«C’est maintenant qu’il faut reprendre vie»: it's the beginning of Cercle, which is like a loop, it seems to me, a process of assimilation between life and writing that began in 2001, with Introduction à la mort française, continued in 2003 with Évoluer parmi les avalanches, a text where «les phrases parlent en nous, à leur gré elles nous mènent» (p.17), and continued in 2005 at the conclusion of his short essay, appeared in Écrire pourquoi? – «Inventez-vous un corps de phrases. Que votre sang se change en encre […] entrez dans la vie poétique, faites-vous un corps de phrases, c’est le seul royaume» (pp. 81 and 83). This is how the "adventure" of writing, in these texts just sketched out, expands until it is accomplished in Cercle and, more recently, in 2011, in Le sense du calme and, in 2013, in Les Renards pâles. I would speak of a "scriptural evolution" that reveals an extraordinary creative freedom in Haenel, a true freedom, that of an imaginary – and, therefore, of literature – that allows to reach and understand by writing this reality which is ours. Speech as a saving experience, writing as a "resurrection protocol", the "inner dimension of language" which alone gives access to a new life, "absolute existence", emptiness or "interval" as "Chance" and refusal of all conditioning, "ecstasy" as a revelation of the real and the "ecstatic dimension of existence", the descent through writing to the heart of the real to better grasp it, "rewrite as new" ( «Ligne de risque», 11 jan.-feb. 1999, p. 14) a world of overflowing phrases and words, these are the ingredients of a literary and human experience unique in current literature – «Au cœur du ravage, là est le point vif» (Prélude à la délivrance, p. 13). The subject of this prose itself being written, this communication questions the possibility for this writing to be the place of an authentic time where «il ne s’agit pas de raconter sa vie» (EPA, p. 99), but of a «dimension poétique du libre» (Écrire…, p. 78), segment of existence in the present that says all the difficulty but also the uniqueness of being in the world, seized from the elusive, tale of the irracontable, where "to live" would coincide with "to write", and the life with the "adventure" (cf. 1st chapter of Cercle) of a writing. Is not this writing the literary journey of a writer more than the initiatory journey of a man in search of another way of living to return from hell through «la parole [qui] ouvre en chacun de nous une espérance» (RP, p. 172). How to put into words this lived experience of time?
Vivre en écrivant : Yannick Haenel et la « phrase qui sauve »
Gramigna, Valeria
In corso di stampa
Abstract
«C’est maintenant qu’il faut reprendre vie»: it's the beginning of Cercle, which is like a loop, it seems to me, a process of assimilation between life and writing that began in 2001, with Introduction à la mort française, continued in 2003 with Évoluer parmi les avalanches, a text where «les phrases parlent en nous, à leur gré elles nous mènent» (p.17), and continued in 2005 at the conclusion of his short essay, appeared in Écrire pourquoi? – «Inventez-vous un corps de phrases. Que votre sang se change en encre […] entrez dans la vie poétique, faites-vous un corps de phrases, c’est le seul royaume» (pp. 81 and 83). This is how the "adventure" of writing, in these texts just sketched out, expands until it is accomplished in Cercle and, more recently, in 2011, in Le sense du calme and, in 2013, in Les Renards pâles. I would speak of a "scriptural evolution" that reveals an extraordinary creative freedom in Haenel, a true freedom, that of an imaginary – and, therefore, of literature – that allows to reach and understand by writing this reality which is ours. Speech as a saving experience, writing as a "resurrection protocol", the "inner dimension of language" which alone gives access to a new life, "absolute existence", emptiness or "interval" as "Chance" and refusal of all conditioning, "ecstasy" as a revelation of the real and the "ecstatic dimension of existence", the descent through writing to the heart of the real to better grasp it, "rewrite as new" ( «Ligne de risque», 11 jan.-feb. 1999, p. 14) a world of overflowing phrases and words, these are the ingredients of a literary and human experience unique in current literature – «Au cœur du ravage, là est le point vif» (Prélude à la délivrance, p. 13). The subject of this prose itself being written, this communication questions the possibility for this writing to be the place of an authentic time where «il ne s’agit pas de raconter sa vie» (EPA, p. 99), but of a «dimension poétique du libre» (Écrire…, p. 78), segment of existence in the present that says all the difficulty but also the uniqueness of being in the world, seized from the elusive, tale of the irracontable, where "to live" would coincide with "to write", and the life with the "adventure" (cf. 1st chapter of Cercle) of a writing. Is not this writing the literary journey of a writer more than the initiatory journey of a man in search of another way of living to return from hell through «la parole [qui] ouvre en chacun de nous une espérance» (RP, p. 172). How to put into words this lived experience of time?I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
