fauns delivers the rice-reader to the "confusion of feelings" as writer Stefan Zweig would express. The concern thus covers up the fascination that arises in the universe in which Christiane Vadnais puts her first novel, giving rise to a feeling of ambivalence.
In the manner of a landscape painter, the former editor-in-Impact Campus Brush a glaucous universe with great detail. It lifts the series of paintings that make up the plaque of about 130 pages published by Alto.
The boundaries between the environment and humans are dissolved – liquefied, they would extend. The author makes a prolific use of the aquatic lexicon. So to speak, the futuristic world in which the characters evolve – little characterized, because it is not in them that rests mainly on the novel – is nebulous, damp. The Earth has become this immense swamp, dripping and leading to the proliferation of curious microorganisms. These end up electing domicile in the digestive system of humans, removing an additional distinction between them and their environment.
A return to the wild
In the face of the disturbance of nature, primitive fears and animal instincts arise again, like a hungry beast that hunger withdraws from sleep. Vadnais interweaves his stories of allusions to our distant ancestors: "It is perhaps reaching a steady state, relatively sheltered from danger, that our ancestors began to feel a nightlife in them.The dreams would have been rooted in the warmth and security of their first coats , on the silent resting of the hunter, and not on the hunt.
While our ancestors were slowly acceding to their humanity, distancing themselves from the stage of strict survival, the characters of fauns follow the opposite – and inescapable – process. The strength of the elements vastly transcends their human inclinations. In the not too distant future, it is plausible to imagine such a scenario.
The fauna illustrated by Vadnais, moreover, is ambiguous. They belong neither to the human species nor to animals, borrowing certain characteristics from the record of the fantastic. Stories can instill tension in the reader-rice: although he can not attach it to him, he sincerely fears the integrity of the characters.
An intimate voice and a certain potential
The paintings are connected to each other by the universe represented by Vadnais, a vast dark structure against which pieces of humanity have the appearance of sparks. This universe is nocturnal: the characters roam as if they were sleepwalkers prisoners of a "dreamless sleep," when history does not fall directly into the nightmare. It turns out that Vadnais somewhat dazzles the imagination of the reader-rice, some images struggle to unfold and force the replay. Most of the time, metaphors are effective.
It goes without saying that the author is endowed with a voice of his own, and this rises accurately through this first novel. It is advisable to let the contents of this book of anticipation, atmosphere and poetry macerate to measure its full potential. What is better than the humidity of the universe of fauns let it germinate, then ripen the fruits laden with promises that history brings.