Happening
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- USD 10.99
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- USD 10.99
Descripción editorial
WINNER OF THE 2022 NOBEL PRIZE IN LITERATURE
"Happening recounts what it was like to be a young woman whose life changed — and world ominously narrowed — in 1963 with an unwanted pregnancy. . . . It feels urgently of the moment."
--The New York Times
In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: Understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep that child.
This is the story, written forty years later, of a trauma Ernaux never overcame. In a France where abortion was illegal, she attempted, in vain, to self-administer the abortion with a knitting needle. Fearful and desperate, she finally located an abortionist, and ends up in a hospital emergency ward where she nearly dies.
In Happening, Ernaux sifts through her memories and her journal entries dating from those days. Clearly, cleanly, she gleans the meanings of her experience.
Now an award-winning film by Audrey Diwan
Winner of the Golden Lion at the Venice International Film Festival
Official Selection of the Sundance Film Festival
PUBLISHERS WEEKLY
French novelist and memoirist Ernaux (Shame; A Frozen Woman; etc.) was 23 in 1963 when she discovered she needed an abortion. After an unsuccessful attempt with a knitting needle, she tracked down a backstreet abortionist in Paris. Her three-month-old embryo was finally expelled some days later in the bathroom of her student dorm, the bloody remains flushed down the toilet. Ernaux tells the story of those awful months very simply, with only occasional asides of hindsight. A few well-chosen details "If I Had a Hammer" on the jukebox, the Singing Nun's "Dominique," the sexually predatory Movement men anchor her story in the early '60s, although most of the emotional texture (the body denial, panic, that feeling that "my ass had caught up with me") is disturbingly timeless. Ernaux's preoccupation with "power" over her "text" makes her postmodernism plain, although there's also a wonderfully old-fashioned Frenchness in her world view. Stretched out on the abortionist's table, she sees the scene before her like a still life: Formica table with enamel basis, probe, hairbrush. Ernaux needed to write this history: the making of a written record is the only reason she can find for this otherwise accidental pregnancy and its bloody aftermath. Indeed, readers who lived through the Bad Old Days before abortion was legalized will meet a lot of old demons here, even if a younger generation may find it bafflingly understated. Though not destined for a wide readership, it is an important, resonant work.
