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data-fusion-component="html-block-f0fgS3O7O2mo1WJ"></div><div><hr /></div><div id="fusion-static-exit:html-block-f0fgS3O7O2mo1WJ" style="display:none" data-fusion-component="html-block-f0fgS3O7O2mo1WJ"></div><div class="flex-chain container-fluid"><div class=""><div class="row"><div order="1" class="ItemChainElement__ItemElementLayout-sc-1c74lbk-0 fpjgZS col-sm-12 col-md-xl-6 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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Il finit par perdre la boule quand il est confronté à deux Fantasio : celui de l’époque et celui d’aujourd’hui qui a réussi à infiltrer la machinerie diabolique pour tenter d’aller repêcher son ami dans le passé."},{"level":2,"_id":"TAKI5QRQQVBERF3HTBSBIRCQYM","additional_properties":{"inline_comments":[],"comments":[],"_id":1730891686649},"type":"header","content":"Nostalgie un peu rance"},{"_id":"LRICRC6TIFF3HA3KVHO3XSQVDY","additional_properties":{"inline_comments":[],"comments":[],"_id":1730825649920},"type":"text","content":"L’album, scénarisé par l’autrice des <i>Tulipe</i> Sophie Guerrive et l’auteur de fictions radiophoniques Benjamin Abitan, dessiné par Olivier Schwartz, est plutôt sympathique, comme d’ailleurs l’était <i>la Mort de Spirou</i> (2022), dont celui-ci est la suite. L’histoire, un peu alambiquée, livre son lot d’aventures efficaces. On rit aux blagues disséminées dans les dialogues. Le dessin, qui se place dans l’héritage de Chaland, embarque facilement grâce au fourmillement de détails et sa ligne rétrofuturiste particulièrement élégante."},{"_id":"BCX2PQI5CZDYXEVKK2OWDCDEHY","additional_properties":{"inline_comments":[],"comments":[],"_id":1730717985856},"type":"text","content":"Ce qui gêne dans<i> la Mémoire du futur, </i>c’est son clin d’œil appuyé au passé tant dans le dessin que dans le scénario. Les années 50 ne sont pas ici qu’un décor : c’est la source où puise l’album. Ce qui ne serait pas aussi gênant si la glorification du passé ne semblait au cœur de la politique éditoriale de Dupuis."},{"_id":"4WYCKHETQNCPBPO2VB4W72VGEY","additional_properties":{"inline_comments":[],"comments":[],"_id":1730717985857},"type":"text","content":"Parallèlement à la série officielle, la maison belge a en effet lancé au printemps 2024 une série «classique» de Spirou et Fantasio dont les péripéties se situent dans ce que l’éditeur a élu comme son âge d’or, c’est-à-dire les années Franquin (1950-1969). Un pari qui pose au moins deux questions ; d’une part, figer une période en affirmant que tout ce qui y a été fait est du génie relève d’une nostalgie un peu rance – c’est oublier par ailleurs que beaucoup des lecteurs d’aujourd’hui ont été davantage biberonnés aux albums de Tome et Janry (1984-1998) qu’à Franquin. D’autre part, en plaçant la barre si haut, les auteurs qui se frottent à ce prétendu classicisme ne peuvent que souffrir de la comparaison. 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En revendiquant un passéisme à tout crin, on caresse certes certains fans dans le sens du poil, mais on risque aussi d’être aveugle à tout ce qui n’est plus acceptable aujourd’hui de la période soi-disant indépassable qui sert de référence."},{"_id":"FCVSODEO5BBJNO7PCKQUNS5KNM","additional_properties":{"inline_comments":[],"comments":[],"_id":1730825649927},"type":"text","content":"C’est dans ce contexte que <i>la Mémoire du futur</i> s’efforce, après les tentatives plutôt réussies de Yoann et Vehlmann (2010-2016), d’actualiser Spirou – notamment en donnant une grande place au personnage de Seccotine. 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href=\"https://www.liberation.fr/societe/les-mille-et-une-luttes-de-madeleine-riffaud-20241107_XHTQLUYCVREPVPOP3TNVLHCEUQ/\" target=\"_blank\"><b>Madeleine Riffaud est morte le 6 novembre 2024</b></a><b>. Elle avait 100 ans, 2 mois et quelques jours. Nous republions cet article, écrit cet été alors qu’on l’avait rencontrée pour la sortie du troisième tome de sa biographie en BD, </b><i><b>Madeleine Riffaud, résistante.</b></i><b> C’était juste avant qu’elle fête son centenaire, le 23 août. Elle était très affaiblie, alitée, mais souhaitait témoigner, encore et encore, de l’horreur du fascisme.</b>"},{"_id":"TRXFJOMVLZELLA6YTIBFAKFFEU","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-08-22T10:59:58.678Z","start":760,"end":837,"text":"guill","user":"Nina MORENO","email":"n.moreno@liberation.fr"},{"date":"2024-08-22T10:59:41.916Z","start":855,"end":893,"text":"guill","user":"Nina MORENO","email":"n.moreno@liberation.fr"},{"date":"2024-08-22T10:59:48.744Z","start":897,"end":910,"text":"guill","user":"Nina MORENO","email":"n.moreno@liberation.fr"},{"date":"2024-08-22T10:59:32.256Z","start":1021,"end":1033,"text":"guill\n","user":"Nina MORENO","email":"n.moreno@liberation.fr"}]},"type":"text","content":"La chambre est plongée dans la pénombre. Madeleine Riffaud est allongée dans son lit. A l’orée de ses 100 ans, elle souffre, chaque jour un peu plus. Les yeux mi-clos, elle demande un cigarillo à <a href=\"https://www.liberation.fr/images/2017/02/12/je-savais-l-importance-du-quotidien-dans-ce-que-taniguchi-voulait-narrer_1548039/\" target=\"_blank\">Jean-David Morvan</a>. Le scénariste de BD lui tend la boîte de sa marque fétiche, Cohiba Mini. Elle la tient précieusement entre ses mains, se saisit d’un ninas, l’allume et le porte à sa bouche. Les volutes de fumée commencent à danser autour de son visage, sa voix devient plus claire et affirmée. L’étincelle rouge fait ressurgir les ombres. Alors, elle se souvient : le 23 août 1944, la jeune résistante a patrouillé toute la nuit, elle somnole. Le téléphone sonne, c’est l’état-major des Francs-tireurs et partisans (FTP). Elle murmure : <i>«Un militaire me dit : </i>“<i>Allez-y en nombre, il y a un train sur la Petite Ceinture, il faut l’arrêter.</i>”<i> Je lui réponds :</i><i> “On est quatre hommes, en me comptant</i><i>.” </i>“<i>Démerdez-vous</i>”<i>, il me lance. On avait récupéré une caisse avec des armes de poing et de la dynamite. J’ai dit à mes gars : </i>“<i>Ça va servir</i>”<i>.»</i>"},{"_id":"F6W7MEB2WJA6JCDI362BIJ2DEY","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-08-22T11:17:21.586Z","start":295,"end":325,"text":"le pont à la base, mais je ne trouve pas de pont qui s'appelait vraiment comme ça (et en tout cas c'était vers cette gare que l'action a eu lieu apparemment)\n","user":"Nina MORENO","email":"n.moreno@liberation.fr"}],"_id":1724316952126},"type":"text","content":"Madeleine Riffaud joue avec les personnages. Ses récits sont toujours des dialogues. Comme une comédienne, ou la journaliste qu’elle a été, elle nous prend par la main, nous emporte dans l’histoire, donne le ton et les décors. Voilà Paris, la Libération : avec ses trois hommes, elle fonce vers la gare de Belleville-Villette en Citroën traction avant. Lorsque le train ennemi surgit du tunnel, ils balancent tout ce qu’ils ont. Les nazis répliquent à la mitrailleuse. Marcel, l’un des résistants, est blessé. Les explosions s’enchaînent, dans des gerbes de rouge, bleu, vert de feux d’artifice, lancés par mégarde. Madeleine Riffaud en rit encore, de ces couleurs. Le conducteur allemand tente de faire machine arrière, se retrouve bloqué. A l’intérieur, 80 SS. Pour éviter qu’ils ne s’échappent, il faut réussir à détacher la locomotive. Personne ne sait comment faire. On trouve un cheminot, en train de déjeuner chez lui avec sa femme, dans un immeuble voisin. Quatre-vingts ans après, Madeleine Riffaud est impressionnée : <i>«Il a arrêté son repas, et a osé y aller, sur la voie, détacher la locomotive et la démarrer, sans se prendre une balle. Je ne sais pas qui était cet homme, je ne l’ai jamais revu.»</i>"},{"level":2,"_id":"MMF37MCVWRGAHOR3CJHK3NDDH4","additional_properties":{"inline_comments":[],"comments":[],"_id":1723988572186},"type":"header","content":"Une intrépide aux mille vies"},{"_id":"3LP3OZ3FNBHLJIRTGIHQSITJPY","additional_properties":{"inline_comments":[],"comments":[],"_id":1724328980335},"type":"text","content":"Les soldats ennemis se rendent, mains sur la tête. Dans les wagons, les résistants trouvent des armes et des dizaines de kilos de nourriture. Des années qu’ils n’ont pas mangé ainsi. Le soir, dans les rues du XIXe, Paris n’est pas encore libéré, mais un banquet est organisé. Madeleine Riffaud a perdu la notion du temps, elle demande la date : le 23 août. Elle sourit : elle a 20 ans. Elle n’est pas majeure (la majorité est fixée à 21 ans à l’époque), n’a pas le droit de voter ni celui de posséder un compte en banque, mais elle mène des actions de résistance depuis plus de trois ans."},{"owner":{"sponsored":false,"id":"liberation"},"address":{},"syndication":{},"auth":{"1":"30cdfac1d9898e6d38c0b8ad06ee7f288e76044d100556180edcd9cddeaf4124"},"caption":"Madeleine Riffaud dans son bureau au journal «Ce soir», en 1946","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/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","licensable":false,"credits":{"affiliation":[{"name":"Fond Madeleine Riffaud","type":"author"}]},"subtitle":"","width":4221,"creditIPTC":"Fond Madeleine Riffaud","_id":"ELY5UV4XKRBLBL52YVYC4A4FRI","additional_properties":{"fullSizeResizeUrl":"/resizer/50CVhTX4hhau_bE1xqIXndhxQAM=/arc-photo-liberation/eu-central-1-prod/public/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","owner":"l.charrier@liberation.fr","comments":[],"proxyUrl":"/resizer/50CVhTX4hhau_bE1xqIXndhxQAM=/arc-photo-liberation/eu-central-1-prod/public/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","originalUrl":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","published":true,"resizeUrl":"/resizer/50CVhTX4hhau_bE1xqIXndhxQAM=/arc-photo-liberation/eu-central-1-prod/public/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/D0yj00x5IUC06AfRkmXrbiaU9dM=/300x0/arc-photo-liberation/eu-central-1-prod/public/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","version":1,"usage_instructions":"PARUTION GRATUITE","originalName":"4yaCC-kA.jpg","mime_type":"image/jpeg","restricted":false,"template_id":183,"galleries":[],"_id":"SIOWPZJE6FD55BTIT6RXAX3IGY"},"created_date":"2024-08-23T14:47:31Z","last_updated_date":"2024-08-23T18:50:39Z","height":3048,"image_type":"photograph","resized_params":[{"url":"resizer/1EqSC1a63hY0KfSgcmtnpLIq2ZE=/84x56/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":84,"height":56},{"url":"resizer/2kdATXpwDN9L6uln19VC8b64_xQ=/105x70/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":105,"height":70},{"url":"resizer/4F9DSD_0yNO-RFdd5rDecIS1yCQ=/158x105/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":158,"height":105},{"url":"resizer/xSxdv2mWGcJYobHGKNPI_anazqA=/274x183/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":274,"height":183},{"url":"resizer/EjIfVWafJ56-V6XcLD4HM9yyS5w=/377x251/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":377,"height":251},{"url":"resizer/qzOwLenYwKU1cKPM6U4o8G1eSp4=/400x267/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":400,"height":267},{"url":"resizer/_EwjBE7HHw_DeELE4vlp05qhkZ4=/600x400/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":600,"height":400},{"url":"resizer/Ei_F5y-6m34RMLSCAZ_eCxnmgiU=/768x512/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":768,"height":512},{"url":"resizer/v7Q30rbrmWqH79bIfw6f_aI_I7o=/800x533/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":800,"height":533},{"url":"resizer/IuO-9Ld2XWbYn-vvPIwtq5wzz1s=/1024x683/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":1024,"height":683},{"url":"resizer/Uk_adKtjPJ5kK5Xg_FdeWBnVN2I=/1200x800/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":1200,"height":800},{"url":"resizer/s2JlZSDd3QQDzib8hekHkcncMN4=/1440x960/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":1440,"height":960},{"url":"resizer/yV1pznpwXXShq4tv43VcwuD1-II=/1600x1067/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/ELY5UV4XKRBLBL52YVYC4A4FRI.jpg","width":1600,"height":1067}]},{"_id":"LZ5YG4AXGFEEZAXIF5SKXDLTNE","additional_properties":{"inline_comments":[],"comments":[],"_id":1724316952128},"type":"text","content":"Pendant cinquante ans, l’héroïne, récompensée de la croix de guerre, tait ses exploits. <i>«Cela ne se faisait pas de s’épancher»</i>, nous disait-elle <a href=\"https://www.liberation.fr/societe/madeleine-riffaud-ultra-resistante-20210826_27NO4DG34FCF7CFG6VBRJICJ3A/\" target=\"_blank\">lors d’une précédente rencontre en 2021</a>. En 1994, convaincue par <a href=\"https://www.liberation.fr/societe/2007/03/15/lucie-aubrac-une-conscience-s-est-eteinte_13984/\" target=\"_blank\">le couple Aubrac,</a> elle commence à partager ses souvenirs, dans les écoles, en public, pour maintenir la mémoire. Elle parle de <i>«l’esprit de la résistance»</i> : <i>«Ne jamais pleurer sur l’état de son pays ou sur son propre sort. Aucune cause n’est jamais perdue, sauf si on abandonne.»</i>"},{"_id":"CILT74TKNJA4VNLOBRHE5N6T54","additional_properties":{"inline_comments":[],"comments":[],"_id":1724316952130},"type":"text","content":"Ces dernières années, tandis que son souvenir s’estompait hors des cercles mémoriels, tout s’est accéléré. Le scénariste Jean-David Morvan (<i>Sillage,</i> plusieurs <i>Spirou et Fantasio</i>) l’a contactée et convaincue de publier <a href=\"https://www.liberation.fr/culture/le-prix-goscinny-recompense-lesprit-de-la-resistance-20211123_25BEDQ75IFD47OSQIIZ6BKKFZU/&xtor=CS7-51-/\" target=\"_blank\">sa biographie en bande dessinée</a>. Les deux premiers tomes, avec Dominique Bertail aux pinceaux, ont eu un succès conséquent. Un nouveau public, plus jeune, a découvert une intrépide aux mille vies, une femme libre au caractère trempé, une bougonne au grand cœur, farouchement de gauche, engagée, toujours forte malgré la vieillesse et les maladies. Aussi, Madeleine Riffaud a confié ce qu’elle n’avait jamais confié, comme son viol par un milicien à 17 ans. Le fils collabo d’une connaissance de ses parents devait la récupérer à une gare et la conduire à un sanatorium pour soigner sa tuberculose. Il profita de la nuit à l’hôtel pour abuser d’elle, plusieurs fois."},{"_id":"YTVDPTYNPJFYHK636QKWUSQGLE","additional_properties":{"inline_comments":[],"comments":[],"_id":1723992635264},"type":"text","content":"Sans une confiance construite sur la durée avec Jean-David Morvan, elle n’en aurait jamais parlé. Leur relation dépasse l’écriture d’un album. Elle est quasi filiale. Avec d’autres indignés, c’est lui qui, se rendant compte qu’elle se faisait voler depuis de nombreuses années par son auxiliaire de vie, a réclamé justice. En décembre, la directrice de l’entreprise d’aide à domicile, soupçonnée d’avoir dérobé près de 140 000 euros, a été condamnée pour <i>«abus de confiance sur personne vulnérable»</i>."},{"level":2,"_id":"ROCQ3S2VVBHFLLS6RUKHUIWJMI","additional_properties":{"inline_comments":[],"comments":[],"_id":1724328980339},"type":"header","content":"Un meurtre qui change tout"},{"_id":"J4PMDC2OTZEQ7ICR6N46S4IWNQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1723988572189},"type":"text","content":"Ce vendredi 23 août, Madeleine Riffaud a fêté ses 100 ans et la sortie du troisième tome, <i>les Nouilles à la tomate</i>. L’héroïne raconte en détail sa détention dans les geôles de la Gestapo et la Libération de Paris. <i>«Pendant longtemps, les tortures, elle ne voulait pas en parler,</i> explique Jean-David Morvan.<i> C’était un album vraiment dur à faire. Le dire permet de l’expulser. Ça l’a rendue malade. Moi aussi. Dominique Bertail aussi.»</i>"},{"_id":"LIHE3G7LDJFLJHJAM6MQT3EFJE","additional_properties":{"inline_comments":[],"comments":[],"_id":1723988572190},"type":"text","content":"Madeleine Riffaud a commencé à mener des actions pour la résistance dès 1941. Par conviction, d’abord : ses parents, instituteurs dans la Somme, sont de gauche. Elle ne supporte pas non plus l’attitude des occupants ; un coup de pied aux fesses d’un officier, alors qu’elle refuse les avances de ses hommes, agit comme un révélateur. Par amour, aussi : au sanatorium niché dans la montagne, à Saint-Hilaire-du-Touvet (Isère), où le directeur cache des médecins juifs sans qu’elle le sache, elle rencontre le jeune Marcel Gagliardi, qui devient ensuite son compagnon. Bien qu’il soit malade, elle réussit à le convaincre de s’engager dans la résistance intérieure française (RIF). En nom de guerre, elle choisit Rainer, pour <a href=\"https://www.liberation.fr/livres/2020/10/09/marilyn-et-lady-gaga-groupies-de-rilke_1801917/\" target=\"_blank\">Rainer Maria Rilke</a>, poète allemand qu’elle admire. Elle transporte des plis, tague les murs, vole des armes. Chaque geste compte. Au fur et à mesure de son expérience et de l’arrestation de ses camarades, elle monte en grade, et rejoint en mars 1944 les FTP, fondés par le Parti communiste. Les alliés se rapprochent, le débarquement est imminent, et il est alors demandé aux petits groupes de mener des actions de plus en plus violentes, pour semer le doute et la terreur chez l’occupant. Madeleine Riffaud obéit. Dévastée par <a href=\"https://www.liberation.fr/politique/europeennes-de-bayeux-a-oradour-les-villes-memoires-de-1944-ont-mis-le-rn-en-tete-20240611_7P57J2CNS5DNFG7HLCWVV6SP4E/\" target=\"_blank\">le massacre d’Oradour-sur-Glane</a>, où elle allait enfant en vacances, et par la mort de son camarade Charles «Picpus» Martini, Rainer décide d’agir elle-même. Le 23 juillet, elle abat un soldat de l’armée d’occupation sur le pont de Solférino, en plein jour. De deux balles dans la tête. Ce jour-là, la vie de Madeleine Riffaud change à jamais."},{"subtype":"title_only","_id":"NKGLOYFVQ5CDDLZBQZK6BWM6PU","additional_properties":{"comments":[],"_id":"EUF6FBA3DRF6FFYNNSLTXIJY3A"},"title":"A lire aussi","type":"link_list","items":[{"description":{"_id":"WLP3BGQUBBA65NDKJUZ6SO36UM","type":"text","content":""},"_id":"LMXNFTWTUVCP5CNGMPIP7EQSEU","type":"interstitial_link","content":"Aux grandes résistantes, la patrie reconnaissante","url":"https://www.liberation.fr/societe/familles/aux-grandes-resistantes-la-patrie-reconnaissante-20211111_5PXZGKL24ZFGBOANZQL4SMVWFI/"}]},{"_id":"RXZTKEM2SVGPFFSYAHWL67P37Q","additional_properties":{"inline_comments":[],"comments":[{"date":"2024-08-18T14:57:06.397Z","start":232,"end":234,"text":"guil anglaises","user":"Quentin GIRARD","email":"q.girard@liberation.fr"}],"_id":1723988572191},"type":"text","content":"Dans le lit de son appartement parisien, la dame âgée tire sur son cigarillo. La lumière rouge : <i>«Le jour où j’ai tué un sous-officier allemand, je ne pensais à rien. Il fallait le faire, je l’ai fait.»</i> Elle souffle :<i> «On m’a dit : “Ce n’était pas à vous de le faire, c’était à vos hommes.” Mais mes hommes, j’en avais presque plus, et ceux qui restaient étaient démoralisés. J’étais face à moi-même.» </i>Moment suspendu.<i> «J’ai toujours assumé cet acte. J’essaye.»</i> Un instant. <i>«Ouais.»</i>"},{"_id":"E5P3FDUV2VEG7AQAWKYTFYS3LM","additional_properties":{"inline_comments":[],"comments":[],"_id":1723988572192},"type":"text","content":"Juste après cette exécution, la résistante tente de s’échapper à vélo. Un milicien la poursuit en voiture, l’arrête et <a href=\"https://www.liberation.fr/medias/2004/08/20/parisienne-liberee_489769/\" target=\"_blank\">la livre à la Gestapo, rue des Saussaies.</a> Les Allemands et les Français la torturent pendant trois semaines, dans le sinistre immeuble du VIIIe arrondissement, puis à Fresnes. Madeleine Riffaud subit l’horreur, entend des gens agoniser, en voit d’autres mourir devant elle. Mais elle ne parle pas. Dans sa cellule, pour tenir, elle se récite des poèmes d’Apollinaire : <i>«Passent les jours et passent les semaines /Ni temps passé /Ni les amours reviennent /Sous le pont Mirabeau coule la Seine.»</i> Elle aime fredonner les surréalistes. Elle a aussi écrit et publié de la poésie, remarquée notamment par Paul Eluard : <i>«Ils ont bien pu tordre mes mains /Je n’ai jamais livré vos noms. /On doit me fusiller. Demain. /As-tu très peur, dis ? Oui ou non /Le temps a pris /Le mors aux dents. Courez, courez /Après le temps !»</i>"},{"owner":{"sponsored":false,"id":"liberation"},"address":{},"syndication":{},"auth":{"1":"f8161468c0665cfa6c8a59e57eb9f7ef7b3279adab9636baaafae6e7ec358a40"},"caption":"Extrait de la BD «Madeleine, résistante».","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","focal_point":{"x":1187,"y":2257},"version":"0.10.9","url":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/RNKUCSK465EDHCYEC26OYAM2RI.jpg","geo":{},"licensable":false,"credits":{"affiliation":[{"name":"Dupuis 2024","type":"author"}],"by":[{"name":"Riffaud, Morvan Bertail","type":"author","byline":"Riffaud, Morvan Bertail"}]},"subtitle":"","width":2400,"creditIPTC":"Dupuis 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l’oubli, viennent les grandes catastrophes"},{"_id":"EW42BFTYNJCETASO3N2YWADSYI","additional_properties":{"inline_comments":[],"comments":[],"_id":1723988572193},"type":"text","content":"Prisonnière, l’ultra-résistante est condamnée à être fusillée. Elle sera à la place réinterrogée et de nouveau suppliciée. Le 5 août, elle monte dans le «convoi des 57 000», un train de déportés politiques, direction les camps de concentration de Buchenwald et Ravensbrück. Elle s’extirpe de son wagon, est reprise immédiatement. Le 19 août, la jeune femme est libérée grâce à un échange de prisonniers organisé par le consul de Suède, Raoul Nordling. La mort n’avait pas voulu d’elle. Rainer reprend le combat dans la foulée, traumatisée à jamais. <i>«Quand elle a été cambriolée il y a quelques années, on a posé des serrures,</i> raconte Jean-David Morvan. <i>Elle m’a appelé, m’a dit qu’elle ne le supportait pas, qu’elle avait l’impression d’être de nouveau dans sa cellule de Fresnes.»</i>"},{"_id":"7UYBWGO645BVDLJ56OPNLTCVQE","additional_properties":{"inline_comments":[],"comments":[],"_id":1723988572195},"type":"text","content":"Parmi de multiples aventures et combats, comme son immersion et sa dénonciation du système hospitalier dans <i>les Linges de la nuit, </i>un énorme succès en 1974,<i> </i>Madeleine Riffaud a fait de la dénonciation des tortures une des grandes causes de sa vie. Après la guerre, la communiste, pas dupe de Staline, devient journaliste, défend les opprimés, couvre les grandes grèves de mineurs de 1947 et 48. Puis elle part dans les années 50 et 60 en reportage en Algérie française, où elle échappe à un attentat de l’OAS qui lui fait perdre un œil, et en Indochine. Farouchement anticolonialiste, en couple avec un écrivain et politique vietnamien proche de Hô Chi Minh, elle publie de nombreux articles de soutien aux révoltés. Elle dit, tirant sur son cigarillo : <i>«J’aimais trop la France pour la laisser </i><a href=\"https://www.liberation.fr/tribune/2000/12/07/les-colonies-terres-de-torture_346831/\" target=\"_blank\"><i>commettre dans les colonies les mêmes atrocités que les nazis chez nous.</i></a><i> Souvent les tortionnaires là-bas étaient des anciens policiers qui avaient torturé pendant l’Occupation.» </i>Elle sait qu’un pays n’est jamais loin de basculer, que les ténèbres n’attendent qu’un instant de relâchement pour revenir."},{"subtype":"title_only","_id":"FTO7FQO755EHVIWG4TW4FHDFHU","additional_properties":{"comments":[],"_id":"7O63TCE7WVE4NIQGDTTKO7NSXA"},"title":"Tribune","type":"link_list","items":[{"description":{"_id":"BM3B6ZZZIJH23HJ4DEFJBR2VZA","type":"text","content":""},"_id":"I7HZG4FDKNFF7OUBFVUJZU5VFI","type":"interstitial_link","content":"L'histoire de la Libération pourra toujours se raconter sans ses acteurs","url":"https://www.liberation.fr/idees-et-debats/tribunes/lhistoire-de-la-liberation-pourra-toujours-se-raconter-sans-ses-acteurs-20240822_5C222FJ2SZDR5N5KSFQ6A2GZ5U/"}]},{"_id":"DS3GIUNFOBBV7F5RDQKCHLTKQM","additional_properties":{"inline_comments":[],"comments":[],"_id":1724322996503},"type":"text","content":"Avec le Rassemblement national à plus de 30 % et Emmanuel Macron <a href=\"https://www.liberation.fr/politique/consultations-macron-fait-passer-a-la-gauche-un-entretien-dembuches-20240823_X2AFUXK6WJAKTG7VHYW3N66XLI/\" target=\"_blank\">qui refuse toujours de nommer son ou sa Premier·ère ministre,</a> les commémorations de la Libération de Paris résonnent d’étrange manière cet été. De cette attirance récurrente des Français pour l’extrême droite, elle chuchote, se souvenant très bien que la majorité était déjà loin d’être contre Pétain au début du conflit : <i>«C’est navrant. J’ai peur de l’arrivée au pouvoir un jour du RN, comme tous les gens intelligents. Mais il ne faut jamais renoncer à convaincre</i>, soutient Madeleine Riffaud.<i> Je suis assez âgée pour avoir bien connu le père de Mme Le Pen. A une époque, j’habitais près de la statue de Jeanne d’Arc et je me souviens de ses petits défilés. Jean-Marie Le Pen était accompagné d’anciens amis SS. C’était répugnant ce qu’il racontait. Un jour que j’étais là, je m’y rends, ils étaient en train de foutre à l’eau un jeune Marocain qui n’avait rien fait. Un homme a enlevé sa veste et a plongé pour le récupérer, mais c’était trop tard. On ne pouvait pas le récupérer.»</i> C’était le 1er mai 1995, la victime s’appelait <a href=\"https://www.liberation.fr/societe/1998/05/14/le-proces-du-meurtre-de-brahim-bouarramle-service-d-ordre-fn-delateur-pour-la-bonne-cause-lepeniste_235964/\" target=\"_blank\">Brahim Bouarram</a>."},{"_id":"YEZC6C7IE5DEDNCROJQ6OFSUXE","additional_properties":{"inline_comments":[],"comments":[],"_id":1723988572197},"type":"text","content":"Aux législatives, Madeleine Riffaud a soutenu le NFP. <a href=\"https://www.liberation.fr/idees-et-debats/opinions/le-front-populaire-de-1936-visait-a-defendre-les-institutions-plus-qua-empecher-larrivee-au-pouvoir-de-lextreme-droite-20240618_SZKBMS4OKBDTTNPPA4JQ3AJXSU/\" target=\"_blank\"><i>«J’aurai maintenant connu les deux Fronts populaires.</i></a><i> J’avais 12 ans pour le premier, mon père le soutenait. C’est lui qui m’a éduquée aux questions politiques et qui m’a appris aussi à tirer et conduire alors que je n’étais qu’une enfant. Il trouvait que ça pourrait servir.» </i>Elle a raconté moult fois l’anecdote, ne pensait pas que les antifascistes devraient se poser à nouveau cette question. Le jour où il n’y aura plus personne pour témoigner lui <i>«fait peur»</i>. Avec l’oubli, viennent les grandes catastrophes. Alors, aveugle et alitée depuis plusieurs années, elle y jette ses dernières forces, portée par une pulsion de vie et de mémoire. D’autres révélations sont à venir dans les prochains tomes de sa BD, comme une mission secrète pour neutraliser un collabo. Les braises du Cohiba Mini rougeoient encore une fois : <i>«Je pense à mes camarades, à ceux que j’ai vu mourir sous mes yeux.»</i> Long silence. Elle s’endort."},{"owner":{"sponsored":false,"id":"liberation"},"copyright":"© Laura Stevens // Modds","address":{"locality":"Paris","country_name":"FRA","region":"Ile de France"},"auth":{"1":"ff483548bf5d236c634a9cc66b2c14b69ba74b07f5b40ccc839aae0f0652255c"},"caption":"La résistante Madeleine Riffaud, chez elle à Paris le 24 juillet.","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/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","geo":{},"licensable":false,"credits":{"affiliation":[{"name":"Libération","type":"author"}],"by":[{"name":"Laura Stevens ","type":"author","byline":"Laura Stevens "}]},"subtitle":"PRODLIBE 2924-1038","width":5124,"_id":"PXAFEGGHPRHLTIBD56NIZT4DSY","additional_properties":{"fullSizeResizeUrl":"/resizer/s61RjUruKW3Y33nSXyp4suX8_8E=/arc-photo-liberation/eu-central-1-prod/public/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","owner":"l.charrier@liberation.fr","iptc_source":"LIBERATION","comments":[],"keywords":[],"proxyUrl":"/resizer/s61RjUruKW3Y33nSXyp4suX8_8E=/arc-photo-liberation/eu-central-1-prod/public/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","takenOn":"2024-07-24T12:05:49Z","originalUrl":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","published":true,"resizeUrl":"/resizer/s61RjUruKW3Y33nSXyp4suX8_8E=/arc-photo-liberation/eu-central-1-prod/public/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/O7dpKI65rFjqb6-_63XGNyHh5iY=/300x0/arc-photo-liberation/eu-central-1-prod/public/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","version":2,"countryId":74,"originalName":"Madeleine-Riffaud-033.jpg","mime_type":"image/jpeg","restricted":false,"template_id":183,"galleries":[],"_id":"SRS6P6L2NRC73I4BK63YXUAYFQ","iptc_title":"Photographer"},"created_date":"2024-08-23T14:47:34Z","last_updated_date":"2024-08-25T23:08:19Z","slug":"Madeleine Riffaud","height":7173,"image_type":"photograph","resized_params":[{"url":"resizer/UnTS2lmBPmIOcFw0sSP3YpmGoQM=/84x56/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":84,"height":56},{"url":"resizer/mT6uAFCCkw0OrdkYzD0F2s4xEjc=/105x70/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":105,"height":70},{"url":"resizer/pVH4yoS-5IjrFNouik3lnPWs1dQ=/158x105/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":158,"height":105},{"url":"resizer/jRNI40OaMJPCm4SDQoPza385T24=/274x183/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":274,"height":183},{"url":"resizer/eAjSMyzexppAe7CGUZrApjQqXPI=/377x251/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":377,"height":251},{"url":"resizer/vObLgEKxDzJQz1uuO7RJfWwTW6Y=/400x267/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":400,"height":267},{"url":"resizer/rXlZsGiHuxFLm4PMi2CGtEXu41k=/600x400/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":600,"height":400},{"url":"resizer/4NsXNe_eXvnyjlQSlj-66VM7B34=/768x512/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":768,"height":512},{"url":"resizer/fAhhCSn2LQkKro8mixqEyRTEEss=/800x533/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":800,"height":533},{"url":"resizer/X1qmDTZDO8fExWm64bZY-Q8HDZ0=/1024x683/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":1024,"height":683},{"url":"resizer/MDgG9p75SYbbc3KfNZfFGZ7f8hU=/1200x800/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":1200,"height":800},{"url":"resizer/HAHUb5FCAaQsewu3vlLJlo8G9DU=/1440x960/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":1440,"height":960},{"url":"resizer/YDz4PM3dOi-JLj7hwBrn88rogVY=/1600x1067/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/PXAFEGGHPRHLTIBD56NIZT4DSY.jpg","width":1600,"height":1067}]}],"subheadlines":{"basic":"Morte ce mercredi 6 novembre, la poète et journaliste de gauche, qui a combattu l’occupant nazi dès 1941, était devenue centenaire vendredi 23 août. 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L’histoire d’un séisme qui avale une école maternelle et l’expédie, par-delà le temps, dans une ère condamnée par un désastre climatique. L’auteur y fracasse le sanctuaire scolaire et jette ses gamins hors de l’enfance dans une succession de tableaux sadiques où les profs survivants se muent en loups, prêts à tout pour s’approprier les maigres ressources. <i>«Umezu tient le pari d’une fiction entièrement paroxystique où, à la crise initiale du glissement de terrain temporel, succède une descente aux enfers par paliers de délectation morbide, </i>écrit<i> </i><a href=\"https://www.liberation.fr/livres/2006/01/26/l-ecole-est-finie_27810/\"><i>Libé</i></a><i> </i>au moment de sa première parution française. <i>Le récit, dans sa fureur, met les nerfs en pelote à force de harcèlement traumatique…» </i>Reconnaissable entre mille, le style Umezu se nourrit de contrastes brutaux. A l’innocence de corps fragiles s’oppose la violence crue – les petits meurent brûlés, écrasés, éventrés. 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Retour à la terreur domestique, à la mère dévoratrice. Sauf qu’ici la petite Sakura devient le véhicule du monstre. Victime en jupe plissée puis bourreau possédé, c’est elle – et par glissement sa lectrice – qui s’introduit dans les foyers pour voler les corps. Au contact d’Umezu, le manga d’horreur évolue, passe du <i>kaiki </i>qui reposait sur la monstration du grotesque, au <i>kyofu</i>, qui travaille plutôt la tension, la mise en scène de l’invisible, de la peur. La menace s’insinue dans les lieux sûrs, contamine les certitudes, jusqu’à ce que son propre reflet devienne angoissant. D’où l’importance de ces pages pleines d’yeux, de personnages saisis dans un état second."},{"_id":"4YKFNPEFTFFHNJ45FX6PHCWRFA","additional_properties":{"inline_comments":[],"comments":[],"_id":1730809760706},"type":"text","content":"Les deux séries, superbes, font un bide lorsqu’elles paraissent chez Glénat début 2000 et il faut attendre pas loin d’une dizaine d’années pour qu’un éditeur indépendant, le Lézard noir, s’empare de l’œuvre d’Umezu et donne à découvrir <i>la Femme serpent, </i>les cours méphitiques de <a href=\"https://www.liberation.fr/culture/2015/05/12/kazuo-umezu-fondu-au-noir_1308183/?redirected=1\"><i>la Maison aux insectes</i></a> ou le fascinant <a href=\"https://www.liberation.fr/livres/2017/06/23/je-suis-shingo-coeur-artificiel_1579095/\"><i>Je suis Shingo</i></a><i> </i>écrit au début des années 80. Une histoire d’amitié entre un garçon malmené à la maison et une intelligence artificielle qui s’éveille, où l’auteur hybride son trait en introduisant ce qu’on n’appelle pas encore du «pixel art». Loin de se sentir contraint par le style magistral qu’il s’est forgé, Umezu s’autorise tous les grands écarts. Son <i>Makoto-chan</i>, immensément populaire au Japon, est une comédie régressive pleine de pipi, de caca et de morve qui laisse entrevoir l’autre visage de ce sosie de Darry Cowl. Un esprit libre et bizarroïde qui s’essaie à la chanson et arpente les talk-shows dans le rôle de l’amuseur public en marinière rouge et blanche. Ces cinq dernières années, Umezu avait entamé une nouvelle mue, investissant la peinture à l’huile. 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de le dissuader de sortir ce livre avant le procès. Mais alors que l’auteur de bande dessinée devrait comparaître prochainement au pénal, devant le tribunal de Nanterre (l’instruction est toujours en cours) pour <a href=\"https://www.liberation.fr/culture/une-deuxieme-plainte-deposee-contre-les-oeuvres-de-bastien-vives-20221220_E6IFZB3LDZHCDKQSNWBZD6VDHE/?redirected=1\" target=\"_blank\"><i>«diffusion d’images pédopornographiques»</i></a>, voici que sort <i>la Vérité sur l’affaire Bastien Vivès</i>, avec Bastien Vivès, par Bastien Vivès. Une petite bande dessinée abrasive qui ne paraît pas chez les deux éditeurs également convoqués par la justice (Glénat et les Requins Marteaux), ni chez son fidèle partenaire Casterman (qui prend au passage quelques tacles dans le bouquin), mais dans une nouvelle maison, Charlotte Editions, lancée avec ce livre choc."},{"_id":"TKATLRZTKRFTTNEVMY4CYVKMOM","additional_properties":{"inline_comments":[],"comments":[],"_id":1728886830681},"type":"text","content":"A première vue, nous trouverons ici le récit de deux années de déboires qui ont propulsé Vivès du statut enviable de petit prince de la bande dessinée française à celui de pestiféré. Rappelons-nous : en décembre 2022, la <a href=\"https://www.liberation.fr/culture/accusations-contre-bastien-vives-le-festival-dangouleme-sous-pression-20221209_LPOJK6QEVJE2NFPQQFGY2SHXDM/\" target=\"_blank\">déprogrammation de son exposition</a> par le Festival international de la bande dessinée d’Angoulême, sous la pression de militants féministes, avait ouvert une déferlante de polémiques bien confuses autour du contenu de certaines de ses œuvres –<i> Petit Paul </i>ou <i>les Melons de la colère</i> –, des ouvrages considérés par l’auteur et ses lecteurs (et lectrices) comme de pures farces jonglant avec les tabous, mais accusés par d’autres de promouvoir la culture du viol et de l’inceste. Ce qui aurait pu rester dans l’enceinte du débat démocratique se résoudra finalement dans l’enclos judiciaire, des associations de protection de l’enfance l’ayant poursuivi."},{"level":2,"_id":"EUJELBEN7JCUDGL54HWDPGYMMU","additional_properties":{"inline_comments":[],"comments":[],"_id":1728910812294},"type":"header","content":"Une société dystopique"},{"_id":"TY5HCQNJBFCMVGZ57QEDS4JAMY","additional_properties":{"inline_comments":[],"comments":[],"_id":1728886830682},"type":"text","content":"Evidemment, le titre du présent ouvrage est un canular. <i>La Vérité sur l’affaire Vivès</i> parodie cet exercice traditionnel du milieu de l’édition imposé à tout paria qui souhaite «revenir» : le récit autobiographique et réaliste d’une chute et d’une rédemption. Après avoir singé d’abord cette contrition de l’épanchement mémoriel en peignant l’éveil du petit Bastien à la sexualité, le livre bifurque vers la satire. Derrière ses allures de petite chose, de série de sketchs nerveux balancés avec un trait léger, le bouquin est un règlement de comptes virulent en même temps qu’un manifeste, énonçant entre les cases à quel point l’auteur ne cédera pas d’un millimètre sur ce terrain qu’il défend comme une citadelle assiégée : le droit à la fiction, la liberté de fantasmes, la nécessité de rappeler la différence entre fantasmer, promouvoir, agir. Aux accusations, Vivès répond ici avec ses propres armes, qui ne sont pas celles du réalisme et du discours argumentatif (il laisse ça au temps du procès) mais celles de la caricature grotesque et de la satire saugrenue."},{"_id":"5G6WHEKTPFCMRJPZ7TV665IOU4","additional_properties":{"inline_comments":[],"comments":[],"_id":1728886830683},"type":"text","content":"Nous voici donc propulsés dans une version fictive de l’affaire Vivès. Extrait : Bastien Vivès est un auteur de bande dessinée accusé de promouvoir la pédopornographie et doit se plier à une batterie de tests pour mesurer son degré de perversion. Dans la salle d’examen, un casque sur la tête relié à son sexe doit quantifier son degré d’excitation tandis que défilent devant lui des images pédopornographiques. Seulement, le médecin chargé d’ajuster la machine est une bombe atomique aux énormes seins (la marotte de Vivès), à fort accent allemand (allez savoir pourquoi), qui signale qu’elle est en retard pour aller allaiter son petit bébé. Evidemment, Bastien Vivès bande, il est jugé pédophile et finit en taule."},{"_id":"GDWM472WDNFLNOEKKID2H7JW24","additional_properties":{"inline_comments":[],"comments":[],"_id":1728886830684},"type":"text","content":"Dans une succession de strips en noir et blanc et de cases copiées-collées rappelant celles que le jeune Vivès postait sur Internet, le livre multiplie ce genre de démonstrations par l’absurde et retrace un quotidien fait d’interrogatoires kafkaïens. Se dessine de pages en pages une société dystopique – qu’il ne doit pas trouver si éloignée de la nôtre – où toute accusation vaut condamnation, et où tout ne peut être lu qu’au premier degré et au prisme unique de l’autobiographie."},{"level":2,"_id":"MB6I3Q3AIJGKTAPRRUUKWBSE4Y","additional_properties":{"inline_comments":[],"comments":[],"_id":1728910812298},"type":"header","content":"«Onpeupuriendire»"},{"_id":"ZPRUKLDO4VDTXP2DTVXTQO6HEI","additional_properties":{"inline_comments":[],"comments":[],"_id":1728886830685},"type":"text","content":"Tout cela est souvent très mordant mais ne traite que d’une partie de l’«affaire», la plus caricaturale et la plus spectaculaire. En effet, en décembre 2022, prenant pour cible sa carte blanche à Angoulême, des militants avaient tenté d’ouvrir un autre débat, nécessaire, mais vite recouvert par le brouhaha des accusations de pédopornographie. C’était celui du manque criant de parité hommes/femmes dans l’écosystème de la bande dessinée, dans les institutions qui la consacre et la récompense. Cette colère, portée légitimement par nombre d’autrices et d’auteurs, ses pairs, est balayée par Vivès. Au lieu de quoi le livre, jusqu’alors malin dans sa façon de retourner l’accusation contre elle-même, finit par vriller dans une longue séquence de règlement de comptes consistant essentiellement à se foutre de l’usage diversifié des pronoms masculins/féminins ou des questions de «mégenrage» sans plus d’originalité que dans <i>l’Heure des pros</i> sur CNews."},{"_id":"LXEYZNRUCJGOPCVXAKEFNAQNRE","additional_properties":{"inline_comments":[],"comments":[],"_id":1728886830687},"type":"text","content":"Bastien Vivès a certes ses raisons : alors que les personnages de ses livres sont entièrement fictifs et évoluent dans un monde outre-burlesque, il a dû comparaître devant la brigade des mineurs comme s’il était suspecté de crimes sur des enfants réels. N’attendons pas de lui qu’il reste mignon avec ses détracteurs. Mais elle épuise aussi, cette façon de se présenter en glorieux résistant à la nouvelle pensée dominante, en dissident passif et surplombant, comme si ce genre de charge anti-woke n’était pas portée en permanence dans les médias, ne serait-ce que par les séides de l’empire Bolloré. On frôle le «onpeupuriendire» – la sentence tombe finalement page 99. Résultat, tout le monde reste crispé dans son camp : ceux qui détestaient Vivès trouveront matière à le détester encore plus, ceux qui voient en lui un esprit libre et insoumis seront ravis."},{"level":6,"_id":"XWDWDBQIGNBHFBCPQLFFU6BCJE","additional_properties":{"inline_comments":[],"comments":[],"_id":1728657338620},"type":"header","content":"Bastien Vivès, <i>la Vérité sur l’affaire Vivès</i>, Charlotte Editions, 160 pp., 13,90€. En librairies le 16 octobre."}],"subheadlines":{"basic":"Dans une BD satirique, l’auteur accusé de pédopornographie et toujours en attente de procès livre une réponse mordante à ses détracteurs. 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papoose qui court entre les herbes ou qui galope, juché sur son meilleur ami, un cheval noir et blanc à la crinière jaune nommé Petit Tonnerre. A l’annonce ce mercredi 9 octobre par les éditions le Lombard de la mort de Job, André Jobin de son vrai nom, à 96 ans, c’est tout un pan de nos lectures de jeunesse qui a ressurgi de nos souvenirs. Le scénariste suisse avait créé en 1969 avec le dessinateur Derib l’une des plus célèbres séries pour enfants de la bande dessinée francophone : <i>Yakari.</i> Les aventures du jeune sioux de la tribu Lakota ont accompagné des générations de gamins, jusqu’à aujourd’hui, la série étant toujours en cours, à son 42e tome, et adaptée en dessin animé, long-métrage, roman, jeu vidéo, etc."},{"level":2,"_id":"XU3EOGPGJVBL5CQZPVMQDSGPUI","additional_properties":{"inline_comments":[],"comments":[],"_id":1728483554628},"type":"header","content":"Harmonie avec la nature"},{"_id":"HBWU6LZIFNFXFL2QY7Z7R6DHAQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1728481488925},"type":"text","content":"Reprenant l’univers fantasmé de l’ouest américain comme nombre de collections de l’après-guerre (<a href=\"https://www.liberation.fr/culture/bd/blutch-je-pense-que-lucky-luke-ne-devait-pas-aimer-les-enfants-20231201_VFYKBWQNLRGBNPHB7SFGPLVNAI/\" target=\"_blank\"><i>Lucky Luke</i></a>, <a href=\"https://www.liberation.fr/culture/livres/mort-de-raoul-cauvin-pere-des-tuniques-bleues-apres-une-vie-bien-chargee-20210820_I4VNKDJ6QNH3ZNGKYNZHM2LLCY/\" target=\"_blank\"><i>les Tuniques Bleues</i></a>, <a href=\"https://www.liberation.fr/images/2019/12/20/blueberry-double-detente_1770416/\" target=\"_blank\"><i>Blueberry</i></a>, etc.), <i>Yakari </i>s’est toujours distingué par sa dimension pacifiste, écologique, antispéciste. Dans les albums, les personnages vivent en harmonie avec la nature, jouent et s’entraident. S’ils doivent parfois affronter des bêtes hostiles, comme le grizzly ou le facétieux pélican, cela se termine toujours bien. Il faut dire que Yakari a le don de parler aux animaux, ce qui aide, secret connu seulement de son amie Arc-en-Ciel."},{"_id":"VJOXOMTBMJAR3HSWLZLBA3S37Y","additional_properties":{"inline_comments":[],"comments":[],"_id":1728481488926},"type":"text","content":"<i>«Yakari est un enfant qui aime les animaux, comme moi,</i> disait <a href=\"https://www.midilibre.fr/2020/09/04/pour-le-scenariste-nimois-job-le-film-tire-de-yakari-est-une-magnifique-surprise-9048591.php\" target=\"_blank\">Job au <i>Midi Libre</i>, en 2020</a>. <i>C’est un aventurier, un petit garçon qui n’a jamais rencontré l’homme blanc, qui ne connaît que les Sioux. Il est malicieux, débrouillard, bienveillant, épris de justice, fidèle en amitié, il n’a pas d’ennemis.» </i>Celui qui <i>«n’avait jamais voyagé aux Etats-Unis»</i> avait fait du territoire de son héros un petit paradis, avant qu’il ne soit ravagé par la colonisation. Avec Dominique à la couleur, les deux auteurs ont eu le mérite de familiariser des jeunes lecteurs et lectrices à des bouts de culture amérindienne, comme le fameux pemmican mangé dans nos souvenirs une page sur trois et à la faune et la flore d’Amérique du Nord, parfois mythique, comme le fameux Nanabozo, le lapin farceur."},{"level":2,"_id":"U5UOM5TEHRFVHC2ETTCPUUL2OQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1728483554631},"type":"header","content":"Rassemblement jurassien"},{"_id":"JRE5LIEIKZDU5BSIP5QIEWFJKU","additional_properties":{"inline_comments":[],"comments":[],"_id":1728481488928},"type":"text","content":"C’est Dérib, le dessinateur, qui avait eu l’idée du personnage Yakari, resté de longues années dans ses cartons avant qu’il ne rencontre Job. Journaliste de formation et militant pour le Rassemblement jurassien, association autonomiste et séparatiste suisse réclamant la réunification de toutes les composantes jurassienne et la séparation avec le canton de Berne, André Jobin dirige alors <i>le Crapaud à Lunettes</i>, un hebdomadaire jeunesse s’inspirant du journal <i>Tintin</i>. Après une première série sur un hibou savant, <i>les Aventures de Pythagore et Cie</i>, les deux compères se lancent dans <i>Yakari</i>. Job accepte l’idée à deux conditions, précise Le Lombard : <i>«Que le jeune héros reste toujours un enfant de la nature sauvage, et que les intrigues ne tombent jamais dans les poncifs du western.»</i> «<i>Je ne voulais pas utiliser […] la diligence, le shérif, les armes et tout ça : Yakari est un enfant, un innocent. Il est même non-chasseur», </i><a href=\"https://actus.sfr.fr/divertissement/gaming/yakari-pourquoi-les-histoires-de-l-enfant-sioux-sont-cultes_AN-202206130001.html\" target=\"_blank\">disait Job, en 2013.</a>"},{"_id":"QJ227DIPEJHHDOJ4OAXTL7OGT4","additional_properties":{"inline_comments":[],"comments":[],"_id":1728481488929},"type":"text","content":"Le succès est tel qu’un magazine finit par être créé au nom du personnage principal et que les albums conquièrent la France, la Belgique et sont traduits dans une vingtaine de langues. Récompensé deux fois du Prix Jeunesse au festival d’Angoulême, en 1982 et 2006, Job a continué d’écrire les scénarios de <i>Yakari</i> jusqu’en 2014 laissant ensuite le flambeau à Joris Chamblain. Ce soir, nul doute que les castors du Dakota, sur leur barrage, taperont de leur queue en rythme pour lui rendre hommage."}],"subheadlines":{"basic":"André Jobin, le scénariste des célèbres aventures de bande dessinée du petit indien, est mort à l’âge de 96 ans, ont annoncé les éditions du Lombard ce mercredi 9 octobre."},"description":{"basic":"André Jobin, le scénariste des célèbres aventures de bande dessinée du petit indien, est mort à l’âge de 96 ans, ont annoncé les éditions du Lombard ce mercredi 9 octobre."},"language":"","source":{"system":"composer","name":"liberation","source_type":"staff"},"taxonomy":{"primary_site":{"path":"/culture/bd","parent_id":"/culture","name":"BD","description":"Les dernières nouveautés en bandes dessinées et les sorties BD de la semaine sont à retrouver dans 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Que<i> l’Arabe du futur </i>et son auteur, Riad Sattouf, ont échappé au régime courant de la bande dessinée pour rejoindre le camp des phénomènes. On n’ose même pas ajouter «de librairie» tant la série s’est vendue partout, jusqu’en hypermarchés, signe de son infinie capacité à bondir par-dessus les portiques, à réconcilier les puristes de la BD, les musées et les curieux qui n’achètent des petits <i>Mickey </i>qu’une fois l’an. Une dinguerie que le Centre national du livre résumait, dans <a href=\"https://www.liberation.fr/culture/bd/le-cnl-tord-le-cou-a-linsolente-sante-de-la-bd-20210616_JMHKH3YGCJFS7FNIFVF3U72CPI/fin-de-vie/?redirected=1&redirected=1\">son panorama du marché de la BD</a> des années 2010 à 2020, en expliquant que c’était la seule série à pouvoir marcher sur les platebandes d’<i>Astérix.</i> Pas forcément ce qu’on imaginait pour l’épanchement mémoriel d’un auteur sur sa jeunesse syrienne. Les six volumes se sont écoulés à 3,5 millions d’exemplaires et font dorénavant partie du fond de toute librairie. L’emballement mérité culminait avec la parution du dernier tome de la série, fin 2022, et <a href=\"https://www.liberation.fr/culture/bd/riad-sattouf-grand-prix-de-la-ville-dangouleme-beau-gosse-20230125_SILQADLOKVFMBOFIWIR4UDZPPM/\" target=\"_blank\">le grand prix d’Angoulême</a> quelques mois plus tard. La conclusion, en juin, des <i>Cahiers d’Esther, </i>son autre série au long cours, pouvait laisser penser que Riad Sattouf s’apprêtait à entamer un nouveau cycle. Contrepied avec ce livre au titre de cycle de romans de fantasy en 18 tomes – <i>l’Arabe du futur. Moi, Fadi, le frère volé. Tome 1 (1986-1994) </i>– qui marque le retour quasi immédiat à sa série phare, en éclairant cette fois la vie de son plus jeune frère, Fadi, kidnappé par leur père et gardé pendant de long mois dans la banlieue de Homs en Syrie."},{"level":2,"_id":"AFTBIAANRBH4PIQGYYN4ULZNV4","additional_properties":{"inline_comments":[],"comments":[],"_id":1728390271313},"type":"header","content":"Sens du détail"},{"_id":"2QCEKZN7NNBKTCMPLPHBIPK3JA","additional_properties":{"inline_comments":[],"comments":[],"_id":1728378313805},"type":"text","content":"Siamois esthétique de <i>l’Arabe du futur,</i> <i>le Frère volé</i> s’ouvre en Bretagne par un monde capté en odorama. La terre mouillée d’un sentier, le goût acide d’un pouce fichu dans la bouche, la bonne odeur de shampoing de sa mère et celle vanillée du voisin qui lui dit bonjour le matin. Plus petit, un peu dans sa tête, Fadi nous est présenté comme un peu en retrait. Une proie facile pour ses deux frangins plus âgés, qui le sadisent gentiment, le poussent à s’égarer dans la cambrousse, lui piquent ses œufs de Pâques. Ce qui n’empêche pas le garçonnet de voir son frère Riad comme un demi-dieu. <i>«Un grand dessinateur, immense et très fort» </i>– description qui correspond à ce dont rêve le Sattouf ado qui s’imaginait en Conan devant la glace (<i>Ma Circoncision,</i> 2004). L’harmonie familiale vole en éclats avec le retour surprise du père. A peine le petit a-t-il le temps de s’acclimater à cet homme dont il n’avait aucun souvenir que le récit embraye : un vendredi de mai, le père embarque Fadi pour un voyage surprise, juste tous les deux. Le train jusqu’à Paris, puis le métro, puis l’avion. Jusqu’à Ter Maaleh, le village familial près de Homs. Un kidnapping qui se noue autour du destin tragique d’une Game Boy, sens du détail qui tue en posant une époque, un rêve d’avenir, l’émerveillement d’un gamin. Petite légèreté avant que l’enfant ne prenne la mesure de ce qui lui arrive."},{"_id":"LUYRWCU2ZBFCXMTIHD75YDG6Q4","additional_properties":{"inline_comments":[],"comments":[],"_id":1728378313806},"type":"text","content":"Par nature, ce livre composé à partir d’entretiens réalisés en 2011-2012 (donc bien avant la série principale) est un projet d’équilibriste. On le comprend lors de l’apparition du père, premier point de friction du récit. Pour le petit, c’est l’irruption d’un illustre inconnu qui met son quotidien sens dessus dessous. Pour le lecteur, c’est le retour d’un personnage familier et à une forme de normalité, le destin familial étant largement façonné par cet homme. C’est probablement dans cette brèche creusée entre le présent du récit et le passé du lecteur que cette nouvelle série trouvera sa vie propre. Maître dans l’art de transmettre un vécu, une expérience, Sattouf semble composer ici avec les émotions transmises hier. Ainsi, durant les premières heures de la nouvelle vie syrienne de Fadi, les angoisses de séparation d’avec sa mère ravivent le souvenir des heures terribles que celle-ci a traversées, telles que racontées dans le tome 5 de <i>l’Arabe du futur. </i>Aux pages que l’on lit, à la Syrie que l’on voit, s’ajoutent celles que l’on a lues, l’angoisse qui se joue en Bretagne et qu’il n’est plus besoin de dire. En s’épargnant le contrepoint français, le récit n’en est que plus étouffant."},{"level":2,"_id":"UX747R3ENFD4VLQ6VD54UDYW4I","additional_properties":{"inline_comments":[],"comments":[],"_id":1728390271316},"type":"header","content":"«Montrer des actes plutôt que des pensées»"},{"_id":"QXLUYB5HWFDEVFFNOK7KJGNJ7M","additional_properties":{"inline_comments":[],"comments":[],"_id":1728378313807},"type":"text","content":"Mais à mesure que le récit s’établit durablement à Ter Maaleh, village qu’on fréquente depuis des années au point d’en reconnaître les maisons, l’école, les oncles et tantes, le rapport au souvenir s’inverse. <i>Le Frère volé </i>se retrouve peu à peu condamné à l’oxymore : récit de déracinement (du petit) en cadre familier (côté lecteur). Pour la première fois, on se dit que l’auteur se retrouve peut-être piégé par ses méthodes, qu’il détaillait <a href=\"https://www.liberation.fr/culture/livres/riad-sattouf-jai-fait-ma-crise-dadolescence-dans-mes-premieres-bd-20221125_OHNAB3KWJNB5XHECMTHPZ2HAXE/\" target=\"_blank\">à <i>Libération </i>en 2022</a> : <i>«Je ne suis pas amateur de livres autobiographiques. Je trouve ça un peu ennuyeux et souvent hypocrite. Les gens se protègent, donnent d’eux et de leurs proches une image trop valorisante. […] Pour éviter cet écueil dans </i>l’Arabe du futur, <i>j’essaie de montrer des actes plutôt que des pensées, de faire un pas de côté. Par exemple, au lieu de parler de moi, je parle de mon père, de notre relation, de la progression de ce personnage dans l’esprit des lecteurs et dans la réalité.» </i>Les faits rapportés semblent si «communs» au lecteur de <i>l’Arabe du futur </i>qu’ils ne participent plus à élever le récit. Difficile d’être surpris par ce père, ou surpris tout court, par cette situation pourtant exceptionnelle. Pire, la voix de Fadi semble assourdie par le souvenir de Riad et les manières de l’auteur. Peut-être n’est-ce là qu’un début. Peut-être fait-on trop grand cas de ce malaise que la suite saura dissiper. La narration reste un modèle de fluidité. Mais pour la première fois, une nouvelle série de Riad Sattouf nous laisse de marbre."},{"level":6,"_id":"5JUTSMJ7BZAQBH27C6YN5DORLI","additional_properties":{"inline_comments":[],"comments":[],"_id":1728378313808},"type":"header","content":"<i>L’Arabe du futur. Moi, Fadi, le frère volé. Tome 1 (1986-1994)</i> de Riad Sattouf. Les Livres du futur, 144 pp, 23 €."}],"subheadlines":{"basic":"L’auteur explore l’enfance de Fadi, son frère cadet, arraché de sa Bretagne par son père, qui l’emmène en Syrie. 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Libération","site_tagline":null},"navigation":{"nav_title":"BD"},"_admin":{"alias_ids":["/culture/bd","200048"]},"inactive":false,"node_type":"section","_website":"liberation","name":"BD","_id":"/culture/bd","ancestors":{"footer2":["/culture"],"default":["/culture","/"],"footer":[],"burgermenu":["/culture","/"],"amp-menu":["/","/culture"]},"order":{"default":2004,"burgermenu":2007,"amp-menu":2007}}},"_website_section_id":"liberation./culture/bd","type":"section","version":"0.6.0"}}},"created_date":"2024-10-04T11:46:29.008Z","publish_date":"2024-10-05T11:51:00.235Z","_id":"TIBOKK7VIFDIZPUH6D7VUG7WKA","website":"liberation","website_url":"/culture/bd/terreur-graphique-a-lhotel-europa-cachez-cette-guerre-que-je-ne-saurais-voir-20241005_TIBOKK7VIFDIZPUH6D7VUG7WKA/"},{"content_elements":[{"_id":"N6LU6M5JBZAETLGL3L4ZEQEJQ4","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839666},"type":"text","content":"<a href=\"https://www.liberation.fr/culture/livres/mort-de-pierre-christin-scenariste-emblematique-de-la-bd-francaise-20241003_4FWMB6LWFFFJVIFK7OQMYHQVPE/\" target=\"_blank\"><i><b>Le dessinateur Pierre Christin est mort le jeudi 3 octobre 2024</b></i></a><i><b> à l’âge de 86 ans. Voici sa dernière interview à Libé, faite à Angoulême en 2020.</b></i>"},{"_id":"IQDSUCSYUJH7XG6M6W6HUONASY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727962944880},"type":"text","content":"Le festival d’Angoulême rend cette année hommage à Pierre Christin, lauréat du prix Goscinny en 2019 pour l’ensemble de son œuvre. Le scénariste, qui fut aussi romancier et directeur d’une école de journalisme, a écrit les récits de certaines des plus grandes bandes dessinées francophones de l’histoire du 9e art. En collaborant avec son ami d’enfance Mézières pour la série <i>Valérian et Laureline,</i> mais aussi avec Tardi, Bilal et bien d’autres, il a grandement contribué à casser les codes narratifs et esthétiques d’un genre qui, dans les années 1970, s’adressait encore essentiellement aux enfants et était souvent méprisé. A 81 ans, il continue de publier des albums, travaillant dans son atelier-bureau du XIVe arrondissement, où on l’a rencontré."},{"_id":"A4KNPW73QFCRHPRCNAQ3IBWONM","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839667},"type":"text","content":"Son exposition en Charente retrace son parcours, de son enfance de titi parisien à ses voyages en URSS, en passant, évidemment, par ses plus grandes rencontres et collaborations artistiques."},{"level":3,"_id":"AJLNLSKWS5HGFELHH4KQOQM6G4","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839668,"class":["question"]},"type":"header","content":"Pourquoi organiser une expo à Angoulême ?"},{"_id":"QVVG7MOTZNHRBB3UA3EURKE56I","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839669},"type":"text","content":"J’ai eu l’an dernier le prix du scénario Goscinny, notre père à tous, et tu as le droit à une expo quand c’est le cas. Moi, je n’aime pas beaucoup les expos de BD, en général. Alors, les expos de scénaristes, pas sûr que ça soit une bonne idée. Il y a des expos de tout aujourd’hui, sur la culture du marron, la fabrique des pots. Des tas d’objets pas destinés à être muséifiés sont devenus muséifiables. Les planches de BD c’est pareil, c’est pas fait pour être dans un musée, mais pour être lues. Ça perd beaucoup de son intérêt sur un mur. En même temps, ça m’a posé la question de comment faire entrer le spectateur là-dedans. J’ai pris le parti d’en faire un scénario."},{"level":3,"_id":"33YIFIHP5FDQJEWBTJ2YC3BLFQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839670,"class":["question"]},"type":"header","content":"Pourquoi, jeune, le médium de la BD vous attire ?"},{"_id":"B76KA4B72NH4VOCXPPKWVJ47BU","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839671},"type":"text","content":"Je me suis toujours intéressé au dessin. J’ai toujours admiré les illustrateurs, les aquarellistes anglais, Hokusai. Quant à la BD spécifiquement, mon père était un petit coiffeur et il y avait des BD dans son salon, où j’ai découvert Edgar P. Jacobs, qui m’a passionné. Pendant au moins un an, j’ai écrit partout la marque jaune sur les murs sur le chemin de l’école. Et puis j’étais copain avec Jean-Claude Mézières qui habitait la même banlieue et on s’est retrouvés par le plus grand des hasards au lycée ensemble. C’était un coup de chance. Normalement, des gars comme moi devaient arrêter l’école à 14 ans. J’ai été envoyé au lycée Turgot et Jean-Claude à l’Ecole des arts appliqués. Il y avait aussi Jean Giraud qui arrivait encore plus loin de banlieue. On avait 15-16 ans, et on traînait tous les trois ensemble."},{"_id":"HKFWTRMJYNAZFLJFGZIFVPKYAU","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839673},"type":"text","content":"Moi, je voulais écrire, faire de la musique, eux étaient déjà très adroits du point de vue graphique mais pas très bons pour écrire. Ils m'ont dit : <i>«Si tu aimes écrire, tu veux pas faire un bout de texte pour nous ?»</i> J'ai dit : <i>«Je sais pas, je peux essayer.»</i> Et je me suis aperçu que c'était très amusant. Ensuite, je suis parti aux Etats-Unis, où j'ai découvert <i>Mad Magazine</i>. <i>Tintin, Spirou,</i> ce n'était pas trop mon truc, mais là, <i>Mad</i>, traiter de l'actu en BD, chapeau. Ça a été le déclic."},{"_id":"FSUKMROEI5GUVMUIZYIEU5MVEY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839674},"type":"text","content":"Pour gagner des sous avec Mézières, on a décidé d'écrire une petite histoire, qu'on a envoyée à Giraud, qui l'a envoyée à quelqu'un dont on ne connaissait pas le nom, Goscinny, qui travaillait pour un journal dont on ne connaissait pas le nom, <i>Pilote</i>."},{"level":3,"_id":"II2IGIWOFBHDNL5EJDX2QVM3RU","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839675,"class":["question"]},"type":"header","content":"Dès le départ, vous savez que vous ne serez pas dessinateur ?"},{"_id":"2O3U5NBJFVDPFJ743R7UH626X4","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839676},"type":"text","content":"Si c'était arrivé à l’heure actuelle, où il y a tout un dessin très simplifié, en mode crobard, qui a été promu par les blogs et tout ça, je serais peut-être devenu dessinateur. A l’époque, c’était du dessin à la belge. Il fallait un minimum d’adresse et je n’étais pas assez bon, même si j’aimais dessiner."},{"level":3,"_id":"Q5EDZFEDWVHKJBG7OMT2V6MWFM","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839677,"class":["question"]},"type":"header","content":"On se sent toujours un peu à part dans le monde de la BD en tant que scénariste ?"},{"_id":"HHHW5EWHKFDAPNUDE66SO75JXY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839678},"type":"text","content":"On fait intrinsèquement partie du milieu mais toujours comme une pièce rapportée. On n’a pas la même origine ni la même manière de travailler que les dessinateurs. La beauté du métier, c’est que ce sont des gens qui ont des sensibilités et des formes d’intelligence très différentes. Le scénariste, c’est un mec qui est là pour manier les mots, les concepts, faire avancer l’histoire. Le dessinateur, ce qui le passionne, c’est dessiner. Le scénariste a tendance à voir plutôt loin. C’est pour ça qu’il y en a souvent dans les longues séries. Quand par bonheur un couple scénariste-dessinateur se forme et partage le même langage, c’est très bien."},{"level":3,"_id":"WQ4PJYOZJNFQZGFBCGGXR2CHZY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839679,"class":["question"]},"type":"header","content":"Quand vous vous lancez dans Laureline et Valérian, vous voyez la SF comme un moyen de parler du monde contemporain ?"},{"_id":"5VGOIRYBN5AJVME5NBGKAUU24I","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839680},"type":"text","content":"Je reviens alors des Etats-Unis où la science-fiction graphique est très mauvaise. Moi, je n'aime pas les comics, je les trouve facho. Les combats du bien contre le mal, c'est vu déjà 250 000 fois. En revanche, la SF écrite vit sa plus grande période. C'est Bradbury, Asimov, etc. Là, je m'en goinfre. Et je m'aperçois que la SF est un moyen formidable de parler de la société actuelle. C'est un effet de loupe, de grossissement. Je me dis : <i>«Tiens, en France, il y a plein de trucs à raconter, et c'est un bon vecteur.»</i> J'en parle à Mézières. Lui, il était spontanément plutôt du côté du western, mais Giraud et Jigé occupaient déjà le terrain. On s'est dit : <i>«On en fait une, on verra bien.»</i> Il y a eu du courrier des lecteurs, ça a été bien accueilli et Goscinny a dit : <i>«Il faut continuer.»</i>"},{"_id":"KFNKZ5QPDFFMXE5AD4OKWDZ4CQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839681},"type":"text","content":"Tout ça, c'était du bricolage à l'époque, on se plantait régulièrement sur la pagination. On a commencé vraiment à prendre la série à bras-le-corps avec <i>la Cité des eaux mouvantes</i>, qui représente New York sous les eaux."},{"owner":{"id":"liberation"},"address":{},"auth":{"1":"2f7a4175b7834631257a7392b2e005c3aef367781d64ef42d62ad3907703a1b3"},"caption":"Expression@Datacenter@05_v6","source":{"system":"","source_type":"Photo","source_id":"1290500","additional_properties":{"editor":"photo center"}},"type":"image","version":"0.10.9","url":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","licensable":false,"credits":{"affiliation":[{"name":"Expression@Datacenter@05_v6","type":"author"}],"by":[{"name":"Expression@Datacenter@05_v6","type":"author","byline":"Expression@Datacenter@05_v6"}]},"subtitle":"cité des eaux mouvantes","width":1517,"_id":"IQZ2VMMBDF7X3ANCC4TT27HA3A","additional_properties":{"fullSizeResizeUrl":"/resizer/iyPKfKaR30lf2A_xmlt9sqmxfBo=/arc-photo-liberation/eu-central-1-prod/public/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","comments":[],"proxyUrl":"/resizer/iyPKfKaR30lf2A_xmlt9sqmxfBo=/arc-photo-liberation/eu-central-1-prod/public/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","originalUrl":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","published":true,"resizeUrl":"/resizer/iyPKfKaR30lf2A_xmlt9sqmxfBo=/arc-photo-liberation/eu-central-1-prod/public/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","thumbnailResizeUrl":"/resizer/iGGCko-53GsvnCJcWf9HC0p2oU4=/300x0/arc-photo-liberation/eu-central-1-prod/public/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","version":0,"originalName":"1290500-cite-des-eaux-mouvantes.jpg?force_original=1","mime_type":"application/octet-stream","restricted":false,"galleries":[],"_id":1727960839682},"created_date":"2021-01-15T04:44:18Z","last_updated_date":"2021-01-15T04:44:18Z","height":2000,"resized_params":[{"url":"resizer/EQ4RwlywDlGrdDNMxRL_8kwghwI=/84x56/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":84,"height":56},{"url":"resizer/0gAM9FitIh3Z3k0aiBvjRKr8jRw=/105x70/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":105,"height":70},{"url":"resizer/jEYlCoPTB_yYTLHTIFe1nflYsmg=/158x105/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":158,"height":105},{"url":"resizer/q23-p1zBKwawYyEzKEMx_hKFx7o=/274x183/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":274,"height":183},{"url":"resizer/dmOoO0BvT_uTW7GqBMIiMgI4zKg=/377x251/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":377,"height":251},{"url":"resizer/XCfLBW7pk08kYJCwIXUxH-Tstfg=/400x267/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":400,"height":267},{"url":"resizer/OUK0VzA5kGfT2clOFzERpZdr0UI=/600x400/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":600,"height":400},{"url":"resizer/Shr_VHoBRf_BrYHijE9wQ2kBdBU=/768x512/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":768,"height":512},{"url":"resizer/Dg6-I1OIGibm8rf_qFOeErATRdg=/800x533/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":800,"height":533},{"url":"resizer/44cHEqY-T7GZq0NYwOXBVB_UUyw=/1024x683/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":1024,"height":683},{"url":"resizer/nMCqsIHv9VIxhY7iirWwx2LKqhw=/1200x800/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":1200,"height":800},{"url":"resizer/7uNtZ6dwBJ8hd-qVE8_i8OqY0Mk=/1440x960/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":1440,"height":960},{"url":"resizer/5NM-CUKYlXD_cuh7sfB5R2ixhoM=/1600x1067/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/IQZ2VMMBDF7X3ANCC4TT27HA3A.jpg","width":1600,"height":1067}]},{"level":3,"_id":"JMLU3Q65HVEVTEJR3LTGAYLQGM","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839683,"class":["question"]},"type":"header","content":"A partir de cet album, vous vous dites que vous êtes partis sur un grand cycle ?"},{"_id":"5FKSMHSINZD2FNGJTHDVFQCV5I","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839684},"type":"text","content":"Je commence à le penser. Jean-Claude prend confiance dans son dessin : il faut des couilles pour dessiner New York envahi par les eaux. Et moi, je mets un cataclysme dans l’histoire parce que je m’intéresse au problème atomique. On est en 1966-67, j’y vais franco avec cette explosion en 1986. Je ne pensais pas un jour qu’il y aurait Tchernobyl la même année !"},{"_id":"PUEZ6YOT7JBIZNMEFDJSDG3VIM","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839685},"type":"text","content":"On veut faire du graphisme à la française en compétition avec les dessinateurs américains aussi."},{"level":3,"_id":"4C6TL47ZWJBEXIFTT3XA32CF2Q","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839686,"class":["question"]},"type":"header","content":"Avec vous, la Terre est perpétuellement en danger mais l’humanité existe toujours. Vous restez optimistes."},{"_id":"G6JQTNTER5DDFLYJB65DV4HXP4","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839687},"type":"text","content":"En SF écrite, en France, une seule revue importante existe alors, c'est <i>Fiction</i>. <i>Fiction</i> se politise énormément après 68, prend une direction très sombre, avec l'idée qu'il n'y a que des dictatures, etc. Je trouve ça trop facile. Ça m'intéresse de faire une BD de SF qui ne soit pas bi-frontale : les mauvais contre les bons, les Indiens contre les Blancs, le truc à l'américaine."},{"_id":"MQTM36TTCFCMFM5E4ZYDWDLM5Y","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839688},"type":"text","content":"Je veux que <i>Valérian</i> soit une BD ambiguë. Elle est positive, la Terre existe encore au XXVIIe siècle mais elle est en permanence en danger. De la même façon, Laureline et Valérian sont des héros ambigus. Ce ne sont ni des justiciers, ni des flics, ce sont des espèces de sociologues policiers des rues qui essayent de remédier à ce qui va le plus mal par des moyens softs. Surtout Valérian, qui est l'inverse du superhéros américain : il est grêle, il n'a pas de talent particulier."},{"level":3,"_id":"3H7SLNPJZFGAHBCQ4WFW5D7JD4","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839689,"class":["question"]},"type":"header","content":"Il est quand même beau gosse"},{"_id":"BETHI54CV5CDXBRAUIABRC4CNI","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839690},"type":"text","content":"Même pas. On voulait faire une belle Laureline, mais on n’avait pas de bons sentiments envers Valérian. On s’est inspirés, physiquement, d’un chanteur qu’on n’aimait pas, Hugues Aufray. On s’est dit : Hugues Aufray, il chante des conneries, et Valérian, il est un peu con."},{"level":3,"_id":"C7PELN4YEVELXFFDSXOCMOIZP4","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839691,"class":["question"]},"type":"header","content":"Avec Laureline, vous mettez en scène un personnage féminin fort à une époque où c’est rare."},{"_id":"3BSIGFDNNRBCFIAXGXLSQZZBKY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839692},"type":"text","content":"J’aimais les mondes féminins et la BD c’était 100% masculin. Tous les auteurs étaient des hommes, comme les patrons des boîtes, souvent cathos en plus. Les femmes étaient globalement absentes, à part Sécotine ou Bécassine. C’était globalement des histoires de petits garçons racontées par des vieux petits garçons."},{"_id":"NXWNVSRKMRE6HC3A67QSZHTSVY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839693},"type":"text","content":"Nous, on tenait beaucoup à ce qu’il y ait une femme dès le départ et que ça soit elle qui ait le beau rôle, qui mène la bagarre et l’histoire."},{"level":3,"_id":"BLZEI7ESUVFSPJ2FJJ2XQ5YZFU","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839694,"class":["question"]},"type":"header","content":"Ça s’accompagnait de convictions féministes ?"},{"_id":"KQ5BKTIZWRCI3IVWMLCRTR5WX4","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839695},"type":"text","content":"C’était en partie lié au féminisme américain qui était beaucoup plus virulent. Je suis arrivé sur la côte ouest en ayant lu Simone de Beauvoir, et là-bas elle faisait figure de vieille dame d’une grande sagesse."},{"_id":"3MLCAOVDKRG4NHFF3FZWLYJA74","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839697},"type":"text","content":"On retrouve tout ça un peu en vrac : <i>Valérian</i>, c'est la BD de son époque. Il y avait toujours cette idée que chaque album traite d'un problème de société, mais sur un mode léger, parce qu'on avait encore un public de gosses. Je voulais que la BD soit populaire et en même temps qu'elle affronte les vrais problèmes."},{"level":3,"_id":"ZUZPIBGSMBBS3A5FPQITQWFDRA","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839698,"class":["question"]},"type":"header","content":"Très vite, vous arrêtez aussi le côté space opera à cause de Star Wars."},{"_id":"KFB2KRZM7RDS7G3AC5Y4PGXRNU","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839699},"type":"text","content":"<i>Star Wars</i> est sorti quelques années après les premiers <i>Valérian</i>. A l'époque, ça paraît incroyable, mais dans le milieu de la SF, <i>Star Wars</i> n'est pas bien accueilli du tout. Moi, je suis un naïf, j'ai beaucoup aimé le film. En même temps, ça nous posait un problème : les premiers <i>Star Wars</i> étaient réussis, c'était fait avec les moyens hollywoodiens, et notre pauvre petite BD française ne faisait pas le poids."},{"_id":"RDGAA6DKMNBQLHL5KXRUGCBRPU","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839700},"type":"text","content":"On s'est dit : on va garder le fond de sauce, du space opera, mais nous, on va approcher la caméra de choses plus proches de nous. On va venir davantage sur Terre, mélanger les grands espaces et les sagas, le romantisme avec des trucs qui se passent à Beaubourg ou dans le marais poitevin parce que ça n'a jamais été fait. Et on arrive très vite à <i>Métro Châtelet, direction Cassiopée, </i>qui est un aboutissement."},{"owner":{"id":"liberation"},"address":{},"auth":{"1":"a34bfadaaa6169df5bbfd2f11d2a662f3496f5972173a6491782545c26c24b49"},"caption":"","source":{"system":"","source_type":"Photo","source_id":"1290506","additional_properties":{"editor":"photo center"}},"type":"image","version":"0.10.9","url":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","licensable":false,"subtitle":"metro chatelet cassioppée","width":500,"_id":"SJ2VK7A4MP6WNGJLBB5RL3QGDQ","additional_properties":{"fullSizeResizeUrl":"/resizer/o_APNI3psgVx_3OaXLZ1tvsrNYg=/arc-photo-liberation/eu-central-1-prod/public/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","comments":[],"proxyUrl":"/resizer/o_APNI3psgVx_3OaXLZ1tvsrNYg=/arc-photo-liberation/eu-central-1-prod/public/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","originalUrl":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","published":true,"resizeUrl":"/resizer/o_APNI3psgVx_3OaXLZ1tvsrNYg=/arc-photo-liberation/eu-central-1-prod/public/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","thumbnailResizeUrl":"/resizer/QEuAwWVurYkpr8XRC8fLpVoNehM=/300x0/arc-photo-liberation/eu-central-1-prod/public/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","version":0,"originalName":"1290506-metro-chatelet-cassioppee.jpg?force_original=1","mime_type":"application/octet-stream","restricted":false,"galleries":[],"_id":1727960839701},"created_date":"2021-01-15T04:44:12Z","last_updated_date":"2021-01-15T04:44:12Z","height":689,"resized_params":[{"url":"resizer/xnpglU0gcoJ_HcWoHxbwVfnRIfY=/84x56/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":84,"height":56},{"url":"resizer/wa-eTGiUNeynO5_msFSkJtYuBTY=/105x70/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":105,"height":70},{"url":"resizer/GCCjBU0nycDUaTeNqZMv3r2Ei7Q=/158x105/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":158,"height":105},{"url":"resizer/plFTffSFzMZNfiswvNlK66pTy7U=/274x183/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":274,"height":183},{"url":"resizer/kqELypS_cksCcYM4hWuFqpqYRbk=/377x251/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":377,"height":251},{"url":"resizer/SbJTJui9ln7JKuEDa0811XkpwuQ=/400x267/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":400,"height":267},{"url":"resizer/rwz8oehVzhW_A880iaszxLwSITU=/600x400/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":600,"height":400},{"url":"resizer/_N966mbZm2EQg93IaImdI-isWRU=/768x512/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":768,"height":512},{"url":"resizer/rGY0fFb_0-wcdha3q0ldHuJesLg=/800x533/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":800,"height":533},{"url":"resizer/WayT3QCTRflEzGwpMmPArBEfNTE=/1024x683/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":1024,"height":683},{"url":"resizer/5hrD0gO3dIvzDgSZ75KGhVpdft8=/1200x800/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":1200,"height":800},{"url":"resizer/oGN7EUI9N8RXKockJQcqqCSIbl4=/1440x960/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":1440,"height":960},{"url":"resizer/rMzvhEpXBdObguWF8oRTdTDPzn0=/1600x1067/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/SJ2VK7A4MP6WNGJLBB5RL3QGDQ.jpg","width":1600,"height":1067}]},{"level":3,"_id":"OCVNFNCRPFCXVP4UAZFL6NTKSI","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839702,"class":["question"]},"type":"header","content":"Dans l’exposition, vous évoquez aussi les relations avec d’autres auteurs."},{"_id":"CYMBZ3XUHZGGLGB6EXN55G2L2M","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839703},"type":"text","content":"Arrivent en BD des gars comme Tardi. Quand je commence à travailler avec Tardi, il a 19 ans. Et c'est un grand artiste. Il est prêt, il sait déjà tout faire. On fait <i>Rumeurs sur le Rouergue </i>(1976), qui est une BD directement sociale et politique."},{"owner":{"id":"liberation"},"address":{},"auth":{"1":"c519d99a8e1a752c2f3790f95270753588dc64003ed8f4a736d33bdfa5fc373a"},"caption":"","source":{"system":"","source_type":"Photo","source_id":"1290505","additional_properties":{"editor":"photo center"}},"type":"image","version":"0.10.9","url":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","licensable":false,"subtitle":"Rumeurs sur le rouergue","width":400,"_id":"77VEH5JWY6DRDW4QYMLT73SZYY","additional_properties":{"fullSizeResizeUrl":"/resizer/cSZzzrT6iw7O6DoZnoEM032HZbg=/arc-photo-liberation/eu-central-1-prod/public/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","comments":[],"proxyUrl":"/resizer/cSZzzrT6iw7O6DoZnoEM032HZbg=/arc-photo-liberation/eu-central-1-prod/public/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","originalUrl":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","published":true,"resizeUrl":"/resizer/cSZzzrT6iw7O6DoZnoEM032HZbg=/arc-photo-liberation/eu-central-1-prod/public/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","thumbnailResizeUrl":"/resizer/mL0TzDWg0LzgfL3ID3j1LZ8x0Uo=/300x0/arc-photo-liberation/eu-central-1-prod/public/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","version":0,"originalName":"1290505-rumeurs-sur-le-rouergue.jpg?force_original=1","mime_type":"application/octet-stream","restricted":false,"galleries":[],"_id":1727960839704},"created_date":"2021-01-15T04:44:07Z","last_updated_date":"2021-01-15T04:44:07Z","height":523,"resized_params":[{"url":"resizer/Vfa29QVmHJKg0oF6xNgRVI8jNeY=/84x56/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":84,"height":56},{"url":"resizer/4zQd4It_LLQ_PyiIJG3wkyjqTtA=/105x70/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":105,"height":70},{"url":"resizer/yIGXBDqs4EMJNQBZ8Fap7ENj3v8=/158x105/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":158,"height":105},{"url":"resizer/38cVXNoygRqwESZVKIOOjfw8vWI=/274x183/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":274,"height":183},{"url":"resizer/h14U3OADQwmsRwyoffOIPT8OwpI=/377x251/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":377,"height":251},{"url":"resizer/jOakQ-tZlkiWluhOssLskYdxG38=/400x267/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":400,"height":267},{"url":"resizer/6urK_gQQLVvl6UG12FsSy6mm9M8=/600x400/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":600,"height":400},{"url":"resizer/MAdPSH83JcD2qQ908Tj0k_4gbOc=/768x512/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":768,"height":512},{"url":"resizer/nvU-vT7oPvJqPXWYqmpMShwyGFQ=/800x533/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":800,"height":533},{"url":"resizer/KNh02Zj4T5I8x6SclrhtRRNcUVM=/1024x683/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":1024,"height":683},{"url":"resizer/WHXSEUw7I_nr7Glm6hhLZaJdPAY=/1200x800/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":1200,"height":800},{"url":"resizer/uE_tQuLycWP0D_m4UMydft_a7oU=/1440x960/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":1440,"height":960},{"url":"resizer/k2sOUtmi0RM3-vziYOHu0FxOjTc=/1600x1067/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/77VEH5JWY6DRDW4QYMLT73SZYY.jpg","width":1600,"height":1067}]},{"level":3,"_id":"HW4CWN7RVZEPLED43IQ6SCL7JQ","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839705,"class":["question"]},"type":"header","content":"Quand on regarde la couverture, c’est le petit peuple de la forêt contre les «CRS SS». C’est entre 1968 et Notre-Dame-des-Landes."},{"_id":"CONIF2FBXRAHZFEAO2QCFJ54E4","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839706},"type":"text","content":"Bien sûr. On m'a dit que José Bové s'était inspiré de cet album pour le démontage du McDo de Millau, en 1999. Parfois, ça fait peur l'influence de ce qu'on écrit. Pour <i>les Phalanges de l'ordre noir </i>(1979), avec Enki Bilal, un groupe de petits connards terroristes du nord de la France s'est autobaptisé ainsi. Ça fait un drôle d'effet. Ça prouve d'ailleurs qu'ils n'ont rien compris : le titre ne parle pas de nos héros à nous, qui sont les brigades internationales. Les types n'avaient sans doute pas lu la BD."},{"owner":{"id":"liberation"},"address":{},"auth":{"1":"19d284c00ffb5c0142b2e20a72c552ae9c9bd26e39fe3f8d5983ffb0ac914c85"},"caption":"","source":{"system":"","source_type":"Photo","source_id":"1290498","additional_properties":{"editor":"photo center"}},"type":"image","version":"0.10.9","url":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","licensable":false,"subtitle":"les phalanges de l'ordre noir","width":1500,"_id":"A5ALIW3HLSVQFE2EKOAJZZIMV4","additional_properties":{"fullSizeResizeUrl":"/resizer/p_r8cP-3sptP2Npql687n1bYFIc=/arc-photo-liberation/eu-central-1-prod/public/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","comments":[],"proxyUrl":"/resizer/p_r8cP-3sptP2Npql687n1bYFIc=/arc-photo-liberation/eu-central-1-prod/public/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","originalUrl":"https://cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","published":true,"resizeUrl":"/resizer/p_r8cP-3sptP2Npql687n1bYFIc=/arc-photo-liberation/eu-central-1-prod/public/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","thumbnailResizeUrl":"/resizer/rSXSeWt4pzIQxWnUKoPR-vx_5bI=/300x0/arc-photo-liberation/eu-central-1-prod/public/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","version":0,"originalName":"1290498-les-phalanges-de-l-ordre-noir.jpg?force_original=1","mime_type":"application/octet-stream","restricted":false,"galleries":[],"_id":1727960839707},"created_date":"2021-01-17T06:40:51Z","last_updated_date":"2021-01-17T06:40:51Z","height":2000,"resized_params":[{"url":"resizer/Qa63c9o0siJ0MDshySMSzyBr534=/84x56/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":84,"height":56},{"url":"resizer/PktyLa9k_wSEVxIs3YFTootOwNc=/105x70/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":105,"height":70},{"url":"resizer/EixTtvgrqPL6Wi03KilnimkuJP4=/158x105/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":158,"height":105},{"url":"resizer/zp6nBJWpSN7G6pvVrA_X0wiYHIY=/274x183/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":274,"height":183},{"url":"resizer/9YP50jY_uNgIrm9SxXYGuAWKy04=/377x251/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":377,"height":251},{"url":"resizer/biktrTGmg4dr05LFDNnWNXg6Lzo=/400x267/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":400,"height":267},{"url":"resizer/oWxhjzyYBVn599z_AjiuomfC2E8=/600x400/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":600,"height":400},{"url":"resizer/b1dH7XsXegdX-3a3AH5aARM1CHY=/768x512/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":768,"height":512},{"url":"resizer/gqqsNV7CToQhWIZB0e-gmWxXEz8=/800x533/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":800,"height":533},{"url":"resizer/Xx3SmVEhY2klUbeh_3qvIlw5DA4=/1024x683/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":1024,"height":683},{"url":"resizer/tWASOsIWl8eyEN1y4XsCSPdJkHc=/1200x800/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":1200,"height":800},{"url":"resizer/VWNIfdb9WaRCa5emvhjqpD-Z5qA=/1440x960/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":1440,"height":960},{"url":"resizer/eEkKFzfVkuL38nFfcoyV55ZobEI=/1600x1067/filters:format(jpg):quality(70)/cloudfront-eu-central-1.images.arcpublishing.com/liberation/A5ALIW3HLSVQFE2EKOAJZZIMV4.jpg","width":1600,"height":1067}]},{"level":3,"_id":"LS6BBZFUEFDCXKHXPL5QFXXCSY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839708,"class":["question"]},"type":"header","content":"Avec Bilal, pourquoi vous décidez de travailler ensemble ?"},{"_id":"CKROTWEVIFGPHNHBPVAVRYIUJM","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839709},"type":"text","content":"Un de mes désirs était de ne pas être catalogué comme auteur de SF. Je voulais faire d’autres séries, avec d’autres dessinateurs. A l’époque, il y a un genre un peu souffreteux, c’est le fantastique. Ça reste très convenu, crypto moyenâgeux. Et là arrive un nouveau très jeune dessinateur, qui est Bilal. Il est en pleine crise fantastique, lecteur de Lovecraft, etc."},{"_id":"TCAZB6FMXRHT7N6PNIQQWWNBVY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839710},"type":"text","content":"C'est le début du terrorisme européen et je lui dis : <i>«On va faire une BD sur le terrorisme, c'est ça qui fait peur aujourd'hui, ce n'est plus le petit peuple de la forêt.»</i> Bilal au début était un peu hésitant mais finalement <i>les Phalanges de l'ordre noir</i> trouvent leur place."},{"_id":"GVX3PF7XGFHQLEMSEYXE6T3C4Y","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839712},"type":"text","content":"C’est un genre différent de la SF donc il faut un dessin différent de la SF. Bilal réussit admirablement à tenir les deux bouts de la chaîne : beaucoup d’humanité mais en même temps, beaucoup de violences. C’est un livre qui nous a tirés tous les deux sur la couenne, ce n’était pas facile à faire. Mais, à mon immense surprise, c’est un grand succès."},{"level":3,"_id":"5JQ3V3CWR5ASHMVZDDMZFAIKKE","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839713,"class":["question"]},"type":"header","content":"Qu’est-ce que vous vous apportiez mutuellement, notamment pour Partie de chasse (1983), qui anticipe presque la fin de l’Union soviétique ?"},{"_id":"N7A4LW3WWNHDBFBE23N4EHVAUA","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839714},"type":"text","content":"On avait ce désir de se distinguer, aussi bien sur le plan littéraire que graphique, de ce qui se faisait. On voulait prendre une esthétique qui n’était pas celle de la BD dominante : des couleurs très denses, des dégradés, du dialogue abondant, des discussions politiques…"},{"_id":"RRR46P254FEBLD6JIKUTMRH2UI","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839715},"type":"text","content":"On est très différents, par nos âges et nos origines. Enki est né dans un pays communiste, pas moi, même si j’y ai beaucoup voyagé. J’ai vu très vite que la maison soviétique était complètement vermoulue. A cette époque, en gros, je ne suis engagé nulle part, mais je suis proche du PSU, de Rocard. Je ne suis pas allé au PC à cause d’Orwell. Enki est dans quelque chose de plus viscéral : le communisme lui faisait peur. Et il est en avance sur son époque avec une horreur encore plus viscérale de l’islamisme."},{"level":3,"_id":"3W7CNPGFKZG5DC4KB3UXB4COTU","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839716,"class":["question"]},"type":"header","content":"Vous qui avez commencé à travailler avec un pseudo, vous appréciez cette reconnaissance, cette validation culturelle ?"},{"_id":"WMNFGOQZONA3HDA22AQGBEX4LA","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839717},"type":"text","content":"Il n’y a que Bilal qui pouvait dessiner ces albums avec sincérité. Que ce travail soit reconnu, c’était magnifique. A l’époque, la BD commence à entrer dans le champ culturel et ça fait plaisir. Mais en même temps, je ne souhaite pas qu’elle y entre trop."},{"level":3,"_id":"RCNPT2U3QFB5VMIRZUDZZPJO7I","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839718,"class":["question"]},"type":"header","content":"Pourquoi ?"},{"_id":"NP5QQ2KP3BHDTJLO6RJ66GPGVU","additional_properties":{"inline_comments":[],"comments":[],"_id":1727960839719},"type":"text","content":"Ça l’affadit. Il y a un côté dans la BD souvent truculent, vulgaire, ouaf-ouaf, popu. C’est aux antipodes de tout un théâtre ou une littérature fondamentalement bien pensante même quand elle se déclare de gauche ou d’ultra-gauche. C’est moins vrai aujourd’hui, mais c’était lié aux origines sociales des gens qui en faisaient. Moi, j’ai grandi près de la Zone <i>[la bande de terrains vagues occupée par des populations très pauvres à la place du futur périphérique parisien, ndlr]</i> où il y avait une population gitane nombreuse, qui me fascinait. 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en voir des choses» ? Il est tentant de s’imaginer à sa place, posé dans la pièce, observateur silencieux et pourtant conscient des allées et venues, des discussions, des esclandres, des amours, des secrets et des drames. Et pour traverser le XXe siècle européen, quoi de plus adéquat qu’un tableau peint par un expressionniste allemand, acheté par un collectionneur juif et confisqué par la Gestapo pour être exposé comme symbole de «l’art dégénéré» ?"},{"_id":"APVTWBA4IFAOXODFLWOTLCWPPY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727613240447},"type":"text","content":"1919, Otto Mueller a survécu à la Grande Guerre dont il a ramené, tout de même, une vilaine pneumonie. Il a repris ses activités d’artiste. Dans une clairière de Silésie, région peuplée de Polonais et d’Allemands et soumise à de vives tensions, l’homme fier de ses origines tsiganes peint sa première femme, Maschka Meyerhofer, qui servit de modèle au tableau <i>Deux Filles nues. </i>On s’attend d’abord à découvrir sa silhouette dénudée, on croit la reconnaître en distinguant des phylactères qui apparaissent au fil des premières pages, avec des touches de couleur qui suggèrent des cheveux noirs, des yeux, une pipe, un pinceau rouge… Puis un corps tout entier<b> </b>révélant un homme dans la quarantaine : ah, ce n’est donc pas la toile, ni son modèle<b> </b>que l’on aperçoit. Non, on comprend que, durant tout l’album, notre seul point de vue sera celui de la peinture."},{"level":2,"_id":"QMJQXC2YQJBP7H5LV67KVTOBBY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727626341216},"type":"header","content":"«Vous faites des œuvres étonnement paisibles»"},{"_id":"6HRSOGHM6JH45MTBFL23QKAUEI","additional_properties":{"inline_comments":[],"comments":[],"_id":1727613240448},"type":"text","content":"Ainsi commence donc <i>Deux Filles nues, </i>le nouvel album de Luz, 52 ans. Après l’adaptation en deux tomes de <i>Vernon Subutex</i>, et <a href=\"https://www.liberation.fr/culture/bd/avec-testosterror-luz-fait-dune-pierre-deux-couilles-20231014_N33FHKSBWFFUDIAW6PRC3734KI/\" target=\"_blank\"><i>Testosterror</i></a>, où il ridiculisait des mascus fragiles, l’auteur a décidé de se plonger dans la vie mouvementée d’un tableau. Revenant à des cases plus classiques, quittant les pleines pages d’explosion de couleurs, s’éloignant des trips psychédéliques, l’ancien de <i>Charlie </i>reste néanmoins fidèle à ses préoccupations de toujours : l’art et la politique, la manière dont une création va s’inscrire dans un contexte idéologique qui va influencer sa perception et provoquer des réactions parfois très différentes au fil du temps."},{"_id":"H7EW3TNLSZEP3AZE5PNYY2X3SA","additional_properties":{"inline_comments":[],"comments":[],"_id":1727613240449},"type":"text","content":"Au début des années 1920, Otto Mueller a sa petite notoriété sans être une star de son époque. S’il a fait partie brièvement du mouvement expressionniste Die Brücke, au côté de Kirchner ou Emil Nolde, il n’est rattaché explicitement à aucun courant. Il se préfère libre (comme Luz aujourd’hui, qui n’a de cesse de se renouveler et s’affirme au firmament du neuvième art actuel). Loin des angoisses terrifiées d’un Otto Dix, Mueller se signale par une peinture étrangement apaisée, cherchant l’harmonie entre les corps et la nature, une rêverie revendiquée jusque dans les portraits, nombreux, de femmes tsiganes. A l’académie de Breslau (Wroclaw en polonais), la capitale de la Silésie, il devient professeur de nu. Il vit chichement, ambiance bohème, crache ses poumons, et finit par vendre <i>Deux Filles nues</i> à un avocat juif de la ville, amateur d’art, Ismar Littmann. <i>«Pour un peintre de votre génération, vous faites des œuvres étonnement paisibles», </i>lui dit son acheteur. <i>«Mon horreur de la guerre à moi, c’était de ne jamais pouvoir être seul, </i>répond Mueller.<i> J’ai toujours peint pour qu’on me fiche la paix. Surtout à cette période.»</i>"},{"subtype":"title_only","_id":"OJKJELH57RAIJGIIYROQLYZBYM","additional_properties":{"comments":[],"_id":"GMKJJ7UX4VH3XCRTJ3VNRMVNNQ"},"title":"Interview","type":"link_list","items":[{"description":{"_id":"ZUPFQKXU7ZAGDGSSSNUZHXOMVM","type":"text","content":""},"_id":"H5ZDT2SRCVGW5OMALHCRTW6M5U","type":"interstitial_link","content":"Luz: «Je suis devenu étranger au dessinateur de presse que j’ai été»","url":"https://www.liberation.fr/culture/livres/luz-je-suis-devenu-etranger-au-dessinateur-de-presse-que-jai-ete-20220929_3OT24K4X5RH3LOQ2TOB67NW56Y/"}]},{"_id":"LIQOIVSFDRHNFL26BUL4IM6MYM","additional_properties":{"inline_comments":[],"comments":[],"_id":1727613240450},"type":"text","content":"<i>Deux Filles nues, </i>la BD, est une succession de plans fixes. Le regard ne peut pas bouger, il ne voit que devant lui, droit, circonscrit au cadre du tableau. Ce sont les personnes qui passent dans son champ de vision qui se déplacent, des bras, des jambes, des corps à moitié, ou des visages, entiers, quand ils se rapprochent pour observer le tableau. Il y a les bons, les ronds, ceux dont on devine aux traits qu’ils seront des protecteurs, et, au fil des années et de la montée du nazisme, voilà les anguleux, ceux aux yeux de haine et aux petites moustaches. Leurs sales pattes menacent d’abîmer le tableau. Quand la peinture est respectée, elle est accrochée en hauteur, la vue est dégagée, elle surplombe. Quand elle est malmenée, elle est à terre, posée bas, l’angle est diminué. Le moment le plus absurde est probablement celui de l’exposition sur «l’art dégénéré», en 1937, à Munich où, pour les dénoncer, les nazis exposent les plus grands peintres : Kandinsky, Mondrian, Chagall, Van Gogh, Picasso, attirant plus de 2 millions de visiteurs. Et, parmi eux, Mueller, dans un coin, rayon <i>«l’aspiration juive à la sauvagerie». </i>Luz prend plaisir à reproduire les œuvres, en couleur directe, sauf <i>Deux Filles nues</i>, évidemment, que l’on se doit d’imaginer jusqu’à la fin."},{"level":2,"_id":"5DH3PMZF3ZF43DO4PR4DLYJ4FU","additional_properties":{"inline_comments":[],"comments":[],"_id":1727626341221},"type":"header","content":"«Mon goût s’appelle Hitler»"},{"_id":"GIM4HEHP7FAPNK3DGVSIAYAGTA","additional_properties":{"inline_comments":[],"comments":[],"_id":1727618173617},"type":"text","content":"Pour interpeller sur l’histoire en marche, Luz passe par des petites phrases, des scènes, des moments individuels qui disent le basculement général. Installé dans le bureau de Littmann, on voit l’avocat perdre ses clients petit à petit. Par la fenêtre, des nazis défilent. Ivres, ils cassent tout. Sanguinaires, ils s’en prennent à un vieux juif orthodoxe."},{"_id":"JMXCXTJJTBDV3J2AH25DEBVNUY","additional_properties":{"inline_comments":[],"comments":[],"_id":1727613240453},"type":"text","content":"Quand la Gestapo confisque le tableau en 1935, <i>«pornographique», </i>disent-ils, il se retrouve entreposé avec des centaines d’autres œuvres spoliées. Dans cette réflexion sur la liberté, dont on percevra facilement les échos avec notre époque et ce qu’il a pu lui-même vivre à <i>Charlie, </i>Luz montre les petits et grands renoncements du monde de l’art, de tous ceux qui sont prêts à changer d’idéologie pour ne pas perdre leur poste et suivre les dominants de chaque époque. <i>«Mes goûts sont comme l’Allemagne, </i>dit ainsi Goebbels. <i>Ils ont changé en mieux.» «Mon goût s’appelle Hitler», </i>lui répond Goering quelques pages plus loin."},{"_id":"UA4PQ3N6OFGKZN3SWEUQJRWXTI","additional_properties":{"inline_comments":[],"comments":[],"_id":1727618173619},"type":"text","content":"Dans sa jeunesse, Luz fut militant antifasciste aux Scalp, les Sections carrément anti-Le Pen. Il est, depuis toujours, préoccupé par <a href=\"https://www.liberation.fr/politique/extreme-droite-et-histoire-des-gens-sont-endoctrines-par-les-influenceurs-et-les-videos-de-la-fachosphere-20240818_WU2X66U77ZCN5KXCTOMMYGVT6E/\" target=\"_blank\">le retour de l’extrême droite</a> et la montée de <a href=\"https://www.liberation.fr/societe/religions/en-france-une-inquietante-flambee-des-actes-antisemites-20240125_B2G52PHI5ZA4LMVQLDOROOFIGI/\" target=\"_blank\">l’antisémitisme</a>. <i>Deux Filles nues</i> agit comme un rappel, tandis que le RN en France ou <a href=\"https://www.liberation.fr/international/europe/en-allemagne-a-chaque-election-lafd-ameliore-son-score-20240830_3ONV73FQHFHCPFZCTS26KTHTNY/\" target=\"_blank\">l’AfD en Allemagne</a> sont aux portes du pouvoir : le basculement arrive toujours plus vite qu’on ne le pense et l’art ne nous sauvera pas sans que nous le voulions nous-mêmes."},{"level":6,"_id":"25MFA3BHIRHXNIQ7ONPN6BG2AA","additional_properties":{"inline_comments":[],"comments":[],"_id":1727618173620},"type":"header","content":"<i>Deux Filles nues, </i>Luz, Albin Michel, octobre 2024, 196 pp., 25€."}],"subheadlines":{"basic":"Le nouvel album de l’auteur traverse les heures sombres du XXe siècle en adoptant le point de vue du tableau de Mueller depuis sa conception, entre spoliation par le nazisme et censure. 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Elles s’interrogent, commentent et dressent sans vraiment s’en rendre compte le portrait de la morte en partageant les bribes d’anecdotes qu’elles sont chacune parvenue à soutirer à l’ex-voisine. Ça persifle, ça rigole. Avant que la vie ne reprenne ses droits. Il faut déjà aller faire les courses."},{"level":2,"_id":"JM3XXPBITNEKZLWFFKGHHSOAC4","additional_properties":{"inline_comments":[],"comments":[],"_id":1726250336204},"type":"header","content":"En forme de purgatoire"},{"_id":"LJQAKL5PDNHL3PRHGZPSK4FZEI","additional_properties":{"inline_comments":[],"comments":[],"_id":1726230354026},"type":"text","content":"De chapitres en chapitres, c’est toute une armada de vies qui se révèlent ainsi en commérages de palier. Le discret petit monsieur qui nourrit les chats du quartier se retrouve surnommé<i> «l’alien»</i> et représenté comme tel. Une nouvelle arrivante a le malheur d’être un peu trop précieuse et coquette au goût des autres et se voit littéralement rhabillée en poule. Mais la petite bande de mamies sans pitié ne fait pas ça par méchanceté. Derrière le persiflage, il y a la tentative de percer le chemin de vie de chacun, d’imaginer comment ces gens étaient avant de devenir comme elles : des citoyens de seconde zone, des non-actifs qui ne contribuent plus à la bonne marche de la société et se retrouve priée de s’installer dans une de ces résidences en forme de purgatoire."},{"_id":"HFHE2N5V4RCH7NQQUMUVC4SVEY","additional_properties":{"inline_comments":[],"comments":[],"_id":1726230354027},"type":"text","content":"L’autrice Nazuna Saitô n’est pas exactement une petite jeune qui monte. En activité depuis le milieu des années 80, alors qu’elle avait déjà la quarantaine, on ne l’a découverte en France qu’à plus de 60 ans passés avec la publication de <i>Au Tomber du soleil </i>(l’Atelier Akatombo), ouvrage jumeau de ce très beau livre. Loin d’être une virtuose du dessin, Saitô brille en cultivant la double nature de la Résidence. Tandis que la précision de son cadre, des détails dans le dessin ou le langage fait pencher la bande dessinée vers le documentaire, l’ouvrage manie avec la même aisance le registre de l’imaginaire, parfois jusqu’à l’absurde (génial chapitre sur un papi accro à Facebook). Un double statut qui permet à ces petites nouvelles de toucher une forme de grâce lorsqu’il s’agit d’évoquer des situations terribles. Un très beau livre."},{"level":6,"_id":"QILBTV4KJBHATIMISPYKN26IJE","additional_properties":{"inline_comments":[],"comments":[],"_id":1726230354028},"type":"header","content":"<i>La Résidence où l’on meurt en silence</i> de Nazuna Saitô, traduit du japonais par Laurent Lemercier, éd. Le Lézard noir, 224 pp.876 pp., 16€."}],"subheadlines":{"basic":"Le très beau et jamais plombant manga de la japonaise Nazuna Saitô décrit le quotidien d’une barre HLM. 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