– Suite à une tentative de rekoulakisation, dit Hannko Vogoulian, il y a longtemps. Nous, on était pas nées. C'était avant que le kolkhoze soit rebaptise «Terminus radieux». Si les Organes étaient pas intervenus, c'était à coup sûr le retour du capitalisme et de toutes les saloperies qui vont avec. Ça a fonctionné deux ou trois ans comme centre de rééducation. Ensuite, Solovieï est devenu président et ça a fermé.
Myriam Oumarik enchaîna.
– Pendant l'accident, on l'a rouvert, dit-elle. On avait besoin d'un local pour entasser les irradiés en attendant que l'entrepôt de la Mémé Oudgoul soit opérationnel.
– On en trouvait dans tous les coins, des irradiés, compléta Hannko Vogoulian. Fallait bien qu'on les emmagasine quelque part.
Le jacassage des deux filles r´´sonnait dans la salle d'eau. Il donnait le tournis à Kronauer qui n'avait pas besoin de cette avalanche de paroles pour se sentir mal. (p. 80 Bluefire Reader PDF e-format)
I have read five of the eight 2014 Prix Médicis finalists for Best Novel. Of the five, Antoine Volodine's Terminus radieux (Radiant Terminus is a possible English translation) is perhaps simultaneously the most fascinating and most frustrating to read and think about. Although my French reading comprehension has grown considerably since taking an online French course this summer, this novel served to remind me that no matter how much of the grammar and vocabulary that I understand (well over 75% without adding another 10-15% for words understood in context), that there are some novels written in other languages that will tax the abilities of non-native readers much more than what might be presumed by the writing style or vocabulary employed.
Mind you, this is not a criticism of Volodine's work; if anything, it is a testimony to how this novel requires extra effort from all readers, regardless of fluency level, in order to wring the utmost amount of understanding from it. While there were times where my not-yet-fully-fluent reading comprehension failed me, I could sense that there was something strange, magical even, transpiring in this story set some years after a nuclear apocalypse following the end of the Second Soviet Union. Terminus radieux is the story of people after a fall, of dreamers and escapees, all doomed, who wander in a toxic Siberian landscape in which the living and the dead commingle, where there is a sort of communion with the supernatural, where the irreal and real collide and a strange brew of elements emerges from these interactions.
Volodine's tale contains a plethora of references to recent political and cultural developments, all tweaked in order to fit into what the author (who, I should add, seems to have as many authorial pseudonyms as the late Fernando Pessoa, some of which write stories that are referenced in the writings of other pseudonyms of his) has elsewhere called a "post-exoticism" style of literature that seeks to make even the mundane into something weird and unsettling. Being unfamiliar (for the moment, that is) with his other writings, I felt at times out at sea, out of my depth as a reader, as I could sense there were some textual interplays occurring in the murky depths of certain passages that due to a combination of unfamiliarity with both writer and the language left me clueless as to certain things that were taking place.
Yet perversely, this actually made me think higher of this tale. Certainly from what I did understand, Volodine has an excellently twisted sense of black humor and his fantastical elements, many of which seem to be connected to economic and political concerns, make for a rich, provocative tale of adaptation in a dearth of life-sustaining environs. It is, as I noted above, not an "easy" tale to parse, but from what I did grasp, it is the sort of fiction that if it were translated into English, for example, could find a small yet very appreciative audience, particularly among those who enjoy both post-apocalyptic literature and savagely funny satires of current socio-political issues. While I may have been partially defeated from understanding Terminus radieux this time due to my relative limitations in reading French, it certainly will be a book that I will revisit as I continue to work on strengthening my understanding of this lovely language. Volodine too shall be an author whose works I'll also explore again in the future, as it seems he may be just the sort of writer that I'd enjoy reading in both translation and in the original French.