No et moi by Delphine de Vigan

By Delphine de Vigan

Lou Bertignac a thirteen ans, un QI de one hundred sixty et des questions plein l. a. tête. Les yeux grand ouverts, elle realize les gens, collectionne les mots, se livre à des expériences domestiques et dévore les encyclopédies.
Enfant distinctive d’une famille en déséquilibre, entre une mère brisée et un père champion de l. a. bonne humeur feinte, dans l’obscurité d’un appartement dont les rideaux restent tirés, Lou invente des théories pour apprivoiser le monde. A los angeles gare d’Austerlitz, elle rencontre No, une jeune fille SDF à peine plus âgée qu’elle.
No, son visage fatigué, ses vêtements revenues, son silence. No, privée d’amour, rebelle, sauvage.
No dont l’errance et los angeles solitude questionnent le monde.
Des hommes et des femmes dorment dans los angeles rue, font los angeles queue pour un repas chaud, marchent pour ne pas mourir de froid. « Les choses sont ce qu’elles sont ». Voilà ce dont il faudrait se contenter pour expliquer los angeles violence qui nous entoure. Ce qu’il faudrait admettre. Mais Lou voudrait que les choses soient autrement. Que los angeles terre switch de sens, que los angeles réalité ressemble aux affiches du métro, que chacun trouve sa position. Alors elle décide de sauver No, de lui donner un toit, une famille, se lance dans une expérience de grande envergure menée contre le destin. Envers et contre tous.
Roman d’apprentissage, No et moi est un rêve d’adolescence soumis à l’épreuve du réel. Un regard d’enfant précoce, naïf et lucide, posé sur l. a. misère du monde. Un regard de petite fille grandie trop vite, sombre et fantaisiste.Un regard sur ce qui nous porte et ce qui nous manque, à jamais.

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Additional info for No et moi

Sample text

2 The Sequence of Saint Eulalia (c. 880–82) Not surprisingly, there are a significant number of common features between the Strasbourg Oaths and the only other extant ninth-century French text, the Sequence of Saint Eulalia. g. pulcella

Hilty (1990), on the other hand, suggests son element refers to the fire and aduret means ‘suffer’ giving ‘she suffers the fire’. The reading adunet is favoured here: while it has been the generally held opinion that the second downstroke of the n is an accidental and therefore insignificant addition, Price (1993b) argues that the stroke is deliberate and, on 32 A History of the French Language through Texts the basis of the tone of the ink, maintains that this correction was probably made by the original scribe.

Intervocalic consonants One or, in some cases, two stages of the modification of intervocalic consonants are illustrated. Through assimilation, voiceless intervocalic stops became voiced (a process known as lenition when a fortis consonant which is made with a relatively high degree of muscular effort and breath force becomes a lenis) giving for example populum>poblo (l. 1), potere>podir (l. 3), sacramentum>sagrament (l. 11) etc. In other items the next stage of the assimilatory process is also indicated, that is when the tongue is no longer raised enough to make a complete closure in the oral cavity thereby producing a fricative: cata una>cadhuna ["] (l.

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