Port au Prince, Haiti. The police roam the streets and no-one is safe. Fignolé, musician and political radical is missing. His sisters Joyeuse and Angelique search for their young brother amid the colour, bustle, deprivation and political tension of the city. Everntually they will find him, but in the process they will also have found more about themselves than they wanted to know. One day and three lives in a city where love is hard to find, life is cheap and death is all too familioar. A tense, passionate and viivdly told story of small victories of hope in the face of a seemingly impossible fight against a monolithic regime. "Writing so beautiful it takes your breath away" - Le Mode Diplomatique Winner of the RFO Award; the Prix Millepages and the Prix Litterataire Richelieu de la Francophonie.
Yanick Lahens leads us into a breathless intrigue with her newest portrait of Haiti, Sweet Undoings. In Port-au-Prince, violence never consumes. It finds its counterpart in a "high-pitched sweetness", a sweetness that overwhelms Francis, a French journalist, one evening at the Corossol Restaurant-Bar, when the broken, rich voice of lounge singer Brune rises from the microphone. Brune's father, Judge Berthier, was assassinated, guilty of maintaining integrity in a city where everything is bought. Six months after this disappearance, Brune wholly refuses to come to terms with what happened. Her uncle Pierre, a gay man who spent his youth abroad to avoid persecution, refuses to give up on solving this unpunished crime. Alongside Brune and Pierre, Francis becomes acquainted with myriad other voices of Port-au-Prince, including Ézèchiel, a poet desperate to escape his miserable neighborhood; Waner, a diligent pacifist; and Ronny the American, at ease in Haiti as in a second homeland. Drawing its power from the bowels of the city, Sweet Undoings moves with a rapid, electric syncopation, gradually and tenderly revealing the richness of the lives within.
The award-winning saga of a peasant family living in a small Haitian village, told through four generations of voices, recounting through stories of tradition and superstition, voodoo and the new gods, romance and violence, the lives of the women who struggled to hold the family together in an ever-shifting landscape of political turmoil and economic suffering.
The men and women glimpsed in Lahens's stories are confronted with the overwhelming task of simply staying alive. "The Survivors" unfolds under the Duvalier dictatorship and, centered on a group of men who dream of somehow striking out against the regime, shows how fear is passed down from generation to generation. Life is no simpler in the post-Duvalier world of the title story, in which a young man is caught between a mother who lives a devout life filled with self-imposed restrictions and an exuberant Vodouist aunt who makes no apologies for working in the black market. The twelve-year-old girl who narrates "Madness Had Come with the Rain" finds herself swept up in a violent riot following the death of a modern Robin Hood. Lahens' women, although they may act as the poto mitan (or "central pole") in family life and society, experience a particularly grim fate. In the eviction tale "And All This Unease" a beautiful girl reminisces about her happy childhood in the country in order to forget her current life as a prostitute.
Haiti has long been known as a benighted place of poverty and corruption. Even before the 2010 earthquake destroyed much of the country, it was beset by difficulties inextricably rooted in its history of rebellion and revolution. Since gaining independence from France in 1804, following the only successful slave revolt in the history of the world, Haiti's past has been characterized by dictatorships, serious conflict, and near-constant social and political unrest, as the country struggles to define its independence and realize its promise. 'Haiti: The Perpetual Liberation' collects some 140 of Kern's photographs of Haiti, taken in black and white with an analogue camera over the course of twenty years of travel there. As these photographs demonstrate, the people of Haiti remain determined to realize the country's promise in the face of crushing poverty and crisis; and behind the barrage of bad news that dominates the public image it is a country full of hope and life. Three separate text booklets--each in one of three languages: English, German, and Creole--feature texts by Kern on his work and approach to the country, as well as two essays by Swiss journalist Georg Brunold and Haitian novelist Yanick Lahens that provide context and commentary for the images and discuss the country's people and culture, and its enduring political conflict. A powerful photographic portrait, 'Haiti: The Perpetual Liberation' shows a different, more personal, and therefore also more "ordinary" view of the troubled country that reaches beyond what we think we know about Haiti.
Yanick Lahens leads us into a breathless intrigue with her newest portrait of Haiti, Sweet Undoings. In Port-au-Prince, violence never consumes. It finds its counterpart in a "high-pitched sweetness", a sweetness that overwhelms Francis, a French journalist, one evening at the Corossol Restaurant-Bar, when the broken, rich voice of lounge singer Brune rises from the microphone. Brune's father, Judge Berthier, was assassinated, guilty of maintaining integrity in a city where everything is bought. Six months after this disappearance, Brune wholly refuses to come to terms with what happened. Her uncle Pierre, a gay man who spent his youth abroad to avoid persecution, refuses to give up on solving this unpunished crime. Alongside Brune and Pierre, Francis becomes acquainted with myriad other voices of Port-au-Prince, including Ézèchiel, a poet desperate to escape his miserable neighborhood; Waner, a diligent pacifist; and Ronny the American, at ease in Haiti as in a second homeland. Drawing its power from the bowels of the city, Sweet Undoings moves with a rapid, electric syncopation, gradually and tenderly revealing the richness of the lives within.
The award-winning saga of a peasant family living in a small Haitian village, told through four generations of voices, recounting through stories of tradition and superstition, voodoo and the new gods, romance and violence, the lives of the women who struggled to hold the family together in an ever-shifting landscape of political turmoil and economic suffering.
The men and women glimpsed in Lahens's stories are confronted with the overwhelming task of simply staying alive. "The Survivors" unfolds under the Duvalier dictatorship and, centered on a group of men who dream of somehow striking out against the regime, shows how fear is passed down from generation to generation. Life is no simpler in the post-Duvalier world of the title story, in which a young man is caught between a mother who lives a devout life filled with self-imposed restrictions and an exuberant Vodouist aunt who makes no apologies for working in the black market. The twelve-year-old girl who narrates "Madness Had Come with the Rain" finds herself swept up in a violent riot following the death of a modern Robin Hood. Lahens' women, although they may act as the poto mitan (or "central pole") in family life and society, experience a particularly grim fate. In the eviction tale "And All This Unease" a beautiful girl reminisces about her happy childhood in the country in order to forget her current life as a prostitute.
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