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French author charms with reading
By Patrick Hambrecht
Staff Reporter
Marie Redonnet charmed her audi
ence with a reading at Andrews Hall
on Monday evening, followed by a
definitive French intellectual discus
sion of her five books, including her
finale to end all finales, “Nevermore.”
Redonnet, one of France’s leading
progressive writers, said she was sick
of writing finales, and hoped that “Nev
ermore” would be her last.
She called Samuel Beckett, author
of “Waiting for Godot,” her literary
“grandfather.” But she said she had to
abandon his literature of eternal death
and never-quite-ending endings.
Like Beckett, Franz Kafka, or the
present-day literature of magic real
ism, Redonnet’s stories are extremely
vague. There is no way to tell where or
when they are happening, or ifthe plot
has any sort of historical significance
at all.
By slipping free of historical data,
Redonnet’s stories become parables,
like Bible stories or Aesop’s Fables.
But, Redonnet said, she’s tired of
writing parables, too, and hopes that
“Nevermore” will be her last.
Instead, she said, she is interested in
the beginnings that can result from end
ings. She said she hoped to find a way to
escape the entire cycle of beginnings
and endings and eventually discover a
more meaningful vision of truth.
Despite the heady, bleak territory
of her novels, Redonnet captivated
the audience, speaking only French.
Translating for her was French pro
fessor Jordan Stump.
Stump, who has translated many of
her novels, said he was bowled over
by the extreme intelligence, “insis
tent, hallucinatory style and cruel play
fulness of her work.”
Currently, Stump is translating her
new book, “Nevermore,” which will
be released next fall.
Today, Redonnet will lead a dis
cussion in French and English at 4:30
p.m. in Oldfather Hall. Admission is
free.
I Music Reviewsi -,
Buju Banton
‘“Til Shiloh”
Loose Cannon
Grade: A
On his debut two years ago, Buju
Banton was compared to superstar
Shabba Ranks for his international
appeal within the dance hall reggae
genre, while managing to hold onto
his bass gravel voice as his trade
mark.
With thereleaseof“‘Til Shiloh,”
Buju is being compared to reggae
great Bob Marley for the content of
his songs. The newly Rastafarian
Buju chats about the oppressed and
his belief in the almighty.
That isn’t to say that Buju has
broken completely from the sub
jects that rocketed him to fame. To
impress the ladies, Buju still man
ages “It’s All Over” and the first
release “Champion.” The latter was
even remixed to an Ice Cube hip
hop beat for its video version.
“Only Man” is more of a plea to
be the only love in the life of this
woman. The gravelly voice is in
full effect on this one.
Other than the brief female dis
traction, Buju seems set on uplift
ing his people’s spirits with songs
of redemption.
“Til I’m Laid to Rest” starts off
IT-1
the album talking about the hope
lessness of African oppression. This
theme could hold for many Third
World countries; in this case the
subject is Ethiopia.
Following those lines is “How
Could You,” which actually con
fronts the oppressors who now must
not only answer to man, but to God.
The religious theme continues
in “Untold Stories” backed only by
an acoustic guitar. Varied instru
ments make the album more origi
nal than the average dance hall al
bum, with a saxophone even pop
ping up on “Not an Easy Road.”
Even stranger is the dub beat
backing “Murderer.” Over the big
bass and echo, Buju condemns vio
lence and killing in another con
frontational track.
Rounding off the album is the
classic two-man dance hall style,
with a sung chorus or verse and
chatting opposite verse. “Com
plaint” features Garnett Silk and
“What Ya Gonna Do?” features
Wayne Wonder and Buju with a
thick patois accent.
Dance hall fans will find ‘“Til
Shiloh” the smoothest album of the
year, while classic reggae fans will
be able to appreciate Buju’s sing
ingand terrific backgrounds. Don’t
miss the best reggae album of the
year.
— Greg Schick
Poe
“Hello”
Atlantic Records
Grade: D
Poe’s “Hello” album is not quite
trippy enough to be trip-hop, or
funky enough to be hip-hop. She
sounds vaguely British, but she’s
not.
At least half of her lyrics are
hardly-metaphoric, thinly-coded
feminist and Freudian-rhetoric
blandly done.
There are a few great moments
on “Hello,” most notably the song
“Fingertips.” With a retro-Sinatra
sound and smooth percussion, Poe
croons about “that deep and primal
yearning” for “those fingertips,
those fingertips, those fingertips”
in a very smart, sexy way.
Another song, “Fly Away” is
pretty, in aclumsy and dorky sort of
way.
But it is that clumsy dorkiness
that screws up “Hello”’s delivery
so much. Poe’s sound is essentially
a percussion-based beatnik style,
highlighting her lyrics. And her lyr
ics are pretty bad.
Not only are Poe’s lyrics bad,
her delivery is particularly awful.
Mick Jagger’s lyrics were also stu
pid, but he sang and hooted so well
that no one really cared. Poe phrases
her songs so badly, you’d think she
were translating them from Rus
sian.
It is remarkable how well these
songs hold up, considering that the
lyrics are so poor. But then, so
what?
— Patrick Hambrecht
1 " 1 SI
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