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The Cellist of Sarajevo (Anglais) Broché – 31 mars 2009

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Broché, 31 mars 2009
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Title Page

Copyright Page
































A preview of Steven Galloway's new novel THE CONFABULIST


a member of Penguin Group (USA) Inc. New York


Published by the Penguin Group
Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014,
USA Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto,
Ontario M4P 2Y3, Canada (a division of Pearson Canada Inc.)
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(South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa
Penguin Books Ltd, Registered Offices:
80 Strand, London WC2R 0RL, England

Copyright © 2008 by Steven Galloway

All rights reserved. No part of this book may be reproduced, scanned, or distributed
in any printed or electronic form without permission. Please do not participate in or
encourage piracy of copyrighted materials in violation of the author’s rights.
Purchase only authorized editions.
Library of Congress Cataloging-in-Publication Data
Galloway, Steven.
The cellist of Sarajevo / Steven Galloway.
p. cm.

eISBN : 978-1-594-48986-0

This is a work of fiction. Names, characters, places, and incidents either are the product
of the author’s imagination or are used fictitiously, and any resemblance to actual persons,
living or dead, businesses, companies, events, or locales is entirely coincidental.

While the author has made every effort to provide accurate telephone numbers and Internet
addresses at the time of publication, neither the publisher nor the author assumes any
responsibility for errors, or for changes that occur after publication. Further, the publisher
does not have any control over and does not assume any responsibility for author or third-party
websites or their content.

For Lara

The Sarajevo in this novel is only one small part of the real city and its people, as imagined by the author. This is above all else a work of fiction.

You may not be interested in war, but war is interested in you.


the cellist

It screamed downward, splitting air and sky without effort. A target expanded in size, brought into focus by time and velocity. There was a moment before impact that was the last instant of things as they were. Then the visible world exploded.

In 1945, an Italian musicologist found four bars of a sonata’s bass line in the remnants of the firebombed Dresden Music Library. He believed these notes were the work of the seventeenth-century Venetian composer Tomaso Albinoni, and spent the next twelve years reconstructing a larger piece from the charred manuscript fragment. The resulting composition, known as Albinoni’s Adagio, bears little resemblance to most of Albinoni’s work and is considered fraudulent by most scholars. But even those who doubt its authenticity have difficulty denying the Adagio’s beauty.

Nearly half a century later, it’s this contradiction that appeals to the cellist. That something could be almost erased from existence in the landscape of a ruined city, and then rebuilt until it is new and worthwhile, gives him hope. A hope that, now, is one of a limited number of things remaining for the besieged citizens of Sarajevo and that, for many, dwindles each day.

And so today, like every other day in recent memory, the cellist sits beside the window of his second-floor apartment and plays until he feels his hope return. He rarely plays the Adagio. Most days he’s able to feel the music rejuvenate him as simply as if he were filling a car with gasoline. But some days this isn’t the case. If, after several hours, this hope doesn’t return, he will pause to gather himself, and then he and his cello will coax Albinoni’s Adagio out of the firebombed husk of Dresden and into the mortar-pocked, sniper-infested streets of Sarajevo. By the time the last few notes fade, his hope will be restored, but each time he’s forced to resort to the Adagio it becomes harder, and he knows its effect is finite. There are only a certain number of Adagios left in him, and he will not recklessly spend this precious currency.

It wasn’t always like this. Not long ago the promise of a happy life seemed almost inviolable. Five years ago, at his sister’s wedding, he’d posed for a family photograph, his father’s arm slung behind his neck, fingers grasping his shoulder. It was a firm grip, and to some it would have been painful, but to the cellist it was the opposite. The fingers on his flesh told him that he was loved, that he had always been loved, and that the world was a place where above all else the things that were good would find a way to burrow into you. Though he knew all of this then, he would give up nearly anything to be able to go back in time and slow down that moment, if only so he could more clearly recall it now. He would very much like to feel his father’s hand on his shoulder again.

He can tell today won’t be an Adagio day. It has been only a half hour since he sat down beside the window, but already he feels a little bit better. Outside, a line of people wait to buy bread. It’s been over a week since the market’s had any bread to buy, and he considers whether he might join them. Many of his friends and neighbors are in line. He decides against it, for now. There’s still work to do.

It screamed downward, splitting air and sky without effort. A target expanded in size, brought into focus by time and velocity. There was a moment before impact that was the last instant of things as they were. Then the visible world exploded.

When the mortars destroyed the Sarajevo Opera Hall, the cellist felt as if he were inside the building, as if the bricks and glass that once bound the structure together had become projectiles that sliced and pounded into him, shredding him beyond recognition. He was the principal cellist of the Sarajevo Symphony Orchestra. That was what he knew how to be. He made the idea of music an actuality. When he stepped onstage in his tuxedo he was transformed into an instrument of deliverance. He gave to the people who came to listen what he loved most in the world. He was as solid as the vise of his father’s hand.

Now he doesn’t care whether anyone hears him play or not. His tuxedo hangs in the closet, untouched. The guns perched on the hills surrounding Sarajevo have dismantled him just as they have the Opera Hall, just as they have his family home in the night while his father and mother slept, just as they will, eventually, everything.

The geography of the siege is simple. Sarajevo is a long ribbon of flat land surrounded on all sides by hills. The men on the hills control all the high ground and one peninsula of level ground in the middle of the city, Grbavica. They fire bullets and mortars and tank shells and grenades into the rest of the city, which is being defended by one tank and small handheld weapons. The city is being destroyed.

Revue de presse

"For historians, the siege of Sarajevo might seem the appropriate finale of the century that invented world wars, nuclear arms and planet destruction. That is precisely the reason why Sarajevo should belong to artists and not experts. In this vivid, passionate and generous novel Galloway takes us there, to the very streets of the besieged city. Snipers above us, cameras among us, shards of dreams beneath us, and each wrong step can lead to death or, worse, loss of dignity."
—Dragan Todorovic, author of The Book of Revenge

"Steven Galloway’s The Cellist of Sarajevo is a wonderful story, a tribute to the human spirit in the face of insanity."
—Kevin Baker, author of Dreamland and Paradise Alley

"A gripping story of Sarajevo under siege."
—J. M. Coetzee

“I cannot imagine a lovelier, more beautifully wrought book about the depravity of war as The Cellist of Sarajevo. Each chapter is a brief glimpse at yet another aspect of the mind, the heart, the soul -- altogether Galloway gives us fine, deep notes of human music which will remain long after the final page.”
— ZZ Packer

“Though the setting is the siege of Sarajevo in the 1990s, this gripping novel transcends time and place.  It is a universal story, and a testimony to the struggle to find meaning, grace, and humanity, even amid the most unimaginable horrors.” –Khaled Hosseini, author of The Kite Runner and A Thousand Splendid Suns

“Steven Galloway is a precocious writer of astonishing talent and creative imagination whose third novel lives up, in every respect, to the high bar set by his first two. The Cellist of Sarajevo captures with taut, painstaking clarity the events and atmosphere surrounding the siege of Sarajevo in the 1990s. . . . Galloway once again shows himself to be as gifted as he is fearless. If it weren’t for the fact that he teaches creative writing, I’d say it was time to give up his day job.”
— Emily Donaldson, Quill & Quire (starred review)

“A darkly powerful novel about the insanity of war, the anonymous dying of a city under siege. Written with elegance and style, it is an unforgettable story about our limitless human spirit in a time of tragedy.” –Owen Sound Sun Times

“A story that speaks to the dignity and generosity of the human spirit under duress.” –The Guelph Mercury

“Gripping. . . . Every action, no matter how mundane, is charged with tension. . . . Galloway has shown that contemporary fiction can move beyond the minute examination of self and relationship. We are asked to gaze, instead, on a city, a society, in the process of being destroyed, and on the tiny human gestures that represent the only means to repair the damage.” –National Post

“Although Galloway’s characters weigh the value of their lives against the choices they must make, he effectively creates a fifth character in the city itself, capturing the details among the rubble and destruction that give added weight to his memorable novel.” –Booklist

“Undeniably suspenseful.” –The Sydney Morning Herald

“A grand and powerful novel about how people retain or reclaim their humanity when they are under extreme duress.” –Yann Martel’s pick for www.whatisstephenharperreading.ca

“Galloway delivers a tense and haunting novel. . . . With wonderfully drawn characters and a stripped-down narrative, Galloway brings to life a distant conflict.” - Publishers Weekly

“A novel about trying to cross the street. The description, though, does not do justice to Galloway’s spare, elegant prose or to the haunting images the author creates in this fine and affecting novel.” –Edmonton Journal

“At once an expansion and a deepening of the thematic concerns that weave themselves throughout his work and a glittering testament to the power of art to counteract hatred and division. . . . Galloway’s novel, bursting with life, is a vivid reminder of the power of art to dispel the darkness.” –The Vancouver Sun

“[V]ery nearly perfect, a galvanizing examination of the strength of the human heart, and the possibility of the survival of the human spirit in the most dire of circumstances. It will be impossible for readers not to imagine themselves in these characters’ shoes, wondering what they would do in similar circumstances. That personalization, which creates an understanding of a tragedy previously only glanced over in the pages of the morning paper, is, in itself, the highest of achievements.” –Ottawa Citizen

“Written in visceral, cinematic prose . . . Galloway’s compassionate story about the consequences of war is riveting from beginning to end. It will undoubtedly linger in the minds of many readers long after they finish it.” –Winnipeg Free Press

“Sensuous and precise, Galloway’s prose captures the unbidden movement between personal and public space, the contradiction of being trapped in a city one would not think of leaving, even if one could. This portrayal of what it’s like to live in the despair of the present, but with an unkillable knowledge that things can be otherwise, is what connects Galloway’s characters–and his novel–with the mission and the legacy of the cellist of its title.” –The Globe and Mail

“Perfect in that way only a true story can be. . . . [Galloway] is a surprisingly mature and self-confident storyteller. . . . His writing is meticulous and purposeful. War may be hell, but in this novel it’s an unsentimental, almost pedestrian hell and all the more compelling for it. The Cellist of Sarajevo is a sombre, stirring performance.” –The Gazette (Montreal)

From the Hardcover edition. --Ce texte fait référence à l'édition Broché .

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Amazon.com: HASH(0x90cf85f4) étoiles sur 5 335 commentaires
119 internautes sur 126 ont trouvé ce commentaire utile 
HASH(0x90d1a36c) étoiles sur 5 "Tense," "Haunting," "Elegiac" 21 juin 2008
Par Barbara Evans - Publié sur Amazon.com
Format: Relié Achat vérifié
This is a novel so well-written and thought-provoking that not only did I read it in one sitting, but the very next night I read it again. I would encourage everyone to read the excerpt available via the Search-Inside feature, for it introduces the 28-year-old female sniper who goes by the pseudonym Arrow "so that the person who fought and killed could someday be put away." So riveting is her thinking and so powerful the last sentence of the novel that her story will stay vividly with me for a lifetime.

Other reviews, including the excellent one from the Washington Post (click on "See all editorial reviews"), have rightly focused on the characters around which the novel is centered. But also compelling is the plight of the city itself. Although Sarajevo became familiar to me during the Olympic games, one does not need to have seen the pre-war city to shudder at what happened to it. As one of the characters takes circuitous routes to get to his work and food, he recalls its past as he's faced with its present: "Every day," he muses, "the Sarajevo he thinks he remembers slips away from him a little at a time, like water cupped in the palms of his hands, and when it's gone, he wonders what will be left. He isn't sure what it will be like to live without remembering how life used to be, what it was like to live in a beautiful city." Or, I thought, what it would be like to try to cope with the destruction of wherever one lives, whatever the cause. In more ways than one, the author of "The Kite Runner" was absolutely correct when he called "The Cellist of Sarajevo" a "universal story."

NOTE: When I went online to find out more about Vedran Smailovic, the man who did indeed play for 22 days at the site where 22 people had been killed in Sarajevo, I discovered a fascinating article in the London Times which details at length the cellist's extreme displeasure at finding his photograph on the original dust jacket of this book and his privacy thus invaded. The article, which also includes author Steven Galloway's reaction to Smailovic's dismay at being used as a character in a work of fiction, is most easily accessed by going to the external links under the entry for Smailovic in Wikipedia.

NOTE: For those who, after reading this novel, are interested in learning more about life during the siege of Sarajevo, see my note about Scott Simon's Pretty Birds: A Novel in comment #6. Additionally, Zlata's Diary: A Child's Life in Wartime Sarajevo Revised Edition provides a 13-year-old girl's poignant non-fiction account. For those wondering about other books the author of "The Cellist..." has written, yet another memorable read awaits in his Ascension: A Novel.
46 internautes sur 49 ont trouvé ce commentaire utile 
HASH(0x90d1a63c) étoiles sur 5 A Haunting Novel 15 mai 2008
Par Susan Tunis - Publié sur Amazon.com
Format: Relié
Steven Galloway's spare novel The Cellist of Sarajevo will be haunting me for a long time. I honestly couldn't tell you when a work of fiction made me stop and think so hard about the world we live in.

As the novels opens, the siege of Sarajevo is underway, and 22 innocent civilians have just died from a shelling attack while they were waiting in line to buy bread. The eponymous cellist watched it all from his window. They were his friends and neighbors. For reasons never explained (and without need of explanation) the unnamed cellist decides he will play an adagio on the spot of the attack for the next 22 days.

This small gesture of beauty in the midst of senseless violence and horror makes the man a target. The attackers of the city, described only as "the men on the hill" will want to make a lesson of him--though exactly what that lesson is I'm not sure. The military men defending the city want the cellist protected. They assign that job to the second of four central characters the novel revolves around. She is a sniper, going only by the name Arrow. She was once a happy student at the University, but now she is a weapon in human form. Every day she struggles with her personal moral compass.

The third character is Kenan, a mild-mannered husband and father. The gauntlet he runs every few days is the long trek across town to collect fresh water for his family. No one is Sarajevo is safe. Every time they step outside, they are facing death (although staying inside is no safer with buildings being bombed daily). Kenan's terror at leaving home is echoed by the fourth character, Dagnan, a baker on the way to work who is literally paralyzed by the prospect of crossing the street. If he crosses the street, will he be shot? If he doesn't cross the street, how will he eat?

The characters in this novel are living in a world gone mad. And it wasn't decades ago. It wasn't a third world country. It was barely a 12 years ago in a major European city. I was a young adult at the time, largely ignoring the news. Reading this (mercifully) short, profoundly moving story sent me to the history books trying to understand what this conflict was about. I still don't understand. But this novel gave me a new comprehension of what war really means. Galloway brought war into a world very familiar to me. It kept me awake at night. This is a novel that should be read by all thinking people.
38 internautes sur 41 ont trouvé ce commentaire utile 
HASH(0x90d1a87c) étoiles sur 5 16 years today 27 mai 2008
Par vitamin - Publié sur Amazon.com
Format: Relié
Today happens to be the 16th anniversary of the mortar attack and as I read a news article about commemorating the victims(26) in Sarajevo I felt an urge to write a review about this book. I finished it recently and I felt that the author was able to capture the spirit of the people and what they went through being under siege. Not extremely graphic but with enough left for anyone's imagination to experience the horrors of war in their own mind and empathize with people of Sarajevo or any other human being experiencing war in modern times. Another thing I liked about the book is that the author stayed away from identifying the aggressors, causes and politics of the war and concentrated on survival and humanness of innocent civilians who seem to parish by hundreds of thousands in times of war. I highly recommend this book to anyone who wants to get a perspective on how a human spirit struggles through a war that appears to have no end.
32 internautes sur 35 ont trouvé ce commentaire utile 
HASH(0x90d1abdc) étoiles sur 5 A Truly Great Read! 24 mai 2008
Par Bruce - Publié sur Amazon.com
Format: Relié Achat vérifié
I don't do many reviews - but felt compelled to offer one for this great book. It is a story that reminds us what makes us both good and evil - great and small - wise and insanely stupid - heroes and villians, all at the same time. Steven Galloway writes in a way that makes you feel that you not only know the people that he is writing about - but know them as friends or neighbors who you have known for a very long time.
It is the kind of page turner that will make short work of a weekend - and bring both a smile and a tear if there is any human in you...
55 internautes sur 65 ont trouvé ce commentaire utile 
HASH(0x90d1a990) étoiles sur 5 Could have been great... 26 juillet 2008
Par ilvbks - Publié sur Amazon.com
Format: Relié
I bought this book in an airport and read it in almost one sitting. The subject, historical facts, and excellent cover reviews from esteemed authors made it a must read for me.

Why 3 stars only? The story framework is laid out ingeniously, the characters well picked and presented, beautiful images, the telling goes well and tension builds up to a point... and then... then there's not much more unfolding. I got the same images and thoughts, repeated in elegiac tone and not bringing additional value to the story.

If you don't know much about the events in the 1990s in Bosnia then you can probably enjoy the story for its universal values. But if you've followed the events it's hard to get transposed into a poetic state of mind and keep it till the end of the story. I had a co-worker, in 1993-1995, who had recently fled Sarajevo with one daughter to Canada. The rest of their family had been killed. It was incredible to see the tension building in this educated, intelligent, and warm person in an unexpected contact with another co-worker, who happened to be from the "other side". I expected (I wished) the book to achieve a more forceful message.

As a coincidence, Radovan Karadzic, Bosnian Serb army leader and war criminal, was caught a few days ago,
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