In Irene Assiba D'Ameida's essay within the excerpt, Veronique 1995 - Black Literature Criticism: Classic and Emerging Authors since 1950, she speaks on author Côte d'Ivoirian Tadjo's first novel, In A Vol d'oiseau, brining light to the major ideas presented in the text; "L'histoire de la misère se raconte" [The story of poverty must be told] and "L'amour est une histoire qu'on n'arrête pas de conter" [Love is a story that one never ceases to tell]". Irene shows how Tadjo's work ties together ideas of pain and love through "a multitude of stories, some taken from personal life, news items, or reflections, some allegorical" yet having "no single setting, but a variety of loci, no conventional plot, no real successiveness". Tadjo connects to the readers through a "stream of consciousness" or "nouveau roman" enabling her to constantly shift directions "to move from one part of the world to another, to speak of the most diverse themes ranging from love and art to social and political issues" giving "a message of justice, creativity, hope, and self-reliance, all positive values" as well as bringing awareness to the difficulty in doing such within "a world whose social fabric has been badly damaged". Miss. Tadjo speaks as one who's been through her own trials and tribulations and gives her story as a primary witness attesting to the damaged world we as people live within; as well as showing how her ideas of pain and love tie everyone together.
Irene states; "Writing has allowed women to speak the unspeakable, to utter words, ideas, concepts that are forbidden to them within the conventions laid out by patriarchal society. Sex, desire, passion, and love are topics that women are expected to pass over in silence. By transgressing these taboos through the medium of literature, writers such as Calixthe Beyala, Ken Bugul, Werewere Liking, and Véronique Tadjo break the unwritten conventions while still accepting, as positive value, the topology that regards women as emotionally sensitive; thus they reclaim the right to express their feelings. In A Vol d'oiseau, the protagonist admits to living through her skin. She does not hesitate to speak of the body as a seat of enjoyable sensations. She talks freely about everything from the tickle of water running on her skin in the shower to the intense pleasures of orgasm. The erotic sensuality of the following passage shows no recognition of the usual taboos that regulate the parameters of African women's discourse: "Je m'enveloppe de son odeur, mouille mon visage de sa sueur, touche sa peau, mords son épaule, avale son désir, ferme les yeux, tends mon corps, l'appelle et le rejette" [I wrap myself in his smell, wet my face with his sweat, touch his skin, bite his shoulder, swallow his desire, close my eyes, stretch my body, call and expel him]". Through this excerpt in A Vol d'oiseau Côte d'Ivoirian Tadjo gives life to the words she laces together to create a story within the minds of the readers. Tadjo 's execution in such gives a voice not only to her personal vantage point but to the female sex; stripping down set precedents for women to be the quiet, shy, and humble species, through this she stands as an outspoken leader giving women a sense of confidence and independence. Miss. Tadjo shows how language can be the key to enabling people, not only women, as a whole to break through barriers set within the past era's.