In the context of the most recent experiments involving art-literature relations, three texts which tackle as many artistic expressions seem us representative of a trend in the current novel. Cercle by Yannick Haenel (Gallimard, 2007), Gil de Célia Houdart (POL, 2015) and Un monde à portée de main of Maylis de Kerangal (Verticales, 2018) do not describe a situation of dance, music and painting, restoring an image stereotyped, but turn out to be an animated chain of words which, depending on the case, is dynamic, sono-sensory and visual movement on the page, narration of a narration. The arts, on the one hand, and writing as an artistic organization of words, on the other hand, are arts of the gesture which open spaces of life: physical space and space of the page, joined together by the breath of life. In these novels, the choreographic, musical or pictorial creation draws from the world, freeing the gestures of their authors to reveal their know-how, echoing writer’s creative process. An analogy emerges between the work of characters occupied by dance, song and trompe-l’oeil painting, and that of writers who question the ability of writing to represent the world, focusing on the quest for truth and identity. Beyond an intrigue inspired by art, is it possible to consider the presence of art in the novel as a complement to the operation of writing according to a renewed artistic and human consciousness? Is it not from this perspective that art feeds writing today?
Nouvelles écritures artistiques au XXIe siècle: Haenel, Houdart, de Kerangal
Gramigna, Valeria
2021-01-01
Abstract
In the context of the most recent experiments involving art-literature relations, three texts which tackle as many artistic expressions seem us representative of a trend in the current novel. Cercle by Yannick Haenel (Gallimard, 2007), Gil de Célia Houdart (POL, 2015) and Un monde à portée de main of Maylis de Kerangal (Verticales, 2018) do not describe a situation of dance, music and painting, restoring an image stereotyped, but turn out to be an animated chain of words which, depending on the case, is dynamic, sono-sensory and visual movement on the page, narration of a narration. The arts, on the one hand, and writing as an artistic organization of words, on the other hand, are arts of the gesture which open spaces of life: physical space and space of the page, joined together by the breath of life. In these novels, the choreographic, musical or pictorial creation draws from the world, freeing the gestures of their authors to reveal their know-how, echoing writer’s creative process. An analogy emerges between the work of characters occupied by dance, song and trompe-l’oeil painting, and that of writers who question the ability of writing to represent the world, focusing on the quest for truth and identity. Beyond an intrigue inspired by art, is it possible to consider the presence of art in the novel as a complement to the operation of writing according to a renewed artistic and human consciousness? Is it not from this perspective that art feeds writing today?I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
