To The End of the Land et plus d'un million d'autres livres sont disponibles pour le Kindle d'Amazon. En savoir plus


ou
Identifiez-vous pour activer la commande 1-Click.
Amazon Rachète votre article
Recevez un chèque-cadeau de EUR 1,00
Amazon Rachète cet article
Plus de choix
Vous l'avez déjà ? Vendez votre exemplaire ici
Désolé, cet article n'est pas disponible en
Image non disponible pour la
couleur :
Image non disponible

 
Commencez à lire To The End of the Land sur votre Kindle en moins d'une minute.

Vous n'avez pas encore de Kindle ? Achetez-le ici ou téléchargez une application de lecture gratuite.

To the End of the Land [Anglais] [Broché]

David Grossman
5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
Prix : EUR 8,90 LIVRAISON GRATUITE En savoir plus.
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
En stock, mais la livraison peut nécessiter jusqu'à 2 jours supplémentaires.
Expédié et vendu par Amazon. Emballage cadeau disponible.

Description de l'ouvrage

1 septembre 2011
A major, internationally bestselling novel of extraordinary power about the costs of war from one of Israel's greatest writers.

Set in Israel in recent times, this epic yet intimate novel places side by side the trials of war and the challenges of everyday life. Through a series of powerful, overlapping circles backward in time, it tells the story of Ora's relationship with her husband, from whom she is now separated, as well as the tragedy of their best friend Avram, a former soldier — and her son's biological father. When her son Ofer rejoins the army for a major offensive, Ora is devastated and decides to hike in the Galilee, leaving no forwarding information for the "notifiers" who might deliver the worst news a parent can hear. She phones Avram, whom she has not seen in 21 years, and convinces him to go with her. As they journey together, Ora unfurls the story of her family, and gives Avram the gift of his son — a telling that keeps the boy alive for both his mother and the reader.

Never have we seen so vividly the surreality of daily life in Israel, the consequences of living in a society where the burden of war falls on each generation anew. David Grossman's rich imagining of a family in love and crisis makes for one of the great anti-war novels of our time.
--Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

Produits fréquemment achetés ensemble

To the End of the Land + Freedom
Acheter les articles sélectionnés ensemble
  • Freedom EUR 7,02

Les clients ayant acheté cet article ont également acheté


Descriptions du produit

Extrait

Prologue, 1967
 
 
HEY, GIRL, quiet!
 
Who is that?
 
Be quiet! You woke everyone up!
 
But I was holding her
 
Who?
 
On the rock, we were sitting together
 
What rock are you talking about? Let us sleep
 
Then she just fell
 
All this shouting and singing
 
But I was asleep
 
And you were shouting!
 
She just let go of my hand and fell
 
Stop it, go to sleep
 
Turn on a light
 
Are you crazy? They’ll kill us if we do that
 
Wait
 
What?
 
I was singing?
 
Singing, shouting, everything. Now be quiet
 
What was I singing?
 
What were you singing?!
 
In my sleep, what was I singing?
 
I’m supposed to know what you were singing? A bunch of shouts.
 
That’s what you were singing. What was I singing, she wants to know . . .
 
You don’t remember the song?
 
Look, are you nuts? I’m barely alive
 
But who are you?
 
Room Three
 
You’re in isolation, too?
 
Gotta get back
 
Don’t go . . . Did you leave? Wait, hello . . . Gone . . . But what was I singing?
 
 
AND the next night he woke her up again, angry at her again for singing at the top of her lungs and waking up the whole hospital, and she begged him to try to remember if it was the same song from the night before. She was desperate to know, because of her dream, which kept getting dreamed almost every night during those years. An utterly white dream. Everything in it was white, the streets and the houses and the trees and the cats and dogs and the rock at the edge of the cliff. And Ada, her redheaded friend, was also entirely white, without a drop of blood in her face or body. Without a drop of color in her hair. But he couldn’t remember which song it was this time, either. His whole body was shuddering, and she shuddered back at him from her bed. We’re like a pair of castanets, he said, and to her surprise, she burst out with bright laughter that tickled him inside. He had used up all his strength on the journey from his room to hers, thirty-five steps, resting after each one, holding on to walls, doorframes, empty food carts. Now he flopped onto the sticky linoleum floor in her doorway. For several minutes they both breathed heavily. He wanted to make her laugh again but he could no longer speak, and then he must have fallen asleep, until her voice woke him.
 
Tell me something
 
What? Who is it?
 
It’s me
 
You . . .
 
Tell me, am I alone in this room?
 
How should I know?
 
Are you, like, shivering?
 
Yeah, shivering
 
How high is yours?
 
It was forty this evening
 
Mine was forty point three. When do you die?
 
At forty-two
 
That’s close
 
No, no, you still have time
 
Don’t go, I’m scared
 
Do you hear?
 
What?
 
How quiet it is suddenly?
 
Were there booms before?
 
Cannons
 
I keep sleeping, and all of a sudden it’s nighttime again
 
’Cause there’s a blackout
 
I think they’re winning
 
Who?
 
The Arabs
 
No way
 
They’ve occupied Tel Aviv
 
What are you . . . who told you that?
 
I don’t know. Maybe I heard it
 
You dreamed it
 
No, they said it here, someone, before, I heard voices
 
It’s from the fever. Nightmares. I have them, too
 
My dream . . . I was with my friend
 
Maybe you know
 
What?
 
Which direction I came from
 
I don’t know anything here
 
How long for you?
 
Don’t know
 
Me, four days. Maybe a week
 
Wait, where’s the nurse?
 
At night she’s in Internal A. She’s an Arab
 
How do you know?
 
You can hear it when she talks
 
You’re shaking
 
My mouth, my whole face
 
But . . . where is everybody?
 
They’re not taking us to the bomb shelter
 
Why?
 
So we don’t infect them
 
Wait, so it’s just us—
 
And the nurse
 
I thought
 
What?
 
If you could sing it for me
 
That again?
 
Just hum
 
I’m leaving
 
If it was the other way around, I would sing to you
 
Gotta get back
 
Where?
 
Where, where, to lie with my forefathers, to bring me down with sorrow to the grave, that’s where
 
What? What was that? Wait, do I know you? Hey, come back
 
 
AND the next night, too, before midnight, he came to stand in her doorway and scolded her again and complained that she was singing in her sleep, waking him and the whole world, and she smiled to herself and asked if his room was really that far, and that was when he realized, from her voice, that she wasn’t where she had been the night before and the night before that.
 
Because now I’m sitting, she explained. He asked cautiously, But why are you sitting? Because I couldn’t sleep, she said. And I wasn’t singing. I was sitting here quietly waiting for you.
 
They both thought it was getting even darker. A new wave of heat, which may have had nothing to do with her illness, climbed up from Ora’s toes and sparked red spots on her neck and face. It’s a good thing it’s dark, she thought, and held her loose pajama collar up to her neck. Finally, from the doorway, he cleared his throat softly and said, Well, I have to get back. But why? she asked. He said he urgently had to tar and feather himself. She didn’t get it, but then she got it and laughed deeply. Come on, dummy, enough with your act, I put a chair out for you next to me.
 
He felt along the doorway, metal cabinets, and beds, until he stopped way off, leaned his arms on an empty bed, and panted loudly. I’m here, he groaned. Come closer to me, she said. Wait, let me catch my breath. The darkness filled her with courage and she said in a loud voice, in her voice of health, of beaches and paddleball and swimming out to the rafts on Quiet Beach, What are you afraid of? I don’t bite. He mumbled, Okay, okay, I get it, I’m barely alive. His grumbling tone and the heavy way he dragged his feet touched her. We’re kind of like an elderly couple, she thought.
 
Ouch!
 
What happened?
 
One of these beds just decided to . . . Fuck! So, have you heard of the Law of Malicious—
 
What did you say?
 
The Law of Malicious Furniture—heard of it?
 
Are you coming or not?
 
The trembling wouldn’t stop, and sometimes it turned into long shivers, and when they talked their speech was choppy, and they often had to wait for a pause in the trembling, a brief calming of the face and mouth muscles, and then they would quickly spit out the words in high, tense voices, and the stammering crushed the sentences in their mouths. How-old-are-you? Six-teen-and-you? And-a-quar-ter. I-have-jaun-dice, how-a-bout-you? Me? he said. I-think-it’s-an-in-fec-tion-of-the-o-va-ries.
 
Silence. He shuddered and breathed heavily. By-the-way-that-was-a-joke, he said. Not funny, she said. He groaned: I tried to make her laugh, but her sense of humor is too— She perked up and asked who he was talking to. He replied, To my joke writer, I guess I’ll have to fire him. If you don’t come over here and sit down right now, I’ll start singing, she threatened. He shivered and laughed. His laughter was as screechy as a donkey’s bray, a self-sustaining laughter, and she secretly gulped it down like medicine, like a prize.
 
He laughed so hard at her stupid little joke that she barely resisted telling him that lately she wasn’t good at making people roll around with laughter the way she used to. “When it comes to humor, she’s not much of a jester,” they sang about her at the Purim party this year. And it wasn’t just a minor shortcoming. For her it was crippling, a new defect that could grow bigger and more complicated. And she sensed that it was somehow related to some other qualities that were vanishing in recent years. Intuition, for example. How could a trait like that disappear so abruptly? Or the knack for saying the right thing at the right time. She had had it once, and now it was gone. Or even just wittiness. She used to be really sharp. The sparks just flew out of her. (Although, she consoled herself, it was a Purim song, and maybe they just couldn’t come up with a better rhyme for “Esther.”) Or her sense of love, she thought. Maybe that was part of her deterioration—her losing the capacity to really love someone, to burn with love, like the girls talked about, like in the movies. She felt a pang for Asher Feinblatt, her friend who went to the military boarding school, who was now a soldier, who had told her on the steps between Pevsner Street and Yosef Street that she was his soul mate, but who hadn’t touched her that time, either. Never once in two years had he put a hand or a finger on her, and maybe that never-touched-her also had something to do with it, and deep in her heart she felt that everything was somehow connected, and that things would grow clearer all the time, and she would keep discovering more little pieces of whatever awaited her.
 
For a moment she could see herself at fi... --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

Revue de presse

"Very rarely, a few times in a lifetime, you open a book and when you close it again nothing can ever be the same. To the End of the Land is a book of this magnitude. David Grossman may be the most gifted writer I've ever read.... Powerful, shattering, and unflinching. To read it is to have yourself taken apart, undone, touched at the place of your own essence." 
— Nicole Krauss

"This is a book of overwhelming power and intensity, David Grossman's masterpiece. Flaubert created his Emma, Tolstoy made his Anna, and now we have Grossman's Ora — as fully alive, as fully embodied, as any character in recent fiction. I devoured this long novel in a feverish trance. Wrenching, beautiful, unforgettable." 
— Paul Auster

"There are some writers in whose words one recognizes the texture of life. David Grossman is such a writer. His characters don’t so much lie on the page as rise before the reader’s eyes, in three dimensions, their skin covered in prose that both stabs with insight and shines with compassion."
— Yann Martel --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

Détails sur le produit

  • Broché: 592 pages
  • Editeur : Vintage (1 septembre 2011)
  • Langue : Anglais
  • ISBN-10: 0099546744
  • ISBN-13: 978-0099546740
  • Dimensions du produit: 12,9 x 3,7 x 19,8 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 31.499 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
  •  Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?


En savoir plus sur les auteurs

Découvrez des livres, informez-vous sur les écrivains, lisez des blogs d'auteurs et bien plus encore.

Dans ce livre (En savoir plus)
Parcourir les pages échantillon
Couverture | Copyright | Extrait | Quatrième de couverture
Rechercher dans ce livre:

Quels sont les autres articles que les clients achètent après avoir regardé cet article?


Commentaires en ligne 

4 étoiles
0
3 étoiles
0
2 étoiles
0
1 étoiles
0
5.0 étoiles sur 5
5.0 étoiles sur 5
Commentaires client les plus utiles
3 internautes sur 3 ont trouvé ce commentaire utile 
Format:Broché
une dentelle de tensions, vues à la loupe. une guerre pas comme les autres vue d'une perspective qui est em même temps dans la guerre et en dehors. la guerre est bien lá, à quelques km et dans les têtes et les corps d'Ora et Avram et des autres, mais l'univers tel que nous - qui ne vivons pas en guerre - le connaissons aussi: une mère est une mère, un divorce est un divorce, un taxi est un taxi, um paumé est un paumé, etc. c'est une ecriture qui nous envahi jusqu'a ce qu'ils - ces personnages comme vous et moi - fassent partie de notre vie. c'est une histoire à lire lentement, dans ses détails, géants comme des boulets de cannon.
Avez-vous trouvé ce commentaire utile ?
Commentaires client les plus utiles sur Amazon.com (beta)
Amazon.com: 3.9 étoiles sur 5  118 commentaires
98 internautes sur 106 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Cost of Living 3 octobre 2010
Par ytaylor - Publié sur Amazon.com
Format:Relié
David Grossman's new book, in hebrew titled Isha Borachat M'besora, translates literally as "A Woman Escaping From a Message." In Israel, the connotation of the word besora (message) acutely depicts the nightmare that the book's protagonist, Ora, is trying to escape: soldiers knocking at her door at 3 a.m. with the besora that her son has been killed in war.

The catalyst for Oras journey - outlined in many other reviews here, is her attempt to escape her greatest fear, what she describes as the "nationalization" of her family--that Israel is coming to claim her son's life. Ofer was hers for twenty years, and now Ora must pay her dues.

Israel is a country that historically has dictated the nationalization of private emotions. It is a country where the culture of remembrance unifies and takes ownership over the dead. We - Israelis - mourn the loss of "our" fallen, and say kaddish (a prayer for the dead) for "our" sons. Society becomes a grieving "family," known in Hebrew as Mishpachat Hashchol. Publicly expressed grief becomes the language of the masses and the soundtrack of the nation.

Very few books in Israeli literature have so bravely dealt with the looming fear of death that surrounds Israeli society. Grossman does this so vehemently that it is hard to separate his bravery as an author from his bravery as a father who lost a son in the Second Lebanon War while writing this book. His message is unequivocal: the cost of living in Israel is that society is slowly losing its sense of normality.

Grossman spared no detail or emotion when he wrote this book. He did not leave one wound untouched or one fear forgotten. He evokes sadness in the reader, because the novel forces one to realize, at times, how abnormal life can be in Israel. He evokes hatred for his hero, Ora. She is controlling and paranoid. She makes every food that her son could dream of upon his return from the army, and her son hates her for that. She paces furiously, drives like a maniac, and panics at restaurants. She is every Israeli who goes to extremes to hold on to normality, and forgets what normality is.

When Ofer assuredly tells his mother that it is his responsibility as a soldier to die so that others won't, Ora's horror is difficult to internalize. While Israelis know, and for the large part accept, that they are required to sacrifice their lives for their country, to a non-Israeli reader, this is a difficult concept to comprehend.

It is abnormal to die for the land. It is abnormal to have an Arab taxi driver, a dear friend of Ora's, to drive her and Ofer to a meeting point where a war is being fought between their peoples. It is abnormal to calculate which seat on the bus is safest. It is abnormal to fear a 3-a.m. knock at the door. And it is abnormal to go through border controls when visiting family in Gush Etzion.

Necessary? Absolutely. This is the price that we are destined to pay.

Normal? No.

I admit: Living in Israel can be exhausting. Many times I ask myself: why do I put myself through this? I want to get up and leave, but can't. I am not sure where this inability comes from. A burning ideology? A fear of the unknown? Or a mere resignation--what is meant to be will be.

Rarely can a book change lives in the way that Grossman's book has. It is part of the price that he paid, with his son's death, and it is a gift that he has given us, so that we remember the cost of living, at least as much as we remember the cost of dying.
122 internautes sur 139 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 The toll of war and the power of family 1 septembre 2010
Par switterbug - Publié sur Amazon.com
Format:Relié|Commentaire Amazon Vine™ (De quoi s'agit-il?)
Ora, an Israeli mother, planned a Galilee backpacking trip with her youngest son, Ofer, to celebrate the end of his army conscription. But, like a fist through her soul, he signed up for a major offensive, another twenty-eight days. Barely holding her sanity together--her husband, Ilan, has trekked off to Bolivia with her oldest son, Adam--she flees from her fear of the "notifiers" (the government officials who deliver grave news) and leaves, anyway, sans cell phone and contact access.

Ora pleads with her reclusive old friend and former lover, Avram, erstwhile best friend to Ilan, to accompany her to the Galilee. She believes that, with Avram, they can form a thread that ties them to the land, to nature, to safety, to Ofer, and weave a tapestry that protects him from peril. With Avram, she can magically keep Ofer alive. No one else can extinguish bad thoughts and assist her to defy fate.

"...she was always easy with Avram, letting him see all of her, almost from the first moment she met him, because she had a feeling, a conviction that there was something inside her, or someone, perhaps an Ora more loyal to her own essence, more precise and less vague, and Avram seemed to have a way to reach her."

Years ago, Avram and Ilan were soldiers together, and the story explains how Avram lost his artistic spirit and love of words and suffered permanent damage and a death of the soul. As they hike, climb and acclimate to the wild terrain, Ora recapitulates the story of her family--the details of raising her sons and her forsaken marriage to Ilan. The germination and withering of the friendship between Ora, Avram, and Ilan is recounted in flashbacks and threaded into her story as a wife and mother.

The following quote refers to Ora talking to Ofer when he was only a few hours old:

"It surprised me how simple the story was when I told it to him. That was the first time (and probably the last) that I was able to think about us that way. The whole complication that was us, me and Avram and Ilan, all of a sudden became one little unequivocal child, and the story was simple."

The reader clings to the tensile wire of a mortal coil that underscores this hefty opus. Ora is beseeching the universe to keep Ofer alive while simultaneously striving to rescue Avram's spirit. The secrets and treacheries they share and their separate and private agonies are knotted together, and the frayed but enduring fibers unwind and snap through the story.

Grossman is an eloquent and assiduous writer of internal struggle and emotional combat. He leaves no stone unturned, and the reader is saturated with Ora's psyche on every page. I was sometimes exhausted with the relentless, strenuous tone of his narrative. The surplus verbiage and chronic turmoil drowned his beautiful nuances and periodically made reading a chore. Ora's self-indulgence struck me as pretext for the author's prolixity.

However, there is abundant beauty and unbreakable heart to this story, which, while swollen at times, is never pompous. It is visceral and sometimes surreal, but much less stream-of-consciousness and magical realism than some of his previous novels purport to be. And, from Avram, there was often relief from Ora's tautology. The sections on him were full of delightful, clever word-play and ribald wit.

Aesthetically, the final, transcendent scene was painterly, exquisite, and delicate, recalling, for me, (in spirit, not in actual event) the elegance in the final scene of Kate Grenville's story of war, The Lieutenant. Grossman shakes the reader with the toll of war and the trials of raising a family. The burdens of choice, ambivalence, and fate linger on from one generation to the next.

This moving story has a loose, allegorical significance to Tolstoy's War and Peace and reworks the first line to Anna Karenina to remind us that all happy families are miserable in different ways.
151 internautes sur 175 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Masterfully written, difficult to review 12 septembre 2010
Par Evelyn Getchell - Publié sur Amazon.com
Format:Relié|Commentaire Amazon Vine™ (De quoi s'agit-il?)
When I finished To the End of the Land by David Grossman it was very difficult to review. Too many reviewers begin with plot summaries and those become tiresome after a while, especially when the plot itself is tiresome, so I avoid its retelling here. Although I did find the plot tedious, that is not to say it is without quality or intelligence. The plot is unique and masterfully written but the narrative structure which drives the plot, a narrative within a narrative, was for this reader arduous and exhausting.

On the whole this novel did not work for me but I cannot say that I did not like the book. There are aspects of its 600 pages that really engaged me and I found deeply poignant and valuable. However, I believe less is more in literature and that creative expression is much more exquisite and impressive with an economy of words. The overindulgence in the psyche of To the End of the Land's main character, a middle-aged Israeli woman named Ora, is overwrought and causes the pacing of the novel to falter. Any dramatic tension in the plot seems to get overwhelmed or even lost in the author's prolonged verbosity.

The novel does have its arresting moments of beautiful eloquence and stunning imagery but it is strenuous reading to find those hidden literary gems. They are buried deep within Ora's stream-of-consciousness inner dialogues and contemplative programming which are dull, repetitious and tedious. I felt trapped and suffocated inside Ora's head. Nor could I warm up to her character. I found her too narrow, too self-absorbed, too boring. Ora carries a heavy burden of secrets, guilt and fear on her back as well as overpowering maternal instincts, profound love for her two sons, Adam and Ofer, and an enormous passion for each of her two best friends and lovers, Ilan (also her estranged husband) and Avram. That's quite a lopsided load for her character to bear and there are many agonizing emotional moments of tears, wailing, gnashing of teeth, even crawling into the earth with grief. Yet somehow she never engages me and her grief does not generate a true sense of loss or despair but rather a banal sense of melodrama which draws little to no empathy.

There are anecdotal elements of various historic events involving the State of Israel which come into play in the telling of the story, elements providing thrust and significance to the plotting, which I, being a non-Jew, found insightful if one-sided. However, as moving as the effects of these events are to the Israeli people as reflected in the telling of To the End of the Land, especially at the hand of such a master writer as David Grossman, I still felt somewhat manipulated into taking a political position I did not care to assume. That kind of manipulation actually turns me off as a neutral reader but still I appreciate the life that Grossman has breathed into his characters. I was particularly moved by the characterization of the Arab-Israeli taxi driver named Sami who is introduced in the earlier part of the novel. I actually cared about him and was sorry his role was so limited in the story. There is very interesting interaction between Sami and Ora which I found moving and memorable.

Another fine quality of the novel which I particularly loved is the beauty of the Israeli landscape that Grossman so eloquently describes. The Galilean countryside is a healing panorama of poetry and peacefulness. In spite of the savagery of the wars and the conflicts, the hatred and the violence that have plagued it throughout history, the implacable beauty of the country still shines through to soothe the soul.

I also enjoyed Grossman's gift of eroticism. The lovemaking he describes is beautiful, sensual and never vulgar.

It is just too bad that Grossman focuses so much on Ora's psyche. I think I could have given this novel 4 stars without quite so much of it. I also found the very long winded, overly-detailed "secret" which Ora reveals to Avram word-for-word on their hike through the Galilee quite unbelievable in the telling and another turn-off.

I was also very disappointed with the novel's unresolved denouement which I found incomplete and unrewarding after such an investment of my time and effort to struggle along with the bloated length of this novel.

But in spite of all I consider as its drawbacks, this novel is still an important one. As long as wars are being fought anywhere, sons and daughters will be killed, parents will be bereaved and families will suffer. To the End of the Land is an acknowledgement of this terrible grief and pain.

In that regard, I must say with all due respect to David Grossman, that I give this novel 4 stars rather than less because of his heart-wrenching final comments at the end of the book. Becoming aware that Mr. Grossman's son was killed in an attack on Hezbollah in Southern Lebanon while he was finishing this novel has certainly softened my heart. To realize that this novel is surely the outpouring of Mr. Grossman's grief for a son lost in a futile war makes To the End of the Land all the more poignant. I bless him and wish him comfort and peace.
Ces commentaires ont-ils été utiles ?   Dites-le-nous
Rechercher des commentaires
Rechercher uniquement parmi les commentaires portant sur ce produit

Discussions entre clients

Le forum concernant ce produit
Discussion Réponses Message le plus récent
Pas de discussions pour l'instant

Posez des questions, partagez votre opinion, gagnez en compréhension
Démarrer une nouvelle discussion
Thème:
Première publication:
Aller s'identifier
 

Rechercher parmi les discussions des clients
Rechercher dans toutes les discussions Amazon
   


Listmania!


Rechercher des articles similaires par rubrique


Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?

Déclaration de confidentialité Amazon.fr Informations sur la livraison Amazon.fr Retours & Echanges Amazon.fr