EZA BOTO VILLE CRUELLE PDF
Results 1 – 13 of 13 Ville cruelle by Eza Boto and a great selection of related books, art and collectibles available now at Eza Boto is a very young author. The novel, «Cruel Town». («Ville Cruelle») (1) , is his first work, apart from a short story,. «Sans haine et, sans amour», which. Paris: Présence Africaine, 12mo cm. ; original yellow and red pictorial card wrappers; pp. Fine. Cameroonian author’s first novel, originally .
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Though he lived in exile for many decades, Beti’s life reveals an unflagging viloe to improvement of his home country. As one critic wrote after his death: The village’s name comes from Akom “rock” and Etam “source”: His vile drowned when Beti was seven, and he was raised by his mother and extended family.
Beti recalls arguing with his mother about religion and colonialism; he also recalls early exposure to the opinions and analysis of independence leader Ruben Um Nyobeboth in the villages and at Nyobe’s private residence.
He carried these views into the classroom, and was eventually expelled from the missionary school in Mbalmayo for his outspokenness. Graduating inhe came to France to continue his higher education in literature, first at Aix-en-Provencethen at the Sorbonne in Paris. By the early s, Beti had turned to writing as a vehicle of protest.
It was, however, in that he gained a widespread reputation; the publication of the novel Le pauvre Christ de Bomba “The poor Christ of Bomba” created a scandal because of its satirical and biting description of the missionary and colonial world.
Under pressure from the religious hierarchy, the colonial administrator in Cameroon banned the novel in the colony. He also worked during this time for the review Preuvesfor which he reported from Africa. Following Nyobe’s assassination by French forces inhowever, Beti fell silent as a writer for more than a decade, remaining in exile from his homeland.
After his death, Odile Tobner noted that exile was not easy on Beti; he remained tortured by his concern for his embattled country. In he re-entered the world of literature with a bang. The essay, a critical history of recent Cameroon, asserted that Cameroon and other colonies remained under French control in all but name, and that the post-independence political elites had actively fostered this continued dependence.
Beti was inspired to write in part by the execution of Ernest Ouandie by the government of Cameroon. Beti returned to critical and political writing at the same time that he returned to fiction. In he and his wife Odile Tobner launched the bimonthly review Peuples Noirs. Peuples africains ‘ Black People. African People ‘which was published until This review chronicled and denounced tirelessly the ills brought to Africa by neo-colonial regimes. Frustrated by what he saw as the failure of post-independence governments to bring genuine freedom to Africa, Beti adopted a more radical perspective in these works.
Mongo Beti – Wikipedia
In exile, Beti remained vitally connected to the struggle in Cameroon. Throughout the seventies and eighties, acquaintance with Beti or his work could spell trouble for a citizen of Cameroon; on numerous occasions, Beti used his connections in France to rescue one of his young readers, many of whom knew him from his periodical and his polemical essays. Ambroise Kom, arrested merely for subscribing to Peuples noirswas saved from incarceration by Beti’s actions in France on his behalf.
In Mongo Beti returned to Cameroonafter 32 years of self-imposed exile. After retiring from teaching inhe returned to Cameroon permanently.
The goal of the bookshop was to encourage engaged literacy in the capital, and also to provide an outlet for critical texts and authors. During this period, Beti also supported John Fru Ndian anglophone opposition leader. He created associations for the defence of citizens and gave to the press numerous articles of protest. The government attempted to hinder his activities.
On his first return to Cameroon, police prevented him from speaking at a scheduled conference; Beti instead addressed a crowd outside the locked conference room.
He was challenged at a demonstration in October In response he published several novels: L’histoire du fou in then the two initial volumes Trop de soleil tue l’amour and Branle-bas en noir et blancof a trilogy which would remain unfinished.
Transported to the hospital at Douala on 6 October, he died there on 8 October From beginning to end, Beti’s work was informed by two principles. In terms of style, he was a realist. In a critical statement published inhe asserted that “Given the modern conceptions of the beautiful in literature, given at the very least these essential conceptions, if a work is realistic it has many chances of being good; if not, supposing even that it has formal qualities, it risks lacking resonance, profundity, that of which all literature has the greatest need — the human; from which it follows that it has much less chance of being good — if only it had some — than a realistic work.
Thematically, Beti’s work is unified by an unwavering commitment to combatting colonialism, both overt and covert. Beti’s aim always, even in his harsh criticism of Cameroon’s independence government, was to strengthen African autonomy and prosperity.
Like many first novels by African writers, Beti’s first novel features a young protagonist caught between European and African cultures. Banda, the novel’s protagonist, is attempting to marry the woman of his choice; he is able to do so by way of a string of improbable coincidences. The novel is not widely read now; Beti published it under the pseudonym Eza Boto, a nom de plume he did not use later to dissociate himself from the work.
Still, the novel received praise from some critics, such as David Diopwho praised its rigorous depiction of the damage wrought by colonialism.
Written as the journal of a young priest’s assistant, the novel tells the story of a missionary in the s. The priest slowly realises the futility and pointlessness of attempting to convert Africans who, as he concludes, already worshipped God in their own way. Gerald Moore notes that in this novel, Beti has learned to use his protagonist’s naivete as a tool of satire: A comic novel describing the visit of a young Cameroonian man with a western education to a village in the interior.
He returns home expecting humiliation. Instead, he is charged with the duty of travelling to Kala, a remote village, to secure the return of a young woman who has fled her abusive, domineering husband.
In Kala, Medza falls in with a group of friends his own age.
Cruel city : a novel in SearchWorks catalog
The bulk of the novel depicts a series of farcical misadventures that give Medza a deeper understanding of his own culture and of himself. The English translation is titled Mission to Kala. The novel was well received, winning the Prix Sainte-Beuve in Wole Soyinka praised its realism, writing “Idealization is a travesty of literary truth; worse still, it betrays only immature hankerings of the creative impulse. Describes the transformation of a fictional African villle by capitalism, Christianity, and colonialism.
Le Guen takes vlile of a seemingly miraculous recovery from death to convince the local Chief of Essazam to embrace Christianity. The Dza does so zealously, but his repudiation of his many wives leads to chaos, as each jockeys for the right to be his one “true” wife. This chaos alarms both the Church and the bpto administration; at the end, Le Guen is transferred, and Essazam returns to its traditional ways. Both were inspired by Beti’s dissatisfaction with the post-independence governments of Ahmadou Ahidjo ; this discontent was sparked by the arrest and ultimate execution of UPC activist Ernest Cruellle and Bishop Albert Ndongmo on charges of conspiring to overthrow the government.
The works, which took a firm line against neocolonialism, were prohibited both in Cameroon and in France until Beti’s legal challenge proved successful in Beti revised and reissued them in the early s.
Beti’s first novel since The Miraculous King. It is sometimes considered part of a trilogy that also includes Remember Ruben and Remember Ruben 2 ; however, both in theme and in treatment it is markedly different.
The novel treats the investigation of a man, Essola, into the circumstances of eaz death of his sister. He finds that his greedy crueloe had forced her into a loveless and inappropriate marriage; her ill-treatment at the hands of her husband began a chain of events that led to her death.
The novel ezq at once a realistic exposition of postcolonial conditions in the nation and an allegory: Perpetua is developed as a symbol of the nation, and her inappropriate marriage symbolises the squalid and incomplete liberation of the country as a whole.
His stated goal was to move the concept from its origins in racial mythology to a site in history.
In this new position, he believed, negritude could be employed as sza conceptual tool for understanding not only African experience but also the role of colonialism in shaping that experience. Entries cover the experience of Africans both in Africa and worldwide the first entry is for Ralph Abernathy.
This work of journalism chronicles Beti’s return to Cameroon in He treats not only his own experiences, which included long-delayed reunions and police harassment, but also his impressions of what more than two decades of nominal independence and autocratic rule had done to the material and psychological conditions of his countrypeople.