In the current novel, become "protean, polymorphous, transforming, omnivorous", as Maylis de Kerangal noted in his intervention for the collective Devenirs du roman (Inculte, 2007), while diving into the heart of the human condition, his Writing is the place of observation and discussion around the act of writing, as well as a tool for reflection on some features of prose today. Since Corniche Kennedy (2008) the literary horizon of M.d.K. widened by giving us to read the adventure both intimate and collective of a real human epic with a writing in direct contact with the real. But, how does reality enter into the fiction of M.d.K.? What is the issue of fiction and what does it engender in this quest for reality? Is it not less a question of restitution of the real than of "capturing" life through the "experience" of writing, in the perspective of a new humanism? Seeking to identify the subjective impasses of today's society, while extracting new forms of self-construction and the other, the writing of M.d.K. seems to bring together in one real movement and fiction to tell the world. The real that emerges from his texts is a real "created", worked, a fictitious real from a documentary material, which crosses the present with a lucid look at the complexity of human relationships. Seizures in the energy of the movement, either to build a bridge (Naissance d’un pont, 2010) or to explore the narrative possibilities of the moving machine (Tangente vers l’est, 2012), or to transplant a heart (Réparer les vivants, 2014) only to tell the emergence of a catastrophe (A ce stade de la nuit, 2014) or to frenzy the palates of customers during a crowded evening service (Un chemin de tables, 2016), the The subjectivities of the characters display tensions which, from pleasure to suffering, are often experienced in the flesh, and eventually overcome it, confronting the material and seeking to transform it or capture the vital momentum that it releases. Nourished by a meticulous information of the real, her prose proves to be fair, precise and alive, on the border of the documentary writing and the fiction to observe, to cross and to put in narrative our world and its zones of shade, its sensuality and its asperity, its contrasts and its necessities.

Dans la fiction, au plus près du réel : l'écriture vivante de Maylis de Kerangal

Gramigna, Valeria
In corso di stampa

Abstract

In the current novel, become "protean, polymorphous, transforming, omnivorous", as Maylis de Kerangal noted in his intervention for the collective Devenirs du roman (Inculte, 2007), while diving into the heart of the human condition, his Writing is the place of observation and discussion around the act of writing, as well as a tool for reflection on some features of prose today. Since Corniche Kennedy (2008) the literary horizon of M.d.K. widened by giving us to read the adventure both intimate and collective of a real human epic with a writing in direct contact with the real. But, how does reality enter into the fiction of M.d.K.? What is the issue of fiction and what does it engender in this quest for reality? Is it not less a question of restitution of the real than of "capturing" life through the "experience" of writing, in the perspective of a new humanism? Seeking to identify the subjective impasses of today's society, while extracting new forms of self-construction and the other, the writing of M.d.K. seems to bring together in one real movement and fiction to tell the world. The real that emerges from his texts is a real "created", worked, a fictitious real from a documentary material, which crosses the present with a lucid look at the complexity of human relationships. Seizures in the energy of the movement, either to build a bridge (Naissance d’un pont, 2010) or to explore the narrative possibilities of the moving machine (Tangente vers l’est, 2012), or to transplant a heart (Réparer les vivants, 2014) only to tell the emergence of a catastrophe (A ce stade de la nuit, 2014) or to frenzy the palates of customers during a crowded evening service (Un chemin de tables, 2016), the The subjectivities of the characters display tensions which, from pleasure to suffering, are often experienced in the flesh, and eventually overcome it, confronting the material and seeking to transform it or capture the vital momentum that it releases. Nourished by a meticulous information of the real, her prose proves to be fair, precise and alive, on the border of the documentary writing and the fiction to observe, to cross and to put in narrative our world and its zones of shade, its sensuality and its asperity, its contrasts and its necessities.
Au sein du roman actuel, devenu « protéiforme, polymorphe, transformiste, omnivore », tel que Maylis de Kerangal le remarquait dans son intervention pour le collectif Devenirs du roman (Inculte, 2007), tout en plongeant au cœur de la condition humaine, son écriture se fait lieu de l’observation et de la discussion autour de l’acte d’écrire, ainsi qu’un outil de réflexion sur quelques traits de la prose de nos jours. Depuis Corniche Kennedy (2008) l’horizon littéraire de M.d.K. s’est s’élargi en nous donnant à lire l’aventure à la fois intime et collective d’une véritable épopée humaine avec une écriture en prise directe avec le réel. Mais, comment le réel entre-t-il dans la fiction de M.d.K. ? Quel est l’enjeu de la fiction et qu’engendre-t-elle dans cette quête du réel ? Ne serait-ce moins une question de restitution du réel que de "captation" de la vie à travers l’ "expérience" de l’écriture, dans la perspective d’un nouvel humanisme ? Cherchant à cerner les impasses subjectives de la société actuelle, tout en extrayant de nouvelles formes de construction de soi et de l’autre, l’écriture de M.d.K. semble réunir en un seul mouvement réel et fiction pour dire le monde. Le réel qui émerge de ses textes est un réel "créé", travaillé, un réel fictif d’après un matériau documentaire, qui traverse le présent avec un regard lucide sur la complexité des rapports humains. Saisies dans l’énergie du mouvement, soit pour construire un pont (Naissance d’un pont, 2010) que pour explorer les possibilités narratives de la machine en mouvement (Tangente vers l’est, 2012), soit pour transplanter un cœur (Réparer les vivants, 2014) que pour raconter l’émergence d’une catastrophe (À ce stade de la nuit, 2014) ou pour affoler les palais des clients lors d’un service du soir bondé (Un chemin de tables, 2016), les subjectivités des personnages affichent des tensions qui, du plaisir à la souffrance, s’expérimentent souvent dans la chair, et finissent par la dépasser, se confrontant à la matière et cherchant à la transformer ou à capter l’élan vital qu’elle dégage. Nourrie par une information minutieuse du réel, sa prose s’avère juste, précise et vivante, à la frontière de l’écriture documentaire et de la fiction pour observer, traverser et mettre en récit notre monde et ses zones d’ombre, sa sensualité et son aspérité, ses contrastes et ses nécessités.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11586/229995
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