Kiffe kiffe demain (Le Livre de Poche)

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Faïza Guène's orignal title 'Kiffe Kiffe Demain' plays on both the downbeat sense of 'kif-kif' (from Arabic meaning 'more of the same') and the enthusiasm behind 'kiffer', a contemporary 'street' verb meaning to feel high or to fancy somebody. So Guène's title means both 'different day, same shit' and 'perhaps I might just like tomorrow.’” Keira Maameri: «Nos plumes, ce sont les plumes de la France»», sur RFI, 16 septembre 2016 (consulté le 17 août 2020).

The author wrote this when she was 19 years old and it definitely has a YA simplicity and feel to it. I saw some comparisons to The Catcher in the Rye but I think it may more closely align with S.E. Hinton's The Outsiders, both from the standpoint of a young author and for characters who are existing on the margins of society. I’ve spent a lot of time thinking about my identity. I would have preferred to spend more time thinking about my literature' La présentation des références doit suivre les conventions bibliographiques. Il est recommandé d'utiliser les modèles {{Ouvrage}}, {{Article}}, {{Lien web}} et/ou {{Bibliographie}}. Le mode d'édition visuel peut mettre en forme automatiquement les références.Katrien Lievois, Nahed Noureddine et Hanne Kloots, « Le lexique des jeunes des cités dans Kiffe kiffe demain: choix traductifs en arabe, espagnol et néerlandais», TTR: traduction, terminologie, rédaction, vol.31, n o1,‎ 2018, p.69–96 ( ISSN 0835-8443 et 1708-2188, DOI https://doi.org/10.7202/1062547ar, lire en ligne, consulté le 18 août 2020) . When France wins the final against Croatia, the camera pans across a multi-ethnic crowd, all cheering for their country. Ly won the 2019 Cannes Festival jury prize for Les Miserables and the film went on to be nominated for best international feature film. Extrait : « Je suis allée dans la cuisine pour nettoyer la gazinière parce que c'état dégueu, avant que l'assistante sociale fasse son inspection ».

J'avais été attiré par certains échos concernant ce livre. Je l'ai obtenu dans le cadre des échanges de Babelio et ne peux que remercier « Paroles » de me l'avoir fait parvenir. It did not surprise me when I read the author’s biography and found that the author experienced the same life she writes about. I don’t know whether it is the translation but this novel reads less like a fictional piece and more like documentary – raw, real and right there, in front of you. Doria’s observations about the hierarchy, the pain of being a girl when your father wanted a boy, wearing clothes that make other people smirk and laugh – these are just so on point. So on point that the line between reality and fictionality blurs significantly. Faïza Guène on France Culture radio in 2018 discussing what the French call "transclasses", or moving from one social class to another (France Culture) Guène finds the images from these matches, 20 years apart, enlightening. Ladj Ly’s scene on the Champs Elysees “means so much more than just the match; [it] represents an ideal of what the spirit of unity should be,” she says.

Narrator Doria's voice may grate for some readers (and the ending is perhaps a bit too neat in that YA way). I have never understood why so many older child and teenage narrators pepper their stories with "I wish [really bad thing] would happen to [so and so]". I don't remember thinking this about more than one or two people (and it's not like I was having a great time socially or at home), and I can't ever remember other kids saying it. In books I've read in adulthood, I've usually thought of it as lazy shorthand for a more inchoate childish and youthful dissatisfaction, but as Faïza Guène wrote this when she was still a teenager herself, and she grew up on an estate like Doria's, where many people have far greater material hardship than most of my old classmates, I'll give her the benefit of the doubt in the way that I wouldn't to a well-meaning middle-class 45 year old trying to write the same character. Moving and irreverent, sad and funny, full of rage and intelligence. [Guène's] characters are unforgettable, her voice fresh, and her book a delight." -- Laila Lalami, author of Hope and Other Dangerous Pursuits

Anne Fohr, « Les raisons du succès – La voix des banlieues», Le Nouvel Observateur,‎ 12 octobre 2006 . L’écrivaine publiée par Hachette Littératures, puis Fayard depuis ses débuts a rejoint Plon [15 ] en 2020 pour la publication de son sixième roman La Discrétion. Recently, Guène has started to question the foundations upon which she had built her identity, reading as much as she can about the history of Algeria, its colonisation, independence and immigrants in France. Moving and irreverent, sad and funny, full of rage and intelligence. [Guène's] characters are unforgettable, her voice fresh, and her book a delight. In retrospect, I realised how difficult and brutal the media coverage was. I was the first of my kind and was treated like a court jester, a freak'en) Marion E. Hines, « Onomastic resemblances and the use of names in Faïza Guène's "Kiffe kiffe Demain"», CLA Journal, vol.54, n o1,‎ 2010, p.77–106 ( ISSN 0007-8549, lire en ligne, consulté le 17 août 2020) . a b et c Hubert Artus, « Un homme ça ne pleure pas: attention, humour (tendrement) décapant!», sur lexpress.fr, 28 février 2014. Lors de la sortie de Kiffe kiffe demain, l’usage de la langue est perçu comme un «hybride» alliant le verlan et le français standard [48 ]. Faïza Guène use de phrases courtes pour mettre en avant l’oralité et un rythme vif [19 ]. Le mélange d'humour et d'émotion fait probablement le succès des livres de Faïza Guène. Certains diront que le style est simpliste, moi je pense plutôt que c'est parce qu'elle maîtrise parfaitement. Au regard de l'histoire qu'elle raconte, le "ton" est bien choisi !