{"id":3156,"date":"2026-09-27T16:04:14","date_gmt":"2026-09-27T14:04:14","guid":{"rendered":"http:\/\/jclebrun.eu\/blog\/?p=3156"},"modified":"2026-10-01T10:15:50","modified_gmt":"2026-10-01T08:15:50","slug":"anne-godard","status":"publish","type":"post","link":"http:\/\/jclebrun.eu\/blog\/2026\/09\/27\/anne-godard\/","title":{"rendered":"Anne GODARD"},"content":{"rendered":"\n<h4 class=\"wp-block-heading has-text-align-center alignfull\"><strong>Les deux premiers romans d\u2019Anne Godard, \u00ab\u00a0<em>L\u2019Inconsolable<\/em>\u00a0\u00bb (2006) et \u00ab\u00a0<em>Une chance folle<\/em>\u00a0\u00bb (2017), avaient impressionn\u00e9 par l\u2019acuit\u00e9 clinique du regard de l\u2019autrice, dans l\u2019exploration des non-dits et des mensonges du roman familial. \u00ab\u00a0<em>Nous aussi<\/em>\u00a0\u00bb vient \u00e0 son tour un peu plus creuser cette d\u00e9licate mati\u00e8re. Sauf qu\u2019ici un \u00ab\u00a0on\u00a0\u00bb collectif appara\u00eet comme voix narrative, non sans raison<\/strong><\/h4>\n\n\n\n<figure class=\"wp-block-image alignleft size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"575\" height=\"1024\" src=\"http:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2026\/09\/GOD-575x1024.png\" alt=\"\" class=\"wp-image-3164\" srcset=\"http:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2026\/09\/GOD-575x1024.png 575w, http:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2026\/09\/GOD-169x300.png 169w, http:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2026\/09\/GOD-768x1367.png 768w, http:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2026\/09\/GOD-863x1536.png 863w, http:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2026\/09\/GOD-1150x2048.png 1150w, http:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2026\/09\/GOD.png 1424w\" sizes=\"auto, (max-width: 575px) 100vw, 575px\" \/><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">L\u2019incipit trace ce qui appara\u00eet bien davantage qu\u2019un simple d\u00e9cor&nbsp;: \u00ab&nbsp;<em>On est parisiens, on vit dans un immeuble haussmannien, fer forg\u00e9 sur fa\u00e7ades blanches, toits en zinc, porte coch\u00e8re, escaliers, tapis rouge, barres de laiton dor\u00e9, parquets, moulures, miroirs, chemin\u00e9es en marbre<\/em>.&nbsp;\u00bb Ce \u00ab&nbsp;on&nbsp;\u00bb, c\u2019est en effet une famille occupant la totalit\u00e9 d\u2019un immeuble du V\u00e8me arrondissement. Quatre b\u00e2timents autour d\u2019une cour, avec dans les \u00e9tages \u00e9lev\u00e9s vue sur le Panth\u00e9on et Notre-Dame. Lieu d\u2019habitation tr\u00e8s chic pour ces repr\u00e9sentants de la bourgeoisie catholique. Se pr\u00e9sentant tel un bloc sans la moindre fissure. Parents, enfants, oncles, tantes, cousines et cousins semblent y cohabiter dans une absolue osmose. Pendant les vacances ce petit monde, ne cessant de pratiquer un entre-soi d\u00e9complex\u00e9, migre, \u00ab&nbsp;<em>\u00e0 dix, quinze, vingt, trente<\/em>&nbsp;\u00bb, vers le grand chalet qu\u2019il poss\u00e8de en Savoie. Chez ces gens-l\u00e0 on ne prend pas le m\u00e9tro&nbsp;: \u00ab&nbsp;<em>jamais eu besoin de descendre sous terre<\/em>&nbsp;\u00bb, dit une premi\u00e8re voix. Plus tard les enfants se retrouveront au lyc\u00e9e Henri-IV. Puis ils int\u00e8greront l\u2019Ecole normale, l\u2019Ecole centrale, l\u2019Ecole polytechnique, l\u2019Ecole des mines, l\u2019Ecole des ponts et chauss\u00e9es, \u00e9ventuellement Sciences Po. La route est toute trac\u00e9e. On les verra assister aux m\u00eames spectacles, fr\u00e9quenter les m\u00eames mus\u00e9es et les m\u00eames expositions. Car \u00ab&nbsp;<em>on est conscients de ce qu\u2019on sait, pas seulement les lectures ou les tableaux, mais le langage, l\u2019art de vivre, les bonnes mani\u00e8res<\/em>.&nbsp;\u00bb Le champ explor\u00e9 il y a pr\u00e8s d\u2019un demi-si\u00e8cle par Pierre Bourdieu dans \u00ab&nbsp;<strong><em>La Distinction<\/em><\/strong>&nbsp;\u00bb n\u2019a gu\u00e8re \u00e9volu\u00e9. Ce qui tr\u00e8s pr\u00e9cis\u00e9ment ressort des premiers chapitres de \u00ab&nbsp;<strong><em>Nous aussi<\/em><\/strong>&nbsp;\u00bb, succession de rapides coups d\u2019\u0153il accusateurs sur un univers de privil\u00e9gi\u00e9s, s\u00fbr de soi et corset\u00e9.<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<h4 class=\"wp-block-heading\"><strong>L\u2019on se doute bien qu\u2019une telle impeccable fa\u00e7ade n\u2019est pas exempte de d\u00e9fauts<\/strong><\/h4>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">Ici le sentiment d\u2019appartenance appara\u00eet constitutif d\u2019une identit\u00e9 sociale. Anne Godard \u00e9tablit de v\u00e9ritables listes qui disent aussi bien l\u2019accumulation culturelle que l\u2019accumulation mat\u00e9rielle. Rien d\u2019\u00e9tonnant qu\u2019ici la m\u00e9moire soit celle que la famille au fil du temps s\u2019est construite, d\u2019un seul tenant, sans possibilit\u00e9 d\u2019\u00e9cart. Ainsi en tout cas se donne \u00e0 voir le roman familial. Pr\u00e9sentable, enviable, du moins en apparence. Les voix qui se font entendre se fondent dans ce \u00ab&nbsp;on&nbsp;\u00bb et ce \u00ab&nbsp;nous.&nbsp;\u00bb Comme si la parole personnelle devait s\u2019effacer au profit de la seule expression acceptable&nbsp;: celle du groupe, pour ne pas dire du clan. L\u2019on se doute bien qu\u2019une telle impeccable fa\u00e7ade n\u2019est pas exempte de d\u00e9fauts. M\u00eame si rien ne s\u2019en laisse d\u2019abord deviner. Comme sur le mur qui conduit \u00e0 la cuisine dans le chalet. L\u2019immense arbre g\u00e9n\u00e9alogique de la famille s\u2019y trouve repr\u00e9sent\u00e9. Avec son enchev\u00eatrement de branches. Avec ces pr\u00e9noms se r\u00e9p\u00e9tant de g\u00e9n\u00e9ration en g\u00e9n\u00e9ration. Dans les dix chambres se sont succ\u00e9d\u00e9 des enfants qui ont jou\u00e9 aux m\u00eames jeux et partag\u00e9 les m\u00eames curiosit\u00e9s propres \u00e0 leur \u00e2ge, peut-\u00eatre m\u00eame un peu plus. Des adultes qui ont perp\u00e9tu\u00e9 les codes re\u00e7us en h\u00e9ritage dans ce qui tient du \u00ab&nbsp;<em>phalanst\u00e8re<\/em>.&nbsp;\u00bb<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<h4 class=\"wp-block-heading\"><strong>Anne Godard soul\u00e8ve la chape d\u2019honorabilit\u00e9 qui pour la famille tient lieu de marqueur social<\/strong><\/h4>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">Un jour, \u00e0 Paris, tout juste sorti de l\u2019enfance, l\u2019un d\u2019eux avait saut\u00e9 par une fen\u00eatre de l\u2019orgueilleux immeuble. Le grand corps familial avait encaiss\u00e9 le choc, avant de vite retrouver ses habitudes et ses certitudes. Mais l\u2019onde de la mort du cousin avait troubl\u00e9 la belle surface d\u2019impassibilit\u00e9. Une voix, qui maintenant se fait entendre, est celle d\u2019une femme dont le parcours singulier se r\u00e9v\u00e8le, l\u00e9zardant le bloc d\u2019indiff\u00e9renciation. Elle est math\u00e9maticienne, c\u00e9libataire, sans enfants, a enseign\u00e9 le fran\u00e7ais dans le sud alg\u00e9rien. D\u2019elle, on fait peu de cas&nbsp;: une anomalie bizarrement sortie du moule commun. Une autre voix f\u00e9minine \u00e9voque le mariage avec une compagne\u2026 &nbsp;Anne Godard soul\u00e8ve la chape d\u2019honorabilit\u00e9 qui pour la famille tient lieu de marqueur social. Elle donne \u00e0 voir les non-dits et les secrets, comme les violences de tous ordres, auxquelles une promiscuit\u00e9 oblig\u00e9e expose les enfants. Plus tard on pratiquera le refoulement et le d\u00e9ni, sinon l\u2019amn\u00e9sie, sans pouvoir emp\u00eacher la r\u00e9manence de ce que, vu de l\u2019ext\u00e9rieur, l\u2019on identifie de toute \u00e9vidence comme de profonds traumatismes. La d\u00e9fenestration du cousin aura commenc\u00e9 d\u2019\u00e9branler l\u2019impeccable r\u00e9cit familial.<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<h4 class=\"wp-block-heading\"><strong>Une v\u00e9ritable mythologie familiale<\/strong><\/h4>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">C\u2019est \u00e0 la s\u0153ur du jeune suicid\u00e9 qu\u2019il appartient de faire bouger les \u00e9clairages. Un autre r\u00e9cit \u00e9merge, qui dit le c\u00f4t\u00e9 obscur de la belle histoire partag\u00e9e. Les jeux troubles, la lourdeur, au propre et au figur\u00e9, de tel ou tel cousin, l\u2019insistante visite de l\u2019oncle le soir dans la chambre. Ce qu\u2019ailleurs, dans un autre monde, on d\u00e9signe sous les mots d\u2019attouchements, de viol et d\u2019inceste. Dans les derni\u00e8res pages de ce texte bouleversant et d\u00e9nonciateur la narratrice \u00e9voque une sc\u00e8ne hallucinante de l\u2019enfance, racont\u00e9e par sa propre m\u00e8re&nbsp;: \u00ab&nbsp;<em>elle devait se laver la bouche au savon, si elle l\u2019avait souill\u00e9e de vilains mots<\/em>.&nbsp;\u00bb Et elle poursuit&nbsp;: \u00ab&nbsp;<em>Elle ne veut pas qu\u2019on en prononce, elle ne veut pas qu\u2019on soit salis, elle ne trouve pas \u00e7a dr\u00f4le, ces mots qui d\u00e9forment nos bouches d\u2019enfants<\/em>.&nbsp;\u00bb Fa\u00e7on pour la m\u00e8re d\u2019entretenir et perp\u00e9tuer ce qui s\u2019apparente \u00e0 une v\u00e9ritable mythologie familiale, cet immuable r\u00e9cit d\u2019une distinction qui l\u2019\u00e9l\u00e8ve au-dessus du commun. La charge est puissante. En 115 s\u00e9quences de deux pages, qui donnent au roman sa dynamique et construisent l\u2019\u00e9quivalent litt\u00e9raire d\u2019une image en 3D de ce singulier magma, Anne Godard laisse appara\u00eetre ce qu\u2019une apparente \u00e9vidence de normalit\u00e9 dissimule de profond\u00e9ment trouble. Prenant d\u00e8s ses toutes premi\u00e8res lignes, proposant au fil des pages une critique de plus en plus impitoyable de cet univers catholique grand bourgeois, son singulier roman donne tout simplement \u00e0 voir la face sombre de \u00ab&nbsp;<strong><em>La Distinction<\/em><\/strong>.&nbsp;\u00bb &nbsp;<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">\u00ab&nbsp;<strong>Nous aussi<\/strong>&nbsp;\u00bb d\u2019Anne Godard, Actes Sud, 238 pages, 20 \u20ac<\/h5>\n\n\n\n<h5 class=\"wp-block-heading\"> 01\/10\/2026 \u2013 1795 -W175<\/h5>\n\n\n\n<p class=\"has-small-font-size wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Les deux premiers romans d\u2019Anne Godard, \u00ab\u00a0L\u2019Inconsolable\u00a0\u00bb (2006) et \u00ab\u00a0Une chance folle\u00a0\u00bb (2017), avaient impressionn\u00e9 par l\u2019acuit\u00e9 clinique du regard de l\u2019autrice, dans l\u2019exploration des non-dits et des mensonges du roman familial. \u00ab\u00a0Nous aussi\u00a0\u00bb vient \u00e0 son tour un peu plus creuser cette d\u00e9licate mati\u00e8re. Sauf qu\u2019ici un \u00ab\u00a0on\u00a0\u00bb collectif appara\u00eet comme voix narrative, non [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","footnotes":""},"categories":[113],"tags":[171],"class_list":["post-3156","post","type-post","status-publish","format-standard","hentry","category-roman","tag-le-cote-sombre-de-la-distinction"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Anne GODARD - Blog de Jean-Claude Lebrun<\/title>\n<meta name=\"description\" content=\"La face sombre de &quot;La distinction&quot; dans un \u00e9poustouflant roman\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/jclebrun.eu\/blog\/2026\/09\/27\/anne-godard\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Anne GODARD - 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