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ISBN 13: 9782070710850
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A poet, novelist, playwright, and oral performer, she has published stories and poems in anthologies, winning in the Lingua Madre National Literary Prize. Her first novel, Madre piccola , won the Vittorini Prize, and has been translated into Dutch and English ; Il comandante del fiume appeared in She holds a Ph.
Women’s Creative Mentorship Project
In she participated in the International Writing Program residency; in she had a Maison des Ecrivains et Traducteurs de Saint-Nazaire residency. Her work explores fiction and non-fiction intermingling in literary pieces. A past chairperson of the Writers Association of Botswana, Dema has coordinated workshops and cultural exchanges, and produced recordings of Botswana poets, and given readings and workshops in Africa, Asia, the UK, and Europe. As a working journalist, she writes about social and cultural issues; much of her writing seeks to unearth the unsaid and untold.
A translation in free verse, sharp and in the present tense, to render the infernal machinery that is set in motion as soon as Lear asks the huge and unfathomable question that is at the heart of every family. Before surrendering his power to his daughters, he wants to know which of the three will express her love for him most emphatically and thus receive the largest share of his legacy. This silence drives Lear to madness, and everyone to ruin.
Like a prophecy of the disasters to come three centuries later, the falsification of language and its acceptance lead to a bloodbath, in which even brothers and sisters turn on each other. On the wide open stage of the Cour d'honneur, Lear and Gloucester, disgraced fathers, wander aimlessly while their children plot.
Actor, singer, writer-poet and smuggler of poems, translating Shakespeare, director for the theatre and the opera: Olivier Py 's research follows all possible paths, both inner and concrete, looking for a presence to the world, a fleeting answer to a latent anxiety. In this adventure language is the vehicle that takes him from trestles to stages, or the deck of cards from which he draws; he likes it to be both lyrical and crude, mysterious and shared.
He calls on that of Aeschylus, of Claudel, of Shakespeare, or on his own, in plays that are about the theatre, about transmission, about the times, about faith. Trained at the Strasbourg conservatory, where he specialised in lyrical arts, and at architecture school, he soon falls in love with scenography.