth planted in the child's back, the Ogre showed mute pleasure, and his flat nose, his blue eyes, the whole rictus of his face insulted the passers-by compelled to witness his crime. One realised, to see him so sure of himself, greedy and vigorous, that nothing could stop his odious banquet. The monster was comfortably seated, wearing a blood-red tunic and green breeches spotted with horrible, rust-like spatterings. His right elbow raised on high, with his huge paw he held the naked kid in his gaping, crimson mug. Under his left arm, a supply of fresh flesh: a plump little girl with long hair, her face distorted by screams and tears; poor little victim, all ready to be gobbled up at the next meal. In the Ogre's belt, still on the left, a sack from which emerged the torsos of crying boys and girls. They were very pale, and their skin made a strange contrast with the killer's coppery hide. The little boy had managed to get out of the basket as far as his belly, he was trying to escape, he made a terrific effort, he clung to the Ogre's leg to help himself, and this useless attempt, the tears, the little body that was writhing added to the horror of the giant, whose feast nothing could stop. Another kid was hung from his belt, to the right, next o the butcher's knife. This child also struggled, lashing out with his little legs against the knee of the monstrous character, who must have liked this gesticulation, who enjoyed it, who was impatient to taste that nice living flesh which was twisting in its bonds and in its baskets: that is always why he had his larder with him, securely lashed to his belt; the fresh meat lived and moved on his own hip, against his own skin, whetting his appetite, provoking his laughter. The Ogre's mirth!''All of a sudden, there is silence, everyone stands petrified: in the doorway of the Academy, massive, immense, skull shining, his nose fitted with his fearsome dark glasses, Monsieur Grapp appeared, contemplating the adversary, almost dreamily. But despite the concentrated strength that he embodies, there is something else that stupefies the onlookers: in his hand - a new monstrosity, an object emerging from earliest times, an aggressive, dominant symbol, as astonishing as an archaic beast - Grapp holds a whip, a long cannoneer's whip as curly as a snake ready to strike, a long thong of braided leather gushing from a shank gleaming and thick as a truncheon. A moment of amazement, a boy gives a shout, the megaphone takes up his refrain and the crowd of demonstrators marches on the main door. Grapp raises the whip, makes it whistle and springs at the besiegers. Bewildered, the boys fall back. Later on, they will explain why: it is not fear, or respect, it is shock that made them yield. They are confused, flabbergasted, several laugh nervously. Alain and Marc take pictures. But the whip still whistles, Grapp moves forward, all of a sudden the whole group starts running away, reaching the main gate in disorder. Then Grapp no longer restrains himself, he runs from one to the other, the whip on high, he overtakes the fugitives, bounds up to the wooden barracks at the western entrance, he comes leaping back, the whip still raised, whistling, he goes through the gate, he pursues the survivors into the Rue de la Cité-Devant, he retraces his steps, he seizes the venerable gate, he heaves the iron grille shut. The courtyard is empty. Monsieur Grapp is master of the field.'

  • Sanju Hans
    2019-04-08 02:11

    Nach den Tode seines übermächtigen Vaters, versucht der 40-jährige Lateinlehrer seinen Vater-Sohn-Konflikt zu bewältigen. Der Aufstand gegen das Vaterbild ist beklemmend dargestellt.Gleichzeitig ist es auch eine verstörend schöne und traurige Liebesgeschichte des in der Krise steckenden Vierzigers mit einer zwanzigjährigen Kunststudentin.Treffend dargestellt ist die Stimmung in eine Schweizer Stadt (Lausanne) zu Zeit des grossen Umbruches der 1970er Jahre. Dass die Geschichte dramatisch endet, ist voraussehbar.Die Auszeichnung mit dem Prix Goncourt war mehr als berechtigt

  • Екатерина
    2019-04-03 20:49

    Един от най-известните швейцарски писатели - за съжаление малко познат у нас. Романът "Човекоядецът" му донася наградата "Гонкур" и той е първият писател извън Франция, който е удостоен с нея.Романът е мрачен, бавен, предаващ много истински отношенията деспотичен баща - син.Наистина добър роман.

  • Sandra Porchet
    2019-04-03 22:47

    Spirale infernale à Lausanne

  • Winnielou
    2019-04-02 18:07

    De belles pages et un style prenant par moments mais je n'ai pas aimé les personnage et me suis souvent ennuyée.

  • Genevieve David
    2019-04-22 01:02

    Extraordinary book about a father's influence over a son. It's ending is difficult for those with a fragile sensibility but it is autobiographical.