The Days That Disappear Timothé The Boucher | Review


Published on Feb 07, 2019


Lubin Maréchal has a more or less normal life: is committed to a supermarket by day and an acrobat in a small theater company in the evening. But one day you realize wake up only one day every two. Only little by little, the young man understood that another personality is living half a life, half of his time. So try to communicate with the other Lubin, to find a balance, until it begins to wake up every three days, every four, once a week... while the other builds a life of success.

The author tells the story from the point of view only of the Lubin “artist”, to the neglect of what his counterpart “successful” (which in fact is opposed to our use of the color yellow); this allows the reader to experience the discovery along with the Lubin, who has known right from the start, failing to identify himself better in his life and in his way of seeing things; however, later, towards the end, it will be just a revelation of a character to change the perception so far had, allowing not to consider the new Lubin an intruder and everything.

The pace of the story very slow, as is the character of Lubin, a guy indolent, wasting much of the time that life grants; and this is seen well in the video that the two souls of opposite exchange at the beginning of the story: Lubin is often still in bed, while his counterpart in successful change clothes, and maximizes the possibilities that life has to offer.

This slow start allows The Boucher also show calmly the consequences of the emergence of this dual personality in everyday life, in relation to social life, working, loving, causing some times moments of real irony, when the personality you wake up in the morning lying next to the partner of the other. Despite some funny moments, the sense of anxiety that takes the reader in to read what happens in Lubin is real, and there are few cartoonists (especially if so young people) who manage to convey such a sensation so realistic to the reader through the pages with drawings.

The increase of the speed of the story as we increase the pages you see well represented by the very structure of these, that at the beginning present a few vignettes, but with the advance of history has more and more: from one side, it emphasizes the advance of the time, but on the other also the willingness to Lubin to take maximum advantage of the little time available to be with his family and his friends. The stretch instead is close to the manga, with thin lines and cared for, that demonstrate great care and attention in the study of the anatomy, especially visible in the passing of time, and in the modification of the bodies.

Not can not be thought, however, that this history, which treats of the antithesis between body and mind, has also a vein biographical, in the moment in which we find ourselves of forehead to an artist, who earns and invests much of his time in training, as opposed to a guy's career, inserted in a social context that is perhaps ordinary, but solid, which assures some certainty that the life of the artist, so uncertain especially at the beginning, is not able to give, even if it requires a total dedication. Probably in the story that we are reading Timothé The Boucher wanted to also reflect a choice that he himself has had to do at the end of the studies.

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