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

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Riad Sattouf: avec L'Arabe du futur 4 "'je ne paie plus l'ISF qui n'existe plus"», sur Challenges (consulté le 28 août 2019) This graphic memoir is set in France, Libya and Syria, and we learn about the childhood of the author and his family as they navigate various cultures, religions, and political landscapes. The author's father is a Sunni Arab who married a French woman, and like many immigrants, he is a contradiction that many people find hard to understand. His father is quite Western and modern in some ways, but also retains much of the values and prejudices he acquired as a child, and like all kids born into cultures not of their parents, the author grapples with these contradictions. The Arab of the Future begins in France, where Riad Sattouf is born in 1978. He describes himself as a “perfect” little boy with "platinum-blonde hair" and “bright puppy-dog eyes.” Riad is the eldest son of Clémentine, a reserved French woman, and Abdul-Razak Sattouf, a flamboyant Sunni-Syrian man. They met when Clémentine took pity on Abdul-Razak's clueless failure to attract a friend of hers.

Lindsey, Ursula (27 January 2016). "The Future of the Arab". The Nation . Retrieved 4 February 2016. 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. Il se base principalement sur ses souvenirs, et cela explique les références régulières aux odeurs et le point de vue enfantin [5 ].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 ] 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?

In striking, virtuoso graphic style that captures both the immediacy of childhood and the fervor of political idealism, Riad Sattouf recounts his nomadic childhood growing up in rural France, Gaddafi's Libya, and Assad's Syria--but always under the roof of his father, a Syrian Pan-Arabist who drags his family along in his pursuit of grandiose dreams for the Arab nation. 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) 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. The author speaking of his father: "In 1967 he had been devastated by the Six Day War, when Egypt, Jordan and Syria were crushed by the Israelis. Then, in 1973, like all the Syrians of his generation he managed to transform the Arab defeat in the Yom Kippur War into an "almost victory".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. Comic books of childhood under Arab dictators grip France". France 24. 17 June 2015 . Retrieved 4 February 2016. Dans le deuxième tome, il raconte particulièrement les conditions de sa vie d'écolier dans son village rural syrien Ter Maaleh avec le déroulement des cours, les relations entre les enfants, la place de la religion et de la politique dans le système scolaire ainsi que la pression scolaire exercée par son père.

en-GB) Olivia Snaije, « Riad Sattouf draws on multicultural past for The Arab of the Future», The Guardian,‎ 28 octobre 2015 ( ISSN 0261-3077, lire en ligne, consulté le 8 octobre 2016) En 2018, selon RTL [19 ], les ventes pour les trois premiers volumes représentent plus d'un million et demi d'exemplaires et les traductions existent dans vingt-deux langues, mais pas en arabe. 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) The mother, however, is a silent figure - while she protests about the homes they end up living in, she says little about their moving to Syria, or staying there. We don't know about her dreams and desires, nor even about why she married him. This is the first part of Riad Sattouf’s childhood memoirs, The Arab of the Future, and it is superb! With a Syrian father and French mother, the small family travels across Europe as his father gets work as an associate professor in Tripoli, Libya, during Gaddafi’s reign, before briefly jumping to Brittany, France, and ending up in nightmarish Syria under Hafez al- Assad.a b et c (en) Adam Shatz, « Drawing Blood», sur The New Yorker, 19 octobre 2015 (consulté le 27 décembre 2016) 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)

The Arab of the Future has received widespread critical acclaim and is considered an instant classic among graphic memoirs. The text of the first volume has been translated into sixteen languages, [7] demonstrating its international appeal. Frédéric Potet, « «L’Arabe du futur» de Riad Sattouf: autopsie d’un succès», Le Monde, 30 juin 2015It might be said, though, that the emulation of other people's behavior is one of the themes of the novel. Little Riad is encouraged by the Syrian women in his family's circle to engage in violent play with other boys, and he finds it enjoyable. The children around him emulate adults' violent behavior. Ideas seem to travel around, transmitted from mind to mind.