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[3.5] I can see why this is taught in schools (as another reviewer notes, it's a French A-Level text in England), but am surprised, in a good way, that it was longlisted, back in 2007, for the Independent Foreign Fiction Prize (precursor to the current format of the Booker International).
Translated, it's a very easy read, basically YA, though for a reader of French around A-Level standard, the slang will take a bit of getting used to. Subject-wise, it technically has that realist 'worthiness' characteristic of the IFFP - it's about an impoverished French-Moroccan teenage girl living on a tough estate on the outskirts of Paris - but it's not in the least dry, so 'worthy' wasn't an adjective that occurred to me until afterwards. This book didn't exist when I was doing A-levels, but Kiffe Kiffe plus an older classic would be a better choice than two of the latter, and certainly gives a less rarefied view of France than the likes of Marcel Pagnol.
It's also potentially educational in that there's a lot to look up about French pop culture of the late 90s and early 00s, the sort of casual references you might get IRL: e.g. saying someone looks like a certain daytime TV presenter. (The book makes sense without knowing all these references, but I enjoy finding out this sort of stuff. If you like to look things up as you go, it means that this otherwise very straightforward book might not be the most convenient read for public transport.)
Narrator Doria's voice may grate for some readers (and the ending is perhaps a bit too neat in that YA way). I have never understood why so many older child and teenage narrators pepper their stories with "I wish [really bad thing] would happen to [so and so]". I don't remember thinking this about more than one or two people (and it's not like I was having a great time socially or at home), and I can't ever remember other kids saying it. In books I've read in adulthood, I've usually thought of it as lazy shorthand for a more inchoate childish and youthful dissatisfaction, but as Faïza Guène wrote this when she was still a teenager herself, and she grew up on an estate like Doria's, where many people have far greater material hardship than most of my old classmates, I'll give her the benefit of the doubt in the way that I wouldn't to a well-meaning middle-class 45 year old trying to write the same character.
Some contemporary readers may feel that a certain plot point needs more exploration and discussion, especially for teen readers: when Doria decides she fancies a boy who, a few weeks / months earlier kissed her without her consent, and whom she had previously found quite repellent - and it's clearly presented as a good thing by the end of the book. It struck me how this wouldn't have seemed anything remarkable in fiction, or a magazine anecdote, 20 or even 10 years ago - although by then a similar reaction to being 'ravished' would have been considered off, and bad writing, by many. One could now consider it as a reaction shaped by Doria's dysfunctional family background - which must have been pretty bad as the family had a social worker (although perhaps France allocates them when things are less bad than UK threshholds) - or a lingering subconscious effect of the patriarchal culture she is in many other ways managing to shake off. It's also an example of a popular trope of the 90s and 00s, the nerd gets the girl. But to make it just about the character neglects changing general norms - which have possibly changed more among the young and among Anglo-American liberals than elsewhere. And I find it very interesting as an example of inner emotions changing rapidly - seeing in action the stuff covered by the scholarly field of the history of emotions I referred to the other day in reviewing Lucy Worsley's Jane Austen at Home. It was sad to see how often Doria referred to commercial women's magazines as ways she and others learned about life and relationships (and to shape their views of what was and was not appropriate to feel and do) but also sadly accurate for pre-www girls who had negligible useful support from people they knew. I was kind of glad magazines have waned, but on the consumerism and fashion front, they seemed quite benign compared with what you hear about Instagram and teens now.
I found Kiffe Kiffe really interesting. Contemporary fiction about immigrants, and about poorer people (who aren't struggling creatives) in other European countries is something I've long wanted to read more of, but not much is translated. (And when it is, it's rarely as approachable as this.)
Translated, it's a very easy read, basically YA, though for a reader of French around A-Level standard, the slang will take a bit of getting used to. Subject-wise, it technically has that realist 'worthiness' characteristic of the IFFP - it's about an impoverished French-Moroccan teenage girl living on a tough estate on the outskirts of Paris - but it's not in the least dry, so 'worthy' wasn't an adjective that occurred to me until afterwards. This book didn't exist when I was doing A-levels, but Kiffe Kiffe plus an older classic would be a better choice than two of the latter, and certainly gives a less rarefied view of France than the likes of Marcel Pagnol.
It's also potentially educational in that there's a lot to look up about French pop culture of the late 90s and early 00s, the sort of casual references you might get IRL: e.g. saying someone looks like a certain daytime TV presenter. (The book makes sense without knowing all these references, but I enjoy finding out this sort of stuff. If you like to look things up as you go, it means that this otherwise very straightforward book might not be the most convenient read for public transport.)
Narrator Doria's voice may grate for some readers (and the ending is perhaps a bit too neat in that YA way). I have never understood why so many older child and teenage narrators pepper their stories with "I wish [really bad thing] would happen to [so and so]". I don't remember thinking this about more than one or two people (and it's not like I was having a great time socially or at home), and I can't ever remember other kids saying it. In books I've read in adulthood, I've usually thought of it as lazy shorthand for a more inchoate childish and youthful dissatisfaction, but as Faïza Guène wrote this when she was still a teenager herself, and she grew up on an estate like Doria's, where many people have far greater material hardship than most of my old classmates, I'll give her the benefit of the doubt in the way that I wouldn't to a well-meaning middle-class 45 year old trying to write the same character.
Some contemporary readers may feel that a certain plot point needs more exploration and discussion, especially for teen readers: when Doria decides she fancies a boy who, a few weeks / months earlier kissed her without her consent, and whom she had previously found quite repellent - and it's clearly presented as a good thing by the end of the book. It struck me how this wouldn't have seemed anything remarkable in fiction, or a magazine anecdote, 20 or even 10 years ago - although by then a similar reaction to being 'ravished' would have been considered off, and bad writing, by many. One could now consider it as a reaction shaped by Doria's dysfunctional family background - which must have been pretty bad as the family had a social worker (although perhaps France allocates them when things are less bad than UK threshholds) - or a lingering subconscious effect of the patriarchal culture she is in many other ways managing to shake off. It's also an example of a popular trope of the 90s and 00s, the nerd gets the girl. But to make it just about the character neglects changing general norms - which have possibly changed more among the young and among Anglo-American liberals than elsewhere. And I find it very interesting as an example of inner emotions changing rapidly - seeing in action the stuff covered by the scholarly field of the history of emotions I referred to the other day in reviewing Lucy Worsley's Jane Austen at Home. It was sad to see how often Doria referred to commercial women's magazines as ways she and others learned about life and relationships (and to shape their views of what was and was not appropriate to feel and do) but also sadly accurate for pre-www girls who had negligible useful support from people they knew. I was kind of glad magazines have waned, but on the consumerism and fashion front, they seemed quite benign compared with what you hear about Instagram and teens now.
I found Kiffe Kiffe really interesting. Contemporary fiction about immigrants, and about poorer people (who aren't struggling creatives) in other European countries is something I've long wanted to read more of, but not much is translated. (And when it is, it's rarely as approachable as this.)
