Analysis of Adolescent Behavior and Social Dynamics in 'Kennedy Corniche' by Maylis de Kerangal

Extract

[...] A like addiction The author shares with us the policeman's dependence on alcohol and cigarettes, which he consumes in excess. This is a subject that can help raise awareness among readers about these dangers. "It's a formidable thirst. Sylvestre can't resist, receives the wave in his hungry mouth, receives it like a blessing, it drips down his chin and flows into his neck, he keeps his eyes closed and slurps until he feels immunized by the alcohol, purified by the nicotine." S like sensuality Love and romantic relationships are one of the key threads of the novel. [...]

[...] I like integration When Suzanne joins the Plate group, the question of accepting or not accepting her arises. Eddy, the leader, says she hangs out with them, so she also belongs to the group, but others think otherwise, because she comes from a different social class or because she is a girl: 'she's not clear this girl, [ . ] She's not like us.' This word is important in the work because the problem of tolerance for others arises. H like human When the boys don't understand why Eddy accepted Suzanne into the group, Mickaël makes sexist remarks, referring to Suzanne by the pleasures she could give Eddy and not by her personality and human quality 'you like her or what, this girl? [...]

[...] They risk their lives, experiment with transgression, and push beyond the human limits of reason: "There is a third diving board. That one is dangerous, everyone knows it." It is this feeling and the will not to return to reality that will make the work last. P like to appear The reader realizes that adolescents have a role to play, that they take themselves as actors: "They force the scene", "exhibit themselves", "strut around". It is important to be able to make the difference between being and appearing, which characterizes adolescence, which is built by the gaze of the other." J like game Confrontations between the police and adolescents are seen as a form of entertainment among young people. [...]

[...] Despite the loyal character of this person, he cannot help but be enraged by their rejection: "Mario clenches his teeth, clenches them so hard that his jawbones rise under his cheeks, pointed bone markers of fury", "Mario breathes, they have a package of came, they are in the calanques." It is a crucial moment because it marks the end of the two fugitives. O like obsession Silvestre Opéra is haunted by the name of Tania, who suddenly disappeared in the past. [...]