Bronx amer. Treize nouvelles by Jerome Charyn

By Jerome Charyn

Longtemps je n’ai pas pu retourner dans le Bronx. C’était dans mon crâne comme un cri strident, ou une blessure que m’aurait recousue quelque chirurgien fou et dont je n’osais pas retirer un seul element. C’était un can pay dépourvu de tout, un monde sans livres, sans librairies, sans musées, où les pères rentraient à pas pesants de los angeles crèmerie ou de l’usine à chaussures qui les employaient, les épaules ployant sous une monumentale tristesse, où les mères comptaient le moindre sou chez le boucher... alors que leurs enfants, tous tools du désordre, garçons comme filles, volaient, mordaient, brimaient à tort et à travers…

Et voilà qu'aujourd’hui, au fil de treize nouvelles, Jerome Charyn revient dans ce "Bronx amer" où il est né et où il dit avoir tout appris à l. a. dure école de l. a. rue. Très jeune, il y a connu les guerres de gangs, mafiosi, albanais ou cubains et fréquenté des escrocs et des voyous qu'un gamin pouvait trouver magnifiques, des femmes faciles mais si séduisantes, des truands sympathiques – bref les personnages qui hantent tous ses romans.

Mais désormais, le ton s’est durci, los angeles tonalité est plus sombre, 'j’entends des cris de guerre au loin', nous dit-il. Ce qui par contre n’a pas changé, c’est ce variety inimitable, syncopé, "jazzy" – bref los angeles merveilleuse musique de Jerome Charyn.

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The historical moment gives a special tweak to my desire to understand how the myths and memories of World War II have come to us. We begin, in chapter , with D-Day, which remains the major American point of entry into the memory of World War II, still potent after all these years, but, as we shall see, subject to distortion.     D - D AY On the Beach On the beaches today, there’s not much to see in a material sense: a few rotted and deserted landing craft; intermittent monuments where groups stop to read inscriptions; a small museum and remnants of portable harbors; a few surviving German bunkers, and (at Pointe du Hoc) huge, moonlike craters made by the Allied bombardment.

Media coverage helped shape a persistent contrast: Vietnam was a misguided, unjust, or “bad” war while World War II had been a just and “good” war, especially when evaluated retroactively, with full knowledge of the death camps. S. casualties. By the s and s, television had saturated most of the world and fully rivaled, and then surpassed, print media as suppliers of the news. Gradually, the loop between print media and entertainment became stronger, as even venerable organs like the New York Times began to em  ulate (in its magazine, for instance) the more “audience-friendly” visual style of USA Today.

Britain has its Blitz; the French have the Resistance (the latter, as many scholars have shown, quite equivocal). The United States has Normandy and the D-Day beaches. No wonder, then, that Saving Private Ryan, the first major film about World War II combat in some twenty-five years, begins near the beach. Representing D-Day: Saving Private Ryan, The Longest Day, and Other Movie Cameos Steven Spielberg’s Saving Private Ryan ()—a film intellectuals love to hate and so often under-rate—opens with a family visiting the Normandy American Cemetery.

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