While there exists an entry in the feminine, in this book represents a genuine example. In a sensitivity of skilled poet, Nadia Ghalem invites us to travel in the countries it has left before we explore different. In search of the first adolescent love, the narrator avoids sentimental annoying mannerism, observes beings with empathy. His keen eye of a journalist scans beyond the ruins, gives life to ancient civilizations, not forgetting all the memories haunting Fodhil. It is a "summer love in the time of mimosas. The tree stands "beside the gate [...] crowned with gold. The tree, like Proust's madeleine, the memory looses the author, inviting the reader to dizzying rides in places where architectural treasures mingle with hints of a sour blatant colonialism. Responding to the invitation of the passionate narrator we follow in the Louisiana bayous before leaving in Andalusia where the woman lived several years. Civilization which, since its reconquest in 1492 by Isabella and Ferdinand of Spain, has managed to regain its splendor. Yet it was the cradle of a Mediterranean world that had pretty much invented. Algebra, poetry, medicine, not to mention alchemy and philosophy. Wonderful pages in which we Nadia Ghalem instills his love for the Arab-Andalusian Spain, while it shares with us his tenderness for his mother, came to Grenada as a tourist. "My mother, my tear. His companion struggle. The narrator tells the life story, "mine and others. "Every country in which it discovers or she works, is marked presence of a pathetic she remembers painfully. The trees will also remain as to shade, protect, intense love she has for Fodhil, "this boy of fourteen, I was just younger. He was on vacation with his grandparents and then the summer ended, he had left "by the five o'clock train in the morning," the war began ... Later, the narrator takes us in Abidjan, a city she loved so much. Meanwhile, she returned to Montreal, peaceful and tranquil area that protects his harrowing memories. Recall that, from Oran, Algeria, Nadia is Ghalem Quebec since 1965. Journalist, poet and novelist, she has continued to reach out to the battered planet, afflicted with incessant wars. Staying in Germany with her fiance, she met Henock, he studied carpentry. Figure meaningful that the narrator portrays in a few sentences, she sees this young man "a kind of reincarnation of Fodhil. "
one continent or country to another, invisible thread, a tenuous Fodhil weaves back and forth between a past exalted by the absence, this one rocked by Montreal city as" a park just wander the streets and houses. The women, symbolized by the grandmother and mother, by humble passers have aroused emotional incantations of the author when she talks about women Aures and Kabylia Oran. Khadija, "Merchant of going house to house to sell or trade jewelry [...]. There is especially the aunt - Amti in Arabic - which tells the story of Scheherazade, Hypatia, Nefertiti. When everyone was installed under the covers, Amti chop the tragic life of these three women, learned before they are allowed to possess some innate knowledge. IMTA claims to have seen strange things in Carthage, cited as the narrator depict with evident nostalgia. The pages devoted to Amti, interwoven poems are among those that have particularly affected. There Houreya, seen for the last time in Petra, Jordan. Stands with her bright shade Fodhil. The narrator says his desire to die in the desert, "the biggest sandbox in the world" in which she played and which destroys human weaknesses. In this mythical place, "nothing can defeat us. "There was the stop in Rome, which had been" magical ", the disappointment of Florence. Coated emotions of unsatisfied desire to adolescent beloved. Tunis, Carthage. The silhouette of the Carthaginian is emerging against the backdrop of legend, we do not know very well that the author or the narrator, magnifies the majestic ruins of a city Democratic crushed by Rome.
We can all describe this ambitious and enthusiastic narrative, inspired by the homeland. The African and European continents overlap, exposing humiliating situations too often personified by children. Mimo, orphaned street, "as docile as a little animal. Mina, a prostitute to ten years, "slender and fragile as a baby bird fallen from its nest. "If the days follow one another like beads on a necklace, Ottawa's narrator reflects on 11 September when the world had changed ... Everywhere, nature arises, color harmony eastern and western landscapes. A tree with flaky clusters, the face of a young boy evanescent scattered recurring memories of the narrator. The mimosa and Fodhil entangled in two paradises lost, the stones degraded by war, that of childhood swollen by the time which inexorably gully features juveniles. But it is in the Northern peace, and a birth, Nadia Ghalem ends his journey experiencing.
story that shakes the reader of a conditioned torpor patterns, decorated with a dynamic writing, sensual. Well the memories of a loving heart for the youth of the flesh, grouped paintings in museums. The words crackle, replete with a passionate litany. The last picture, now five in the morning carrying Fodhil prelude to the end of a world, time Green's innocence. Read
not a novel, but such an event, disrupting what we think we know our convictions, after we had informed Nadia Ghalem that peace with ourselves and our fellow fed to the flame of all fires . Exiles vagrants, desires unappeased, tumultuous men and their weapons.
Love in the Time of mimosa, Nadia Ghalem
Publishing Memory inkwell, Montreal, 2010, 134 pages
Dominique Blondeau - dominblondeau@yahoo.fr 
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