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.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
