They love each other, like children… The problem is that they live in the big leagues, in Belfast, where of course they have found a way to come from the two antagonistic communities.
But in Belfast, Protestants and Catholics have too heavy a past in common for us to have fun approaching the alcohol of the flame. Especially in 2019-2020, when the Brexit agreement (and its famous “Irish question”!) could reopen old, poorly treated wounds.
Hero or psychopathic killer?
Tim and Mary love each other, from the first moment, with a love that ignites as quickly as the fuse of a stick of dynamite. But Tim is Protestant, the son of a martyr of the “cause”, who died 20 years ago. Good riddance in truth in the eyes of the young man, who saw in his parent more a psychopathic assassin than a hero of any cause whatsoever.
Mary, the sharp-tongued Catholic, also bears the weight of an absence, in the person of her older sister, who died in an “accident”.
But whatever. For now, they love each other. And then peace returned a long time ago. At least in appearance…
There has already been a “precedent”: Irish cuts
“Irish Partitions” really has it all, and there should be no irony in this compliment.
That Kris is interested in history is not very surprising, we have seen the very prolific scriptwriter of comics work around the Great War (Notre Mère la Guerre), the rise of European tensions in the 1930s ( Black night over Brest), the first half of the 20th century (Violette Morris), the Second World War (A Bag of Marbles). That he was already co-signing with Vincent Bailly, the designer from Lorraine, as well as My Father was a Boxer, or Irish Cuts, who was already interested in the conflict, when the English tanks were still in Belfast.
The album that found its voice
It will not come nor his admirers.
But what is striking when reading the first part of Partitions Irlandaises is the care given to the voice…
Silences on post-its…
To begin with the voiceover, which the characters of Tim and Mary carry successively.
But also to the dialogues. Replies that hit home, witticisms, subtle provocation… or not (but which nevertheless have their role to play), caustic responses, and eloquent silences (engraved on post-its!).
Not only does this place given to the art of repartee give an entertaining brilliance to reading, but in themselves, said repartee plays a role in its own right.
Romeo and Juliet’s trash can
Because the art of the verbal skirmish is the object, the subject and the accessory of seduction between our Irish Romeo and Juliet. Impossible idyll to which it is moreover very “finely” alluded by means of a trash can (yes!).
What is said, what is not said, and the way in which it is said or not… it seems that beyond the explosive romance, the true theme of this quite brilliant score emerges, that we could perfectly read with as much pleasure… aloud!
“Partitions Irlandaises”, by Vincent Bailly and Kris, at Futuropolis; 14,90€