Saturday, March 21, 2020

Christelle Nadia Fotso's recent revelations about her father

This article was published for the first time on December 03, 2019. The editorial staff of camerounWeb invites you to come back to the essentials of the content.

Master Christelle Nadia Fotso, lawyer at the Brussels bar and member of the Washington bar, DC publishes "Défigurée", a book in which she talks about her life, her relationship with her father Victor Fotso and various subjects. 

The book has been in bookstores since November 28, 2019. However, the first public presentation of the book is scheduled for December 22, 2019 in Brussels. It will be followed by a signing session. 

Défigurée is a literary work of 130 pages in which Christelle Nadia Fotso talks about her life, her father, her encounters, her loves, her heartbreaks, while giving her opinion on Bandjoun which she describes as crazy love of his father, on Cameroon, on gender, sex while answering the essential question of the book how to live his life when one is the daughter of a sacred monster that one idolizes but has been even also and perhaps even the desire only to last but to build and to be more than that? Christelle Nadia Fotso's answers are edifying and all go through writing. 

The book has about twenty chapters, the most important of which are the first, titled "Up-to-date, Bandjoun must be burnt, Today Mum is dead." Or maybe yesterday, I don't know, My favorite form, the Last Bamileke and the chapter that concludes the book, the Abuse of some errors. They ask the reader for a lot of culture and finesse to understand them since the author says on the lip, in watermarks but undoubtedly knowingly, uses analogies and sometimes even allegories to speak of her father, this figure adulated omnipresent despite her absence and other people including PP and Dame L whom the author does not identify, insisting however on the fact that they are essential in the stories she tells.

As in all of Christelle Nadia Fotso's works, poetry dominates: Victor Hugo, Charles Baudelaire, Paul Eluard, André Breton and many others are certainly peripheral but important. To explain her failed love and her complex relationship with her father, she concludes that the latter is neither Hugo nor Breton and that she can therefore never be Léopoldine who inspired the former to Contemplations or Ecusette de Noireuil to whom the latter , already before his birth, wanted to be madly loved. The reader is taken wanting to know more while being overwhelmed by what is told, brutally but modestly. 

Christelle Nadia Fotso begins Disfigured by a quote from Hélène Cixous which perfectly summarizes her magnificent book: 

"The books are carnivorous, they feed on flesh and tears, they rub against death, they take their source in the cemetery, it's all known, on my father, I built a work, as a dowry, I received his bones, his teeth, his skins, his letters, a fortune of terror and inconsolation ”. 

Disfigured is indeed carnivorous! No one can doubt at the end of her reading that Christelle Nadia Fotso built a work not on her father but on her life because with her last book, she surpassed it. She confirms that she is what her first book L'Empreinte des Choses Brisés had already revealed: a writer!