Pub Date : 2020-08-03DOI: 10.14288/CL.VI240.192092
Alessandra Capperdoni
Roy Miki; Michael Barnholden, ed. Flow: Poems Collected and New. Talonbooks $29.95 Reviewed by Alessandra Capperdoni
Roy Miki；迈克尔·巴恩霍尔登主编：《流动：诗集与新编》。Talonbooks 29.95美元由Alessandra Capperdoni审核
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Pub Date : 2020-07-09DOI: 10.14288/CL.VI240.192372
Y-Dang Troeung, Phanuel Antwi
As a journalist for The Globe and Mail for 10 years, El Akkad has reported on war and conflict from around the world, including the war in Afghanistan, the military trials at Guantanamo Bay, the Arab Spring revolution in Egypt, and the Black Lives Matter movement in Ferguson, Missouri. In 2018, El Akkad's debut novel, American War, was shortlisted for a number of prominent literary prizes, garnering public attention as a finalist on the CBC Canada Reads competition. In this conversation, we talk to El Akkad about his novel, journalism, literary influences, migrations, and political visions of the future. One recurring theme in the conversation is the relationship between violence and the production of uncertainty—the unpredictability movement and refuge for the displaced; the ambiguity and risks of racial representation; the secrecy of detention and redaction; and the uncertainties of the future in times of change and crisis.
{"title":"In this very uncertain space","authors":"Y-Dang Troeung, Phanuel Antwi","doi":"10.14288/CL.VI240.192372","DOIUrl":"https://doi.org/10.14288/CL.VI240.192372","url":null,"abstract":"As a journalist for The Globe and Mail for 10 years, El Akkad has reported on war and conflict from around the world, including the war in Afghanistan, the military trials at Guantanamo Bay, the Arab Spring revolution in Egypt, and the Black Lives Matter movement in Ferguson, Missouri. In 2018, El Akkad's debut novel, American War, was shortlisted for a number of prominent literary prizes, garnering public attention as a finalist on the CBC Canada Reads competition. In this conversation, we talk to El Akkad about his novel, journalism, literary influences, migrations, and political visions of the future. One recurring theme in the conversation is the relationship between violence and the production of uncertainty—the unpredictability movement and refuge for the displaced; the ambiguity and risks of racial representation; the secrecy of detention and redaction; and the uncertainties of the future in times of change and crisis.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42154213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-09DOI: 10.14288/CL.VI240.191803
Miasol Eguíbar-Holgado
This article proposes to analyse Nalo Hopkinson's novel The Salt Roads (2003). It looks at how its intersections with gender, sexuality, and race adds new, unexplored dimensions to the spec-fic genre. More specifically, it examines how the use of the Afro-Caribbean supernatural and of the black female body in the novel, creates a redefinition of Afro-diasporic subjectivities. In many respects this novel departs from the Eurocentric concept of the diaspora and from received epistemologies in the understanding of culture and history. Instead, it creates an alternative set of routes, the salt roads, that relies on a female water spirit as unifying thread. A focus on the enslaved female black body and on relationships of solidarity among the main characters implies a subversion of the traditional heterosexual male roles that dominate works of speculative fiction. Moreover, it creates an imaginative space that redresses traditional, Western readings of Caribbean history and identity.
{"title":"Re-framing the Diasporic Subject: The Supernatural and the Black Female Body in The Salt Roads","authors":"Miasol Eguíbar-Holgado","doi":"10.14288/CL.VI240.191803","DOIUrl":"https://doi.org/10.14288/CL.VI240.191803","url":null,"abstract":"This article proposes to analyse Nalo Hopkinson's novel The Salt Roads (2003). It looks at how its intersections with gender, sexuality, and race adds new, unexplored dimensions to the spec-fic genre. More specifically, it examines how the use of the Afro-Caribbean supernatural and of the black female body in the novel, creates a redefinition of Afro-diasporic subjectivities. In many respects this novel departs from the Eurocentric concept of the diaspora and from received epistemologies in the understanding of culture and history. Instead, it creates an alternative set of routes, the salt roads, that relies on a female water spirit as unifying thread. A focus on the enslaved female black body and on relationships of solidarity among the main characters implies a subversion of the traditional heterosexual male roles that dominate works of speculative fiction. Moreover, it creates an imaginative space that redresses traditional, Western readings of Caribbean history and identity.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48338056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-09DOI: 10.14288/CL.VI240.192487
Larissa Lai
Larissa Lai explains that she writes speculative fiction in order to embrace her own writerly agency. She takes up the practice of the thought experiment, first envisioned by Ursula LeGuin, as a way of narratively testing out ideas that could be practiced in the world as it is. Lai adds to this by recognizing that the world changes in multiple ways at once, and that we get new worlds and fresh futures not through a single change but through the concatenation of many, often driven by differing ideals. We can’t predict the results of ideals interacting, but we can learn to recognize beautiful, freeing or interesting things when they emerge. The marvel of speculative fiction is that it can show us how this might work, as for example in The Tiger Flu, Lai's novel about a community of self-reproducing women and a disease that favours men.
{"title":"Familiarizing Grist Village","authors":"Larissa Lai","doi":"10.14288/CL.VI240.192487","DOIUrl":"https://doi.org/10.14288/CL.VI240.192487","url":null,"abstract":"Larissa Lai explains that she writes speculative fiction in order to embrace her own writerly agency. She takes up the practice of the thought experiment, first envisioned by Ursula LeGuin, as a way of narratively testing out ideas that could be practiced in the world as it is. Lai adds to this by recognizing that the world changes in multiple ways at once, and that we get new worlds and fresh futures not through a single change but through the concatenation of many, often driven by differing ideals. We can’t predict the results of ideals interacting, but we can learn to recognize beautiful, freeing or interesting things when they emerge. The marvel of speculative fiction is that it can show us how this might work, as for example in The Tiger Flu, Lai's novel about a community of self-reproducing women and a disease that favours men.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47080084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-07DOI: 10.14288/CL.VI240.192150
J. Mason
A standard narrative in the literary history of English Canada is that literary culture was able to “develop” in the wake of the 1951 Massey Report, finally “arriving” in the years between the late 1950s and the mid-1970s. This essay offers another view of this period, analyzing not the smooth developmental momentum but rather the contradiction and disavowal that attended one of the federal government’s first direct forms of support for the book, which came in the form of postwar book diplomacy efforts. Using Anna Johnston and Allan Lawson's theorization of settler colonialism, the essay analyzes how these book diplomacy undertakings exemplify the "double inscription of authority and authenticity" of settler contradiction. As the Imperium shifted across the Atlantic in the decade that followed the close of the Second World War, the settler nation struggled to locate itself anew in relation to its doubled, desired, and disavowed origins.
{"title":"Canadian Postwar Book Diplomacy and Settler Contradiction","authors":"J. Mason","doi":"10.14288/CL.VI240.192150","DOIUrl":"https://doi.org/10.14288/CL.VI240.192150","url":null,"abstract":"A standard narrative in the literary history of English Canada is that literary culture was able to “develop” in the wake of the 1951 Massey Report, finally “arriving” in the years between the late 1950s and the mid-1970s. This essay offers another view of this period, analyzing not the smooth developmental momentum but rather the contradiction and disavowal that attended one of the federal government’s first direct forms of support for the book, which came in the form of postwar book diplomacy efforts. Using Anna Johnston and Allan Lawson's theorization of settler colonialism, the essay analyzes how these book diplomacy undertakings exemplify the \"double inscription of authority and authenticity\" of settler contradiction. As the Imperium shifted across the Atlantic in the decade that followed the close of the Second World War, the settler nation struggled to locate itself anew in relation to its doubled, desired, and disavowed origins.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43579946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-04DOI: 10.14288/CL.V0I239.191363
S. Chivers
Apocalyptic visions of an aging population rest on negative assumptions about the costs and effects of increasing numbers of people with dementia. Such discourse emphasizes a desire for cure and amplifies the costs of care while ignoring the broader cultural implications of dementia. Literary portrayals offer the opportunity to broaden the figurative landscape to raise questions about what it means for a population to age. Drawing on age studies, this contextualized close reading of David Chariandy’s Soucouyant offers another way to think about global aging, the implications of memory loss, and how care work affects relationships. The novel’s never named narrator concocts “guilty stories” that orient him to his mother’s dementia but do not adequately account for the care work his mother’s friend, Mrs. Christopher, has done over decades. Thus, the novel pertains to the political economy of aging by surfacing connections among care relations, cultural memory, and dementia.
{"title":"Your own guilty story","authors":"S. Chivers","doi":"10.14288/CL.V0I239.191363","DOIUrl":"https://doi.org/10.14288/CL.V0I239.191363","url":null,"abstract":"Apocalyptic visions of an aging population rest on negative assumptions about the costs and effects of increasing numbers of people with dementia. Such discourse emphasizes a desire for cure and amplifies the costs of care while ignoring the broader cultural implications of dementia. Literary portrayals offer the opportunity to broaden the figurative landscape to raise questions about what it means for a population to age. Drawing on age studies, this contextualized close reading of David Chariandy’s Soucouyant offers another way to think about global aging, the implications of memory loss, and how care work affects relationships. The novel’s never named narrator concocts “guilty stories” that orient him to his mother’s dementia but do not adequately account for the care work his mother’s friend, Mrs. Christopher, has done over decades. Thus, the novel pertains to the political economy of aging by surfacing connections among care relations, cultural memory, and dementia.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47013227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-28DOI: 10.14288/CL.V0I239.190474
Jenny Kerber
This article explores the politics of Alberta oil and gas in Fred Stenson’s 2014 novel Who By Fire. Stenson’s text raises timely questions about the petroleum industry both from the perspectives of those who work in it, and those who live with its attendant risks. For instance, how does one articulate sensory encounters with oil and gas development in ways that will generate official responses that move beyond bland statements of empathy? And, when it comes to addressing pollution, to what extent can allies within industry aid affected citizens? Drawing on the work of contemporary petrocritics, I look at how Stenson develops the key metaphor of corrosion to understand industry’s effects on human and ecosystem health in Alberta, while at the same time demonstrating the limits of leaving the responsibility for containment in the hands of industry alone.
本文探讨了弗雷德·斯滕森(Fred Stenson) 2014年出版的小说《谁被火了》(Who By Fire)中艾伯塔省的石油和天然气政治。斯滕森的文章及时提出了石油行业的问题，无论是从从业人员的角度，还是从那些生活在随之而来的风险中的人的角度。例如，一个人如何表达与石油和天然气开发的感官接触，从而产生官方回应，而不是平淡无奇的同情陈述?在解决污染问题时，行业内的盟友能在多大程度上帮助受影响的公民?借鉴当代石油评论家的作品，我看了斯坦森如何发展腐蚀的关键隐喻，以理解工业对阿尔伯塔省人类和生态系统健康的影响，同时展示了将遏制责任单独交给工业的局限性。
{"title":"Corrosive Aesthetics: On the Receiving End of Oil and Gas in Who By Fire","authors":"Jenny Kerber","doi":"10.14288/CL.V0I239.190474","DOIUrl":"https://doi.org/10.14288/CL.V0I239.190474","url":null,"abstract":"This article explores the politics of Alberta oil and gas in Fred Stenson’s 2014 novel Who By Fire. Stenson’s text raises timely questions about the petroleum industry both from the perspectives of those who work in it, and those who live with its attendant risks. For instance, how does one articulate sensory encounters with oil and gas development in ways that will generate official responses that move beyond bland statements of empathy? And, when it comes to addressing pollution, to what extent can allies within industry aid affected citizens? Drawing on the work of contemporary petrocritics, I look at how Stenson develops the key metaphor of corrosion to understand industry’s effects on human and ecosystem health in Alberta, while at the same time demonstrating the limits of leaving the responsibility for containment in the hands of industry alone.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42115294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-28DOI: 10.14288/CL.V0I239.191280
Louis-Serge Gill
{"title":"Déambuler dans le « temps » et dans l'imaginaire d'un pays","authors":"Louis-Serge Gill","doi":"10.14288/CL.V0I239.191280","DOIUrl":"https://doi.org/10.14288/CL.V0I239.191280","url":null,"abstract":"","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48217091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-08DOI: 10.14288/CL.V0I238.191268
Nathalie Warren
Dany Laferriere Autoportrait de Paris avec chat. Boreal 32,95 $ Vincent Lambert et Jacques Paquin, dirs. Sensorielles : Autour de Paul Chanel Malenfant. Editions du Noroit 25,00 $ Compte rendu par Nathalie Warren Tel que l’annonce le titre ces livres partagent une clef de voute, soit celle de l’enfance, laquelle est reconnue par Laferriere et Malenfant comme le fondement de leur affectivite et de leur sensibilite, s’accordant a admettre, tel Barthes qu’« [a]u fond, il n’est pays que de l’enfance» (Barthes cite dans Sensorielles : Autour de Paul Chanel Malenfant, 150). Mais, outre cela, nous pourrions trouver d’autres points communs a leurs pages dont l’importance accordee aux souvenirs familiaux et au territoire. Autoportrait de Paris avec chat, le premier livre d’academicien de Laferriere, est un journal illustre dans lequel l’ecrivain, preoccupe par l’ecriture de son discours a l’Academie qui doit faire l’eloge de son predecesseur, Hector Bianciotti, nous invite a le suivre dans les lieux qui ont marque son imaginaire d’une part, c’est-a-dire Petit-Goâve, Montreal et Paris puis, d’autre part, a faire avec lui la rencontre d’auteurs et d’artistes dont Balzac, Sartre, Villon, Hemingway, Rigaud Benoit, etc. L’auteur realise ici un reve d’adolescence, soit celui d’entrer en contact avec de grandes figures du monde de l’art et ce, tout en laissant libre cours au plaisir de faire ce qui, de son propre aveu, il ne sait pas faire c’est-a-dire dessiner (62). Dans ce foisonnement d’images et de couleurs, Laferriere s’amuse et son lecteur aussi! Or cette joie n’est pas que ludique, elle nous questionne. Dans un Occident heritier de la culture judeo-chretienne ou l’on fait l’apologie de la douleur (50) Laferriere tend la main a Basquiat et lui promet qu’«un jour le chant heureux reviendra et [il] n’aura plus besoin d’angoisse pour creer» (ibidem) opposant au legs des notions de peche et d’enfer une culture de l’allegresse : «ce qui est etonnant dans la peinture haitienne c’est qu’elle soit si joyeuse. C’est le dernier peuple a savoir vivre. Ils ne s’interessent pas a la realite, ils la reinventent» (108). On comprend des lors combien vivifiant et necessaire pu etre le voyage dans l’atmosphere et les paysages de sa jeunesse quand l’auteur, revetu de son titre d’Immortel, choisit de rentrer a Port-au-Prince pour se recentrer. Il avait deja fait allusion avant a la baignoire rose de son premier appartement de Montreal qui lui rappelait le ventre de sa mere quand, enceinte de lui, elle lisait, sa «premiere petite bibliotheque audio» ecrit-il (70), nous le suivons maintenant au «88 rue de Lamarre […] adresse universelle de l’enfance heureuse» (114) dans une region ou dieux vaudous et paysans se cotoient. Univers onirique, presque, qui contribua a irriguer une creativite sur laquelle une vaste culture generale est venue se greffer sans que rien ne soit perdu du rire sonore de l’enfant. Sensorielles : Autour de Paul Chanel Malenfant est, quant a lui, un
Dany Laferriere带着猫的巴黎自画像。北方32.95美元文森特·兰伯特和雅克·帕奎因编辑。感官：围绕保罗·香奈儿·马伦芬特。纳塔莉·沃伦（Nathalie Warren）的《诺罗伊特版》（Editions du Noroit）$25.00评论，如标题所示。这些书共享一个拱顶的钥匙，即童年的钥匙，这被拉菲利埃（Laferriere）和马伦芬特（Malenfant）视为他们情感和敏感度的基础，他们同意承认，正如巴特（Barthes）所说，“在内心深处，只有童年”（巴特引用了《感官：保罗·香奈尔·马伦芬特》（Autour de Paul Chanel Malenfant，150）。但是，除此之外，我们还可以在他们的页面中找到其他共同点，包括家庭记忆和领土的重要性。《巴黎与猫的自画像》（Autoportrait de Paris avec Chat）是拉菲利埃（Laferriere）的第一本学术书籍，是一本著名的日记，其中这位作家专注于撰写他在学院的演讲，必须赞扬他的前任赫克托·比安西奥蒂（Hector Bianciotti），邀请我们跟随他来到标志着他想象力的地方，一方面是小戈韦（Petit Goâve）、蒙特利尔（Montreal）和巴黎，另一方面，与巴尔扎克（Balzac）、萨特（Sartre）、维隆（Villon）等作家和艺术家会面。海明威、里戈德·贝诺伊特等。作者在这里实现了一个青春期的梦想，即与艺术界的伟大人物接触，同时自由发挥他自己承认不知道如何做的事情的乐趣，即绘画（62）。在丰富的图像和色彩中，Laferriere很开心，他的读者也很开心！但这种快乐不仅仅是好玩，它让我们质疑。在一个犹太-基督教文化的传统西方，人们为痛苦道歉（50），拉菲利埃向巴斯奎特伸出了手，并承诺“有一天，快乐之歌会回来，[他]将不再需要痛苦来创造”（同上）反对罪恶和地狱概念的遗产，一种快板文化：“海地绘画的惊人之处在于它是如此快乐。他们是最后一个知道如何生活的人。他们对现实不感兴趣，而是重新创造现实”（108）。因此，我们可以理解，当作者重温自己不朽的头衔，选择回到太子港重新聚焦时，他年轻时的氛围和风景之旅是多么令人振奋和必要。他之前已经提到了他在蒙特利尔的第一间公寓里的粉红色浴缸，这让他想起了他母亲的肚子，当她怀着他阅读他的“第一个小音频图书馆”时，他写道（70），我们现在跟着他去了“88 rue de Lamarre〔…〕adresse universelle de l'enfance heureuse”（114），在一个伏都教神和农民聚集在一起的地区。几乎是一个梦幻般的宇宙，它有助于灌溉一种创造力，在这种创造力上，一种巨大的一般文化被嫁接，而不会从孩子的笑声中失去任何东西。感官：保罗·香奈尔·马伦芬特（Paul Chanel Malenfant）是一个集体，通过他的主题和风格探索诗人的作品。普鲁斯蒂安后者挖掘了时间和记忆的模式，但他认为这种记忆是灵活的，容易漫游，但也有自愿创造，因为正如Elise Lepage等人所指出的，Malenfant声称有权与过去互动并重塑他的记忆（73）。他写道：“我喜欢这些顽强童年记忆的发明是我作为一个男人的真实性的一部分”（157）。然而，尽管被语言照亮，但这些仍然是黑暗的，反复出现的主题是乱伦；家庭，更具体地说，它令人震惊的秘密；悲伤和身体，虽然是感觉和与外界接触的地方，但也是痛苦的地方，无论是疾病，如阴影中的Evoquee，他的朋友Lise Guevremont的坟墓，他年轻的肺结核兄弟的死亡，他母亲在夏加尔的小婚姻中的死亡，还是对身体的暴力，在20岁时为自己辩护的腹股沟兄弟的情况下。然而，尽管诗人的作品与他的经历有关，并植根于他的经历，但它并没有就此止步。当然，马伦芬特是一位诗人，但他的目标也是哲学。他对世界保持着一种惊奇的能力，既关注内部震动的微妙之处，也关注世纪秩序，他的家族史与历史本身是连续的。此外，如果他将自己的诗歌与室内乐的低语进行比较，（25）就不应该认为它只是一种感觉，一种自我退缩的感觉，一个既不自我参照也不抽象的失败者。相反，正如伊芙琳·加农（Evelyne Gagnon）所说：“她的忧郁姿势是不断努力与‘卷轴’的具体性保持联系的一部分”（184）。
{"title":"Semblable clef de voûte","authors":"Nathalie Warren","doi":"10.14288/CL.V0I238.191268","DOIUrl":"https://doi.org/10.14288/CL.V0I238.191268","url":null,"abstract":"Dany Laferriere \u0000Autoportrait de Paris avec chat. Boreal 32,95 $ \u0000Vincent Lambert et Jacques Paquin, dirs. \u0000Sensorielles : Autour de Paul Chanel Malenfant. Editions du Noroit 25,00 $ \u0000Compte rendu par Nathalie Warren \u0000Tel que l’annonce le titre ces livres partagent une clef de voute, soit celle de l’enfance, laquelle est reconnue par Laferriere et Malenfant comme le fondement de leur affectivite et de leur sensibilite, s’accordant a admettre, tel Barthes qu’« [a]u fond, il n’est pays que de l’enfance» (Barthes cite dans Sensorielles : Autour de Paul Chanel Malenfant, 150). Mais, outre cela, nous pourrions trouver d’autres points communs a leurs pages dont l’importance accordee aux souvenirs familiaux et au territoire. \u0000Autoportrait de Paris avec chat, le premier livre d’academicien de Laferriere, est un journal illustre dans lequel l’ecrivain, preoccupe par l’ecriture de son discours a l’Academie qui doit faire l’eloge de son predecesseur, Hector Bianciotti, nous invite a le suivre dans les lieux qui ont marque son imaginaire d’une part, c’est-a-dire Petit-Goâve, Montreal et Paris puis, d’autre part, a faire avec lui la rencontre d’auteurs et d’artistes dont Balzac, Sartre, Villon, Hemingway, Rigaud Benoit, etc. L’auteur realise ici un reve d’adolescence, soit celui d’entrer en contact avec de grandes figures du monde de l’art et ce, tout en laissant libre cours au plaisir de faire ce qui, de son propre aveu, il ne sait pas faire c’est-a-dire dessiner (62). Dans ce foisonnement d’images et de couleurs, Laferriere s’amuse et son lecteur aussi! Or cette joie n’est pas que ludique, elle nous questionne. Dans un Occident heritier de la culture judeo-chretienne ou l’on fait l’apologie de la douleur (50) Laferriere tend la main a Basquiat et lui promet qu’«un jour le chant heureux reviendra et [il] n’aura plus besoin d’angoisse pour creer» (ibidem) opposant au legs des notions de peche et d’enfer une culture de l’allegresse : «ce qui est etonnant dans la peinture haitienne c’est qu’elle soit si joyeuse. C’est le dernier peuple a savoir vivre. Ils ne s’interessent pas a la realite, ils la reinventent» (108). On comprend des lors combien vivifiant et necessaire pu etre le voyage dans l’atmosphere et les paysages de sa jeunesse quand l’auteur, revetu de son titre d’Immortel, choisit de rentrer a Port-au-Prince pour se recentrer. Il avait deja fait allusion avant a la baignoire rose de son premier appartement de Montreal qui lui rappelait le ventre de sa mere quand, enceinte de lui, elle lisait, sa «premiere petite bibliotheque audio» ecrit-il (70), nous le suivons maintenant au «88 rue de Lamarre […] adresse universelle de l’enfance heureuse» (114) dans une region ou dieux vaudous et paysans se cotoient. Univers onirique, presque, qui contribua a irriguer une creativite sur laquelle une vaste culture generale est venue se greffer sans que rien ne soit perdu du rire sonore de l’enfant. \u0000Sensorielles : Autour de Paul Chanel Malenfant est, quant a lui, un ","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2019-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47681433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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