L'Arabe du futur - volume 5 (05): Une jeunesse au Moyen-Orient (1992-1994)

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en-GB) Rachel Cooke, « The Arab of the Future 2 – terrifying school days in Syria», The Guardian,‎ 27 septembre 2016 ( ISSN 0261-3077, lire en ligne, consulté le 30 octobre 2016) Sonia Déchamp, « La véritable épopée de l' Arabe du futur», Les Cahiers de la bande dessinée, n o5,‎ octobre-décembre 2018, p.126-129 Comic books of childhood under Arab dictators grip France". France 24. 17 June 2015 . Retrieved 4 February 2016. Prix Sproing de la meilleure bande dessinée étrangère 2016 [24 ] pour la version norvégienne ( (no) Fremtidens araber) Laurent Bonnefoy, « L'Arabe du futur ou la force des préjugés - Une bande dessinée marquée par les stéréotypes», Orient XXI.info,‎ 23 janvier 2015 ( lire en ligne, consulté le 21 décembre 2016)

La réception critique dans le monde est excellente [15 ]: le tome 2 est élu «roman graphique du mois» par le journal anglais The Guardian [16 ] et le New York Times le qualifie d' «artistiquement exceptionnel» [17 ]. Jean-Pierre Filiu, « L'Arabe du futur: Riad Sattouf raconte la Syrie et la Libye de son enfance», Rue89,‎ 29 mai 2014 ( lire en ligne)Sattouf's father influenced the title of the memoir through his ideal of raising his son as an "Arab of the future." Early in the story, the elder Sattouf proclaims, "I'd change everything among the Arabs. I'd force them to stop being bigots, to educate themselves, and to enter into the modern world. I'd be a good President."

Carmela Ciuraru. "New Novels by Paul Murray, César Aira and Others". The New York Times . Retrieved 2016-11-02. Dans le premier tome, Riad décrit la rencontre de ses parents et leur installation en Libye, puis au village de Ter Maaleh en Syrie. Il pose les bases des thématiques principales de la série: l'image du père, le contexte géopolitique au Moyen-Orient de l'époque et le contraste entre les cultures et traditions européennes et orientales. L'Arabe du futur relate l'enfance et l'adolescence de l'auteur en Libye, en Syrie, deux pays alors marqués par l'idéologie du socialisme arabe [1 ] et en France. Riad’s drawing skill is such that one can envision the environment quite clearly. It is better than a photograph since Riad can add the elements he wishes to emphasize. In the New York Times review of this title, as well as that in the New Yorker magazine, called "Drawing Blood", we learn that Riad has a few more installments planned for this series, and I look forward eagerly to other adventures as he grows older. He has a viewpoint that is not all sarcasm. He so far has spared his mother, who comes across as a bewildered alien in a hostile environment.

Snaije, Olivia (28 October 2015). "Riad Sattouf draws on multicultural past for The Arab of the Future". The Guardian . Retrieved 4 February 2016. I am reminded of Richard Dawkins’ The God Delusion in which Dawkins writes of early childhood inculcation into any religion as one of the most damaging things that can happen to the impressionable mind. One cannot help but agree when one sees what it has done in cultures all over the world. In this part of the world hatreds last for millennia, perhaps due largely to childhood inculcation. Riad’s father buys him a plastic revolver as a toy. “All boys like weapons,” he says. Does it follow, I wonder, that all who like weapons are still boys? Clémentine has refused to take the family to Saudi Arabia, so instead she and the children are living in Brittany without Abdul-Razak. At the end of the school term, he pays them a surprise visit and takes them on holiday to Syria. The following year, Clémentine and the children again spend the school year in Brittany, then join Abdul-Razak in Syria for the holidays. He has become a more devout muslim, and strongly disapproves of Clémentine's secular ideas. By the end of the volume, tensions between Clémentine and Abdul-Razak lead to their breakup. Abdul-Razak takes the family's savings and their youngest child Fadi to Syria, leaving Clémentine in Brittany with the two older children.

The flood of rich, detailed, authentic, often completely unexpected observations is both disturbing and mesmerizing, thanks in part to the clever narrative strategy of presenting them from a vague through-the-eyes-of-a-child-yet-filtered-through-adult-awareness perspective that does not appear to have any agenda whatsoever: it appears to do little more than taking in all kinds of weirdness with wide-open eyes, though ultimately, of course, it does provide a critique of both Arab-Muslim and Western attitudes and lifestyles. The thing is: the results don't feel pedantic or manipulative in the slightest, and this is crucial to the appeal of the story. Just following the father around is an experience unlike any I’ve ever had: I mean, I never know what this guy is going to do or say next, because his belief system and his values seem so all-over-the-place to me… and yet, somehow, magically, he feels like a perfectly organic human being. Which is what makes all the strangeness and madness and uncertainty so compelling! Smell is also vividly represented throughout the novel. The young Riad associates new places and especially new people with their smells, ranging from perfume and incense to sweat, spoiled food, and flatulence. These odors tend to convey the quality of relationships, with Sattouf explaining, "the people whose odor I preferred were generally the ones who were the kindest to me. I find that’s still true today.” [2] Critical reception [ edit ] a et b Cyril Coantiec, « Riad Sattouf remporte le grand prix RTL de la BD 2014», sur lefigaro.fr, 28 novembre 2014 (consulté le 28 septembre 2015). Riad Sattouf: «Avec L'Arabe du futur 4, je me suis libéré de mon secret de famille»», sur FIGARO, 27 septembre 2018 (consulté le 28 août 2019) en) Japan Media Arts Festival Archive, « Manga Division | 2020 [23rd]», sur Japan Media Arts Festival Archive (consulté le 27 mai 2021)Purposefully written from the perspective of a child, Sattouf employs simplistic yet comprehensive drawings that are more rudimentary than, yet not entirely dissimilar to, his other works such as La vie secrète des jeunes, his column in the famous satirical French magazine Charlie Hebdo. [5] Both The Arab of the Future and La Vie Secrète des Jeunes are written from Sattouf's point of view, with the former describing his childhood and the latter his daily observations as an adult. Although both appear autobiographical, at least one reviewer calls into question elements of Sattouf's life story and family history. [2] In 2020, Sattouf announced the memoir's fifth volume was finished with only one extra volume pending before finalizing the saga. [6] Plot [ edit ] Vol. 1: 1978–1984 [ edit ] a et b Vincent Brunner, « Riad Sattouf, la mémoire vive de «L'Arabe du futur»», sur Slate, 2 juin 2014 (consulté le 27 décembre 2016)

Frédéric Potet, « «L’Arabe du futur» de Riad Sattouf: autopsie d’un succès», Le Monde, 30 juin 2015 Julia Dumont, « L’Arabe du futur 2: l’enfance syrienne de Riad Sattouf séduit les lecteurs», sur france24.com, 14 juin 2015 (consulté le 28 septembre 2015). Riad’s Syrian father, Abdul-Razak, is the first of his family to read and is (therefore?) considered a great scholar in Syria. He is sent to study history at the Sorbonne and manages to wed an unworldly French student, Clementine, who is studying in Paris. Clementine is from a small village in Brittany and when they both graduate, Abdul-Razak accepts a position teaching in Tripoli, Libya. You have got to read this to enjoy it. I don’t want to spoil your fun. It sounds just about what you might expect with Qaddafi in charge, only even worse than you could imagine. Then as the family finally leaves - solely due to the father's own motivations yet again - the young son who is maybe 5 looks up and sees a woman with bare boobs through a window. Yes, this is considered an important enough life moment to be a highlight of a graphic memoir. JFC.

Eventually another version was released which cut out some details but combined all 6 books into 1.