Le Cabinet des rebuts by Danielle Mémoire

By Danielle Mémoire

Le cupboard des rebuts peut être le ideal quantity d'une courte série, elle-même interne au Corpus, de laquelle série les titres du moins reprennent ceux de nos ouvrages tombés en quenouille au cours des deux dernières années.

Il peut aussi ne pas l'être.

Le cupboard des rebuts est le 16e livre de Danielle Mémoire. Oeuvre singulière dont chaque opus est une pièce ajoutée à un édifice de mots qui ne ressemble à nul autre, elle met en jeu, continuellement, le statut de l'écrivain, son unité. Elle en fait une fiction à facettes multiples : personnage d'une histoire en growth qui multiplie ses avatars, chacun étant à son journey auteur, seul ou à plusieurs, fantasmé ou réel, de ce que nous lisons. On comprend que cela devienne rapidement et délicieusement vertigineux. Mais le vertige tire avec lui un yes nombre de questions qui, derrière les apparences, sont loin d'être indifférentes puisque l'identité de chacun y est sérieusement malmenée.

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March– June: publication of Les Misérables (novel), written – and –.  April: publication of William Shakespeare (literary criticism).  October: Charles Hugo marries Alice Lehaene.  October: publication of Songs of Street and Wood (Les Chansons des rues et des bois, verse), written  and .  March: publication of The Toilers of the Sea (Les Travailleurs de la mer, novel).  August: birth of Charles’s son Georges.  August: death of Adèle I.  April– May: publication of The Laughing Man (L’Homme qui rit, novel).

Thus we find the spirit of melancholy and meditation and the demon of analysis and controversy appearing together–– virtually arm in arm. Longinus marks one end of this transitional age, Augustine* marks the other. We mustn’t eye the period too scornfully; it was the seedbed of everything that has come to fruition since, and (allow me to use a banal but expressive image) its second-rate writers made it a dunghill to fertilize the future harvest. The Middle Ages were grown from the Byzantine empire.

And what’s more, Boileau. ’ These are, no doubt, significant arguments (their most notable merit being their originality). But I don’t have any obligation to answer them. I’m not erecting any system here–– God preserve us from systems! I’m simply stating a fact. I’m writing history, not criticism. Like it or not, this is the way things are. To return to the point, then, let’s try to show that this fertile union of the grotesque with the sublime has been the origin of the modern spirit–– so complex, so varied in form, so infinite in its creations (in striking contrast to the uniform simplicity of the ancient spirit); this must be our point of departure, if we are to describe the real and radical difference between the two systems.

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Le Cabinet des rebuts by Danielle Mémoire
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