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Alors, le rêve reprend. Des centaines de cavaliers galopent, soulevant des nuages de poussière. On a bien arrosé la piste avec de l’eau, mais on n’y peut rien, le soleil cogne. L’étonnement grandit, les cavaliers sont innombrables, on se demande combien peuvent tenir dans l’arène. C’est qu’elle fait cent mètres de long et cinquante de large ! Les spectateurs applaudissentAlors, le rêve reprend. Des centaines de cavaliers galopent, soulevant des nuages de poussière. On a bien arrosé la piste avec de l’eau, mais on n’y peut rien, le soleil cogne. L’étonnement grandit, les cavaliers sont innombrables, on se demande combien peuvent tenir dans l’arène. C’est qu’elle fait cent mètres de long et cinquante de large ! Les spectateurs applaudissent et hurlent. La foule regarde passer ce simulacre d’un régiment américain, les yeux sortis du crâne. Les enfants poussent pour mieux voir. Le cœur bat. On va enfin connaître la vérité....

Title : Sorrow of the Earth: Buffalo Bill, Sitting Bull and the Tragedy of Show Business
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ISBN : 34395687
Format Type : Kindle Edition
Number of Pages : 192 Pages
Status : Available For Download
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Sorrow of the Earth: Buffalo Bill, Sitting Bull and the Tragedy of Show Business Reviews

  • Srtapizca
    2018-11-15 11:50

    Éric Vuillard nos narra con una belleza demoledora, como de la masacre, la humillación y la invención de la historia, nace uno de los mayores shows de la época. Este espectáculo fué el Wild West show creado por Búfalo Bill, y el pueblo masacrado fué el indio. (”El espectáculo es el origen del mundo"). Un show que llegaron a ver más de cuarenta mil personas cada día ("para atraer al público había que contar una historia que millones de americanos primero y luego europeos querían oir") , donde lo más importante eran los actores. Los mismos indios ridiculizados, que en la mayoría de los casos se veían obligados a representar una y otra vez su propio sufrimiento. (" Zinkala Nuni nos parece una parodia, no es solo porque su mirada triste y agotada nos grite que ...moriremos quemados por nuestra máscara, el motivo es más terrible. Si así vestida, nos parece que vaya disfrazada es porque ya no es india"). Para mí este es un librazo en mayúsculas. El merito de Vuillard, sin duda por su estilo impecable, bello y demoledor.

  • Francisco H. González
    2018-11-07 06:47

    Éric Vuillard en esta novela breve saca brillo a la figura de Buffalo Bill (1846-1917) y nos ofrece otra versión de la historia de este legendario personaje, su cara menos amable, menos conocida.Buffalo Bill, el creador del entretenimiento de masas, quien tuvo más de sesenta millones de espectadores a lo largo de su dilatada carrera, a lo largo y ancho de todo el mundo, con su espectáculo el Wild West Show, donde intervenían aquellos indios que no habían sido masacrados (y a quienes tampoco se les presentaban otras oportunidades de ganarse el pan), quien fundó una ciudad que llevaría su nombre de pila, Cody, al final, a Buffalo Bill las masas le darían la espalda, la fama también, acabaría arruinado, abocado a trabajar como empleado del circo Sells Floto. La enfermedad se cebaría con él y la parca se lo llevaría, pasados los setenta, cuando Buffalo, se hacía llamar de nuevo Cody, alguien vulgar, uno más, del montón.A Vuillard le interesa Buffalo Bill, su figura venida a menos, pero le interesa todavía más la imagen de los indios, por eso, creo, en la portada no vemos a un señor con sombrero y bigotes blancos, sino a una joven india, Zitzkala Sa, porque son los indios los protagonista de esta historia de esta Tierra que está triste, son los indios los que son exterminados, los que son masacrados, los que son barridos de sus territorios, con esos prodigios técnicos que disparan balan y que los matan rápidamente, sin opugnar resistencia, porque hay que edificar, porque el tren tiene que llegar a todas partes, porque el Progreso y la Civilización se construyen sobre tierra, huesos y sangre.Es ese relato olvidado, orillado por los vencedores, el que le interesa a Vuillard, porque Buffalo Bill fue alguien que hizo un gran negocio a costa de los indios, a quienes les ofrecía trabajo, sí, a aquellos indios que no fueron exterminados en Wounded Knee, o en cualquier otra acción criminal, en ejecuciones sumarias que la historia luego renombró como “batallas”, indios que debían revivir cada noche su drama, convertido en un espectáculo del que ellos formaban parte activa, espectáculo el que el hombre blanco, siempre ganaba o pisoteaba al indio de turno, que claramente era inferior y tenía todas las de perder.Vuillard mantiene durante toda la narración un tono vibrante, subyugante, que se cierra con la bella historia de Wilson Bentley, y al igual que este, uno con su cámara y el otro con su pluma, cada cual da lo mejor de sí, y la mirada de Vuillard, es consciente de que al igual que sucede con la nieve de Bentley, la Historia también se funde, y desaparece y luego viene alguien y la reescribe, y Vuillard, nos ofrece estas páginas, o yo quiero creerlo, para que cuando veamos fotografías en las que unos indios miran a la cámara, el sentimiento de compasión hacia sus míseras y tristes existencias prime sobre otros sentimientos inoculados por la cultura del entretenimiento y el entontecimiento.Entrevista a Éric Vuillard (http://iletradoperocuerdo.com/2015/11...)

  • Óscar Brox
    2018-11-01 11:45

    El libro es excelente, una reflexión sobre la relación entre masacre y espectáculo, aculturación y construcción de una ficción sobre los indios. También, un bellísimo (por cómo está escrito, por el mimo con el que Vuillard elige cada palabra)retrato sobre ese mundo que se disipaba ante los ojos, cuyo único testimonio quedaba en las fotografías, el folclore y las narraciones orales que pervivían mientras el show, el capital y la primitiva cultura del entretenimiento masivo reescribían la Historia. De propina, Vuillard sintetiza ese descorazonador esfuerzo de captar lo efímero, el detalle que se esfuma tan pronto tratamos de capturar, en la historia de Wilson Bentley, fotógrafo de copos de nieve y muchas más cosas. Brutal.

  • Iletrado
    2018-11-19 08:43

    Me ha parecido sublime. Una lectura fascinante, por su historia, su significado, su lenguaje.

  • Aurélie
    2018-11-07 09:39

    Un petit livre passionnant et très bien documenté dans lequel Eric Vuillard raconte avec sa magnifique écriture l'histoire de Buffalo Bill et du Wild West Show, spectacle hors norme, simulacre de la conquête de l'Ouest. A travers ce récit, Eric Vuillard pose un autre regard sur ce show qui se joue parallèlement au génocide des Indiens d'Amérique et nous dévoile le visage d'une bien triste réalité.

  • Rita
    2018-11-11 13:35

    No he sabido encontrar nada excepto una escritura bonita. No sé. Creo que no he sabido conectar con esta obra. O tal vez no haya querido. Nunca se sabe. :)

  • Gaele
    2018-11-11 07:38

    Nick and Emma are friends, and both have decided that love and marriage aren’t in their futures. Nick’s issues stem from his father, a cold and mean-spirited man who did all in his power to keep him bowed and insecure despite his destiny to be a Duke. Emma is guilty over the loss of her best friend Lena at the hands of her abusive husband: she’s determined to see women provided with their own ability to provide for themselves and make choices that are broader than marriage or hidden spinsterhood. But, the attraction that keeps these two dancing around one another, despite their clinging to their fears and prejudices against love is something that, despite their best intentions, will not be denied. From the prologue where we get Nick’s backstory, his personality and retreat into someone who is rather removed and scornful, all while being little boy lost is rather intriguing: unfortunately he never really did grow from that as completely as Emma did, and their interactions often suffered from this imbalance. Emma, for her part did have some intriguing moments and a solid backstory that gave her intentions some purpose, but that too felt shuffled to the background as the author worked to put the couple’s relationship forward. So much richness here for exploration that went largely untapped: the subjugated role for women in the time, property rather than people of their own right, society’s scorn and dismissal of women who wish to follow their own path and challenge that status quo, and even Emma’s rather ham-handed attempts to ‘save’ yet another woman that lands her in the middle of the wagging tongues. MacGregor again uses some complex issues to fuel the backstory, but these issues have again been relegated to background as the growing affection between Nick and Emma is created, lacking that emotional feel from characters that show a pattern of growth that would bring them together organically. Pacing is again uneven, and prose moves from some fabulous dialogue between Emma and Nick to flowery and almost painfully forced sexy moments where neither character truly presented a conviction to the reader that would show them together. While I was excited to see a more feminist character in Emma, and an understandably closed off Nick coming to see that his childhood belief in love as a curse was wrong, neither grew into their potential, and the unevenness between the strides and changes Emma made were starkly contrasted to the stalled growth of Nick. Yes, this is the author’s second book, and while I saw some improvement in style and development from the first, there are still points where character, intention and issues could be more fully flushed out, providing emotional connection to the couple that readers couldn’t deny. I’ve read the first two in this series now, and am curious to see MacGregor’s progression and growth in her next book. I received an eArc copy of the title from the publisher via NetGalley for purpose of honest review. I was not compensated for this review: all conclusions are my own responsibility. Review first appeared at I am, Indeed

  • Kelly
    2018-11-11 12:33

    What did I just read?(Full disclosure: I received a free electronic ARC for review. Trigger warning for violence against Native Americans, including genocide.)"However, the real spark was elsewhere. The central idea of the Wild West Show lay somewhere else. The aim was to astound the public with an intimation of suffering and death which would never lose its grip on them. They had to be drawn out of themselves, like little silver fish in a landing net. They had to be presented with human figures who shriek and collapse in a pool of blood. There had to be consternation and terror, hope, and a sort of clarity, an extreme truth cast across the whole of life. Yes, people had to shudder—a spectacle must send a shiver through everything we know, it must catapult us ahead of ourselves, it must strip us of our certainties and sear us. Yes, a spectacle sears us, despite what its detractors say. A spectacle steals from us, and lies to us, and intoxicates us, and gives us the world in every shape and form. And sometimes, the stage seems to exist more than the world, it is more present than our own lives, more moving and more persuasive than reality, more terrifying than our nightmares.""There’s no mistaking the sound of iniquity on the move."Originally published in France in 2014 (under the title Tristesse de la terre), Sorrow of the Earth is the first of Éric Vuillard's novels to be translated into English. A work of historical fiction, it tells the story of Buffalo Bill Cody's Wild West show, which traveled throughout the United States and Europe, under various names, for thirty years around the turn of the century (1883–1913). While the show featured a number of performers and attractions - including Annie Oakley and her husband, Frank Butler; trick shooter Lillian Smith; Calamity Jane; and reenactments of the riding of the Pony Express trail and stagecoach robberies, to name a few - Vuillard centers the narrative on Native Americans, to great effect. The Wild West show employed a number of Indigenous performers, most notably Sitting Bull, as well as survivors of the Wounded Knee Massacre. Perversely, these last were hired in part to perform in a reenactment of their own victimization; only instead of a massacre, the audience witnessed a battle: "the Buffalo Bill interpretation of the facts," to quote Vuillard. Likewise, in Cody's reimaging of the Battle of the Little Bighorn, none other than Buffalo Bill himself swoops in at the last moment to avenge Custer and his men. In other words, the show glorified its star and ringmaster, while rewriting history and vilifying the oppressed Native populations. To add insult to injury, Indigenous people were recruited to assist in their own denigration. With echoes of James Loewen's Lies My Teacher Told Me, as well as a promise to deconstruct the spectacle of circuses and carnivals, Sorrow of the Earth piqued my interest. I plowed through it in one day ... and was left feeling more than a little disquieted. Some of this, I'm sure, was intentional on the author's part; e.g., a feeling of unease as to how the Native Americans were (are) treated. But the rest? Mostly I just couldn't figure out what the heck Vuillard was trying to say. And that last chapter, wtf did I just read?Perhaps it's an issue of some meaning being lost in translation, but much of Vuillard's writing is overblown and even a little pretentious. It's clear that he's trying hard - too hard - for a deep sense of philosophicalness, but the result often alternates between strained and comical. (e.g., "One night, the storm was so harsh, the sea so wild, that he began to feel afraid. At times, he felt he was dissolving into the sky." A. How could you possibly know that? and B. What does this even mean?)Additionally, there's the narration. I went into the book with the erroneous assumption that the story would be told from the perspective of one of the Native American performers in the Wild West show. This is not the case. Normally, I wouldn't hold my own misguided expectations against an author; except, in this case, I think the story would have been better served by having an Indigenous narrator. Instead, it feels rather detached. Bombastic, even, as the narrator makes GRAND STATEMENTS about a travesty as an outsider looking in. The narrator himself sounds quite like a showman, which doesn't help his argument. When Zintkala Nuni is introduced at the 37% mark, I thought for sure that she would be revealed as the story's narrator. Just four months old at the time of the Massacre at Wounded Knee, Zintkala Nuni was found strapped to her mother's back four days later. She was rescued, in a manner of speaking: initially cared for by members of the Lakota, she was later "adopted" by General Leonard Wright Colby (Wikipedia says she was "removed," while Vuillard's narrative has her being bought by Cody and promptly resold to Colby, to be used as a prop in his business dealings with Native Americans). Colby abandoned his family not long after, and his wife, suffragette Clara Bewick Colby, raised the girl, now named Margaret Elizabeth Colby. She spent time in a boarding school and, later, an institution for unwed mothers - possibly after being sexually abused and impregnated by Colby. She married, contracted syphilis from her husband; left him, and went on to perform in Buffalo Bill's Wild West show, as well as bit roles silent movies. She died in poverty at the age of thirty, struck down by the flu.We learn a little of Zintkala Nuni's fate from Vuillard; the problem is, the story requires some prior knowledge of these events, as Vuillard's writing can sometimes prove confusing (so damn flowery!). Suffice it to say that the narrator is not Zintkala Nuni, but remains a distant, third party observer.Finally, as a reader who doesn't claim any Native American ancestry, I'm not comfortable speaking to Vuillard's sensitivity or accuracy. Overall I thought the story was compassionate and probably more authentic than most of the white supremacist BS you'd find in American History textbooks. Certainly it inspired me to want to learn more. But what the heck do I know?Vuillard does employ a number of terms that are both offensive but also appropriate for the time period (e.g., savages, bums). Several times Vuillard insinuates that the Native Americans' time is coming to an end - "The spectacle that seized upon the Indians in the final moments of their history was not the least of the violence perpetrated against them." - which is both insulting and untrue. For example, this myth formed the basis for the title of Roxanne Dunbar-Ortiz and Dina Gilio-Whitaker's 2016 book, "All the Real Indians Died Off": And 20 Other Myths About Native Americans. In summary, Sorrow of the Earth shows promise, but is at least partially undone by the author's over-the-top writing style. http://www.easyvegan.info/2017/10/17/...

  • Julia Waters
    2018-10-31 13:52

    The title of this book may mislead you; it's not a history, at least not in the usual sense. It is, however, intensely poetic and moving. This is a book that makes you slow down and feel. It deconstructs traditional tales of the Wild West shows into their more grotesque, yet truer, selves.After reading this I feel more accepting of the futility and fragility of my own life, but at the same time I feel a deep gratitude for the little joys and sorrows of my own experience. To be fully human is to sense the terrifying immensity of our solitude and insignificance, and yet to sense also its antidote in compassion and beauty.Anyway, this book is definitely a thinker. Happy reading.

  • JaumeMuntane
    2018-10-28 08:53

    4'5/5Excelente relato breve sobre el auge y caida de Buffalo Bill, que además incide en el nacimiento de la cultura del espectáculo con el circo Wild West Show que viajó por todo el mundo; la construcción de tópicos que han calado hondo en el imaginio popular ("se dan palmadas contra la boca y "¡auu, auu,auu! Brota una especie de grito salvaje, inhumano. Pero este grito de guerra no se ha emitido ni en las Grandes Llanuras, ni en Canadá, ni en ningua otra parte: es pura invención de Buffalo Bill (...) no pueden ni imaginarse que todos los niños del mundo occidental, a partir de entonces, harán vibrar la palma contra la boca, en corro alrededor del fuego, para "gritar como los sioux") y, especialmente, la desolación del pueblo indio (masacres como la de Wonded Knee, figuras como la de Toro Sentado, la participación en farsas como la del circo Wild West Show, etc).

  • John Plowright
    2018-11-17 07:35

    Éric Vuillard’s ‘Sorrow of the Earth. Buffalo Bill, Sitting Bull and the Tragedy of Show Business’ is a very short book, notwithstanding its large font, occasional blank pages and use of an entire page for each chapter heading and most of the photographs. Indeed, what one basically has here is an essay rather than a book. The book has been translated from its original French. Unfortunately the author’s pretentious style has not been lost in translation. He writes, for example, that a spectacle “must catapult us ahead of ourselves, it must strip us of our certainties and sear us. Yes, a spectacle sears us, despite what its detractors say. A spectacle steals from us, and lies to us, and intoxicates us, and gives us the world in every shape and form. … Spectacle draws its power and its dignity from being nothing. It leaves us irremediably alone, with no wound to see the light of day, no trace of evidence. And yet, in the midst of this noisy vacuum, in the great pity we feel, even in our very scorn – there’s something there.”Or take Vuillard’s incoherent ramblings on the subject of reality:“Reality is an excessive thing; it’s everywhere and nowhere; and for some time now it seems to have been fading. It’s strange, and it’s hard to explain: reality is still there but it’s as if it had lost its substance. Everything you thought it was founded on has suddenly been disrupted, altered, damaged, exposed. Nothing looks the same; everything seems to have been swept up by speed, money and trade! And you can’t really say what former dreams and images fill you with regret. What do we regret? What society? What ideal? What sweetness?”I can tell Vuillard precisely what I regret, namely, his padding out his book with this sort of sorry stream-of-consciousness verbiage.Vuillard provides no bibliography, so it’s impossible to know the sources of his information. It is nevertheless fairly clear that his imagination far exceeds what the sources can tell us. Thus describing the meeting at which John Burke recruited Sitting Bull for Buffalo Bill’s Wild West Show he tells us that “Between two compliments he [Burke] rearranged his hair, pushing it back and clamping it round his ears.” I think we can safely assume that this minute detail was not recorded and what we therefore have here is the frustrated novelist Vuillard supplying ‘colour’ because he lacks the confidence or temperament to allow the historical facts to speak for themselves. As if this wasn’t bad enough, a few more pages on, and Vuillard presumes to tell us what was in Sitting Bull’s mind (“Sitting Bull feels a profound solitude … In that moment, he forgets everything”), mystically divined from his appearance in a particular photograph. This is not only unhistorical but profoundly patronising, which is ironic given that a central message of Vuillard’s book - insofar as a farrago can be said to have a message at all - is that the treatment of Sitting Bull and the other Native Americans in Buffalo Bill’s Wild West Show was incredibly patronising.When Vuillard fleetingly and ill-advisedly engages with historical fact he is apt to get it wrong. Thus he writes that after one season with the Wild West Show Sitting Bull “abandoned his acting career” when in fact it ended because the Indian Agent refused him permission to leave the reservation. Similarly, readers coming to the chapter entitled ‘The Massacre of Wounded Knee’ expecting to see that event placed in the context of the Ghost Dance will be severely disappointed, although they will be informed that a snowflake is “like a weary little secret, a forlorn and inconsolable touch of gentleness”. If you enjoy this kind of blather then you can look forward to the book’s last chapter, which is entitled ‘Snow’.Anyone who, despite this review, makes the mistake of reading ‘Sorrow of the Earth’ will discover a very brief passage in which Vuillard writes insightfully about Buffalo Bill becoming the victim of his own myth. In so doing they will have an experience akin to finding a small denomination coin in a vacuum cleaner dirtbag full of fluff. It is a pitifully insufficient reward for the general sensation of feeling soiled by coming into contact with Vuillard’s sloppy thought processes and garrulously self-indulgent prose.

  • SundayAtDusk
    2018-11-15 08:50

    Those looking for a straight forward account of Buffalo Bill Cody and his Wild West shows need to look elsewhere. This book, written by a French author and film director, is more a poetic, philosophical and bitter portrayal of how Native Americans were exploited by Bill Cody, and how they were mistreated and murdered during Mr. Cody's lifetime, including at Wounded Knee Creek in 1890. Monsieur Vuillard obviously despises Mr. Cody with all his heart and soul. Thus, those who are fans of Buffalo Bill may also want to look elsewhere, unless they wish to come to his defense in a review of this short, somewhat strange book.(Note: I received a free e-ARC of this book from NetGalley and the author or publisher.)

  • Alex-Mot-à-Mots
    2018-11-02 07:45

    C’est donc l’histoire de Buffalo Bill Cody qui ne perdit jamais une idée pour faire le show.Même si pour cela il ré-écrit l’histoire pour des générations ; même si pour cela il hante les scènes de crime pour trouver ses figurants.Ce récit est également un hymne aux feux Indiens d’Amérique, décimés avec perspicacité.Ce récit se veut aussi un plaidoyer contre la société du divertissement telle qu’inventée par nos amis américains.J’ai beaucoup aimé le dernier chapitre.L’image que je retiendrai :Celle de la tuerie de Wonded Knee.Une citation :« Le fabuleux pouvoir de combustion du sens à travers le spectacle. » (p. 91)http://alexmotamots.fr/tristesse-de-l...

  • Kristine
    2018-10-20 07:41

    Sorrow of the Earth by Eric Vuillard is a free NetGalley ebook that I read in early August.Chicago's Colombian Exhibition of 1893 recognizes the 400th anniversary of Columbus' exploration of the U.S. Caribbean and enlists Buffalo Bill's Wild West Show with Sitting Bull as a featured participant. Where Vuillard could have excelled, he frequently gets lost in soliloquy and inserts himself into his own description in the first-person. There's ultimately very little about the exhibition, focus is attempted to be placed on scattered biographies, it moves on a lost/loose timeline, and it's all-around poorly managed/arranged.

  • Victor Morosoff
    2018-11-20 08:02

    C’est ça, il faut s’habituer au style de ces pépites pour les maîtriser, les apprécier. Et oui, il est bon conteur, Éric Vuillard ; ses phrases, courtes et mitraillées, sont là pour un dernier procès où sont appelées les grandes figures de l’histoire. Une histoire aussi hachée et sombre que son charme d’écrivain. 3,6/5

  • Agnès
    2018-11-03 07:35

    Une évocation douce-amère de l'Amérique au XIXeme, comme un dialogue avec Vuillard sur la course vers le Far West, les débuts du show biz avec Buffalo Bill et ses tournées internationales, mais aussi le génocide des Indiens. Oh, que la terre est triste après le massacre de Wounded Knee.

  • Luc Séguin
    2018-11-02 12:40

    Une éthique du floconÀ la nouvelle de la mort de Sitting Bull et du massacre de Wounded Knee, en décembre 1990, Buffalo Bill, alors en tournée en Europe, revient aux États-Unis. Arrivé sur les lieux, voyant « la plaine jonchée de chariots calcinés, avec de toutes parts une nuée de cloportes, de chasseurs de trésors, maraudeurs à la recherche d’objets indiens », il comprend qu'il n'y a pas eu là une bataille. La suite à : http://lachambredecoute.blogspot.com/...

  • Theediscerning
    2018-11-10 12:33

    If you think it odd that it takes a French book to dissect the problems caused by Buffalo Bill and his Wild West Show, and the reaction we nowadays have to the vanquished Chief Sitting Bull being part of it, well – that's partly the point. This is a biography or history book inasmuch as it edits things (picking up on just one photo out of a much longer session featuring the two rivals), but almost a novel in that it breaks into the present tense and posits a royal 'we' as witness to things. But for every 'ooh, aren't snowflakes nice?' styled comment we get a ''business is a form of insanity'', which grounds the book into a mirror looking quite positively at the present day as well as the late Victorian period. It's definitely, from the unusual title down to the quite bizarre coda, a moral piece, looking at Bill Cody and his partners in crime as they went about their global spectacular. Biography, history of entertainment, social studies lesson if anything, it's proof positive Pushkin Press should look at more non-fiction on their books. It's as slender as some of their short novels, but none the worse for it. Four and a half stars.

  • Leah
    2018-11-14 06:42

    Hmm... well, there's "re-imagining", and then there's rubbish. Sadly, this appears to fall into the latter category. One gets that the author is trying to make a point rather than tell a history, but really, it's still important to touch base with reality, or at least not distort it. I only read the first few chapters, but it only actually took chapter 1 for me to know that the author was prepared to throw fact in the fire any time he felt it might interfere with his pitch. The Wild West show was not part of the Chicago World Fair. Buffalo Bill cannily set up just outside it to cash in on it. But more importantly, the statement "And all the African, Indian or Asian objects that we admire were stolen off corpses" has a nice dramatic ring to it - but that doesn't make it true. And then of course there are the "re-imagined" sex scenes...

  • Eileen Hall
    2018-11-17 14:35

    A damning account of the treatment of the Native American participants, including Chief Sitting Bull, of Buffalo Bill's Wild West Show during the American and European tours.Bill Cody and other white Americans involved in the show showed no respect for their "actors", exhibiting relics stolen from Indians who were murdered, their belongings and even scalps on show for all to gawp at. Most shocking and sad was the desiccated corpse of an Indian baby.Cody might have given the impression he was helping out the First Nation, but I think he saw a money making opportunity and grasped it with both hands.I was given a digital copy of this book by the publisher Pushkin Press via Netgalley in return for an honest unbiased review.

  • Fernando Jimenez
    2018-11-08 10:48

    Como una biografía mínima de Michon, como la realidad ficcionada de Carrère, esta especie de novela cuenta la historia de Buffalo Bill, aunque extrañamente termina hablando de otra persona, quizás por contraponer su figura y así dibujarla mejor, quizás porque le viene en gana al autor, que escribe estupendamente bien esta elegía sobre una cultura extinguida a manos no sólo del imperialismo del hombre occidental, sino de la sociedad del espectáculo, que tuvo a Buffalo a uno de sus pioneros. Lo que más me interesa es esa descripción del origen del espectáculo de masas en una idealización de la épica que luego el cine repetirá sin cesar. No en vano el western será siempre su genero más auténtico.

  • Bertrand
    2018-11-18 11:57

    Un récit amer et désenchanté qui se lit d'une traite. Excellent !

  • Pihla
    2018-11-15 06:53

    What a strange little book.

  • Mickaéline Cuny
    2018-11-18 10:34

    Moi qui ne suis pas fan de Buffalo Bill, j'ai vraiment beaucoup apprécié, cette lecture