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class="col-sm-xl-12 flex-col margin-xs-bottom"><a href="/culture/affaire-julia-layani-au-festival-cheries-cheris-des-militants-pris-a-leur-propre-piege-20241130_FZHWATLJEFDGBPOHRTNOA4Z264/" class="Overline-sc-1o7iuj5-0 bpLyqQ">Coulisses</a><a href="/culture/affaire-julia-layani-au-festival-cheries-cheris-des-militants-pris-a-leur-propre-piege-20241130_FZHWATLJEFDGBPOHRTNOA4Z264/" class="decoration_none color_grey_4" title="Affaire Julia Layani au festival LGBT+ Chéries-chéris : des militants pris à leur propre piège"><h2 class="Headline-sc-16el3pa-0 gDryWh font_lg-libe font_primary font_primary_spacing-0-6 font_normal margin-xs-bottom font_md-card-mae">Affaire Julia Layani au festival LGBT+ Chéries-chéris : des militants pris à leur propre piège</h2></a><p class="description-text font_secondary">Lors de la trentième édition de l’événement cinéphile dédié aux cultures queer, des membres du jury ont tenté d’exclure une de leur pairs en raison de ses affinités avec Caroline Fourest. Une controverse archétypale et inquiétante.</p><div class="article-meta"><span class="font_xxs font_tertiary color_grey ">30 nov. 2024</span><span class="color_yellow_2 font_xxs font_tertiary margin-xs-left">abonnés</span></div></div></div></article></div><div id="fusion-static-enter:html-block-f0fJsycQKg1T2Bk" style="display:none" data-fusion-component="html-block-f0fJsycQKg1T2Bk"></div><div><div translate="no" class='mailmunch-forms-widget-1128511'></div></div><div id="fusion-static-exit:html-block-f0fJsycQKg1T2Bk" style="display:none" data-fusion-component="html-block-f0fJsycQKg1T2Bk"></div></div></div><div order="2" class="ItemChainElement__ItemElementLayout-sc-1c74lbk-0 eYDfrr col-sm-12 col-md-xl-3 layout-section"><div><div class="custom-card-list"><article class="container-fluid large-promo themes_promo margin-sm-bottom "><div class="row text-align_left"><div class="col-sm-xl-12 flex-col"><a 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class="container-fluid large-promo themes_promo margin-sm-bottom "><div class="row text-align_left"><div class="col-sm-xl-12 flex-col"><a href="/culture/musique/david-shaw-un-baiser-tres-intense-et-passionnel-mais-un-peu-dangereux-20241129_R4CELMPVBZC2FLCPHPDK677MHY/" title="David Shaw : «Un baiser très intense et passionnel, mais un peu dangereux»"><div><div class="sc-kSzVC sc-bxdjLI cSDozW ftfuWe"></div></div></a></div><div class="col-sm-xl-12 flex-col margin-xs-bottom"><a href="/culture/musique/david-shaw-un-baiser-tres-intense-et-passionnel-mais-un-peu-dangereux-20241129_R4CELMPVBZC2FLCPHPDK677MHY/" class="Overline-sc-1o7iuj5-0 dCtggU">La pochette</a><a href="/culture/musique/david-shaw-un-baiser-tres-intense-et-passionnel-mais-un-peu-dangereux-20241129_R4CELMPVBZC2FLCPHPDK677MHY/" class="decoration_none color_grey_4" title="David Shaw : «Un baiser très intense et passionnel, mais un peu dangereux»"><h2 class="Headline-sc-16el3pa-0 hoFQxA font_lg-libe font_primary font_primary_spacing-0-6 font_normal margin-xs-bottom ">David Shaw : «Un baiser très intense et passionnel, mais un peu dangereux»</h2></a><div class="article-meta"><span class="font_xxs font_tertiary color_grey ">30 nov. 2024</span></div></div></div></article></div></div></div><div order="3" class="ItemChainElement__ItemElementLayout-sc-1c74lbk-0 kZyvoj col-sm-12 col-md-xl-3 layout-section"><div><div class="custom-card-list"><article class="container-fluid large-promo themes_promo margin-sm-bottom "><div class="row text-align_left"><div class="col-sm-xl-12 flex-col"><a href="/environnement/agriculture/ines-leraud-et-sa-bd-sur-le-remembrement-agricole-la-classe-paysanne-a-longtemps-ete-meprisee-negligee-20241130_4A5YXAQ5GFGQJOEPBVQYT7CLSY/" title="Inès Léraud et sa BD sur le remembrement agricole : «La classe paysanne a longtemps été méprisée, négligée»"><div><div class="sc-kSzVC sc-bxdjLI cSDozW ftfuWe"></div></div></a></div><div class="col-sm-xl-12 flex-col margin-xs-bottom"><a 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margin-xs-left">abonnés</span></div></div></div></article></div><div class="custom-card-list"><article class="container-fluid large-promo themes_promo margin-sm-bottom "><div class="row text-align_left"><div class="col-sm-xl-12 flex-col"><a href="/culture/musique/laurent-garnier-lappel-de-londres-20241130_AVN5ZNXS45BLHGYOJ4OSAXT3UI/" title="Laurent Garnier, l’appel de Londres"><div><div class="sc-kSzVC sc-bxdjLI cSDozW ftfuWe"></div></div></a></div><div class="col-sm-xl-12 flex-col margin-xs-bottom"><a href="/culture/musique/laurent-garnier-lappel-de-londres-20241130_AVN5ZNXS45BLHGYOJ4OSAXT3UI/" class="Overline-sc-1o7iuj5-0 dCtggU">On y croit</a><a href="/culture/musique/laurent-garnier-lappel-de-londres-20241130_AVN5ZNXS45BLHGYOJ4OSAXT3UI/" class="decoration_none color_grey_4" title="Laurent Garnier, l’appel de Londres"><h2 class="Headline-sc-16el3pa-0 hoFQxA font_lg-libe font_primary font_primary_spacing-0-6 font_normal margin-xs-bottom ">Laurent Garnier, l’appel de 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class="ItemChainElement__ItemElementLayout-sc-1c74lbk-0 keBvAW col-sm-12 col-md-xl-4 layout-section"><div><div class="custom-card-list"><article class="container-fluid large-promo themes_promo margin-sm-bottom border border_solid border_bottom border_color_grey_2"><div class="row text-align_left"><div class="col-sm-xl-12 flex-col"><a href="/culture/livres/top-des-ventes-de-livres-inoxtag-gagne-les-cimes-avec-son-manga-instinct-20241130_2M33AVAHZ5BX5GOJBHVVWADEPY/" title="Top des ventes de livres : Inoxtag gagne les cimes avec son manga «Instinct»"><div><div class="sc-kSzVC sc-bxdjLI cSDozW ftfuWe"></div></div></a></div><div class="col-sm-xl-12 flex-col margin-xs-bottom"><a href="/culture/livres/top-des-ventes-de-livres-inoxtag-gagne-les-cimes-avec-son-manga-instinct-20241130_2M33AVAHZ5BX5GOJBHVVWADEPY/" class="Overline-sc-1o7iuj5-0 dCtggU">Classement</a><a href="/culture/livres/top-des-ventes-de-livres-inoxtag-gagne-les-cimes-avec-son-manga-instinct-20241130_2M33AVAHZ5BX5GOJBHVVWADEPY/" class="decoration_none color_grey_4" title="Top des ventes de livres : Inoxtag gagne les cimes avec son manga «Instinct»"><h2 class="Headline-sc-16el3pa-0 hoFQxA font_lg-libe font_primary font_primary_spacing-0-6 font_normal margin-xs-bottom ">Top des ventes de livres : Inoxtag gagne les cimes avec son manga «Instinct»</h2></a><div class="article-meta"><span class="font_xxs font_tertiary color_grey ">30 nov. 2024</span></div></div></div></article></div></div></div><div class="ItemChainElement__ItemElementLayout-sc-1c74lbk-0 kwKUVH col-sm-12 col-md-xl-4 layout-section"><div><div class="custom-card-list"><article class="container-fluid large-promo themes_promo margin-sm-bottom border border_solid border_bottom border_color_grey_2"><div class="row text-align_left"><div class="col-sm-xl-12 flex-col"><a href="/societe/police-justice/jr-o-crom-lun-des-rappeurs-du-groupe-sexion-dassaut-accuse-de-viol-dans-une-rue-de-paris-20241130_EQFM3YVCABAODEYI2XRMGYPBWU/" title="Jr O Crom, l’un des rappeurs du groupe Sexion d’Assaut, accusé de viol dans une rue de Paris"><div><div class="sc-kSzVC sc-bxdjLI cSDozW ftfuWe"></div></div></a></div><div class="col-sm-xl-12 flex-col margin-xs-bottom"><a href="/societe/police-justice/jr-o-crom-lun-des-rappeurs-du-groupe-sexion-dassaut-accuse-de-viol-dans-une-rue-de-paris-20241130_EQFM3YVCABAODEYI2XRMGYPBWU/" class="Overline-sc-1o7iuj5-0 dCtggU">Violences sexuelles</a><a href="/societe/police-justice/jr-o-crom-lun-des-rappeurs-du-groupe-sexion-dassaut-accuse-de-viol-dans-une-rue-de-paris-20241130_EQFM3YVCABAODEYI2XRMGYPBWU/" class="decoration_none color_grey_4" title="Jr O Crom, l’un des rappeurs du groupe Sexion d’Assaut, accusé de viol dans une rue de Paris"><h2 class="Headline-sc-16el3pa-0 hoFQxA font_lg-libe font_primary font_primary_spacing-0-6 font_normal margin-xs-bottom ">Jr O Crom, l’un des rappeurs du groupe Sexion d’Assaut, accusé de viol dans une rue de Paris</h2></a><div class="article-meta"><span class="font_xxs font_tertiary color_grey ">30 nov. 2024</span></div></div></div></article></div></div></div></div></div></div><div class="flex-chain container-fluid"><div class=""><div class="row"><div class="ItemChainElement__ItemElementLayout-sc-1c74lbk-0 gWdzdQ col-sm-12 col-md-xl-4 layout-section"><div><div class="custom-card-list"><article class="container-fluid large-promo themes_promo margin-sm-bottom border border_solid border_bottom border_color_grey_2"><div class="row text-align_left"><div class="col-sm-xl-12 flex-col"><a href="/culture/musique/audrey-dana-je-me-dis-quon-a-invente-la-voiture-pour-pouvoir-ecouter-de-la-musique-20241130_J7SU55QX4RCSHFEKHMLQNKHWZQ/" title="Audrey Dana : «Je me dis qu’on a inventé la voiture pour pouvoir écouter de la musique»"><div><div class="sc-kSzVC sc-bxdjLI cSDozW 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col-sm-12 col-md-xl-4 layout-section"><div><div class="custom-card-list"><article class="container-fluid large-promo themes_promo margin-sm-bottom border border_solid border_bottom border_color_grey_2"><div class="row text-align_left"><div class="col-sm-xl-12 flex-col"><a href="/forums/les-meilleurs-bouts-du-monde-20241130_C6KHATJRQRCRJESNNTZIJD5EG4/" title="Les meilleurs «Bouts du monde»"><div><div class="sc-kSzVC sc-bxdjLI cSDozW ftfuWe"></div></div></a></div><div class="col-sm-xl-12 flex-col margin-xs-bottom"><a href="/forums/les-meilleurs-bouts-du-monde-20241130_C6KHATJRQRCRJESNNTZIJD5EG4/" class="Overline-sc-1o7iuj5-0 dCtggU">Beau livre</a><a href="/forums/les-meilleurs-bouts-du-monde-20241130_C6KHATJRQRCRJESNNTZIJD5EG4/" class="decoration_none color_grey_4" title="Les meilleurs «Bouts du monde»"><h2 class="Headline-sc-16el3pa-0 hoFQxA font_lg-libe font_primary font_primary_spacing-0-6 font_normal margin-xs-bottom ">Les meilleurs «Bouts du monde»</h2></a><div 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class="Overline-sc-1o7iuj5-0 dCtggU">Expo</a><a href="/culture/arts/art-contemporain/art-contemporain-a-nice-laurence-aegerter-aux-marches-du-palais-lascaris-20241130_RF4ZL47XZZBZZAKBEONBAQNRBQ/" class="decoration_none color_grey_4" title="Art contemporain à Nice : Laurence Aëgerter aux marches du palais Lascaris"><h2 class="Headline-sc-16el3pa-0 hoFQxA font_lg-libe font_primary font_primary_spacing-0-6 font_normal margin-xs-bottom ">Art contemporain à Nice : Laurence Aëgerter aux marches du palais Lascaris</h2></a><div class="article-meta"><span class="font_xxs font_tertiary color_grey ">30 nov. 2024</span><span class="color_yellow_2 font_xxs font_tertiary margin-xs-left">abonnés</span></div></div></div></article></div></div></div></div></div></div><article class="CustomContentListItem__Article-sc-2hcki7-0 euEONJ"><a href="/culture/livres/reedition-de-liberte-de-paul-eluard-jachete-20241130_ZFIO5CDWFVHKHEMC4QMFOP5CUA/" title="Réédition de «Liberté» de Paul Eluard, j’achète" 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href="/culture/musique/emile-londonien-warmduscher-terrenoire-the-innocence-mission-murcof-la-playlist-du-cahier-musique-de-liberation-20241130_J5YSW6OIKFGQVIMFI3FI4YROCI/" title="Emile Londonien, Warmduscher, Terrenoire, the innocence mission, Murcof : la playlist du cahier musique de «Libération»" class="CustomContentListItem__Link-sc-2hcki7-2 kPzBgo"><div class="sc-jwHExh fVfTac"><div class="sc-jhRauI hnifpl"></div><div class="sc-jhRauI bpFydt"><div direction="column" class="sc-jwHExh hMZcIk"><div class="sc-jhRauI gnbSrH"><div color="#E60004" class="sc-iRaSfU gKKCcS">La découverte</div></div><div class="sc-jhRauI sc-KiOns gnbSrH hggVri"><h2 color="#1A1A1A" class="sc-iRaSfU ExWvp">Emile Londonien, Warmduscher, Terrenoire, the innocence mission, Murcof : la playlist du cahier musique de «Libération»</h2></div><div class="sc-jhRauI gnbSrH"><div class="sc-cZbDLb iNhCDl"><div color="#A3A3A3" class="sc-iRaSfU sc-cKkZIC gpwLdt hURIox">29 nov. 2024</div></div><div class="sc-cZbDLb iNhCDl"></div></div></div></div></div></a></article><hr class="CustomContentListItem__Divider-sc-2hcki7-1 kcHddm"/><article class="CustomContentListItem__Article-sc-2hcki7-0 euEONJ"><a href="/culture/livres/boualem-sansal-lettres-trop-libres-20241129_FS7YIT6575D7XKQEGZSA24WJJE/" title="Boualem Sansal, lettres trop libres " class="CustomContentListItem__Link-sc-2hcki7-2 kPzBgo"><div class="sc-jwHExh fVfTac"><div class="sc-jhRauI hnifpl"></div><div class="sc-jhRauI bpFydt"><div direction="column" class="sc-jwHExh hMZcIk"><div class="sc-jhRauI gnbSrH"><div color="#E60004" class="sc-iRaSfU gKKCcS">Portrait</div></div><div class="sc-jhRauI sc-KiOns gnbSrH hggVri"><h2 color="#1A1A1A" class="sc-iRaSfU ExWvp">Boualem Sansal, lettres trop libres </h2></div><div class="sc-jhRauI gnbSrH"><div class="sc-cZbDLb iNhCDl"><div color="#A3A3A3" class="sc-iRaSfU sc-cKkZIC gpwLdt hURIox">29 nov. 2024</div><div color="#EEB54E" class="sc-iRaSfU gzQSYJ">Abonnés</div></div><div class="sc-cZbDLb iNhCDl"></div></div></div></div></div></a></article><hr class="CustomContentListItem__Divider-sc-2hcki7-1 kcHddm"/><article class="CustomContentListItem__Article-sc-2hcki7-0 euEONJ"><a href="/culture/jeux-video/silence-on-joue-stalker-2-fear-the-spotlight-tactical-breach-wizards-20241129_OYXZZPHBMJFYLOFB55YAAFZLWU/" title="Silence on joue ! «S.T.A.L.K.E.R. 2», « Fear the Spotlight», «Tactical Breach Wizards»" class="CustomContentListItem__Link-sc-2hcki7-2 kPzBgo"><div class="sc-jwHExh fVfTac"><div class="sc-jhRauI hnifpl"></div><div class="sc-jhRauI bpFydt"><div direction="column" class="sc-jwHExh hMZcIk"><div class="sc-jhRauI gnbSrH"><div color="#E60004" class="sc-iRaSfU gKKCcS">Podcast</div></div><div class="sc-jhRauI sc-KiOns gnbSrH hggVri"><h2 color="#1A1A1A" class="sc-iRaSfU ExWvp">Silence on joue ! «S.T.A.L.K.E.R. 2», « Fear the Spotlight», «Tactical Breach Wizards»</h2></div><div class="sc-jhRauI gnbSrH"><div class="sc-cZbDLb iNhCDl"><div color="#A3A3A3" class="sc-iRaSfU sc-cKkZIC gpwLdt hURIox">29 nov. 2024</div></div><div class="sc-cZbDLb iNhCDl"></div></div></div></div></div></a></article><hr class="CustomContentListItem__Divider-sc-2hcki7-1 kcHddm"/><article class="CustomContentListItem__Article-sc-2hcki7-0 euEONJ"><a href="/culture/arts/art-contemporain/la-banane-de-maurizio-cattelan-achetee-24-centimes-et-revendue-6-millions-le-jour-meme-a-fini-mangee-par-son-acquereur-20241129_I2GWPZ3ZPZA7VL5SRXDALRTKEE/" title="La banane de Maurizio Cattelan, achetée 24 centimes et revendue 6 millions de dollars le jour même, a fini mangée par son acquéreur" class="CustomContentListItem__Link-sc-2hcki7-2 kPzBgo"><div class="sc-jwHExh fVfTac"><div class="sc-jhRauI hnifpl"></div><div class="sc-jhRauI bpFydt"><div direction="column" class="sc-jwHExh hMZcIk"><div class="sc-jhRauI gnbSrH"><div color="#E60004" class="sc-iRaSfU gKKCcS">Art contemporain</div></div><div class="sc-jhRauI sc-KiOns gnbSrH hggVri"><h2 color="#1A1A1A" class="sc-iRaSfU ExWvp">La banane de Maurizio Cattelan, achetée 24 centimes et revendue 6 millions de dollars le jour même, a fini mangée par son acquéreur</h2></div><div class="sc-jhRauI gnbSrH"><div class="sc-cZbDLb iNhCDl"><div color="#A3A3A3" class="sc-iRaSfU sc-cKkZIC gpwLdt hURIox">29 nov. 2024</div></div><div class="sc-cZbDLb iNhCDl"></div></div></div></div></div></a></article><hr class="CustomContentListItem__Divider-sc-2hcki7-1 kcHddm"/><article class="CustomContentListItem__Article-sc-2hcki7-0 euEONJ"><a href="/culture/series/les-series-de-la-semaine-get-millie-back-et-ca-cest-paris-20241129_OWYFJBXQWNAIXFZUZ4TJZ3FM4E/" title="Les séries de la semaine : «Get Millie Back» et «Ça, c’est Paris»" class="CustomContentListItem__Link-sc-2hcki7-2 kPzBgo"><div class="sc-jwHExh fVfTac"><div class="sc-jhRauI hnifpl"></div><div class="sc-jhRauI bpFydt"><div direction="column" class="sc-jwHExh hMZcIk"><div class="sc-jhRauI gnbSrH"><div color="#E60004" class="sc-iRaSfU gKKCcS">A l'écran</div></div><div class="sc-jhRauI 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Le top 10 de la semaine du service culture" class="CustomContentListItem__Link-sc-2hcki7-2 kPzBgo"><div class="sc-jwHExh fVfTac"><div class="sc-jhRauI hnifpl"></div><div class="sc-jhRauI bpFydt"><div direction="column" class="sc-jwHExh hMZcIk"><div class="sc-jhRauI gnbSrH"><div color="#E60004" class="sc-iRaSfU gKKCcS">Sélection</div></div><div class="sc-jhRauI sc-KiOns gnbSrH hggVri"><h2 color="#1A1A1A" class="sc-iRaSfU ExWvp">«Le cas David Zimmerman», «Heretic», «4.48 Psychose»... 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tout petit livre s’est glissé dans les meilleures ventes datalib, au milieu de ceux sortis entre la mi-août et la mi-novembre. Un petit fascicule blanc à liséré bleu, au prix de 4,90 € (facile à glisser dans la poche), pouvant se prévaloir d’une première édition officielle datant de 1945. C’est le poème légendaire de <a href=\"https://www.liberation.fr/societe/2014/07/15/la-maison-de-paul-eluard-sur-une-voie-de-garage_1064407/\" target=\"_blank\">Paul Eluard</a>, <i>Liberté</i>. Bien connu de générations d’écoliers qui ont parfois eu à l’ânonner en cours de français, il connaît en effet un joli petit succès de librairie. Sur 15 000 exemplaires tirés, 10 000 d’entre eux ont déjà essaimé dans la nature, chouchoutés par les libraires, boostés en cours de route par une émission de <i>la Grande librairie</i> où l’on voit une adolescente sur le plateau lire le poème devant <a href=\"https://www.liberation.fr/idees-et-debats/edgar-morin-lheure-dune-nouvelle-resistance-est-venue-face-aux-mensonges-aux-illusions-aux-hysteries-collectives-20240704_ZAHYI4HNPFESPCELTAD2JLWRDI/\" target=\"_blank\">Edgar Morin </a>ému."},{"level":2,"_id":"GUZO2EEB65DXLG7NNLSBNAAPTE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732733204316},"type":"header","content":"Pourquoi maintenant ?"},{"_id":"SQWU2H2PBZE35KL6XZHW4WLVYA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732733204317},"type":"text","content":"C’est le centenaire du <a href=\"https://www.liberation.fr/culture/livres/le-manifeste-du-surrealisme-de-lage-dor-au-hors-dages-20240903_SU5J6NZL3FDH7BFROLCG6JXQPE/\" target=\"_blank\">Manifeste du surréalisme</a>, surréalisme dont Eluard fut un ambassadeur avant la rupture avec André Breton. C’est aussi le quatre-vingtième anniversaire de la Libération de Paris, et <i>Liberté</i> est un symbole de la résistance, écrit en 1942 sous l’occupation nazie par le poète de 46 ans. L’édition propose un bonus intéressant : une notice inédite, «Histoire d’un poème», retrace les conditions dans lesquelles furent composées les 21 strophes et comment elles nous parvinrent. Elles sont emblématiques pour les Editions de Minuit : Paul Eluard a fait partie de l’aventure éditoriale de la maison. Membre de son comité de lecture dès 1942, il va publier le premier titre Minuit à paraître au sortir de la clandestinité. Le recueil <i>Au rendez-vous allemand</i>, dans lequel il a rassemblé ses poèmes de guerre, est achevé d’imprimer le 15 décembre 1944. Il augmentera la deuxième édition d’avril 1945 de divers textes, y compris <i>Liberté</i>."},{"level":2,"_id":"3DMMJFKX5VCTROONFOM557LGBQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1732733204318},"type":"header","content":"Quand Eluard l’a-t-il écrit ?"},{"_id":"BJFGPSGWJ5HTZLDO2KC42WIGOY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732733204319},"type":"text","content":"A Paris avec sa femme Nush, Eluard écrit ses textes de résistance dans la clandestinité. A l’été 1941, Nush, malade, est hospitalisée. Le poète décidé d’écrire un long texte à son aimée. Il expliquera plus tard quelle voie a finalement pris sa création : <i>«En composant les premières strophes […], je pensais révéler pour conclure le nom de la femme que j’aimais, à qui ce poème était destiné. Mais je me suis aperçu que le seul mot que j’avais en tête était le mot</i> liberté<i>. ainsi, la femme que j’aimais incarnait un désir plus grand qu’elle.» Liberté</i>, – le titre initial était <i>Une seule pensée –</i> a été achevé au printemps 1942."},{"subtype":"title_only","_id":"KXZABMVLXZGONC5HPS7YHZ3CE4","additional_properties":{"comments":[],"_id":"H3QQUDBEMVA5PL452JNIBPWZOA"},"title":"Le précédent Pourquoi ça marche ?","type":"link_list","items":[{"description":{"_id":"3I7ND7STABBHVDJE6HCYU3A5P4","type":"text","content":""},"_id":"5PSBKZXZCBHKRMKRGYF52UBFDA","type":"interstitial_link","content":"Emil Ferris roule sa bille","url":"https://www.liberation.fr/culture/livres/emil-ferris-roule-sa-bille-20241122_UM52E2H6LNGFTOEQA55UTFBBOA/"}]},{"level":2,"_id":"OMFWC7MNUZFF7LTYIUL26HXXQA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732733204320},"type":"header","content":"A-t-il vraiment été parachuté sur la France par la RAF ?"},{"_id":"FRZTZVF2V5CRVP7CF3VZPRL3FA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732733204321},"type":"text","content":"Son histoire a quelque chose de rocambolesque. Elle avait d’ailleurs inspiré, après trois ans de recherche, un premier roman à Xavier Donzelli (<i>Et par le pouvoir d’un mot</i>, Seghers, 2023). La première fois, le poème paraît en juin 1942 à Alger dans la revue <i>Fontaine</i> dirigée par Max-Pol Fouchet, et en septembre 1942 dans un recueil imprimé par La Main à plume, un groupe fondé fin 1940 autour de Benjamin Péret et de Robert Rius. <i>«A partir de la fin 1942, la circulation du poème dans les milieux résistants est intense»</i>, précise l’historique. <i>Liberté</i> (au milieu d’une revue et avec d’autres ouvrages) sera bien largué par des bombardiers de la RAF en mai et juin 1943, au-dessus de plusieurs villes françaises. Et le pouvoir de subversion d’un poème qui célèbre la liberté semble plus que jamais d’actualité."},{"level":6,"_id":"VEFZ7SHCZJAHRK7K37PXSQNLKA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732733204322},"type":"header","content":"Paul Eluard, <i>Liberté.</i> Les Editions de Minuit, 32 pp., 4,90 €."}],"subheadlines":{"basic":"Le joli succès d’une réédition du poème légendaire de Paul Eluard nous montre qu’il résiste toujours autant. 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Depuis, l’écrivain de 75 ans n’est pas en garde à vue, mais en détention. Il a été arrêté le 16 novembre 2024 dans son pays natal pour atteinte à la sûreté de l’Etat. Boualem Sansal, romancier édité chez Gallimard et dont les textes sont censurés en Algérie, est également français. Il a été naturalisé récemment, en même temps que Kamel Daoud, autre auteur franco-algérien passé chez Gallimard à la faveur de son dernier roman, <i>Houris, </i>récompensé en novembre par le Prix Goncourt."},{"level":2,"_id":"EOZUBQKBYJCADOQZZ7QKXJ7FFI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732876233715},"type":"header","content":"«Quelque chose d’énorme allait se produire, et changer brutalement le cours de ma vie»"},{"_id":"EOZUBQKBYJCADOQZZ7QKXJ7FFI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732876233715},"type":"text","content":"A la fin de la décennie noire, Boualem Sansal, ingénieur diplômé de l’Ecole polytechnique d’Alger, institution qui était à l’époque d’un excellent niveau, est devenu écrivain. Lui l’hyper-rationaliste, et c’est là une intéressante contradiction, déploie dans ses livres une langue baroque, lyrique, imaginative avec laquelle il s’en prend à la politique algérienne, inséparable de la religion ; l’autonomie de la religion et de la politique est un acquis occidental. <i>Le Serment des barbares</i> (1999, Gallimard), son premier roman, racontait la guerre civile algérienne, celle que la loi (algérienne) interdit d’évoquer pour, soi-disant, préserver la concorde nationale."},{"subtype":"title_only","_id":"CWK3PUVZBBA6PIK6ULH3UVNBLQ","additional_properties":{"comments":[],"_id":"HFYMWCZYDFG37D54QG77SUTOO4"},"title":"Tribune","type":"link_list","items":[{"description":{"_id":"PE2JCYCYOBHQTKMKTIIAIDUZJE","type":"text","content":""},"_id":"3OOBNOZNORHYLASE6A4KJEXGKM","type":"interstitial_link","content":"L’Algérie mérite mieux que l’arrestation de Boualem Sansal","url":"https://www.liberation.fr/idees-et-debats/tribunes/lalgerie-merite-mieux-que-larrestation-de-boualem-sansal-20241125_SYLGRPJ2D5FMBHQVMCF7XB2W6Q/"}]},{"_id":"RKWUZCJNCJAMDAEATOLIJH3LNE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732899766204},"type":"text","content":"Son cinquième roman, <i>le Village de l’Allemand</i> (2008, Gallimard), avait pour trame une histoire vraie que Boualem Sansal avait découverte et sur laquelle il avait enquêté : le héros est un ancien nazi qui, après avoir fui l’Allemagne, a participé à la guerre d’indépendance de l’Algérie et s’est converti à l’islam. Parler en Algérie de la Shoah n’était pas facile ; y faire de l’islamisme le sujet d’un texte ne l’est pas non plus. En janvier dernier il a publié <i>Vivre</i> (Gallimard), un roman de science-fiction dans lequel le héros devine dès la première page que le chaos approche : <i>«Je le sentais, c’était irrépressible, inévitable, quelque chose d’énorme allait se produire, et changer brutalement le cours de ma vie… Et le cours du monde. L’angoisse qui m’épuisait depuis cette nuit fatidique allait exploser.»</i>"},{"level":2,"_id":"NHDBJCFCAFAWHI2YKOUE5VQ4GU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732899766205},"type":"header","content":"Ironique, très bavard, il dégage pourtant un calme apaisant."},{"_id":"NHDBJCFCAFAWHI2YKOUE5VQ4GU","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-11-29T15:47:08.762Z","start":761,"end":800,"text":"et Gallimard","user":"Thierry Thirault","email":"t.thirault@liberation.fr"}],"_id":1732899766206},"type":"text","content":"Boualem Sansal expliquait à <i>Libération</i> en 2023 qu’il était l’enfant d’un mariage d’amour, ce qui s’apparentait dans les années 1940 et 1950 à une exception et à un <i>«scandale»</i>, disait-il. Avec sa façon de donner à tous ses propos l’allure et la douceur d’un conte, en évoquant les siens il mettait l’accent sur la liberté qui caractérisait sa mère, aide-soignante. Parce qu’elle avait été élevée dans une famille francophile et athée, elle était surnommée «la Française». Orphelin de père un an après sa naissance, recueilli par sa famille paternelle qui l’a privé de sa mère avant que celle-ci n’organise l’enlèvement de son fils afin de le récupérer, le futur écrivain a très tôt adopté l’esprit et la tradition du «écrasez l’infâme !». Kamel Daoud, auteur de <i>Meursault, contre-enquête</i> (Actes Sud), est camusien quand Boualem Sansal est voltairien. Ironique, très bavard, il dégage pourtant, lorsqu’on le rencontre, un calme apaisant. C’est à Prague qu’il a connu son épouse à une époque, celle de Houari Boumediene (président de 1965 à 1978) où les relations entre l’Algérie et les pays de l’Est étaient étroites. Leurs deux filles ont d’ailleurs été scolarisées dans la capitale tchèque parce que le couple estimait que le quotidien y serait plus facile pour elles qu’en Algérie. Boualem Sansal et sa femme les retrouvaient pendant les vacances scolaires. Lui travaillait au ministère de l’Industrie. En 2003 il a été déchu de son statut de haut fonctionnaire parce qu’il avait critiqué le président Abdelaziz Bouteflika."},{"level":2,"_id":"X2ICVQC23ZGYFDXXCKMXOBOVLE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732899766207},"type":"header","content":"Une arrestation consécutive à l’état des relations franco-algériennes"},{"_id":"X2ICVQC23ZGYFDXXCKMXOBOVLE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732899766208},"type":"text","content":"Les tensions entre l’écrivain et le gouvernement algérien sont donc anciennes. Nombreux sont ses amis qui redoutaient qu’un malheur lui arrive lorsqu’ils le savaient en Algérie. Pourquoi est-ce maintenant que le pouvoir lui fait payer sa liberté ? Son arrestation est une conséquence de l’état des relations franco-algériennes. Le 30 juillet dernier, la France a reconnu la souveraineté marocaine sur le Sahara-Occidental ; Sansal a accordé récemment un entretien au média d’extrême droite Frontières y affirmant que le Sahara-Occidental est marocain, non algérien. On lit dans quelques articles, on entend dire sur des plateaux de télévision que Sansal a des convictions d’extrême droite. Nous aurions aimé lui demander si c’est vrai. Les circonstances nous en empêchent, peut-être pour longtemps."}],"subheadlines":{"basic":"«Enfant d’un mariage d’amour», cultivant une tradition athée voltairienne, l’écrivain tranche dans le paysage littéraire algérien par ses critiques sur la religion et la politique. Ce qui lui vaut depuis longtemps l’inimitié du pouvoir."},"description":{"basic":"«Enfant d’un mariage d’amour», cultivant une tradition athée voltairienne, l’écrivain tranche dans le paysage littéraire algérien par ses critiques sur la religion et la politique. 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Justin Sun, le richissime propriétaire sino-américain de<a href=\"https://www.liberation.fr/culture/la-banane-scotchee-de-maurizio-cattelan-mise-aux-encheres-pour-1-million-de-dollars-20241118_DK2KSI2HNBCF3DGUBM5GS6SONM/\" target=\"_blank\"> l’œuvre d’art <i>Comedian</i></a><i>,</i> soit une banane accrochée à un mur par un morceau de scotch argenté, a mangé le fruit ce vendredi 29 novembre lors d’une conférence de presse organisée à Hongkong. Il avait acquis l’œuvre neuf jours plus tôt à New York pour la modique somme de 5,9 millions d’euros (6,2 millions de dollars). Les journalistes et influenceurs qui ont assisté à ladite «performance» du fondateur de la plateforme de cryptomonnaies Tron sont tous repartis avec un rouleau de ruban adhésif et une banane en guise de souvenir."},{"_id":"NFCDCFEB55E7HNL6XAGPSWA4U4","additional_properties":{"inline_comments":[],"comments":[],"_id":1732889076899},"type":"text","content":"Avant de déguster, le trentenaire a prononcé un discours dans lequel il a qualifié d’<i>«iconique» </i>la réalisation de l’<a href=\"https://www.liberation.fr/arts/2016/11/13/maurizio-cattelan-bilan-d-epate_1528104/\" target=\"_blank\">artiste iconoclaste et provocateur italien Maurizio Cattelan</a>. Une fois la première bouchée avalée, il a qualifié le fruit de <i>«bien meilleur que les autres bananes». </i>Selon ses dires, c’est dix secondes après avoir remporté la vente aux enchères organisée par la maison Sotheby’s, le 20 novembre, que <a href=\"https://x.com/justinsuntron/status/1859403540315373942\" target=\"_blank\">Justin Sun a pris la décision irréversible de la consommer</a>. <i>«La manger lors d’une conférence de presse peut aussi faire partie de l’histoire de cette œuvre d’art»,</i> a-t-il ainsi vanté ce vendredi dans la matinée."},{"subtype":"twitter","referent":{"referent_properties":{"additional_properties":{"comments":[],"_id":1732897003596}},"provider":"https://publish.x.com/oembed?url=","service":"oembed","id":"https://x.com/justinsuntron/status/1862512985346121735","type":"twitter"},"_id":"4DYGDXLHSZBP5KLCQ6WQ235RBI","raw_oembed":{"author_name":"H.E. 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En 2019, l’année de sa révélation, elle avait été une première fois mangée à Miami par un autre artiste, David Datuna, puis par un étudiant sud-coréen lors d’une exposition à Séoul, en 2023."},{"level":2,"_id":"QFJ6VGVDJNFB3GLSUIBLJGHZ6Y","additional_properties":{"inline_comments":[],"comments":[],"_id":1732894369757},"type":"header","content":"Achetée pour une bouchée de pain"},{"_id":"EP2JFVBCBBDEDH4JBIPLLSXC4Y","additional_properties":{"inline_comments":[],"comments":[],"_id":1732894369758},"type":"text","content":"Le 27 novembre, <a href=\"https://www.nytimes.com/2024/11/27/nyregion/banana-auction-sothebys.html\" target=\"_blank\">le <i>New York Times</i></a><i> </i>a publié une enquête sur les origines de la banane mangée par Justin Sun. On apprend que le jour même de la vente aux enchères, le fruit a été acheté pour une bouchée de pain – 25 cents, soit 24 centimes d’euros – sur un marché new-yorkais. Le quotidien américain raconte que le vendeur de la banane, Shah Alamun, vendeur de 74 ans originaire du Bangladesh, a pleuré en apprenant la somme à laquelle s’était vendu le <i>Comedian.</i>"},{"subtype":"twitter","referent":{"referent_properties":{"additional_properties":{"comments":[],"_id":1732897003600}},"provider":"https://publish.x.com/oembed?url=","service":"oembed","id":"https://x.com/justinsuntron/status/1862202496602788160","type":"twitter"},"_id":"BPVFX5XXVZFCXAI6UMA2OZLK34","raw_oembed":{"author_name":"H.E. Justin Sun 🍌","cache_age":"3153600000","provider_url":"https://twitter.com","type":"twitter","version":"1.0","url":"https://twitter.com/justinsuntron/status/1862202496602788160","author_url":"https://twitter.com/justinsuntron","width":550,"html":"<blockquote class=\"twitter-tweet\"><p lang=\"en\" dir=\"ltr\">To thank Mr. Shah Alam, I’ve decided to buy 100,000 bananas from his stand in New York's Upper East Side. These bananas will be distributed free worldwide through his stand. Show a valid ID to claim one banana, while supplies last. <a href=\"https://t.co/jbCnh0u3JI\">https://t.co/jbCnh0u3JI</a></p>— H.E. Justin Sun 🍌 (@justinsuntron) <a href=\"https://twitter.com/justinsuntron/status/1862202496602788160?ref_src=twsrc%5Etfw\">November 28, 2024</a></blockquote>\n<script async src=\"https://platform.twitter.com/widgets.js\" charset=\"utf-8\"><\/script>\n\n","_id":"https://x.com/justinsuntron/status/1862202496602788160","additional_properties":{"comments":[],"_id":1732897003600},"provider_name":"Twitter","height":null},"type":"oembed_response"},{"_id":"CCL4UUQCQRDW3E7GU63WSSPT5E","additional_properties":{"inline_comments":[],"comments":[],"_id":1732894369759},"type":"text","content":"Au lendemain de la parution de cet article, Justin Sun a fait part sur X de sa décision d’acheter 100 000 bananes à Shah Alamun <i>«pour le remercier».</i> Les denrées seront disponibles gratuitement pour les consommateurs au stand de fruits du vendeur, affirme Justin Sun."},{"_id":"24A3ZSTDSRENJNNTAXZQES33QU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732894369762},"type":"text","content":"Profitant de ce coup de projecteur, le fondateur de la plateforme de cryptomonnaies Tron a comparé lors de la conférence de presse de ce vendredi les œuvres conceptuelles comme <i>Comedian</i> à l’art NFT («jeton non fongible») et à la technologie blockchain décentralisée. «<i>La plupart de ces objets et idées existent en tant que [propriété intellectuelle] et sur Internet, par opposition à quelque chose de physique»</i>, a-t-il souligné. Justin Sun a par ailleurs annoncé cette semaine un investissement de 30 millions de dollars (28,4 millions d’euros) dans World Liberty Financial, plateforme de placement et d’emprunt en cryptomonnaie, soutenue par le président élu américain Donald Trump."}],"subheadlines":{"basic":"Lors d’une conférence qu’il avait lui-même organisée, Justin Sun, le nouveau propriétaire de l’œuvre d’art à 6 millions d’euros, «Comedian», a dégusté le fruit dont on a appris qu’il avait été acheté neuf jours plus tôt sur un marché new-yorkais."},"description":{"basic":"Lors d’une conférence qu’il avait lui-même organisée, Justin Sun, le nouveau propriétaire de l’œuvre d’art à 6 millions d’euros, «Comedian», a dégusté le fruit dont on a appris qu’il avait été acheté sur un marché new-yorkais."},"language":"","source":{"system":"composer","name":"liberation","source_type":"staff"},"taxonomy":{"primary_site":{"path":"/culture/arts/art-contemporain","parent_id":"/culture/arts","name":"Art contemporain","description":"Retrouvez toute l'actualité sur l'art contemporain avec Libération.","_id":"/culture/arts/art-contemporain","additional_properties":{"original":{"parent":{"footer2":"/culture/arts","default":"/culture/arts","footer":null,"burgermenu":"/culture/arts","headernav":"/culture/arts"},"site":{"pagebuilder_path_for_native_apps":null,"site_url":null,"site_keywords":null,"site_about":null,"site_description":"Retrouvez toute l'actualité sur l'art contemporain avec Libération.","site_title":"Art contemporain : actualités et informations - 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et le sexe : le sujet a intéressé nombre d’écrivains au fil des générations. <a href=\"https://www.liberation.fr/culture/2001/11/24/un-heros-malraux_384997/\" target=\"_blank\">André Malraux</a>, en 1932, au moment de la première traduction de <i>l’Amant de Lady Chatterley</i>, prétend que <i>«l’important pour lui n’était pas de défendre sa liberté, mais de savoir ce qu’on en pouvait faire. A ses yeux, ce n’est pas par la conscience de ce qu’il a de particulier que l’individu s’atteint, c’est par la conscience la plus forte de ce qu’il a de commun avec les autres : son sexe. […] Il n’y a pourtant pas de livre moins hédoniste. Il ne s’agit pas là d’échapper au péché, mais d’intégrer l’érotisme à la vie sans qu’il perde cette force qu’il devait au péché ; de lui donner tout ce qui, jusqu’ici, était donné à l’amour, d’en faire le moyen de notre propre révélation. Lawrence ne veut être ni heureux ni grand ; il veut</i> être.»"},{"_id":"JGKC24INDZENVHB3N5WMQSVFIQ","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-11-25T17:29:03.551Z","start":700,"end":754,"text":"guil","user":"David Darloy","email":"d.darloy@liberation.fr"}],"_id":1731924779868},"type":"text","content":"Aldous Huxley, en 1915, cité par Pierre Nordon en introduction des <i>Nouvelles complètes</i> (Classiques Garnier) : <i>«Pour Lawrence l’existence était une convalescence sans cesse renouvelée : comme s’il relevait chaque jour d’une maladie mortelle.» </i>Des années auparavant, Huxley l’avait décrit comme <i>«le romancier un peu dérangé […] aux légères manies sexuelles»</i>. <i>«Dans son autobiographie, Tennessee Williams explique comment la nouvelle de Lawrence </i>You touched me<i> [Vous m’avez touché, 1919]</i> <i>fut à l’origine de sa carrière de dramaturge»,</i> écrit Pierre Nordon. Dans sa préface à l’édition Pléiade, Marc Porée cite <a href=\"https://www.liberation.fr/livres/2017/06/07/malaparte-blagues-a-part_1575124/\" target=\"_blank\">Curzio Malaparte </a>: <i>«Reconvertir les Anglais à l’amour physique, ou, comme il le dit lui-même, “régénérer l’Angleterre par le moyen de la sexualité”. Telle est l’entreprise à laquelle Lawrence se consacre avec toute l’énergie d’un rescapé du naufrage. Aux conventions, aux compromissions, aux préjugés de la société anglaise contemporaine, il oppose la mystérieuse vérité des instincts animaux : son aventure littéraire se déroule dans les décors d’une Arcadie décrétée sauvage où hommes et bêtes s’opposent et se confondent dans un climat chaud et parfumé, jaune de pollen comme un nuage de printemps.»</i>"},{"level":2,"_id":"266Z63PTXNAHZPJIBWSVER7PQY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732557516570},"type":"header","content":"«Ignorance crasse de la sexualité féminine»"},{"_id":"SWGC37JFSNASTJGLESESOPQ4QI","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-11-25T17:30:33.443Z","start":384,"end":389,"text":"guil","user":"David Darloy","email":"d.darloy@liberation.fr"}],"_id":1732557516571},"type":"text","content":"Chez les femmes, des réticences. En 1970, note la Pléiade, <i>«</i><a href=\"https://www.liberation.fr/culture/2017/09/07/kate-millett-figure-du-feminisme-s-est-eteinte_1594748/\" target=\"_blank\"><i>Kate Millett</i></a><i> le foudroie de ses jugements assassins»</i>, lui reprochant sexisme et misogynie. On lit dans <i>l’Amant de Lady Chatterley </i>: <i>«On a beau jeu de parler de l’égoïsme des hommes ; il n’arrive pas à la cheville de celui des femmes qui se la donnent avec leur bec aveugle.» </i>Note Pléiade : <i>«En usant du terme dépréciatif de “bec”, pour désigner le clitoris, et en en faisant une arme contre les hommes, Lawrence avouerait, selon </i><a href=\"https://www.liberation.fr/livres/2013/11/17/doris-lessing-livre-penseuse_947689/\" target=\"_blank\"><i>l’écrivaine Doris Lessing</i></a><i>, son ignorance crasse de la sexualité féminine, et en particulier de l’orgasme clitoridien.»</i> Ce n’est pourtant que le garde-chasse qui s’exprime, évoquant ses mauvais rapports avec son ancienne compagne, et les organes masculins ne sont pas mieux traités."},{"_id":"GERAZKFWJVC43OPYWYZESDBCV4","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-11-25T17:31:17.923Z","start":222,"end":235,"text":"guil","user":"David Darloy","email":"d.darloy@liberation.fr"}],"_id":1731939371033},"type":"text","content":"Virginia Woolf : <i>«Pour moi, Lawrence manque d’air, il sent le renfermé : ce n’est pas ce que je veux, je continue à le dire. Et cette façon de répéter la même idée ! Je n’en veux pas non plus. Je ne veux surtout pas d’une “philosophie” : je ne crois pas à l’élucidation des devinettes. […] Et puis je n’aime pas sa façon de tambouriner avec deux doigts – ni son arrogance. Après tout, l’anglais compte un million de mots : pourquoi se limiter à six ? Et s’en enorgueillir ?»</i>"},{"_id":"CHUUFBRA6VGWNH5Z6BS3WSE2IA","additional_properties":{"inline_comments":[],"comments":[],"_id":1731924779870},"type":"text","content":"Lawrence aussi pouvait être sévère sans que la postérité valide son opinion. Lettre de 1922 : <i>«</i><a href=\"https://www.liberation.fr/culture/livres/fameux-qui-comme-ulysse-dublin-celebre-les-100-ans-du-roman-mythique-de-james-joyce-20220610_Z6MHOTUUKVBLBHMUSWTMNDD3OY/\" target=\"_blank\">Ulysse</a> <i>m’a épuisé. Typiquement le livre d’un maître d’école qui n’a en tête que saletés et autres ordures ; quelquefois bon, cependant, mais beaucoup trop cérébral.»</i> Le monologue final de Molly Bloom lui paraît <i>«dégoûtant». «Il est vrai que Joyce et Lawrence auront passé leur temps à s’épier, à se dénigrer mutuellement», </i>écrit Marc Porée."}],"subheadlines":{"basic":"Si l’auteur de «l’Amant de Lady Chatterley» a été célébré par de nombreux écrivains, il a aussi été critiqué pour son style et la misogynie de ses textes."},"description":{"basic":"Si l’auteur de «l’Amant de Lady Chatterley» a été célébré par de nombreux écrivains, il a aussi été critiqué pour son style et la misogynie de ses textes."},"language":"","source":{"system":"composer","name":"liberation","source_type":"staff"},"taxonomy":{"primary_site":{"path":"/culture/livres","parent_id":"/culture","name":"Livres","description":"Retrouvez toute l'actualité littéraire : critiques et nouveautés livres, le cahier livres, nos rencontres et interviews d'auteurs.","_id":"/culture/livres","additional_properties":{"original":{"parent":{"footer2":"/culture","default":"/culture","footer":null,"burgermenu":"/culture","amp-menu":"/culture","headernav":"/culture"},"site":{"pagebuilder_path_for_native_apps":null,"site_url":null,"site_keywords":null,"site_about":null,"site_description":"Retrouvez toute l'actualité littéraire : critiques et nouveautés livres, le cahier livres, nos rencontres et interviews d'auteurs.","site_title":"Livres : toute l'actualité littéraire avec Libération","site_tagline":null},"navigation":{"nav_title":"Livres"},"_admin":{"alias_ids":["/culture/livres","60"]},"inactive":false,"node_type":"section","social":{"twitter":null,"rss":null,"facebook":null,"instagram":null},"site_topper":{"site_logo_image":null},"name":"Livres","_id":"/culture/livres","ancestors":{"footer2":["/","/culture"],"default":["/culture","/"],"footer":[],"burgermenu":["/culture","/"],"amp-menu":["/","/culture"],"headernav":["/culture","/"]},"order":{"footer2":2003,"default":2005,"burgermenu":2006,"amp-menu":2006,"headernav":2003}}},"type":"site","version":"0.5.8"},"sites":[{"path":"/culture/livres","parent_id":"/culture","name":"Livres","description":"Retrouvez toute l'actualité littéraire : critiques et nouveautés livres, le cahier livres, nos rencontres et interviews d'auteurs.","_id":"/culture/livres","additional_properties":{"original":{"parent":{"footer2":"/culture","default":"/culture","footer":null,"burgermenu":"/culture","amp-menu":"/culture","headernav":"/culture"},"site":{"pagebuilder_path_for_native_apps":null,"site_url":null,"site_keywords":null,"site_about":null,"site_description":"Retrouvez toute l'actualité littéraire : critiques et nouveautés livres, le cahier livres, nos rencontres et interviews d'auteurs.","site_title":"Livres : toute l'actualité littéraire avec Libération","site_tagline":null},"navigation":{"nav_title":"Livres"},"_admin":{"alias_ids":["/culture/livres","60"]},"inactive":false,"node_type":"section","social":{"twitter":null,"rss":null,"facebook":null,"instagram":null},"site_topper":{"site_logo_image":null},"name":"Livres","_id":"/culture/livres","ancestors":{"footer2":["/","/culture"],"default":["/culture","/"],"footer":[],"burgermenu":["/culture","/"],"amp-menu":["/","/culture"],"headernav":["/culture","/"]},"order":{"footer2":2003,"default":2005,"burgermenu":2006,"amp-menu":2006,"headernav":2003}}},"type":"site","version":"0.5.8"},{"path":"/culture","parent_id":"/","name":"Culture","description":"Retrouvez toute l'actualité culturelle avec Libération : cinéma, musique, livres, photographie, scènes et arts, les infos sur les séries ou encore sur les jeux vidéos.","_id":"/culture","additional_properties":{"original":{"parent":{"footer2":"/","default":"/","footer":null,"burgermenu":"/","amp-menu":"/","headernav":"/"},"site":{"pagebuilder_path_for_native_apps":null,"site_url":null,"site_keywords":null,"site_about":null,"site_description":"Retrouvez toute l'actualité culturelle avec Libération : cinéma, musique, livres, photographie, scènes et arts, les infos sur les séries ou encore sur les jeux vidéos.","site_title":"Culture, livres, tendances, mode, cinéma, musique... - 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Tous les matins que Dieu fait, Ron et Russell se rejoignent pour un café, toujours dans le même bar de Los Angeles, vont ensemble à leur studio comme d’autres au bureau et travaillent jusqu’au soir dans un immuable compagnonnage de vieux garçons."},{"_id":"2ZO763QTEZDTZCFNJSUBKB4Z3U","additional_properties":{"inline_comments":[],"comments":[],"_id":1732726296625},"type":"text","content":"Un modèle qui inspire Elliott et Virgile Arndt, deux frères à la tête du duo Faux Real, dont le premier album<i> (Faux Ever),</i> mélange de glam rock, de synth-pop et de disco, s’inscrit justement dans les pas des Sparks.<i> «C’est une réelle inspiration, la preuve que les histoires fraternelles en musique ne finissent pas toujours mal»,</i> expriment-ils d’une même voix. <i>«Jusqu’à présent, on se sent exister quand on est ensemble. Un peu comme si Faux Real était une extension de chacun de nous.»</i>"},{"_id":"6EFGNH6AK5AZ5NXWJ5DVKNVPEE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732726296626},"type":"text","content":"Il faut dire que Virgile et Elliott Arndt ont toujours été meilleurs potes, du genre à monter des projets ensemble, à partager la même bande d’amis et à avoir les mêmes passions (The Strokes, The Cure, le skate, etc.). Avant Faux Real, il y a même eu deux groupes, dont Magic Waffle, formé alors que les frangins avaient respectivement 13 et 11 ans. Puis, quelques années plus tard, au sein d’une nouvelle formation, viennent les concerts dans des bars, les premières soirées, les beuveries mais aussi, peu à peu, l’envie de tester d’autres projets l’un sans l’autre. 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Au moment de former leur groupe, Ropoporose, en 2012 à Vendôme, le frère et la sœur, lui 19 ans, elle 14, sont activement soutenus par leurs parents. La mère, comptable, fonde rapidement l’association Ropoporose et s’assure que ses enfants sont correctement payés, le père les conduit lui-même à chacun de leurs concerts. <i>«Ils ont aussi contracté un prêt pour que l’on puisse avoir un véhicule pour nos tournées, et ont même permis à «Paupau» (Pauline) de sécher pas mal de cours afin que l’on puisse donner des concerts à droite et à gauche»,</i> précise l’aîné."},{"_id":"SLQ55MIIS5GHTDE727XI5HZ33M","additional_properties":{"inline_comments":[],"comments":[],"_id":1732726296629},"type":"text","content":"Particulièrement actifs entre 2013 et 2020, année de sortie de leur dernier album <i>(Dark Star),</i> Romain et Pauline ont été confrontés à tous les problèmes pouvant perturber l’harmonie au sein d’une fratrie : les rapports de domination, les envies contraires, le sentiment de vivre dans une bulle, etc. Après la sortie de <i>Dark Star,</i> vient donc le temps des grandes remises en question. Romain se sent parfois coupable d’avoir entraîné sa petite sœur dans des situations difficiles à gérer pour une adolescente, <i>«des fêtes avec beaucoup de mecs plus âgés et plus de soixante concerts par an».</i> Pauline, elle, confesse avoir ressenti le besoin de gagner en indépendance, de s’affranchir de son grand frère.<i> «La vie de groupe est si intense que j’ai l’impression d’avoir un trou de cinq ans dans ma vie»,</i> reconnaît-elle, tout en évoquant la fin du groupe comme une nécessité, un moyen de sauver leur relation. <i>«Après notre dernier album, il est devenu clair que nos rapports n’étaient plus au beau fixe. On n’était presque plus frère et sœur. Il fallait que j’en parle avec Romain, qu’il comprenne que ça ne pouvait plus continuer, même si la peur de blesser mon frère n’a pas rendu la discussion évidente».</i>"},{"_id":"Y6R353KITJAQJLOLSBGTHFIECQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1732726296630},"type":"text","content":"Pas facile également de se réinventer quand on a passé la moitié de sa vie à composer à deux. Contrairement à Pauline, qui a eu envie de <i>«mettre les mains dans le cambouis»</i> en prenant un job plus traditionnel, Romain, lui, a continué la musique mais a dû apprendre à composer autrement. A gagner en confiance également : <i>«Sans Pauline, je me suis confronté à mes propres limites de musicien, en plus de devoir digérer émotionnellement et professionnellement la fin de Ropoporose. J’aime les challenges, je sors désormais des projets en solo</i> (<a href=\"https://www.liberation.fr/culture/musique/primevere-comme-un-lucian-freud-qui-aurait-trop-bu-20221105_K5NRUC4NTFH2DGOJLAIJXDEVQE/fin-de-vie/\" target=\"_blank\">sous le pseudo Primevère</a>, ndlr), <i>mais je me dois d’être honnête : il suffirait d’un mot de Pauline pour qu’on relance tout.»</i>"},{"level":2,"_id":"FBNTPVJPPBEGNCLZXS45CCPLPI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732726296631},"type":"header","content":"Le poids de l’histoire"},{"_id":"4I52ZXVXUVGDPCLJXCE55YEO6Y","additional_properties":{"inline_comments":[],"comments":[],"_id":1732726296632},"type":"text","content":"Ce besoin d’indépendance, les frères D’Addario, à la tête de la formation pop américaine <a href=\"https://www.liberation.fr/culture/musique/the-lemon-twigs-du-neuf-avec-du-mieux-20230514_BXH7KHUYCJA2JCHMFENSY32SYU/\" target=\"_blank\">Lemon Twigs</a>, s’en tiennent pour le moment à bonne distance. Bien sûr, Brian et Michael traversent aussi des moments de tension, dont ils se soignent en s’éloignant l’un de l’autre quelques heures, le temps que la colère redescende. Néanmoins, le duo persiste à défendre l’idée d’une fusion parfaite qui prend sa source dans l’histoire même de leur famille. <i>«Quand nous étions petits, notre père, qui est également musicien, nous incitait à chanter ensemble, si bien que l’on a toujours avancé à deux», </i>rembobine Michael. Quant à Brian, il n’imagine tout simplement pas un monde dans lequel il pourrait trouver un meilleur complice que son frère : <i>«Lorsque j’ose travailler à un album perso, Michael est tout le temps là. C’est mon partenaire de jeu, mais c’est aussi mon frère et j’ai besoin de son avis.»</i>"},{"_id":"LTDLBMMNDVEKZFV6Y3GQ6GOO7M","additional_properties":{"inline_comments":[],"comments":[],"_id":1732726296633},"type":"text","content":"A en croire Virgile Arndt, tout l’enjeu serait de conserver un bon équilibre au sein de la fratrie, éviter que l’un prenne le pas sur l’autre. <i>«Après tout, peu de gens se contenteraient d’être simplement le «frère de».»</i> Finneas O’Connell, qui œuvre dans l’ombre de Billie Eilish, dirait sans doute l’inverse, lui qui affiche volontiers sa joie de ne pas être mis sous le feu des projecteurs malgré l’immense succès de sa petite sœur. Par peur des crises d’ego, Virgile Arndt préfère toutefois envisager Faux Real comme <i>«une entreprise familiale»,</i> qui reposerait sur des règles bien établies : prendre la parole ensemble, se laisser du temps à soi et accepter les moments calmes. <i>«La clé de la longévité»,</i> poursuit Michael, citant Ian Svenonius dans l’ouvrage <i>Stratégies occultes pour monter un groupe de rock,</i> <i>«c’est que les membres d’un groupe ne se parlent pas.»</i> A moins, plus simplement, qu’il suffise de ne pas être prêts à tout sacrifier pour le succès, comme le résume Pauline Besnard : <i>«Au-delà de faire un métier que l’on aime, c’est tout de même foncièrement plus important d’être en bons termes avec sa famille.»</i>"}],"subheadlines":{"basic":"Les fratries forment souvent des associations inflammables dans la musique. 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le cadet, cheveux longs, petites lunettes, air de bon élève, arrive en avance au rendez-vous et attend, sagement, dans un coin de l’hôtel de Belleville où a lieu la rencontre. Arthur, l’aîné, déboule en retard, visage mouillé par la pluie, serre les mains et prend l’espace. Le premier est un espoir salué de la nouvelle génération de la BD franco-belge. Il s’est fait remarquer pour deux ouvrages, <a href=\"https://www.liberation.fr/culture/bd/bd-laimant-en-bons-thermes-20171006_IE57UOSDEPTRSNE5ZYIPPBGCJU/?redirected=1\" target=\"_blank\"><i>l’Aimant</i></a> et <a href=\"https://www.liberation.fr/culture/bd/lucas-harari-la-mort-a-la-plage-20201016_5DOKG447TYXPVVVPUG65NDWTCA/\" target=\"_blank\"><i>la Dernière Rose de l’été</i></a><i>, </i>thriller en forme de dédale architectural pour l’un, enquête parano hitchcocko-lynchienne pour l’autre. Le second est cinéaste, comédien, scénariste, et a, entre autres prouesses (le sublime <a href=\"https://www.liberation.fr/culture/cinema/onoda-venere-de-la-guerre-20210720_JFHATLRMK5ASZLTCUHWESZ5FBQ/\" target=\"_blank\"><i>Onoda</i></a>), empoché un <a href=\"https://www.liberation.fr/culture/cinema/nominations-danatomie-dune-chute-aux-oscars-on-est-sous-le-choc-dans-un-etat-pas-possible-20240123_X3IXG7ALVFHXPN3K4LBECILRHI/\" target=\"_blank\">oscar du meilleur scénario</a> pour <i>Anatomie d’une chute</i>, avec sa compagne Justine Triet."},{"_id":"OKUXBBDLTJALRG25S4WQWMOB4Q","additional_properties":{"inline_comments":[],"comments":[],"_id":1732880264802},"type":"text","content":"Les deux sont frères : les Harari se renvoient spontanément la balle, partagent un même réflexe de nuances dans l’expression <i>«encore que…»</i> Ensemble, ils viennent de sortir un album, <i>le Cas David Zimmerman</i> (Sarbacane), polar vertigineux où un photographe parisien se réveille dans le corps d’une femme après une relation sexuelle. Sur plus de 350 pages en quadrichromie, au découpage serré, à la ligne claire et à l’atmosphère inquiétante, Lucas (au scénario et au dessin) et Arthur (au scénario) interrogent nos sens et notre rapport à l’identité dans une enquête qui déambule dans les rues de la capitale et de la proche banlieue. Dans cette histoire, le fantastique vient grignoter les limites du réel et la fratrie mêle avec un plaisir non dissimulé ses références tant cinématographiques que dessinées. Attablés là où ils ont écrit ensemble le récit, ils racontent."},{"_id":"7IYCUQGMV5CGRFHQ5A4TZHFBHM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732703814025},"type":"text","content":"<b>Comment est née l’idée du scénario ?</b>"},{"_id":"UHXEXF2GHBH3XL5U2K54LGPQ3A","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105544},"type":"text","content":"<b>Lucas Harari : </b>On était fin 2020. Pour la petite histoire, ma copine m’annonçait qu’elle était enceinte et quand Arthur m’a rejoint, mon fils venait de naître. Il y a donc eu neuf mois de première gestation. J’avais commencé à écrire et bloqué à différents moments, abandonné plusieurs fois… Mais mes proches me disaient de ne pas lâcher, Arthur insistait : <i>«Tu tiens un truc, pourquoi tu chercherais pas quelqu’un avec qui écrire ?»</i> J’ai d’abord contacté l’écrivain Tristan Garcia, grand érudit de la bande dessinée, qui était partant pour m’accompagner. J’avais adoré son recueil de nouvelles <i>7,</i> où le fantastique est traité de manière ultra-réaliste, souvent dans des lieux existants du Paris contemporain qui donnent une dimension hyper palpable au récit… Quelques semaines après, Arthur m’a dit : <i>«En fait, j’arrête pas de penser à ton histoire, je crois que j’ai envie d’écrire avec toi.»</i>"},{"_id":"Q67RVHDECRBAXAB7DNS7SBN66I","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105546},"type":"text","content":"<b>Vous avez donc jeté Tristan Garcia…</b>"},{"_id":"TLGNZAFRA5HXXDFQ644B4IVNWI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105547},"type":"text","content":"<b>L.H. :</b> Je pense qu’il avait plein d’autres choses sur la planche de toute façon ! Forcément, le travail n’aurait pas pris la même direction qu’avec Arthur, notamment sur la question des origines et de l’héritage familial."},{"_id":"JRWASGQMWVFT3EV5IY74H7WMQI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105548},"type":"text","content":"<b>Arthur Harari :</b> Il y a des curseurs que j’ai poussés dans cette BD plus librement que si ça avait été un projet à moi. Par exemple, la dimension juive, ce personnage de mère passionnée par la question… C’est en lisant le récit autobiographique <i>Revenir à Berlin</i> de Jonathan Lichtenstein qu’est venue l’idée d’une lignée familiale maudite. Son père était un enfant sauvé de la déportation à Berlin et envoyé en Angleterre. En faisant le trajet inverse avec lui, il découvre une espèce de mosaïque presque épidémique de suicides qui ont eu lieu dans la famille."},{"_id":"APQFER6N75F6FEH6DTTS73GIBI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105549},"type":"text","content":"<b>Lucas, après avoir signé trois BD seul, c’était un renoncement de travailler avec quelqu’un ? On n’a pas peur de se faire dévorer par son grand frère ?</b>"},{"_id":"ALBAH3I6TJDSNAY2Y7CLCVPFU4","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105550},"type":"text","content":"<b>L.H. :</b> Je ne l’ai pas vécu comme ça. On m’a plusieurs fois proposé des scénarios avant et je n’ai jamais trouvé comment me glisser dans l’histoire d’un autre. Là, qu’Arthur se greffe à mon histoire, lui qui est quand même un modèle pour moi, j’étais au contraire hyper honoré. Je me suis dit ça y est, je suis validé ! <i>(rire)</i> J’ai grandi en poursuivant pas mal mes frères…"},{"_id":"7ZZUELQH6ZC6XCX6QWXX2BVH2E","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105551},"type":"text","content":"<b>Qui lisait les BD de qui quand vous étiez petits ?</b>"},{"_id":"XWYWKKSD45DJFFYLS7LZCVTKBU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105552},"type":"text","content":"<b>A.H. :</b> Avant que Lucas naisse, j’étais très fusionnel avec mon aîné de trois ans Tom <i>[directeur de la photographie, ndlr],</i> un virtuose du dessin. On était abreuvés de BD : les <i>Spirou,</i> les classiques franco-belges, puis autour de la naissance de Lucas, la BD plus adulte, les Tardi… <i>120, rue de la Gare</i> est toujours une inspiration. On imaginait des histoires ensemble, je dessinais les couvertures, Tom était le maître d’œuvre. On avait créé deux personnages de détectives dans Paris…"},{"owner":{"sponsored":false,"id":"liberation"},"address":{},"auth":{"1":"27e7d690a6e7a61edc4fc52a1a260181a3ef33c7a77cd60f11ba27a03caf3a33"},"caption":"Dans sa BD, la fratrie mêle ses références tant cinématographiques que dessinées.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","licensable":false,"credits":{"affiliation":[{"name":"Ed. Sarbacane","type":"author"}]},"subtitle":"","width":5150,"_id":"GOVCDS2U7REI3MNH7GIZPR46FI","additional_properties":{"fullSizeResizeUrl":"/resizer/JS5pn0sC60-CrCZ2Uxl8CyRDNRU=/arc-photo-liberation/eu-central-1-prod/public/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","owner":"n.marchetti@liberation.fr","comments":[],"proxyUrl":"/resizer/JS5pn0sC60-CrCZ2Uxl8CyRDNRU=/arc-photo-liberation/eu-central-1-prod/public/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","originalUrl":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","published":true,"resizeUrl":"/resizer/JS5pn0sC60-CrCZ2Uxl8CyRDNRU=/arc-photo-liberation/eu-central-1-prod/public/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/a0_xe-lyvc7TktMH1g1hOZTqNqk=/300x0/arc-photo-liberation/eu-central-1-prod/public/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","version":1,"usage_instructions":"PARUTION GRATUITE","originalName":"RVB_Le cas David Zimmerman_p24-25-cmjn-HD.jpg","mime_type":"image/jpeg","restricted":false,"template_id":183,"galleries":[],"_id":"RCYVQGU6MRCM3GZY5BMBFFRLOI"},"created_date":"2024-11-29T19:22:03Z","last_updated_date":"2024-11-29T19:38:03Z","height":3780,"image_type":"photograph","resized_params":[{"url":"resizer/79Lem9SqZ-u0EeIKR3xEEH7cZLg=/84x56/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":84,"height":56},{"url":"resizer/91FBRKhSX2KmISIK27eATz9bQEc=/105x70/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":105,"height":70},{"url":"resizer/E5g7LjNbtvEWji2u97A10LwjPWE=/158x105/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":158,"height":105},{"url":"resizer/cxsfym9p-IG6HPWnC9Ws7RoO-r4=/274x183/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":274,"height":183},{"url":"resizer/vhG8g3UcIMIjWgdOYGzZ49q1ZRY=/377x251/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":377,"height":251},{"url":"resizer/bnlFH3oRvp1lDsc6K2s5_oTleoo=/400x267/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":400,"height":267},{"url":"resizer/HpXH-DkOSKasazF6s0Uq1kd-4JE=/600x400/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":600,"height":400},{"url":"resizer/cnxbimFeyoALVONVXoGBI6Lw4PM=/768x512/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":768,"height":512},{"url":"resizer/bNcHimSAGK8uPTZSyPRv7MtfY60=/800x533/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":800,"height":533},{"url":"resizer/eKOk_EqlVQFDxWSLcu2MiM-lqdE=/1024x683/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":1024,"height":683},{"url":"resizer/xzNgn5MNVgCZfgxtgJd9iT-73Go=/1200x800/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":1200,"height":800},{"url":"resizer/kYYEC2X5oNwHjhuILEUMJOyvv0g=/1440x960/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":1440,"height":960},{"url":"resizer/t7wFS-lLDTBQHPheU3KTxi9Z1hk=/1600x1067/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/GOVCDS2U7REI3MNH7GIZPR46FI.jpg","width":1600,"height":1067}]},{"_id":"HPAWGWAJG5DWTBQ5B4K4ARBMOM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105553},"type":"text","content":"<b>L.H. : </b>Et leurs noms étaient ceux des médicaments que ma mère achetait pour moi bébé."},{"_id":"OMEHZ3LZNNAXRLFRYTAZIN5JKE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105554},"type":"text","content":"<b>A.H. : </b>Enfalac, le lait infantile, et Filaderme, la crème pour le cul ! La découverte du cinéma dans les années 1990 a été comme une continuation de la BD pour nous, mais en plus hypnotisant, ça a pris le relais. Lucas s’est mis à dessiner et n’a jamais arrêté."},{"_id":"HPZISBNHJBCIDDXCL2XPQJXDL4","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105556},"type":"text","content":"<b>Comment ça marche, l’écriture à deux ?</b>"},{"_id":"AE5LACNKBBCGLB3VV74E2NA6JQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105557},"type":"text","content":"<b>A.H. : </b>Ça a été des discussions ici même, pour se demander où on pouvait aller. Franchement, les enjeux étaient déjà tellement solides, c’était facile de se couler dedans. Le fond et la structure étaient construits à 70 % : le personnage principal était là, presque tous les grands nœuds de l’histoire aussi, le blocage venait des bifurcations possibles. Et, on peut le dire, tu avais des frissons sur ta légitimité à t’emparer d’un récit qui pouvait passer comme traitant de la question du genre ou transgenre… Ce que selon nous, ça n’est pas."},{"_id":"OSC4I2TSTRD27FMRB6BSALHETM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105558},"type":"text","content":"<b>Le vertige d’un homme qui se réveille dans le corps d’une femme n’était pas central pour vous ?</b>"},{"_id":"Z7VEIYDOERCKVFBTS4G3ENLOZM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105559},"type":"text","content":"<b>A.H. : </b>Si, mais comme un des véhicules de l’histoire, pas comme un sujet qu’on cherchait à traiter. Ce n’est pas une transition volontaire. On a volé leur corps à ces personnages, c’est la question du moi qui leur est posée. Ça inclut le genre, mais ça ne s’y limite pas."},{"_id":"5Q76DTKJGFDSLOHBRR3VZH3Q3E","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105560},"type":"text","content":"<b>L.H. : </b>Quand j’en parlais aux gens, je voyais bien que cette question surpassait le reste pour eux… Des potes me disaient : <i>«Fais pas ça, c’est casse-gueule, trop glissant…»</i>"},{"_id":"AO4N3Y4U75EZFLQI6NBFV3MXXY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105561},"type":"text","content":"<b>A.H. : </b>Ce qui est intéressant c’est qu’on n’est pas de la même génération, Lucas et moi. J’ai 43 ans…"},{"_id":"YX3IFGMKGND6RC7GWKXEBMG3WE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105562},"type":"text","content":"<b>L.H. :</b> Moi 34."},{"_id":"UE6LI2CNARF6JEJF3FHTPDRGNA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105563},"type":"text","content":"<b>A.H. : </b>Dans mon entourage, les gens disaient plutôt <i>«C’est génial, c’est hyper fort !»</i> J’ai l’impression qu’il y avait chez les gens de ton âge quelque chose d’hyper réceptif à ces questions-là, c’est comme si c’était forcément ça le sujet principal du livre."},{"_id":"IU46OWUUVNHGFFBQM3S64NF6EA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105564},"type":"text","content":"<b>L.H. : </b>Bien sûr, le «bodyswap» n’est pas mon idée mais un motif classique du fantastique. D’habitude, ça appelle tout de suite des références hyper craignos des années 1980…"},{"_id":"GTDDLYTTGJDVFHIYXKEUAZ6VBI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105565},"type":"text","content":"<b>Et plutôt ludiques, alors que votre approche est bien plus sombre…</b>"},{"_id":"VQVKLT53IVAEBM6KBQCQ3WH2SM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105566},"type":"text","content":"<b>A.H. : </b>Mais on s’est aussi beaucoup amusés d’une certaine manière, à imaginer les situations que ce changement de corps entraîne. Je trouvais génial que Lucas décale l’inconscient ludique, excitant du «bodyswap» à un endroit où, à mon sens, personne ne l’a amené. C’est-à-dire en le prenant très au sérieux, de façon réaliste et donc vertigineuse. «Qu’est-ce qui se passe si ça m’arrive ?»"},{"_id":"BPID4JM2KBBBVBEYBZZHWOYXG4","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105567},"type":"text","content":"<b>L.H. : </b>C’est la question que je me pose au départ de tous mes récits, avant de mettre mes personnages dans des situations complexes. J’ai tout de suite su que ça ne pouvait pas être drôle."},{"_id":"NOVXW4OZJ5DZJPKNI7DBSJTU2E","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105568},"type":"text","content":"<b>Quelque chose vous a inspiré en particulier ?</b>"},{"_id":"AFZEC3S6HFH47HAUPW33IFSLKE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105569},"type":"text","content":"<b>L.H. : </b>Dans mes idées de récit, je me suis rendu compte que mes personnages féminins étaient hyper sous-traités. Je n’arrivais pas à me projeter dans la tête d’une femme, sa manière de réagir, quelque chose de l’autre me résistait. Je me suis dit : <i>«Si j’étais dans le corps d’une femme, je pourrais y arriver.»</i> La trajectoire de la fiction, c’est passer par des êtres autres que soi."},{"_id":"WNFUGITDQRAR7JASLM7MNQTF54","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105570},"type":"text","content":"<b>A.H. : </b>Paradoxalement, ça t’a amené à créer un personnage de départ assez proche de toi. Même si le côté lose ne te ressemble pas."},{"_id":"FLJTPSVSVJBKNEHMVSAMF6DPTY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105571},"type":"text","content":"<b>L.H. : </b>Mes personnages sont souvent des artistes losers. Dans <i>l’Aimant,</i> Pierre abandonne ses études ; dans <i>la Dernière Rose de l’été, </i>c’est un gars qui n’arrive pas à écrire ; et là, un photographe raté. En fait, à chaque fois que je commence une nouvelle BD, j’ai ce sentiment d’imposture et l’impression que j’en suis incapable, comme si j’avais réussi le livre d’avant par accident… Ça reflète sûrement cet état d’esprit d’échec."},{"owner":{"sponsored":false,"id":"liberation"},"address":{},"syndication":{},"auth":{"1":"4658cbbb9332fb89d3a1765ae09056036b2481ef7c2727772d0567c6e987051c"},"caption":"«Le Cas David Zimmerman» (Sarbacane), 350 pages en quadrichromie, au découpage serré, à la ligne claire et à l’atmosphère inquiétante.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","licensable":false,"credits":{"affiliation":[{"name":"Ed. Sarbacane","type":"author"}]},"subtitle":"","width":5150,"creditIPTC":"Ed. Sarbacane","_id":"QLBIQPQ4BZDWVA7QHN2OZWAQTQ","additional_properties":{"fullSizeResizeUrl":"/resizer/g8BTwAjVFvdapxmawQcT4dqpOfo=/arc-photo-liberation/eu-central-1-prod/public/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","owner":"n.marchetti@liberation.fr","comments":[],"proxyUrl":"/resizer/g8BTwAjVFvdapxmawQcT4dqpOfo=/arc-photo-liberation/eu-central-1-prod/public/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","originalUrl":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","published":true,"resizeUrl":"/resizer/g8BTwAjVFvdapxmawQcT4dqpOfo=/arc-photo-liberation/eu-central-1-prod/public/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/Fjrtxh0gvsmEg2c9DKzPqsyBs3w=/300x0/arc-photo-liberation/eu-central-1-prod/public/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","version":1,"usage_instructions":"PARUTION GRATUITE","originalName":"RVB_Le cas David Zimmerman_p244-245-cmjn-HD.jpg","mime_type":"image/jpeg","restricted":false,"template_id":183,"galleries":[],"_id":"HXXXHH2E7BCA3IYZBMF2DAOGQE"},"created_date":"2024-11-29T19:22:04Z","last_updated_date":"2024-11-29T19:38:03Z","height":3780,"image_type":"photograph","resized_params":[{"url":"resizer/wRB-fmSQf4b6gsuPNblNoGmQboo=/84x56/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":84,"height":56},{"url":"resizer/6UmhjH_cgqxK-L74qsJvItUdGLg=/105x70/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":105,"height":70},{"url":"resizer/Q0pxtx9w3ISKs4yXL_EEMMMRJ8I=/158x105/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":158,"height":105},{"url":"resizer/SiV1oJFQt7nJRFOnuUffzUNRgcI=/274x183/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":274,"height":183},{"url":"resizer/80Gd2skOkM-LeldtukiUby7eC7Q=/377x251/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":377,"height":251},{"url":"resizer/Ye4LJL7WyFbWRp-tRo4HNf2JQL0=/400x267/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":400,"height":267},{"url":"resizer/f-j_C9lgjWLnaOWmLSHeOQQkU1c=/600x400/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":600,"height":400},{"url":"resizer/5a1hWPH2yjSHv_yNMora3TCMswA=/768x512/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":768,"height":512},{"url":"resizer/WmT-OsAr9P8skM6L9pFhNGQgOKI=/800x533/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":800,"height":533},{"url":"resizer/FzNdkcImhTMhpmQE0S-kESHiYe0=/1024x683/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":1024,"height":683},{"url":"resizer/1R6Bg0WiPibzScupS2EeJPfCyd0=/1200x800/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":1200,"height":800},{"url":"resizer/QtR2HSjGM5c40WpDlmxw7rs3hDg=/1440x960/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":1440,"height":960},{"url":"resizer/6L8BDkxfve8UsLqWg9oEr4DjqJk=/1600x1067/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/QLBIQPQ4BZDWVA7QHN2OZWAQTQ.jpg","width":1600,"height":1067}]},{"_id":"5SFM73OGPVB7PKXCE6UJE4QWJU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105572},"type":"text","content":"<b>On sent que le cinéma et la BD fonctionnent en vases communicants pour vous. Vos BD, Lucas, ont toujours contenu beaucoup de cinéma…</b>"},{"_id":"HCHLYFWQNZFSTF5RO6NXFVL53M","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105573},"type":"text","content":"<b>A.H. : </b>Et inversement, il y a toujours eu beaucoup de BD dans mes films, même si c’est invisible. C’est tout bête mais à la fin d’<i>Onoda</i>, quand les personnages sous la pluie chopent des piles pour mettre dans leur radio, je me suis rendu compte que ce décor de cabane qu’on a fabriqué me venait d’images de BD, genre <i>Gil Jourdan… Corto Maltese </i>aussi est partout, le côté aventure métaphysique existentielle…"},{"_id":"ISVYHAUN7JBVVNQKYUQXFLIRYE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105576},"type":"text","content":"<b>L.H. : </b>Il y a un dispositif très comics pour moi dans le plan de ton film <i>Diamant Noir</i> où Niels Scheider visualise le braquage."},{"_id":"IGKA6DL25ZBRZFPU2VXAYV7RVM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105577},"type":"text","content":"<b>A.H. : </b>Ah oui, le fondu enchaîné où la tête persiste, le décor change… En l’occurrence ma référence consciente était <i>Blow Out</i> de De Palma."},{"_id":"2BLDKQVNRZFYZPZHOVZP3W62CY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105578},"type":"text","content":"<b>L.H. : </b>Ah pardon ! <i>(rires)</i>"},{"_id":"IJGSGJOFMBG3DB4TWGMXGDITRY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105579},"type":"text","content":"<b>A.H. : </b>Non mais c’est très présent aussi dans ta BD d’ailleurs, j’ai chopé une image l’autre jour. <i>(Il cherche sur son téléphone)</i> Cette case, c’est exactement du De Palma."},{"_id":"3COMZDFTPVCMDPWDC2M2OCYN6M","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105580},"type":"text","content":"<b>Au début, cette enquête menée par un photographe, c’est surtout</b><i><b> Blow-Up</b></i><b> d’Antonioni…</b>"},{"_id":"S5AKL46ENJFXVBF2NXOPZFWX6M","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105581},"type":"text","content":"<b>L.H. : </b>Clairement, il y a des citations directes de plusieurs films. Bien avant qu’Arthur arrive, j’avais l’idée d’une femme de profil en couverture sur fond vert, comme dans <i>Vertigo</i>…"},{"_id":"BJFIVYFKQNG3HOPWWCNX3SAMLE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105582},"type":"text","content":"<b>A.H. : </b>Tu l’avais revu ?"},{"_id":"DR5RCBBTUZC7HCVRFNOV6KUH4M","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105583},"type":"text","content":"<b>L.H. : </b>Oui, forcément. Surtout, je suis un fan de Daniel Clowes et me suis rendu compte pour la première fois que <i>David Boring</i>, ma BD préférée, est une relecture de <i>Vertigo</i>. Un copain collectionneur de fanzines, qui a tous les <i>Eightball</i>, me les a prêtés. Dedans on peut lire <i>David Boring </i>en épisodes, et les personnages ont les mêmes noms que dans le film, les scènes sont similaires, y a même le chignon."},{"_id":"MVX5JJPKKJGJ3AT3APDKKOHDSA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105584},"type":"text","content":"<b>A.H. : </b>C’était un enjeu de ne pas trop copier Daniel Clowes, notamment le mode narratif. Il arrive à condenser l’instantané d’une scène très dense en une seule case, avec la voix off et une bulle génialement choisie. A un moment, on avait envisagé aussi que toute la BD soit en voix off."},{"_id":"C6KBYI6OPFDOTPMWJOW4O7I4TY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105585},"type":"text","content":"<b>L.H. : </b>J’ai commencé les premières pages dans cet esprit mais en fait c’était ultra-compact et dense, mes cases se retrouvaient illisibles. Du coup, je suis retourné à ma manière habituelle, sans storyboard, en commençant direct dans les crayonnés… et le livre a fini par faire 350 pages ! Sur le contrat d’édition, il y avait marqué 150…"},{"_id":"4QPDKXI2PVCMXJSEOJ2LMR2RRA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105586},"type":"text","content":"<b>Votre héros David n’avait pas l’air d’être un type super avant la transformation…</b>"},{"_id":"6SBQPFTOMJFPLGSJIKN3IPXB7E","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105587},"type":"text","content":"<b>A.H. : </b>Il est à côté de sa vie mais il n’y a pas de leçon d’amélioration morale à tirer de ce qui lui arrive. Quand il se retrouve dans un autre corps que le sien, c’est comme si ça venait officialiser ce qui était déjà là, un type qui ne coïncide pas avec lui-même. C’est aussi quelqu’un qui est dans la nostalgie."},{"_id":"JRINLDKBNZB6BNIDICPLQPVUSU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105588},"type":"text","content":"<b>L.H. : </b>Je suis un peu comme ça aussi…"},{"_id":"Y6UPOBS7ABGLFGDRC5JC4Z3UVM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105589},"type":"text","content":"<b>Syndrome du petit dernier ?</b>"},{"_id":"Q2DZ7GN7K5B4JOSPJL2QCOXHR4","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105590},"type":"text","content":"<b>L.H. : </b>Je n’ai jamais aimé les musiques de ma génération, je me suis toujours entendu avec les gens plus vieux…"},{"_id":"X3753X36KVDNJB32TEM2ER7FXY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105591},"type":"text","content":"<b>A.H. : </b>J’avais fait un court métrage sur Lucas qui parlait exactement de ça. Ça s’appelle <i>le Petit.</i>"},{"_id":"VXYRXO4QQZC3TKKH3SYMWI2VGM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105592},"type":"text","content":"<b>Vos BD ont souvent un lien avec quelqu’un qui doute de ses sens. On se demande Lucas à quel point vous avez peur d’être fou ?</b>"},{"_id":"475EDRTYUFG4RG5X4LZK3FB7CI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105593},"type":"text","content":"<b>L.H. : </b>Ce n’est pas une angoisse que j’ai. Il y a souvent de l’ésotérisme dans tous mes récits alors qu’au fond, je suis hyper cartésien. J’ai surtout des angoisses de mort très fortes depuis que je suis petit… Ça peut encore me réveiller la nuit."},{"_id":"V5RWX4GWQJGAHMDLV3L34PVYIY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105594},"type":"text","content":"<b>Il se dit que votre prochain film, Arthur, est un film fantastique…</b>"},{"_id":"B7DT5L2TJ5HETLUNOBJD3OQ6PU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105595},"type":"text","content":"<b>A.H. : </b>Il y a un élément fantastique dedans, mais rien à voir avec la BD. J’ai récemment redécouvert Kafka – la biographie de Reiner Stach est incroyable. Le tout premier court métrage écrit et réalisé avec mon frère Tom était déjà une de ses nouvelles d’ailleurs… Il y a trois-quatre ans, j’avais aussi essayé d’adapter un bouquin fantastique américain, <i>l’Eclipse </i>de Robert Cormier, sur un enfant qui devient invisible. Je me suis rendu compte que je n’y arrivais pas parce que je ne pouvais pas croire en la dimension magique de l’histoire. Pour ta BD, Lucas, je n’ai jamais eu ce problème. L’impossible s’intègre au réel, il n’y a d’ailleurs pas de dimension spectaculaire."},{"_id":"BM7DXN35CJBLZNGTKVCNNOLV7M","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105596},"type":"text","content":"<b>L.H. : </b>L’idée forte dans l’échange du corps est que ça ne s’incarne pas visuellement, c’est un <i>black-out.</i>"},{"_id":"4EVTRW6QFRGXNOL5BL6VC75OPQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1732646105597},"type":"text","content":"<b>A.H. : </b>Le fantastique n’est jamais aussi justifié que quand tu ne peux pas le limiter à une seule interprétation. C’est la grande force de Kafka, la déstabilisation, l’inquiétude. Ici, il y a l’idée que ces échanges de corps se répandent dans le corps social sans en avoir la certitude. Avec, à mi-chemin, toujours la possibilité de se dire : ça n’est peut-être jamais arrivé…"},{"level":6,"_id":"2CN7FV25PJFEJB2I763ATKWZLE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732703814077},"type":"header","content":"<i>Le Cas David Zimmerman</i> de Lucas et Arthur Harari. Sarbacane, 368 pp., 35 €."}],"subheadlines":{"basic":"Rencontre avec l’auteur et le cinéaste, qui cosignent une troublante BD, thriller fantastique où un photographe migre dans le corps d’une femme inconnue. Obsessions et références synchrones d’un duo en osmose."},"description":{"basic":"Rencontre avec l’auteur et le cinéaste, qui cosignent une troublante BD, thriller fantastique où un photographe migre dans le corps d’une femme inconnue. 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avais des frissons sur ta légitimité» : avec la BD «le Cas David Zimmerman», Lucas et Arthur Harari planchent entre frères"},"websites":{"liberation":{"website_url":"/culture/cinema/tu-avais-des-frissons-sur-ta-legitimite-avec-la-bd-le-cas-david-zimmerman-lucas-et-arthur-harari-planchent-entre-freres-20241129_AYVBU2AF65DNTKVZ2S2NJJ77A4/","website_section":{"path":"/culture/cinema","parent":{"default":"/culture"},"_website":"liberation","parent_id":"/culture","name":"Cinéma","description":"Retrouvez toute l'actualité du cinéma : sorties cinéma, critiques de films, tournages, 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même que son homonyme et contemporain Thomas Edward est appelé <i>«d’Arabie»</i>, on pourrait surnommer <a href=\"https://www.liberation.fr/livres/2013/05/09/la-fureur-de-vie-de-dh-lawrence_901831/\" target=\"_blank\">David Herbert Lawrence</a>, né en 1885 et mort en 1930, «du sexe» – sauf que pas complètement. André Topia, en introduction de l’édition Folio de <i>l’Amant de Lady Chatterley, </i>cite l’auteur déclarant que le roman n’est <i>«pas un roman de sexe»</i> et que <i>«le sexe est hélas l’un des pires phénomènes aujourd’hui»</i>. Et puis <i>l’Amant de Lady Chatterley</i> n’est pas seulement un titre, c’est aussi une périphrase : si bon amant soit-il, le garde-chasse n’a jamais conquis la notoriété de sa partenaire (il s’appelle Oliver Mellors). Ce que Lawrence a décrit et qui fit un tel scandale que son plus célèbre roman, paru à compte d’auteur en 1928, ne cessa d’être censuré en Angleterre qu’en 1960, c’est la sexualité sociale, dont il n’y a souvent aucun remboursement à attendre mais un sacré déficit."},{"_id":"KKDKG2VVOFBOVNH3OD2JA3BQYY","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-11-25T16:06:27.738Z","start":982,"end":1026,"text":"guil","user":"David Darloy","email":"d.darloy@liberation.fr"}],"_id":1731875722220},"type":"text","content":"Paraît aujourd’hui en Pléiade <i>l’Amant de Lady Chatterley et autres romans</i>. Le premier de ces <i>«autres romans»</i> est <i>Femmes amoureuses</i>. Les autres ne sont pas des romans mais des <i>novellas, </i>ainsi que l’édition se plaît à le démontrer au mépris du titre du volume, un genre remontant à Boccace et au <a href=\"https://www.liberation.fr/culture/1999/05/07/theatre-par-de-jeunes-comediens-une-tentative-ambitieuse-et-epatante-d-adapter-l-oeuvre-monstre-de-b_272279/\" target=\"_blank\"><i>Décaméron</i></a>. Il y en a trois : <i>la Coccinelle</i>, <i>le Renard</i> et <i>la Poupée du capitaine</i>, qui avaient d’ailleurs aussi trouvé leur place dans l’édition des <i>Nouvelles complètes</i> de Lawrence en Classiques Garnier (en 1986-1987). Mais s’il y a des phrases de Lawrence diminuant la part du sexe dans son œuvre, ses personnages sont rarement d’accord. Certes, dans son introduction, Marc Porée cite ce passage d’une lettre de Lawrence évoquant les <i>«états allotropiques»</i> (c’est-à-dire de formes changeantes mais de propriétés semblables) de ses personnages : <i>«Comme le diamant et le carbone sont le même et unique élément de carbone. Le roman ordinaire suivrait l’histoire du diamant – mais moi je dis : “Comment ça, un diamant ? C’est du carbone.” Et mon diamant pourrait être du charbon ou de la suie, et mon thème est le carbone.» </i>Dès <i>Femmes amoureuses</i> qui ouvre le volume, <i>«l’amour»</i> est mis en question et ceux qui l’évoquent stupidement sont maltraités. <i>«Parce que vous n’avez pas réellement de corps, pas de vie du corps, sombre et charnelle. Vous n’avez pas de charnalité. Vous n’avez que votre volonté et votre notion de conscience, votre soif de pouvoir, de savoir.»</i> Il y a dans l’œuvre de Lawrence une connaissance qui détruit plus qu’elle n’informe. <i>«Il faut s’oublier avant de savoir ce qu’est la réalité charnelle, s’oublier dans l’absence de savoir, renoncer à son propre vouloir.»</i>"},{"level":2,"_id":"7Z6MIRSRWBEQ5HI33K7LLUMEVU","additional_properties":{"inline_comments":[],"comments":[],"_id":1731875722222},"type":"header","content":"«Gouffre béant»"},{"_id":"V7KPG4WF7NAKRDNSJS323L2M4Y","additional_properties":{"inline_comments":[],"comments":[],"_id":1732552983740},"type":"text","content":"La sexualité n’est pas toujours présente mais le désir si, y compris celui de domination. L’amour est difficile à définir. <i>«Pourtant je veux que nous soyons ensemble sans nous soucier de nous-mêmes, que nous soyons réellement ensemble parce que nous sommes ensemble, comme s’il s’agissait d’un phénomène, pas d’une situation que nous devons entretenir par nos propres efforts», </i>dit un personnage (masculin) de <i>Femmes amoureuses</i>. Et la haine aussi devient un phénomène, de <i>Femmes amoureuses</i> à <i>l’Amant de Lady Chatterley</i>. <i>«Elle ignorait pourquoi elle le détestait, sa haine était tout à fait abstraite» </i>; <i>«Somme toute, il détestait la sexualité, c’était une telle limite. C’était le sexe qui transformait l’homme en moitié brisée d’un couple, la femme en autre moitié brisée» </i>;<i> «Laissons-le pourtant y voir un exemple de l’éternel triangle, de la trinité de la haine» </i>; <i>«Pour la première fois, elle comprit à quel point la haine est une chose subtile. Pour la première fois, elle éprouva pour Clifford une haine définitive et absolue – elle aurait voulu le rayer de la face de la terre» </i>; <i>«Sa haine était une haine à l’état pur, indicible et impuissante.» </i>(Il s’agit là du mari de Lady Chatterley dont l’impuissance sexuelle irradie donc.)"},{"owner":{"sponsored":false,"id":"liberation"},"copyright":"© Perron / LA COLLECTION","address":{},"syndication":{},"auth":{"1":"a740f4c1219ea7c334f84171c12a1f03f0b1ad17d90d9aee2f2570f9d0fe6131"},"caption":"Affiche du film «l'Amant de Lady Chatterley» réalisé en 1955 par Marc Allégret et adapté du roman de D. H. Lawrence. 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Sa conscience des choses semblait créer un gouffre béant entre elle et les classes laborieuses, les classes inconscientes. Elle acceptait cela comme le sort auquel elle était condamnée.»</i> L’amant de Lady Chatterley ne sera pas rougeaud, il aura l’air d’un gentleman, mais c’est Clifford, le mari de Lady Chatterley, qui ne supportera pas un tel amant. Que sa femme le trompe avec un homme de son milieu, qu’il acquière ainsi un enfant qui ne serait pas de lui, pas de problème. Ce n’est pas le sexuel qui suscite en lui le scandale mais le social. Il y a déjà bien assez de difficultés avec le charbon, les mineurs et leurs revendications (le père de <a href=\"https://www.liberation.fr/livres/2012/06/06/dh-lawrence-le-cactus-anglais_824125/\" target=\"_blank\">David Herbert Lawrence </a>était porion, c’est-à-dire une sorte de contremaître dans les mines de charbon)."},{"level":2,"_id":"QELFEEB2WNBVTPYR5Q5RPWW2UU","additional_properties":{"inline_comments":[],"comments":[],"_id":1731875722224},"type":"header","content":"«Hâte grotesque»"},{"_id":"XFLWJYLPJZFY3MGJMETPQB22AI","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-11-25T16:11:54.676Z","start":111,"end":118,"text":"guil","user":"David Darloy","email":"d.darloy@liberation.fr"}],"_id":1731875722223},"type":"text","content":"Quand son amant, après de bons moments, lui dit <i>«Bonne nuit, Madame»</i>, Lady Chatterley lui demande <i>«Pourquoi ce “Madame”»</i> et <i>«J’le dirai plus» </i>est la réponse obtenue. Cinquante pages plus loin : <i>«J’allais oublier de remercier Milady pour l’immense honneur qu’elle m’a fait de boire le thé de ma théière.»</i> Plus loin encore :<i> «C’est toi qui as l’argent, la situation sociale, et c’est toi qui prendras toutes les décisions. Après tout, je ne suis pas seulement le bon coup de Madame.»</i> Madame demande alors : <i>«Et qu’es-tu d’autre ?»</i> Réponse : <i>«Je vois bien le sens que revêt ma propre existence, bien que je puisse parfaitement comprendre que personne d’autre ne soit à même de la voir.»</i> C’est de sa propre volonté que le garde-chasse s’est d’abord mis à l’écart du monde social. <i>«Je déteste l’impudence de l’argent, comme je déteste l’impudence de classe.»</i> Et voilà pourquoi il a quitté l’armée et les militaires : <i>«Obséquieux, à lécher le cul de leurs supérieurs jusqu’à s’en râper la langue, mais toujours convaincus de leur bon droit.»</i> Un autre cul aura les honneurs de sa langue."},{"_id":"QELFEEB2WNBVTPYR5Q5RPWW2UU","additional_properties":{"inline_comments":[],"comments":[],"_id":1731875722224},"type":"text","content":"Commentaire d’un autre personnage quand ça tourne mal : <i>«S’il a refusé d’intégrer la classe moyenne quand il en avait la possibilité, et si c’est quelqu’un qui revendique d’être un vrai homme, alors ils lui feront la peau. La seule chose qu’ils ne vous pardonnent pas, c’est d’être dénué de la moindre hypocrisie en matière de sexualité. Vous pouvez faire toutes les cochonneries que vous voulez ; en fait, plus vous salissez le sexe, et plus ils aiment ça. Mais si vous croyez dur comme fer en votre sexualité et si vous refusez qu’on la salisse, alors ils vous feront la peau.»</i> Et sur Lady Chatterley : <i>«Elle s’était imaginée qu’en tant que femme, elle serait morte de honte – au lieu de quoi ce fut la honte qui mourut.»</i> La honte conviendrait mieux aux hommes<i> «s’attendant à ce que leurs pauvres petits pétards de rien du tout vous transportent au septième ciel»,</i> et même à l’amant et la <i>«hâte grotesque avec laquelle sa verge recherchait sa pauvre petite éjaculation»</i>. Il leur faudrait <i>«le courage d’être tendre»</i> («Tendresse» fut le premier titre du roman). Il y a évidemment quelque chose d’actuel dans le roman que cette traduction modernise à marche forcée : on y trouve les termes <i>«beauf»</i>, <i>«mâle alpha»</i> et <i>«sous-merde»</i>."},{"_id":"BBZWKWSTI5G7RI64NSJHQUNUPA","additional_properties":{"inline_comments":[],"comments":[],"_id":1731875722225},"type":"text","content":"Proust et Racine ne sortent pas grandis de ces aventures. L’homonyme et contemporain (né en 1888 et mort en 1935) de David Herbert non plus. C’est Lawrence d’Arabie qu’on devrait voir dans C. E. Florence, colonel ayant préféré <i>«redevenir un homme du rang»</i>. Le père de Lady Chatterley ne l’aime pas. <i>«Il flairait, derrière l’humilité de façade, un sens trop aigu de l’autopromotion. C’était le genre de vanité que le chevalier détestait par-dessus tout, la vanité qu’il y a à se déprécier soi-même.» </i>D’autres se chargeaient de déprécier David Herbert Lawrence qui répondit dans un projet de préface à <i>Femmes amoureuses</i> :<i> «Du point de vue du style, on reproche souvent la constante répétition légèrement modifiée. La seule réponse à cette remarque est que le procédé est naturel à l’auteur, et que toute crise naturelle des émotions, des passions ou de l’entendement résulte de ce va-et-vient frictionnel et palpitant qui s’élève jusqu’à un point culminant.» </i>Ce fameux <i>«va-et-vient».</i>"},{"level":6,"_id":"WBZBG3ESJBBGPJAXKADKQZWVB4","additional_properties":{"inline_comments":[],"comments":[],"_id":1731875722216},"type":"header","content":"David Herbert Lawrence, <i>l’Amant de Lady Chatterley et autres romans</i>. Edition publiée sous la direction de Marc Porée, avec la collaboration de Laurent Bury. Gallimard, «Bibliothèque de la Pléiade», 1 340 pp., 69€ jusqu’au 31 décembre, 76€ ensuite."}],"subheadlines":{"basic":"Modèle avant-gardiste de la littérature érotique, «l’Amant de Lady Chatterley» entre dans la Pléiade. Publié à compte d’auteur en 1928, le roman resta proscrit en Angleterre pendant plus de trente ans."},"description":{"basic":"Modèle avant-gardiste de la littérature érotique, «l’Amant de Lady Chatterley» entre dans la Pléiade. 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La vérité derrière la fable est toujours bêtement triviale : il y a une douzaine d’années, une opération destinée à corriger sa vue lui a donné pour toujours ce reflet dans un œil d’or, ou de verre, ça dépend de son humeur. Mais c’est ainsi que s’écrivent les destins de ceux qui sont nés sous une bonne étoile."},{"_id":"I76AGIRKFJGRZLXVGE4ZTFXWIM","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-11-24T10:46:35.284Z","start":82,"end":93,"text":"Faut 2 cap ici svp.","user":"Elisabeth Galabert","email":"e.galabert@liberation.fr"}],"_id":1732194123036},"type":"text","content":"A l’époque, l’écrivain franco-vénézuélien, doublement couronné cet automne par le Grand Prix du roman de l’Académie française et le prix Femina pour <i>le Rêve du jaguar</i>, commence à se faire un nom. Depuis, la moisson de lauriers n’en finit pas. La saison des prix ? <i>«Un récit collectif, un jeu national,</i> lâche-t-il. <i>Tout le monde met sa petite pièce dans la machine et quoi qu’il arrive, cinq romans vont se vendre à 100 000 exemplaires. Cela permet à des traducteurs d’émerger, à des maisons d’édition de grandir, de réinjecter de l’argent dans des bourses, des résidences. Pour des éditeurs étrangers, c’est de la science-fiction, un rêve.»</i>"},{"_id":"VP4QDABHVJHI5GPC26PNISIRWE","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-11-24T10:51:39.177Z","start":1257,"end":1263,"text":"pas d'accent svp.","user":"Elisabeth Galabert","email":"e.galabert@liberation.fr"}],"_id":1732098085033},"type":"text","content":"Quand on le retrouve dans un bistrot chic et feutré de Bastille, une bonne décennie après notre première rencontre (il butait alors sur un passage de ce qui deviendra son premier roman), il donne le ton. L’œil frise, le rire fuse, comme à la maison. Il a la même tête sur toutes les photos et ne sait pas quoi en penser. <i>«Et la famille ?» </i>A 37 ans, il en fait l’étoffe de sa vie. Il y a celle qui s’immisce dans sa prose, dans le diptyque formé par <i>Héritages</i>, consacré à son père, et <i>le Rêve du jaguar,</i> inspiré par sa mère. Les parents sont séparés depuis vingt ans. L’écriture est sa thérapie qui lui permet de grandir, de prendre conscience des schémas dont on hérite, et peut-être de s’en défaire, car <i>«il faut parfois les casser pour que nos enfants ne les répètent pas».</i> L’imagination lui vient de son paternel, un romancier chilien marxiste révolutionnaire torturé sous le général Pinochet, ce qui lui vaudra l’exil en France, où il rencontre la <i>madre</i>. La diplomate inocule au fiston et à sa petite sœur, sexologue à Mexico, le goût des grigris et du déracinement, les trimbalant de Paris à Caracas, en passant par le Portugal. Il y passe une adolescence classique entre le rap, les plages, le foot et les filles, en s’injectant en intraveineuse tout <a href=\"https://www.liberation.fr/archives/jorge-luis-borges-innombrables-furent-mes-formes-et-mes-morts-20240917_UBAXX7EQEJHG5GHB72T726UACU/\" target=\"_blank\">Borges</a> et <a href=\"https://www.liberation.fr/livres/2008/03/27/au-hasard-cortazar_68257/\" target=\"_blank\">Cortázar.</a> «Populaire» plutôt que <i>nerd</i>. Peu à peu, on devient quelqu’un – c’est le cœur de son œuvre. On fait famille, celle que lui a donnée une Danoise <i>«très belle» </i>officiant dans la mode. Deux fillettes qu’il regarde grandir, à Toulon, depuis que les valises y ont été posées après une résidence berlinoise. La vie s’y écoule confortablement, entre mer et montagne, «<i>comme auprès d’un géant</i>». Quelques fils d’argent ornent désormais ses boucles noires."},{"_id":"YLLEVRYIJ5CSHDXIV2VLYEJE2Q","additional_properties":{"inline_comments":[],"comments":[],"_id":1732098085034},"type":"text","content":"Il est de ceux qui parlent comme ils écrivent, ou vice-versa. Un simple <i>«passe-moi le sel</i>» sonne comme la chanson de Roland. Il assure que non, que la faconde n’a rien à voir avec la plume. La sienne ne coule pas comme l’eau du robinet, même ses textos lui semblent nuls, plats et bancals. Chaque ligne lui vaut un travail d’orfèvre, une vie de moine et des bras de fer incessants avec sa Pygmalion et éditrice de toujours chez Rivages, Emilie Colombani. Elle seule connaît ses failles, ses tics et ses travers. Elle l’aide à déballonner quand il le faut le foisonnement de sa langue boursouflée, qui élève chaque être des mondes qu’il bâtit au rang d’une humanité mythique. Le tout assaisonné d’une ironie permanente : <i>«Mes livres ont parfois un côté rhododendron.»</i> Approché moult fois par d’autres maisons, il reste loyal envers son éditrice qui, juste arrivée chez Rivages, le découvre à une réception de prix. Est-ce qu’il a un manuscrit sous le coude ? Il ment, évidemment. Et cravache pour saisir l’occasion. La vocation n’annule pas le labeur, en témoignent les concours de nouvelles auxquelles il a participé pour en arriver là. Depuis, aucun de ses romans ne s’est vendu à moins de 60 000 exemplaires. Le dernier ? Tiré à plus de 200 000. Il charme les libraires, la Villa Médicis, les académiciens, les vieux, les jeunes, les femmes autant que les hommes. <i>«Il est inclassable,</i> lance Emilie Colombani.<i> Il réconcilie le baroque flamboyant du réalisme magique sud-américain avec un attachement flaubertien au style, à une économie de moyens très française. Il combine la force du mythe à la rudesse du réel, dans une langue mâtinée d’espagnol, qui élargit les frontières du français.»</i>"},{"_id":"ZS7XZ474W5AFZC5U7J3OFKTDZU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732098085035},"type":"text","content":"Miguel Bonnefoy n’aime pas détester. Même le plus vil de ses mercenaires de papier a droit à sa tendresse. On s’apprête d’ailleurs à commander un tartare quand déboule <a href=\"https://www.liberation.fr/culture/livres/la-derniere-reine-releve-algerienne-par-kaouther-adimi-20230421_JIGG3ZLZBJDAJFEEOI5E5W7VGY/\" target=\"_blank\">Kaouther Adimi</a> qui se jette dans ses bras. La romancière brunche en famille à la table voisine avec son mari, l’éditeur Adrien Bosc, que le Franco-Vénézuélien embrasse comme du bon pain. Elle est de sa bande, ou plutôt de sa nébuleuse, dans laquelle gravitent des auteurs ou militants comme <a href=\"https://www.liberation.fr/culture/livres/dans-autoportrait-sans-moi-pierre-ducrozet-toujours-en-ete-20241102_4G7VKDUAIZAZBCLC5IGF7I6DXU/\" target=\"_blank\">Pierre Ducrozet,</a> François-Henri <a href=\"https://www.liberation.fr/culture/livres/francois-henri-deserable-place-a-la-rue-iranienne-20230527_D3Z3L7FKD5FRNCVW3UHO4P35HE/\" target=\"_blank\">Désérable</a> ou <a href=\"https://www.liberation.fr/environnement/cyril-dion-jai-limpression-detre-le-guignol-dun-systeme-qui-continue-de-faire-comme-si-de-rien-netait-20240901_K2P4HDWVNJCYJETABI5LI7OT5Y/\" target=\"_blank\">Cyril Dion. </a>Sa<i> familia grande </i>à lui. A Toulon, le nostalgique de Taubira, favorable à (toute) la gauche unie, <i>«évite les gens de droite autant qu’ils l’évitent». </i>Il a toujours deux, trois romans en gestation, dont les brouillons endormis grossissent dans son ordinateur et son cerveau à tiroirs. <i>«Je n’invente rien, je récupère les histoires que j’entends et que je lis.»</i> L’hypermnésique (aucun doute, vu sa passion des citations) n’a qu’à élever des murs, construire des villes, nommer des personnages, suivre leurs vies. Jouer les dieux en somme. Tout ça dans un mouchoir de poche, 200 pages là où <a href=\"https://www.liberation.fr/culture/livres/gabriel-garcia-marquez-un-nobel-de-reportage-20221214_4VA5NGC7YVHBNGZZ6K776PSRVM/\" target=\"_blank\">Gabriel García Márquez</a> – l’une de ses lectures «<i>diapason</i>» qui l’aident à garder le rythme – en déroulait 500."},{"_id":"MITRPBBKN5EFPLEC6M7RJNK2IU","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-11-24T11:04:42.232Z","start":191,"end":200,"text":"ok bonne ortho ! ","user":"Elisabeth Galabert","email":"e.galabert@liberation.fr"},{"date":"2024-11-24T11:13:45.451Z","start":332,"end":426,"text":"je propose de raj ceci pour nos lecteurs ?","user":"Elisabeth Galabert","email":"e.galabert@liberation.fr"}],"_id":1732098085036},"type":"text","content":"Ses cosmogonies rococo mêlent putains magnifiques, nobles paysans et sots géants ou minuscules, tout un monde aussi théâtral que lui. <i>«Il a ce sens de l’excès et du spectaculaire des </i><a href=\"https://www.liberation.fr/planete/2019/12/03/venezuela-a-maracaibo-apres-le-petrole-la-misere-brute_1767089/\" target=\"_blank\"><i>gens de</i></a><i> Maracaibo»,</i> dixit l’un de ses amis d’enfance, fils d’exilé chilien itou. Une ville étouffante et crâneuse, riche de son pétrole, son Macondo <i>[bourgade imaginaire de Colombie dans le roman </i>Cent ans de solitude, <i>de García Márquez, ndlr]</i> à lui. <i>«Mais le succès ne l’a pas fait changer, il est resté le même. Fonceur plus que mélancolique, il aime le risque»,</i> et les treks sans filet au cœur de la forêt amazonienne, dont il a tiré <i>Jungle</i>. Du Venezuela, il parle peu, ou avec une désillusion à peine voilée. Difficile, quand on a gravité quatre ans dans le milieu culturel, époque <a href=\"https://www.liberation.fr/dossier/chavez/\" target=\"_blank\">Chávez</a>, de parler librement sans être récupéré par la seule opposition qui se fait entendre, la droite dure. Un soir, lui et son acolyte erraient en voiture dans les rues désertes et dangereuses de Caracas. L’écrivain baisse sa fenêtre et ose demander son chemin. Paniqués, les passants plongent à terre par peur de se faire braquer. Il blague et parvient à les rassurer avec son naturel confondant. <i>«En le voyant, les gens se détendent tout de suite», </i>résume l’ami. 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L’artiste choisit d’abord de ne pas passer en force et de laisser les œuvres faire le vide autour d’elles, sans s’agglutiner. Cet accrochage traversé par les courants d’air choisit aussi de se décentrer : rien n’est pile au milieu, tout est un peu sur les côtés. A l’image de l’artiste elle-même qui, à 60 ans, commence seulement, comme dit la commissaire Daria de Beauvais, à <i>«avoir son moment».</i>"},{"_id":"UXGHGYYITRCNVESAW6II4UMDKE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732801462447},"type":"text","content":"Passée par les Beaux-Arts de Bordeaux en 1984, la Franco-Gabonaise a participé cette année aux biennales de Lyon et de Gwangju, en Corée, et ouvre ces jours-ci un show dans sa galerie parisienne (Maïa Müller), avant que celui du Palais ne déménage au Centre régional d’art contemporain de Sète. Elle a donc longtemps œuvré dans les marges sans s’en formaliser, puisqu’elle conçoit ses créations d’abord comme une cure. <i>«Mon travail est au départ un désir de guérison. Mon histoire personnelle m’a amenée à vivre de nombreux traumatismes et j’ai compris qu’il fallait que je me soigne pour être capable de voir, entendre et parler.»</i>"},{"_id":"HPJVAQUNAFBOBPW2TYQTEPKE4M","additional_properties":{"inline_comments":[],"comments":[],"_id":1732801462448},"type":"text","content":"Cette visée thérapeutique personnelle, l’artiste l’a dépassée. Ses œuvres, comme elle, peuvent avoir le cœur serré, des nœuds à l’estomac, des bleus à l’âme, qu’elles tentent de défaire, d’apaiser, de panser. Mais ces maux qu’elle met en forme ne sont plus tant personnels que collectifs. Ils tiennent au désastre écologique, aux errements de l’identité, aux traumatismes de la période coloniale. Ce sont ces plaies et surtout le baume qu’il convient d’y mettre que Mihindou met en forme. Et c’est là où l’exposition bluffe son monde. Parce que les formes s’émancipent gracilement du discours ou des nobles causes qui les sous-tendent."},{"level":2,"_id":"ZNWTHHG2LJGOZFBER3GPO4BRVU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732801462449},"type":"header","content":"Brutalité, violence et élégance"},{"_id":"TNNAY6YM5JBFBCCUJMAFNTIF2I","additional_properties":{"inline_comments":[],"comments":[],"_id":1732713791495},"type":"text","content":"A l’image de ces paires de fourchettes étroitement serrées l’une contre l’autre par un anneau métallique et coinçant, à leur extrémité, une motte de terre séchée qui garde à sa surface les traces de la poigne de l’artiste. Cet attelage de boules de terre striées et d’argenterie (<i>Service,</i> 2000-en cours) livre des objets fermés comme des huîtres, peu bavards et peu sculpturaux. Il y en a des dizaines et des dizaines, alignées sur plusieurs tables. La table est mise. Les couverts, même s’ils font office de pinces, de tenailles, de casse-noisette coinçant la terre, restent des couverts. La pièce suggère peut-être la pression des bonnes manières à table inculquées au forceps et au-delà livre une image domestique de toute contrainte sociale. Mais cette interprétation demeure finalement à l’arrière-plan, sans prendre le pas sur ce que cette œuvre dégage, en une cuiller à pot, sans aucune grandiloquence : assez de brutalité, de violence et d’élégance (ça reste de l’exquise argenterie) pour se suffire à elle-même. Ces objets ont de la poigne et ont la subtilité de la retourner contre eux-mêmes."},{"_id":"CU6VCXNN65B7DLYD4K5O45ZINE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732713791496},"type":"text","content":"Derrière, une photographie, qui semble n’avoir rien à voir, sinon qu’un monticule de terre y barre tout l’horizon. C’est un flanc de colline éventrée dont pendent, retenus par le col ou la manche, par la terre dans laquelle elles sont fichées, des hardes et des guenilles colorées. L’artiste n’y est pour rien. Cette vision d’une rangée de fripes dessinant une incongrue strate géologique lui fut donnée par un glissement de terrain dont elle fut témoin au Gabon. Suivant un rite funéraire local, les vêtements avaient été ensevelis aux côtés des cadavres de ceux à qui ils appartenaient. En s’écoulant, la Terre les a comme rendus à l’envoyeur. Régurgitation du textile en même temps que réapparition des morts, <i>Immatériel </i>(2016) est donc une drôle de pièce : une scène mémorielle où les êtres pantelants (leurs effets au moins) remontent à la surface, puis un document écologique sur l’enfouissement de déchets que la terre, blessée et écœurée, vomirait."},{"level":2,"_id":"DSSWYQBEMBHLJHTXD4RYRFPBHI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732801462452},"type":"header","content":"Enjeu cathartique du rituel"},{"_id":"6ZNZOFXY3FHS7BM23ZRQMFDAEM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732713791497},"type":"text","content":"En face, une autre photographie, portrait d’une silhouette recroquevillée, tirée dans le noir et blanc magnétique de son négatif, renvoie encore à la terre, mais d’une manière plus symbolique, politique et spirituelle. Elle a été prise en Haïti, au cours d’une séance de transe collective et cathartique qui a suivi des affrontements avec des milices armées. L’image, électrique et ectoplasmique, où l’homme semble s’abstraire des limites de son corps, sans se fixer vraiment sur le papier du tirage, rend compte de l’enjeu cathartique du rituel. Il s’agit d’échapper à la peur et à la violence subie. Son titre, <i>Déchoukaj’, </i>reprend à son compte le mot qui désigne l’expropriation des personnes corrompues et qui désigne encore, en créole haïtien, l’extraction de la souche d’un arbre abattu."},{"_id":"ASOJRQQPFJC4FJFKET7F3JZURQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1732801462454},"type":"text","content":"De ce feuilleté de significations, quoi retenir ? Surtout l’arrachage, le déracinement, le fait de retirer, en guise de sanction ou de guérison, une part de soi, une part des autres, une partie de la flore. L’artiste le reconnaît : <i>«J’ai vécu dans les Caraïbes et l’océan Indien où il y a cette expérience d’avoir quitté sa terre et de ne plus en garder la mémoire. […] Je suis sensible à tous les principes d’extraction, d’occupation, d’arrachement sous un angle symbolique mais aussi économique et politique.» </i>Qu’elle s’applique à elle-même dans cette vidéo grise (où on ne voit que ses jambes), en griffant et déchirant des lambeaux de collants qu’on dirait être sa peau. <i>La Robe envolée</i> met en scène le rêve un peu fou et vain d’échapper à la couleur de sa peau (aux assignations qui vont avec) ou même à sa peau tout court, à son identité, à soi-même pour être un autre."},{"_id":"JYTE5QMEXJDSHFO347X3IWGOHQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1732801462456},"type":"text","content":"Ailleurs, elle filme des pieds qui tâtonnent frénétiquement au-devant d’un seuil (une fente percée dans le sol), sans oser ou pouvoir le passer. A la fois grotesque et terrifiante (avec ces rires aigus en bande-son), la vidéo, projetée au sol (constituant donc pour le spectateur aussi un seuil à franchir, ou non), l’œuvre rappelle celles d’un <a href=\"https://www.liberation.fr/culture/arts/art-contemporain/biennale-de-venise-bruce-nauman-corps-et-gammes-20220426_DQXBOGNCXJFKVEGMYS3SEAEN6A/fin-de-vie/fin-de-vie/\" target=\"_blank\">Bruce Nauman</a>, dans les années 1960, se butant aux angles de son atelier ou suivant mécaniquement les limites d’un carré tracé au sol. Claustrophobique, répétitive, obsessionnelle, dénuée de tout décorum, Mihindou sonde, comme l’artiste américain, le périmètre nu de la création, en y ajoutant elle, une dimension sociale."},{"level":2,"_id":"W36E6JJFK5GYZLEHIGDCOTY46U","additional_properties":{"inline_comments":[],"comments":[],"_id":1732801462455},"type":"header","content":"Le combat est ailleurs"},{"_id":"HUMCBEIXYFBSDPQUDKWRKPRCMM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732713791498},"type":"text","content":"Ses tâtonnements, ses petits pas, elle les a suggérés en guise de chorégraphie à des performeurs, lors de la biennale de Kampala, en Ouganda, en 2018. La pièce (et l’enregistrement vidéo montré au Palais de Tokyo) s’intitule curieusement <i>Fighting</i>, alors que les discrets mouvements et les menus sautillements effectués pour trouver l’équilibre et retomber sur ses pieds n’ont a priori rien d’éreintant ni d’une lutte acharnée. D’autant que le sol est parfaitement plat et sans pièges. C’est sans doute que le combat est encore une fois ailleurs et que c’est la tête qui le dicte au corps."},{"_id":"7AWUA47NRFGVPJYIH5LCHZBY5U","additional_properties":{"inline_comments":[],"comments":[],"_id":1732713791499},"type":"text","content":"Enfin dans l’expo, en écho à ces corps qui se meuvent en boitillant, il y a ces fils de cuivre qui, grossièrement tressés, articulent des mots en butant sur les lettres, tordues. Et Mihindou ne se prive pas de rappeler tous les ressorts de ce matériau, déjà prisé par Joseph Beuys :<i> «Pour les Dogons, le cuivre c’est l’eau, et l’eau c’est la parole. Ce métal existe [aussi] sur mon territoire. Il est rattaché à des récits d’extraction mais aussi à des récits plus mystiques. C’est également un conducteur. Il est bon pour notre corps, les veines de la terre, des roches et l’eau car c’est un élément de circulation et de régénération. Le cuivre c’est un peu comme le sang qui circule dans mon corps.»</i>"},{"_id":"TWZNLJXV2ND67PKOSHKBUPNUWU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732801462459},"type":"text","content":"Ces tortillons cuivrés, pendus dans l’espace ou accrochés aux cimaises, ou encore, fichés sur papier où les mots («Praesentia», «Aer Bulla», «Di-Similer») travaillent la langue, ont une qualité chromatique particulière. Ils brillent d’un feu pâle, à la fois doux et radieux. Le même que les travaux sur papier que Mihindou pare de plumes, de fils de soie, rouge ou blanc, de brindilles, de branchages, de racines, de touffes de coton et trempe parfois dans des infusions de thé qui viennent imprégner les feuilles de teinte opalescentes, indigo ou ocre. Ces compositions se passent volontiers de mots ou de motifs pour devenir des compositions abstraites aussi suaves qu’un baume. Enfin mis au cœur de cette œuvre qui en sera passé par tous les états avant d’éclore au Palais de Tokyo."},{"level":6,"_id":"77TYR3E7TNGSTIN3KNC5FLJWVU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732713791500},"type":"header","content":"«Praesentia» de Myriam Mihindou, au Palais de Tokyo à Paris (75116), jusqu’au 5 janvier 2025."},{"level":6,"_id":"CZJJPCDQNBFA7KSW2FD64CPAPI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732804164239},"type":"header","content":"«Le Sang des limules», à la galerie Maïa Muller, à Paris (75003), jusqu’au 18 janvier 2025."}],"subheadlines":{"basic":"L’artiste franco-gabonaise, qui a toujours envisagé son travail comme une réponse à ses traumatismes, déploie dans «Praesentia» une œuvre éclectique traversée par les courants d’air et les pas de côté."},"description":{"basic":"L’artiste franco-gabonaise, qui a toujours envisagé son travail comme une réponse à ses traumatismes, déploie dans «Praesentia» une œuvre 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href=\"https://www.liberation.fr/livres/2010/11/25/je-viens-d-un-monde-sans-art-mais-avec-des-histoires-a-n-en-plus-finir_696074/\" target=\"_blank\"><i>«Pourquoi écrivez-vous ?» </i>en 2010</a>,<i> </i>Richard Flanagan, pas réputé pour mâcher ses mots, eut la réponse suivante : <i>«Il n’y a pas de parce que. C’est ce que je suis. Ce à quoi je ne peux pas échapper.»</i> Remballez vos questions : ce descendant d’Irlandais exilés en Australie, petit-fils d’analphabètes, devenu un auteur mondialement connu (Man Booker Prize en 2014), décréta qu’il serait écrivain à l’âge de 4 ans, <i>«absurdement, grotesquement, et pour une raison que j’ai toujours ignorée, vu qu’à l’époque j’étais incapable d’écrire le moindre mot»,</i> lit-on maintenant dans son nouveau livre, le neuvième. Pourquoi devient-on écrivain ? <i>«C’est la vie»</i> s’entend-on également répéter tout du long du même texte, et il faudra entendre dans ce refrain du fatalisme, mais aussi de l’ironie ou de l’amertume : c’est la vie, et celle-ci nous laisse le plus souvent entre les mains des interrogations vouées à rester en suspens."},{"level":2,"_id":"YHAQCI6L65CXPBDO5CAYYNTOIM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732723050996},"type":"header","content":"Bifurcations et les allers-retours"},{"_id":"O2KTTRZDP5HODIWAI5ORS44LD4","additional_properties":{"inline_comments":[],"comments":[],"_id":1732723050997},"type":"text","content":"Le titre <i>Question 7 </i>est un clin d’œil à une nouvelle de Tchekhov dans laquelle l’écrivain et dramaturge russe, alors débutant, interrogeait les conséquences de nos actes en parodiant les problèmes de calcul posés aux écoliers (soit un train devant <i>«partir de la gare A à 3 heures du matin pour arriver à la gare B à 11 heures du soir»,</i> etc.). Suivant le même principe, Flanagan accumule les données et avance par fragments, avec les bifurcations et les allers-retours qui sont sa manière de faire, et s’appuie sur une réaction en chaîne. Sa démonstration commence en 1913 par un baiser échangé entre H. G. Wells et une toute jeune <a href=\"https://www.liberation.fr/livres/2000/09/21/rebecca-west-temperament-balkanique_338017/\" target=\"_blank\">Rebecca West</a>, baiser sans lequel l’auteur de<i> la Machine à explorer le temps</i> n’aurait pas fui en Suisse pour écrire<i> la Destruction libératrice,</i> roman visionnaire sur la puissance nucléaire dont la lecture n’aurait pas poussé le physicien Leo Szilard à alerter Einstein, lequel n’aurait pas alors écrit à Roosevelt, qui lui-même n’aurait pas lancé dans la foulée le projet Manhattan, et sans projet Manhattan pas de bombe lâchée au-dessus d’Hiroshima, et sans bombe pas de libération de Flanagan père qui, prisonnier de guerre des Japonais, aurait sans doute péri en Asie – <a href=\"https://www.liberation.fr/livres/2016/01/08/flanagan-remonte-la-voie-ferree-de-la-mort_1425146/\" target=\"_blank\"><i>la Route étroite vers le Nord lointain</i></a><i>, </i>situé dans un camp de travail au Siam (l’ancien nom de la Thaïlande), s’inspirait de cet épisode –, et son fils Richard ne serait jamais né seize ans plus tard."},{"_id":"EYSITUF2CJGP7INDV6JRXCRCOM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732708469261},"type":"text","content":"Dans le précédent livre de Richard Flanagan, <a href=\"https://www.liberation.fr/culture/livres/richard-flanagan-une-femme-en-voie-de-disparition-20220403_6AH4Z2IWN5DCDGMYAMIOBRZMUY/\" target=\"_blank\"><i>Dans la mer vivante des rêves éveillés</i></a> (Actes Sud, 2022), une femme vivait, en miroir de l’urgence écologique, un effacement littéral et progressif de son propre corps, un membre après l’autre (comme les espèces disparaissent, nous disparaissons). A cette allégorie à large résonance s’ajoutait une dimension plus subjective, la femme en question faisant par ailleurs face à l’agonie sans fin de sa mère. <i>«S’il te plaît laisse-moi vivre avec toi», </i>lui demandait à un moment cette dernière. <i>«Et tel un monstre Anna dit non à sa mère.»</i> Il s’agissait là d’un roman, ce que <i>Question 7</i> n’est pas (au sens d’une pure fiction) – c’est plutôt un essai littéraire sur le sens de l’histoire et l’écriture, en même temps qu’une biographie familiale. Si certaines choses y sont imaginées (précision faite en «remerciements et sources»), sa trame est bien réelle, offerte par le récit collectif et personnel. A 90 ans passés – c’est l’un des fragments –, la mère de Flanagan supplia son fils de la laisser s’installer chez lui plutôt qu’en maison de retraite. <i>«Et moi, qui avais toujours cru que je dirais oui, j’ai dit non.»</i> D’où viennent les textes, à quoi tiennent-ils ? De quelles conséquences hasardeuses et de quelle matière intime sont-ils faits ? <i>«Il n’y a pas de souvenir sans honte.»</i>"},{"level":2,"_id":"XRNXUDBW6JGBBEIW3VH7IKFOPY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732708469262},"type":"header","content":"Pages étourdissantes et suffocantes"},{"_id":"XRNXUDBW6JGBBEIW3VH7IKFOPY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732708469262},"type":"text","content":"Richard Flanagan est né en 1961 en Tasmanie. Il vit toujours sur l’île australienne où se passent en général ses livres, depuis le premier, <a href=\"https://www.liberation.fr/livres/2002/08/22/j-irai-revoir-ma-tasmanie_413258/\" target=\"_blank\"><i>A contre-courant</i></a> (Flammarion, 2000), qui racontait la noyade d’un guide de rivière. A mesure que la mort approchait, le guide voyait un torrent de souvenirs remonter à la surface, jusqu’à avant sa naissance. Ce roman (<i>Death of a River Guide</i> en VO) était une version fictionnalisée d’un accident que l’écrivain a vécu à 21 ans, pris au piège sous une cascade dans un kayak pendant des heures, un accident si terrible, si limite, qu’il avait fallu s’en distancier. Il y revient ici, maintenant, dans des pages étourdissantes, suffocantes, à la fin de cette somme qui est aussi <i>«une lettre d’amour à mes parents et à mon île».</i> Pourquoi se confronter aujourd’hui au traumatisme ? Au <i>Guardian</i> lui posant la question, Flanagan a répondu : <i>«Un diagnostic erroné de démence précoce en 2022.»</i> Son médecin lui avait donné douze mois avant que la maladie se développe. Il a écrit ce texte pendant ce laps de temps, d’avril 2022 à juillet 2023. Finalement, aucun effondrement cognitif n’est à signaler, mais l’écrivain, dit-il, ne sait pas s’il écrira encore. Dans une certaine mesure, comprend-on, sa boucle est bouclée."},{"level":6,"_id":"GNOPY3AUWNHAZJFZDJXBBCIBQA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732708469263},"type":"header","content":"Richard Flanagan, <i>Question 7,</i> traduit de l’anglais (Australie) par Serge Chauvin. Actes Sud, 288 pp., 22,50 €."}],"subheadlines":{"basic":"Dans son neuvième livre, l’écrivain australien retrace l’histoire de sa famille en passant par H. G. Wells, Einstein et Hiroshima."},"description":{"basic":"Dans son neuvième livre, l’auteur irlandais retrace l’histoire de sa famille en passant par H. G. 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Zaki","email":"a.zaki@liberation.fr"}],"_id":1732879764958},"type":"text","content":"Trois hommes, aujourd’hui âgés de 64 ans, 59 ans et 50 ans ont porté plainte pour viol, tentatives de viol et agressions sexuelles le 13 mars contre le photographe Bernard Faucon, a révélé ce vendredi 29 novembre notre consœur <a href=\"https://www.lemonde.fr/m-le-mag/article/2024/11/29/le-photographe-bernard-faucon-accuse-de-violences-sexuelles-des-victimes-presumees-sortent-du-silence_6419555_4500055.html\" target=\"_blank\">de <i>M le magazine du Monde</i></a><i>,</i> Emmanuelle Lequeux. A l’époque des faits qu’ils dénoncent, dans les années 1980, ils avaient respectivement 16, 11 et 15 ans. La gendarmerie d’Apt (Provence-Alpes-Côte-d’Azur) a ouvert une enquête et entendu deux des victimes, Ferjeux van der Stigghel et Jean-Philippe Cecile. La troisième, qui n’a pas encore été entendue par la police et qui a requis l’anonymat, avait déjà tenté d’alerter en 2006 puis 2008 – notamment par des commentaires postés sur des blogs et des messages envoyés à des associations d’aide aux victimes –, en marge de la dernière grande rétrospective du photographe organisée de décembre 2005 à mars 2006 à la Maison européenne de la photographie, à Paris. Il avait alors 41 ans et son cas n’aurait pas été prescrit, comme c’est le cas aujourd’hui, pour lui comme pour les deux autres victimes – la loi française autorisant, en cas de viols, à porter plainte jusqu’à trente ans seulement après sa majorité."},{"_id":"ORF2ZAMFFJE2RJP5SVARBGGRKI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732879764959},"type":"text","content":"Ferjeux van der Stigghel, le plus âgé des trois plaignants, a également porté plainte pour agression sexuelle contre le chef opérateur Jean-Claude Larrieu, proche ami de Faucon et grand orchestrateur des mises en scène enchantées qu’il photographiait, dans lesquelles de jeunes éphèbes semblaient flotter, éternellement suspendus entre l’enfance et l’adolescence. Et contre Christian Caujolle, fondateur de l’agence VU et ancien directeur photo de <i>Libération. </i>Il fréquenta lui aussi assidûment le mas de Saint-Martian, sur les hauteurs d’Apt dans le Vaucluse, où les parents de Bernard Faucon animèrent une colonie de vacances jusqu’en 1994, et un appartement de la Goutte-d’Or dans le XVIIIe arrondissement transformé en <i>«phalanstère de l’amitié»</i> au début des années 80, qui abritait également de jeunes adolescents immortalisés par Bernard Faucon, comme en témoignaient le livre et l’exposition «les Années Goutte-d’Or» conçus en 2017 par Jean-Claude Larrieu. Tous trois sont à ce jour présumés innocents."},{"_id":"X7UBSWSUPZE7NMHLQDQFWD7PGI","additional_properties":{"inline_comments":[],"comments":[],"_id":1732879764960},"type":"text","content":"Après <a href=\"https://www.liberation.fr/societe/police-justice/claude-leveque-artiste-plasticien-star-mis-en-examen-pour-viols-sur-mineur-20230623_4VU7J3B2BRCO5L52QMANHVBQUE/\" target=\"_blank\">le plasticien Claude Lévêque mis en examen depuis le 31 mars 2023</a> pour des faits de <i>«viols sur mineur de quinze ans», «viols sur mineur par personne ayant autorité de droit ou de fait sur la victime», «agressions sexuelles sur mineur de quinze ans par personne ayant autorité»</i> – un familier lui aussi des deux lieux pré-cités. C’est donc une nouvelle figure du monde de l’art qui est visée dans le cadre d’une affaire de pédocriminalité."},{"level":2,"_id":"IHWS46E5IFGXFCUOIV24IEHJ74","additional_properties":{"inline_comments":[],"comments":[]},"type":"header","content":"Sacs de couchages alignés"},{"_id":"HKAP575VQFFWHBWT3VF7GYFB6A","additional_properties":{"inline_comments":[],"comments":[],"_id":1732879764961},"type":"text","content":"Selon nos informations, Bernard Faucon était cité dans la plainte de <a href=\"https://www.liberation.fr/arts/2021/01/29/les-maux-bleus_1818843/\" target=\"_blank\">Laurent Faulon, l’artiste plasticien qui le premier avait porté plainte contre Claude Lévêque en 2021</a>, tout comme Jean-Claude Larrieu. A l’été 1984 ou 1985, décrivait Laurent Faulon dans sa plainte, alors qu’il était âgé de 15 ou 16 ans, il avait accompagné Claude Lévêque chez Bernard Faucon dans sa propriété du sud de la France, où se trouvait aussi Jean-Claude Larrieu, accompagné d’un jeune homme <i>«de 20 à 30 ans»</i> et <i>«d’un jeune garçon âgé de 13 à 15 ans avec qui [Faucon] dort».</i> Tout l’entourage aurait librement évoqué leurs rapports sexuels. <i>«Les adultes présents échangent assez librement sur le sujet en présence des plus jeunes.»</i>"},{"subtype":"title_only","_id":"VX2ISDTCPRECRHYAGVS6J4UBKE","additional_properties":{"comments":[],"_id":"CWWSKP3BBJEJBET6C3YQ3Z6KMY"},"title":"Tribune","type":"link_list","items":[{"description":{"_id":"4BG3ROG5KVDBPMDXWYI77HVHJ4","type":"text","content":""},"_id":"DOWEUTRVIBCHHHIF2WAG7OTKQI","type":"interstitial_link","content":"Affaire Claude Lévêque : dans l’art aussi, l’omerta doit cesser","url":"https://www.liberation.fr/debats/2021/01/28/affaire-claude-leveque-dans-l-art-aussi-l-omerta-doit-cesser_1818687/"}]},{"_id":"UBJH7B7YMRGYDEZYHNMA2TLZFQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1732879764962},"type":"text","content":"1984, c’est aussi l’année de la seconde expo de Bernard Faucon chez Agathe Gaillard, dont Claude Lévêque signe la scénographie. La première avait donné lieu à un long article de Christian Caujolle dans <i>Libé,</i> «Les chromos d’enfance de Bernard Faucon». La deuxième est intitulée «Evolution probable du temps». Ce temps est <i>«celui des phénomènes météorologiques… et celui du temps qui passe et nous éloigne de l’enfance, et nous transforme en adultes approximatifs»,</i> écrivait à l’époque la galeriste, âgée de 83 ans aujourd’hui. Claude Lévêque avait installé dans les vitrines de petits paysages, du sable, des tipis, des lumières qui clignotaient la nuit, <i>«préfiguration de ce qu’il a développé par la suite».</i> Et Bernard Faucon avait tiré un feu d’artifice dans la rue, sans autorisation."},{"_id":"6KXQP625A5AOTOHAAM3H2PVNKM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732879764963},"type":"text","content":"<i>«C’était une tribu»,</i> se souvient quelqu’un qui les croisait alors. Un commissaire qui a travaillé avec Claude Lévêque se souvient, lui, d’un déjeuner avec Faucon, Caujolle et Lévêque dans un appartement parisien, lors duquel des <i>«beaux garçons de 11 ou 12 ans»</i> auraient soudain émergé, à moitié habillés, venant visiblement de se réveiller. Un petit tour dans les archives de <i>Libé</i> révèle d’ailleurs une photo qui intrigue, aujourd’hui. Il s’agit d’une «photo-postale», commandé dans le cadre d’une série d’été par Christian Caujolle alors au service photo de <i>Libé,</i> qui conviait des photographes à partager un ou deux instantanés de leur été. Bernard Faucon envoie le sien. Nous sommes en août 1987, et la photo en noir et blanc révèle un grand dortoir où des sacs de couchage sont alignés, dans sa maison du sud. On pense reconnaître Faucon, Lévêque, un ado et trois enfants, chacun dans son sac, on dirait qu’ils viennent de se réveiller. Sur le mur ont été bombés des prénoms : Claude, Pepito, Gilou, Bernard, Titi et Jean."},{"level":2,"_id":"7NRBPYOQNJAD5AMX54DGLS6S7M","additional_properties":{"inline_comments":[],"comments":[]},"type":"header","content":"«Sur son site, on ne trouve rien entre 1976 et 1982»"},{"_id":"TUNRENB4ENBTNIRNVVUVWSESSM","additional_properties":{"inline_comments":[],"comments":[],"_id":1732879764964},"type":"text","content":"Si l’éventualité de crimes pédophiles commis par Claude Lévêque a pu en surprendre certains dans le monde de l’art, le nom de Bernard Faucon, lui, devrait aujourd’hui être reçu avec moins d’étonnement. Le photographe avait illustré le sulfureux n°37 de la revue <i>Recherches</i>, «Fous d’enfance. Qui a peur des pédophiles ?» désormais introuvable et retiré de la circulation, aux textes signés René Schérer, Gabriel Matzneff ou Guy Hocquenghem, où l’on trouve aussi une publicité pour un abonnement au journal de «l’Ecole en bateau» de Leonide Kameneff (<a href=\"https://www.liberation.fr/societe/2013/03/22/leonid-kameneff-coupable-capitaine_890680/\" target=\"_blank\">condamné à douze ans de réclusion criminelle</a> pour viols et agressions sexuelles sur mineur de quinze ans en 2013), journal <i>«réservé jusqu’à présent aux parents»,</i> et une autre pour l’achat, aux éditions Gallimard, de <i>«Petits Garçons de cartes postales (140 cartes postales 1900 Coll. Christian Caujolle), 85F».</i>"},{"_id":"LBWMK4I7ANDDVFKIJG7VNUIYDU","additional_properties":{"inline_comments":[],"comments":[],"_id":1732879764965},"type":"text","content":"C’est lui aussi qui, interrogé par <i>le Monde</i> en 2005 à l’occasion de son exposition à la MEP, répondait à la question : <i>«Pensez-vous que certaines images […] peuvent être lues au regard du débat sur la pédophilie ?» </i>Il répond : <i>«Oui, j’y pense. Ce serait bien plus dur d’imposer ces images aujourd’hui. Il y a une telle sensibilité́ par rapport à ça… Une perte d’esprit libre, aussi.» </i>Faucon avait officiellement arrêté la photographie en 1995. Un an plus tard, en 1996, <a href=\"https://www.liberation.fr/theatre/2017/03/09/tout-ce-qu-annoncait-l-affaire-dutroux-s-est-renforce_1554565/\" target=\"_blank\">l’affaire Dutroux</a> était venu changer la donne et les regards. 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l’amour. William Dubin, 56 ans, biographe d’écrivains et homme marié, y traîne dans les rues, une nuit des années 1970, après avoir bu un verre au Harry’s Bar. Sa femme, Kitty, est restée dans le Vermont. Celle qui l’accompagne, Fanny, a été pendant quelques jours leur femme de ménage. Un jour, elle s’est dénudée sous son nez, dans son bureau, tandis qu’il calait sur sa future biographie de <a href=\"https://www.liberation.fr/livres/2013/05/09/la-fureur-de-vie-de-dh-lawrence_901831/\" target=\"_blank\">D.H. Lawrence</a>, lequel avait une étrange vertu : il <i>«n’épargnait aucune mauvaise nouvelle à personne».</i> Lawrence n’épargne pas davantage au biographe son aspect raide, guindé, le fait qu’il soit un obstacle permanent à ceux qu’il attire : <i>«Est-ce la façon dont je travaille ou celle dont il m’élude ? Dubin avait l’impression d’être un sculpteur devant un bloc d’argile durcie.» </i>Le voici donc à Venise, avec Fanny, pour attaquer la romance. Elle a trente ans de moins que lui. Dubin lui parle des écrivains, des peintres qu’il aime. Il filtre tout ce qu’il vit et voit avec la vie de ceux qu’il a lus, sur qui il écrit. Mais les musées n’intéressent pas Fanny, les biographies d’écrivains non plus. Après le dîner, elle est restée à l’hôtel. Ils n’ont toujours pas couché ensemble, bien qu’ils soient là pour ça."},{"level":2,"_id":"XXX3R5SGWBFJBDVMXS63GSLRGE","additional_properties":{"inline_comments":[],"comments":[],"_id":1732626917241},"type":"header","content":"Maladresse du vieux, naturel de la jeune"},{"_id":"GZB6PNKRE5FDFPKML4DXFLOVM4","additional_properties":{"inline_comments":[],"comments":[],"_id":1732548309552},"type":"text","content":"Ce qui a eu lieu avant la promenade solitaire de William donne un bon aperçu du ton des <i>Vies multiples de William D.</i> (en anglais : <i>Dubin’s Lives</i>, c’est plus sobre), roman publié en 1979 par Bernard Malamud. Il avait 65 ans, il lui restait sept ans à vivre. Dubin et Fanny se déshabillent dans la chambre. Il a un maillot de corps. Elle : <i>«Pourquoi est-ce que tu t’embêtes à porter ça ?»</i> Lui : <i>«C’est ma femme qui les achète.»</i> Elle : <i>«Dis-lui de ne plus en acheter.»</i> Lui : <i>«C’est commode en hiver. C’est elle qui achète mes affaires. Moi, je déteste le faire.»</i> Elle : <i>«Je préférerais que tu ne l’encenses pas en ma présence.»</i> Le dialogue continue, entre maladresse du vieux, naturel de la jeune, comique de situation. Elle se baisse pour lui enlever ses chaussettes, <i>«il y eut un bruit de pet sonore» </i>et le lecteur se dit : tiens, le vieux a pété au mauvais moment. Or, surprise, c’est Fanny qui a pété : <i>«Elle se précipita en hoquetant dans la salle de bain, tira la chasse.</i>"},{"_id":"FMWXRZ5R2VFTTNLRKFRJHH6F3Q","additional_properties":{"inline_comments":[],"comments":[],"_id":1732548309553},"type":"text","content":"<i>Cinq minutes plus tard, et comme elle ne répondait pas quand Dubin frappa à la porte, il tourna la poignée et jeta un regard circonspect à l’intérieur.»</i> Fanny se tient près de la cuvette, «<i>une traînée de diarrhée dégoulinant le long de ses jambes, puis elle vomit bruyamment. Il la nettoie, elle sanglote, «alors il lui lava les jambes et les fesses avec une serviette imprégnée d’eau chaude et de savon, sans parvenir à éradiquer l’odeur de la maladie.</i>"},{"_id":"JYWVV342HZA7DM45FDKYBN55XY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732548309554},"type":"text","content":"<i>Le biographe pensa à ce qu’avait dit Yeats à propos de l’édification de l’amour sur l’autel des excréments ; mais ça ne lui apporta pas grand-chose.»</i> L’auteur fait allusion à un poème de l’écrivain irlandais, <i>Crazy Jane parle avec l’évêque</i>, où on lit ces vers : <i>«Une femme peut être fière et rigide /Lorsqu’elle a des intentions amoureuses ; /Mais l’amour a installé sa demeure /sur l’autel des excréments ; /Car rien ne peut être unique ou entier /Qui n’a pas été loué.» </i>William a nettoyé et bordé Fanny comme si c’était sa fille, Maud, qu’il a cru voir dans la rue, un peu plus tôt, au bras d’un homme beaucoup plus âgé qu’elle. Mais que ferait Maud à Venise, alors qu’elle étudie à Berkeley ? William regarde Fanny au lit, calcule la différence d’âge. Il se sent coupable, se rassure, se disculpe et conclut : <i>«A chacun de vos actes, la vie répond par une farce grotesque.» </i>Ce mélange du trivial et du raffiné, cette tragicomédie de l’existence et de la sexualité, du malentendu et du vieillissement, cette finesse de langue confrontée aux pulsions du corps et aux couacs de l’esprit, on les connaît : elles culminent sur les deux autres pointes de ce triangle des lettres américaines que forment, avec Malamud, <a href=\"https://www.liberation.fr/culture/2005/04/07/saul-bellow-ame-qui-vive_515600/\" target=\"_blank\">Saul Bellow</a> et <a href=\"https://www.liberation.fr/planete/2018/05/23/l-ecrivain-americain-philip-roth-est-mort_1651975/\" target=\"_blank\">Philip Roth</a>.<i> Les vies multiples de William D., </i>dont le titre de travail était<i> The Juggler (le Jongleur)</i>, fait écho aux univers et à la matière des deux autres, qu’il connaissait fort bien.<i> </i>On est toujours quelque part entre la rue, le lit, la bibliothèque, le divan et le cirque. Et ça danse."},{"level":2,"_id":"YBLE52FBEJEO7IP2VS7UTDCFCY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732548309556},"type":"header","content":"Fils fantomatique"},{"_id":"AMBTMB46PZGWDKQDCESOWG532M","additional_properties":{"inline_comments":[],"comments":[],"_id":1732548309555},"type":"text","content":"Quand il était jeune, après la mort de sa mère folle, Dubin<i> «ne semblait pas savoir que faire de lui-même. Si votre train est sur de mauvais rails, chaque gare où vous vous arrêtez est la mauvaise gare». </i>Dans Venise vidée par la nuit, tandis que Fanny dort, il parle au fantôme de son père, un serveur qui ne riait jamais et qui est mort depuis longtemps, laissons-le se présenter à lui et à nous : <i>«Papa […], je suis biographe. Je veux que tu saches que le président Johnson – lui non plus n’était pas de ton temps – m’a remis une médaille pour un livre que j’ai écrit sur quelqu’un qui s’appelait </i><a href=\"https://www.liberation.fr/plus/speciaux-cahier-ete/henry-david-thoreau-heraut-mais-pas-heros-20220727_JMWAJF7XEFHBPF2N5QKD4LLG3M/\" target=\"_blank\"><i>Henry Thoreau</i></a><i>, un homme à l’âme immense qui vivait dans la nature. C’est ce que je fais : j’écris des livres sur les vies des hommes. […] La médaille de la liberté m’a été décernée pour mon talent.» </i>Le fantôme du père lui répond :<i> «Ça aurait été mieux si tu l’avais reçue du président Roosevelt.» </i>Le temps est différent dans la vie intérieure, comme dans les romans. Il crée ses frontières pour mieux les passer. Dans la vie extérieure, c’est la guerre du Vietnam. Le fils que Kitty a eu d’un premier mariage, que Dubin a élevé, a déserté et fuit à Stockholm. Ils n’ont plus de nouvelles. Ils en auront, car que faire quand tout foire à Venise ? Aller en Suède. A la recherche du fils adoptif, tout aussi fantomatique, qui finira mal chez les Russes. Et en profiter pour tomber dans la nuit, sous la pluie, et se faire mal aux genoux."},{"_id":"YBLE52FBEJEO7IP2VS7UTDCFCY","additional_properties":{"inline_comments":[],"comments":[],"_id":1732548309556},"type":"text","content":"Dubin avait commencé par écrire des nécrologies dans les journaux : <i>«Le rédacteur en chef lui avait demandé d’insister sur les belles carrières, mais il s’arrangeait parfois pour faire passer une vie ratée.»</i> La vie de Dubin est-elle réussie ? Une phrase de Freud, sur le mensonge de toute biographie, lui a donné un coup sur la tête. S’en est-il remis ? Se remet-il de vieillir, de la tristesse, de mentir à sa femme qui ne ment pas ? Ce qu’on saura de son passé, de son va-et-vient entre Kitty et Fanny, se reflétera dans le miroir de la biographie de Lawrence, des vies célèbres qu’il a écrites. Un post-scriptum dresse la liste de ses œuvres. Après <i>la Passion de D.H. Lawrence : une vie</i>, il a publié<i> l’Art de la biographie</i>, puis, avec sa fille Maud, <i>Anna Freud</i>. On ne sait pas quand il est mort. Il a fallu cinq ans à Malamud pour écrire sa vie. Il avait d’abord songé à en faire un violoncelliste. Un musicien est moins bavard qu’un écrivain : il y aurait eu moins de longueurs, une soumission moins visible à la psychanalyse et à l’autobiographie. C’est sans importance : le récit transcende les lourdeurs que la vie charrie. Le 25 mars 1979, Saul Bellow écrit à Malamud à propos de son livre : <i>«J’ai été heureux de le recevoir, enchanté d’être transporté, par une belle écriture, par l’intelligence, le style, vers un monde mieux articulé et ordonné que celui où j’ai vécu jusqu’ici. Un livre de premier ordre développe en moi des organes qui restaient cachés ou aveugles. Je </i>vois<i> mieux depuis que j’ai lu Dubin.»</i>"},{"level":6,"_id":"OG3GASOOHFBTJKACDJICMSUILA","additional_properties":{"inline_comments":[],"comments":[],"_id":1732548309557},"type":"header","content":"Bernard Malamud, <i>les Vies multiples de William D. </i>traduit de l’anglais (Etats-Unis) par Olga Féodoroff, Edition révisée par Hélène Cohen, Rivages, 575 pp, 25 € ebook : 18,99 €)."}],"subheadlines":{"basic":"Réédition du roman de l’écrivain américain retraçant la romance à Venise d’un biographe avec une femme de trente ans sa cadette."},"description":{"basic":"Réédition du roman de l’écrivain américain retraçant la romance à Venise d’un biographe avec une femme de trente ans sa cadette."},"language":"","source":{"system":"composer","name":"liberation","source_type":"staff"},"taxonomy":{"primary_site":{"path":"/culture/livres","parent_id":"/culture","name":"Livres","description":"Retrouvez toute l'actualité littéraire : critiques et nouveautés livres, le cahier livres, nos 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