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

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Table of Contents

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.)
Penguin Books Ltd, 80 Strand, London WC2RoRL, England Penguin Ireland,
25 St Stephen’s Green, Dublin 2, Ireland (a division of Penguin Books Ltd)
Penguin Group (Australia), 250 Camberwell Road, Camberwell, Victoria 3124,
Australia (a division of Pearson Australia Group Pty Ltd) Penguin Books India Pvt Ltd,
11 Community Centre, Panchsheel Park, New Delhi-110 017, India
Penguin Group (NZ), 67 Apollo Drive, Rosedale, North Shore 0632,
New Zealand (a division of Pearson New Zealand Ltd) Penguin Books
(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)
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Format: Format Kindle Achat vérifié
Je l'ai lu en français il y a une dizaine d'années et j'avais beaucoup aimé. Je viens de le relire en anglais et j'y ai trouvé des lourdeurs, des longueurs, beaucoup d'imperfections et de répétitions. Mais l'histoire est belle et prenante. J'ai aimé la description de la vie et des comportements humains par temps de guerre, dans une ville assiégée.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.4 étoiles sur 5 371 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 courage to retain personal integrity 30 septembre 2016
Par Gwendolyn A. - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
I didn't want to read about war but my book club chose the book. What really amazed me is that not one of us actually had paid attention to the terrible war that went on for years trapping a city with killing daily! So much like hat is going on in Syria today. The cellist showed how it is is possible to continue your own humanity when your world is frozen in evil.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Individuals Explore Their Own Humanity 17 juin 2016
Par Patty - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
Though the story is set during a very specific period with known combatants, the author focuses on the impact on the individuals without reference to their cultural or religious identity. Three of the 4 key individuals are fictional but highly developed. They are portrayed as ordinary people placed in a horrible situation in which they all examine their lives and their actions.
4.0 étoiles sur 5 A powerful account of the brutal times that the residents of Sarajevo in the early 1990's 8 octobre 2016
Par F Sparks - Publié sur Amazon.com
Format: Broché Achat vérifié
A powerful account of the brutal times that the residents of Sarajevo had to endure in the early 1990's as told through the eyes of a sniper living by her own code, a father trying to get water for his family and a cook simply trying to cross the street to work. A brilliant narrative tied to together by Cellist. A man determined to play his cello for twenty-two days on the site of a shelling that senselessly killed his neighbors who were waiting in line for bread. Beautifully written.
5 internautes sur 5 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 I'll never feel the same way about walking the streets of Sarajevo 20 janvier 2010
Par Heidi Jovanovic - Publié sur Amazon.com
Format: Relié Achat vérifié
At first I was skeptical about how well someone who did not live through the siege could write about it, but I was positively surprised. This very small, fictional novel tells the story of four people during the siege of Sarajevo. One is the cellist, who played his cello at the market massacre site for one day for each victim. However, it is more about the other three characters that move around him. One spends the entire book simply trying to get from his apartment building to the Pivnica and then back home, to fill up his empty bottles with water for his family and for an elderly neighbor who he does not even like. Another is trying to get across the city to the bakery where he works - on his day off - so he can get a free meal. The third is a female sniper, a "defender" assigned to protect the cellist. I thought was quite interesting how the author chose to focus on the personal struggles of these characters to survive the unspeakable, instead of on the complex political/ethnic/religious components of the war. He never once mentions religion or ethnicity, although it is clear that there are the people of Sarajevo, there are the defenders, and there are "the men on the hills." After I finished the book (and promptly re-read it); I discovered that the real Cellist was not consulted and is apparently quite angry about the book. Nevertheless, it made the siege much more real to me, and I feel quite differently walking through the streets of Sarajevo now that I have read it. I will never look at the Pivnica the same way, either.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Despite a Misleading Title 28 juin 2009
Par GreatLakesGoddess - Publié sur Amazon.com
Achat vérifié
When originally purchasing this book, I thought it would be written from the viewpoint of Vedran Smailovic, the cellist named in the title of the work. I have admired him for years; because of him, Albinoni's Adagio has become one of my favorite pieces (even if its authorship is disputed). I was a bit surprised to see the book not written about Mr. Smailovic, per se, but rather from the perspectives of three different people, affected by the war in Sarajevo. In a way, I felt the title to be a bit misleading for that reason.

That having been said.....Steven Galloway has given the world a compelling and gripping novel that brought me into the lives of these survivors. To cope in such circumstances, to be forced to consider and reconsider your very life in such a violent and trying time; I could not help but be brought to tears by such moving and well crafted words. This book is a must-read for all who not only love music but life and the freedoms we hold so dear. Never take them for granted; they can be blown away as easily as the snipers that stalked the hills of Sarajevo in the novel. Kudos, Professor Galloway! I look forward to more from you in the future.
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