L'Arabe du futur - volume 1 - (1): Une jeunesse au Moyen-Orient (1978-1984)

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This book gives us a micro-view of complex and continuing barriers when identifying normative behavior from differing cultural perspectives. Je suis tellement contente d'avoir découvert Riad Sattouf avec L'Arabe Du Futur plutôt qu'avec ses premières publications : Je pense que je les aurais détesté à l'époque et que je n'aurais pas cherché à découvrir ses publications suivantes.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. The comic captures characters' personalities so well and paints a picture of European culture compared to Syrian and Libyan culture in such a humorous way, all from the simple and innocent perspective of a preschool child. Much of his story is dysfunctional, cruel, and disappointing while at the same time tender, resilient, and lighthearted. Vous pouvez vous connecter avec votre compte sur autant d’appareils que vous le souhaitez, mais en les utilisant à des moments différents. The strips have been republished in three volumes, one in 2007, the second in 2010 and the last one in 2013.

The only educated member of his Syrian family, he comes across as charming, funny, eccentric, bull-headed, tragic, conflicted, and strict.

The author speaking of his father: "In 1967 he had been devastated by the Six Day War, when Egypt, Jordan and Syria were crushed by the Israelis. for whatever obligation nature and the right of generation lays on children, it must certainly bind them equal to both the concurrent causes of it.

Also writing for the Times, Laila Lalami highlights the book's portrayal of Sattouf's father, and his gradual and uneven path from a young idealist to an authoritarian, yet impotent, hypocrite. Through this child’s eyes the social and political situation in Syria and Libya are sketched, but not judged. There’s a wizardry behind both his writing and drawing that yields a world rich with meaning and insinuation. Riad’s work has the sting of criticism, but since he presents it through the eyes of a child, adult readers are meant to add their own gloss, knowing what we do about the perceptions of a child. Basic line drawings are black and white, and a general color tint signifies the location of the events.

Abdul-Razak, however, is portrayed as a complex character, being educated, ambitious and a loving father, yet also hypocritical, sexist, racist, and simultaneously authoritarian towards his wife and children yet almost infantile in his relationships with his mother and elder brother. She draws parallels between the rural France of the past, exemplified by her elderly neighbor who lives in extremely rustic conditions, and the developing Arab world of the modern era.

And maybe we see some critique of these views through his mother's reactions, which are maybe a little bit like most of our reactions, a little shocked but mostly amused.

Each scene is boiled down to its essence and yet the details that Sattouf chooses to include, along with nuanced facial expressions speak volumes. Observant and filled with the type of 'shock of culture' that so often is not considered relevant when trying to understand national identification. In 2003: Angoulême International Comics Festival René Goscinny award for Les pauvres aventures de Jérémy, volume 1, Les jolis pieds de Florence. Il raconte le combat toujours actif de sa mère pour récupérer Fadi et qui pense que son fils est resté petit, le vieillissement de ses grands-parents, l'aide qu'il apporte à sa famille pour renouer avec son père et Fadi en Syrie et l'inquiétude lors du déclenchement de la guerre en Syrie.Puis arrive le printemps Arabe (2012), la répression en Syrie, la guerre civile… et l’interminable combat pour mettre son frère Fadi à l’abri. Something you might not know about me, is that as a kid born and raised in Kenya, I was a huge fan of Muammar Gaddafi. Eventually, he gained enough street cred by copying other people’s styles that comics magazine publishers began allowing him to develop his own strips. He likened the strip to a fly-on-the-wall nature documentary, and rendered the speech of his subjects with careful attention to sociolinguistic variation. More than a collection of memories, [it is] a sincere testimony on integration, exchange and tolerance.