REWIEW OF THE MOST RECENT BOOKS READ BY Adil

L’ÉVÉNEMENT

Annie Ernaux’s L’Événement is far more than a simple memoir: it is a courageous testimony that presents a young woman’s confrontation with an extraordinary situation—an illegal abortion—through an intimate, plain, and political language. At first glance, the book gives the impression of a planner or a diary: a university student has learned the result of an HIV test and then becomes pregnant by a young man she refers to as P. in Bordeaux. However, Ernaux’s narration goes beyond the personal level and turns the event into a social shock. The author’s choice to give characters only by their initials (“P.”, “O.”, etc.) both emphasizes anonymity and creates the sense that “this could happen to any young woman.”

The narrative style is simple but direct: it says “whatever there is, is there.” A young woman’s social status, academic success, youth… The story begins like a planner, recounting how she becomes pregnant by her boyfriend in Bordeaux and the paths she seeks for an abortion. All of this suddenly takes on a different form within the spiral of shame and fear brought by the pregnancy. While academic life, friendships, and youth seem to continue on the surface, Anne (the main character, representing the narrator) is forced to hide her pregnancy from her mother (I emphasize the mother here because she is a war veteran and conservative; considering the women of that period, sexuality was seen as a sin and something to be ashamed of, which is why the mother is portrayed almost like a kind of “friendly fire”), from her friends, and from the educational environment. This process of concealment goes beyond an individual drama and becomes an indicator of social pressure: it reveals how the female body and a woman’s life are fragmented between public and private spheres, and how they are forced to cope with silence. As the author herself states, “It was impossible to determine whether abortion was wrong because it was forbidden, or forbidden because it was wrong.” This sentence summarizes both the philosophy of the book and its political stance. In the later pages of the book, especially on page 62, after what the narrator calls the “sacrifice scene,” we come to understand that what is called “abortion” or birth is in fact something even more frightening. Through its plot, the book conveys this feeling and idea with complete transparency.

When we look at the historical, that is, chronological context, the book is set in 1963, a period when abortion was still illegal in France. This context increases the weight of the narrative: themes that seem ordinary; youth, love, pregnancy… quietly but deeply become part of a systematic oppression. The author strikingly exposes the social and legal conditions of the time, as well as the control over women’s sexuality and bodies. As an academically successful young woman, the narrator confronts not only her own body but also layers such as class, education, womanhood, and social belonging. This perspective transforms the work from an ordinary life story into a document on “the historical and political condition of women.” With the statement, “People are judged according to laws, but laws are not judged,” we understand how cruel and unjust laws can sometimes be.

Ernaux’s narrative style also reinforces these themes: emotional outbursts are avoided, and nothing is dramatized; instead, events are conveyed through a clear, observant language. This cool-headed narration leaves the reader alone with unsettling truths, because what is conveyed is not “softened pain” but “absolute pain.” When this style merges with the diary-like form of the narrative, the reader feels as though they are turning the pages of both a document and a confession. Many scenes in the book—for example, the stages of the clandestine abortion, the sense of loneliness, and the doctor’s attitude—reinforce this stance. In addition, the sections in which the author returns to her memory and re-summons the traces of that event (like fragments of a memoir or diary) enhance the work’s literary as well as historical power. It feels as if one is reading a genuinely historical document.

Still, as a point open to criticism, it must be said that the intensity of the text may be deeply unsettling for some readers. For readers who seek uncensored reality, this is a major strength; however, for those who come with expectations of a fluid plot, the “agenda-diary” format and the sense of emotional distance may sometimes feel cold. The narrator’s detached manner of storytelling, without immersing herself in emotion, can test some readers’ capacity for empathy. Yet this distance is in fact a deliberate choice: one made to create a form of literature that disturbs and provokes reflection. For this reason, for me, this aspect was not a weakness but a feature that contributed to the work’s power.

Although it is not normally a type of book I read, the impact it had on me was significant. I do not know exactly why, but for some reason I found the book compelling. Even though I read many books with stronger historical or political messages, I came to like this book and its genre. In fact, it left me with the thought: “Maybe I should explore different genres.” In conclusion, L’Événement is one of the most powerful books I have read. Its directness and honesty in narration, its historical critique, and its sharp portrayal of the mindset of the time make it an exceptionally strong work. And for that reason, my rating is: 5/5.

L’HOMME QUI N’AIMAIT PLUS LES CHATS

Isabelle Aupy’s short novel “ L’homme qui n’aimait plus les chats ” stands out as a work that is small in volume yet deep in content. This book, consisting of only sixty-four pages, resonates strongly in the reader’s mind by addressing universal themes such as freedom, obedience, manipulation, and individual consciousness through a powerful allegorical narrative. In Aupy’s work, the story, constructed around an event that disrupts the daily lives of the island’s inhabitants, may appear on the surface to be a simple tale of loss and replacement, but it in fact turns into a profound interrogation of the relationships between the individual, society, and the state.

At the center of the story is the sudden disappearance of the cats, which are an inseparable part of the islanders’ lives. Cats symbolize the islanders’ way of life through their independence and freedom. However, after the cats vanish, suit-wearing agents from the mainland bring dogs to the island and present them to the people as “cats.” At this point, one of the book’s most significant political dimensions comes into play: the deliberate distortion of reality and the persuasion of the masses to accept it. Aupy’s narrative serves as a powerful reference to the way authorities in modern societies attempt to reconstruct reality through manipulation and propaganda.

The symbols of the cat and the dog form the backbone of the work. While cats represent freedom, individual independence, and a self-directed way of life, dogs, together with their leashes, symbolize obedience, loyalty, and submission to authority. Presenting dogs to the public as cats is not only a distortion of truth but also a metaphor for forcing people to accept reality without questioning it. This situation recalls the concept of the “Ministry of Truth” in George Orwell’s 1984, as people here, too, are compelled to accept what is clearly false as true.

Aupy explores this theme not only on a societal level but also on an individual one. The transformation of the main character from someone who loves cats into someone who gradually comes to hate them demonstrates how an individual can be shaped under the ideological pressure of a state or authority. The way people’s thoughts and values are gradually molded by the dominant political discourse dramatically reveals the loss of individual freedom. This transformation is a process frequently observed in totalitarian regimes, and Aupy conveys it effectively through a concise and simple narrative style.

The secondary characters in the work also carry strong political meanings. The priest’s representation of religion, the poet’s representation of artists, and “les Sans-Chiens” as the opposition show how different segments of society position themselves in the face of this manipulation. In this way, the work questions not only the individual–power relationship but also the roles played by religion, art, and cultural institutions within this dynamic. The symbols Aupy employs offer readers the opportunity to draw connections with contemporary social structures.

The narrative form of the book is as striking as its subject matter. Being written in the form of a play transforms the story from a mere narrative into a piece that also invites staging. This choice enhances the dramatic impact of the work while making the allegory more visible. The reader does not simply read a story; through the scenes, they also experience the dramatic dimensions of manipulation, loss of freedom, and resistance. The climax of the work occurs when dogs are explicitly explained to be cats. What follows is the rebellion of both the people and the main character as the story moves toward its conclusion. The removal of the dogs’ leashes and their release symbolize both the dogs reclaiming their true identities and the islanders regaining their freedom. The departure of those who came from the mainland demonstrates that an externally imposed order can only be ended through the collective will of the people. This ending is not merely a narrative of liberation, but also a hopeful message about the power of collective resistance.

Although Aupy’s language is fluid and plain, it contains depth in every line. As readers progress through this work, which can be finished in a short time, they begin to unravel its allegorical meanings and draw parallels with the contemporary world. Because the book discusses universal issues through a simple plot, it has the potential to appeal to both young and adult readers. Comparisons with Orwell’s 1984 in particular highlight the work’s intellectual depth. For instance, the lighthouse keeper’s statement, “They are using the dogs to watch us,” feels like a direct echo of Orwell’s famous motto, “Big Brother is watching you.” It is like a small and simple reflection of 1984. In conclusion, “ L’homme qui n’aimait plus les chats ” is a work that, despite its short length, addresses universal themes such as freedom, manipulation, obedience, and resistance through a powerful allegorical narrative. While the metaphor built around cats and dogs questions the position of both the individual and society in the face of power, the rebellion of the main character and “ les Sans-Chiens ” serves as a reminder of the importance of individual and collective resistance. The book can be regarded as a high-quality work that both holds up a mirror to today’s world and conveys universal messages.

Isabelle Aupy’s work, with its brief yet striking narrative, stands out as an original and valuable piece that leaves a lasting impression on the reader. If it were to be evaluated out of 5, I would give it 3.5/5.