{"id":1151,"date":"2023-04-16T14:47:13","date_gmt":"2023-04-16T12:47:13","guid":{"rendered":"http:\/\/jclebrun.eu\/blog\/?p=1151"},"modified":"2023-04-19T11:02:30","modified_gmt":"2023-04-19T09:02:30","slug":"julien-gracq","status":"publish","type":"post","link":"https:\/\/jclebrun.eu\/blog\/2023\/04\/16\/julien-gracq\/","title":{"rendered":"Julien Gracq"},"content":{"rendered":"\n<h4 class=\"wp-block-heading alignfull has-text-align-center\"><strong>Seize ans apr\u00e8s la disparition de Julien Gracq, en 2007, Jos\u00e9 Corti, son \u00e9diteur de toujours, nous donne \u00e0 lire un nouvel in\u00e9dit de 27 pages autoris\u00e9 \u00e0 la publication en attendant 2027 et la lev\u00e9e du black-out d\u00e9cid\u00e9 par l\u2019\u00e9crivain sur de nombreux autres textes<\/strong><\/h4>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2023\/04\/GRACQ-2-708x1024.jpg\" alt=\"\" class=\"wp-image-1152\" width=\"531\" height=\"768\" srcset=\"https:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2023\/04\/GRACQ-2-708x1024.jpg 708w, https:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2023\/04\/GRACQ-2-208x300.jpg 208w, https:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2023\/04\/GRACQ-2.jpg 718w\" sizes=\"auto, (max-width: 531px) 100vw, 531px\" \/><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Ce qui se joue sous nos yeux, c\u2019est un saisissant retour, telle une plong\u00e9e qui donne \u00e0 voir les strates d\u2019un\u00a0 travail. Les historiens de la litt\u00e9rature pourraient tout aussi bien y distinguer une mani\u00e8re d\u2019arch\u00e9ologie de l\u2019\u00e9criture gracquienne. Comme si sept d\u00e9cennies de cr\u00e9ation se trouvaient ici synth\u00e9tis\u00e9es. Si ces pages furent manifestement r\u00e9dig\u00e9es pendant l\u2019Occupation, ou peu de temps apr\u00e8s, elles se pr\u00e9sentent pour le lecteur d\u2019aujourd\u2019hui comme une pr\u00e9figuration des deux p\u00f4les de l\u2019\u0153uvre. En ouverture Julien Gracq \u00e9voque ce temps \u00ab\u00a0<em>qui \u00e9tait celui de l\u2019occupation allemande<\/em>\u00a0\u00bb et qui le voyait r\u00e9guli\u00e8rement prendre le car de V\u2026 \u00e0 A\u2026, de Varades, \u00e0 proximit\u00e9 de Saint-Florent-le-Vieil o\u00f9 il r\u00e9sidait, jusqu\u2019\u00e0 Angers, o\u00f9 il enseigna durant l\u2019ann\u00e9e scolaire 1941-1942.\u00a0 De ce bref r\u00e9cit d\u2019un voyage bihebdomadaire et de l\u2019image obs\u00e9dante d\u2019une maison aper\u00e7ue depuis la route et d\u00e9clencheuse d\u2019imaginations, Julien Gracq a produit deux \u00e9tats successifs pareillement inachev\u00e9s, dont l\u2019\u00e9diteur propose la reproduction sous la forme d\u2019une num\u00e9risation des textes autographes. On y reconna\u00eet l\u2019\u00e9criture fine, nette et impeccablement calibr\u00e9e de l\u2019\u00e9crivain, mais l\u2019on y observe surtout son travail de nettoyage et d\u2019\u00e9claircissement entre l\u2019un et l\u2019autre texte. Une entr\u00e9e dans l\u2019atelier, face \u00e0 laquelle celui-ci \u00a0exprima cependant toujours sa r\u00e9ticence\u00a0: \u00ab\u00a0<em>Je n\u2019aime pas montrer mes manuscrits<\/em>.\u00a0\u00bb<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>L\u2019on ne peut alors s\u2019emp\u00eacher de se rappeler, telle une constante chez Gracq, des \u00e9vocations d\u2019autres construction<\/p>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">Il est donc question d\u2019une maison, \u00ab&nbsp;<em>construction inattendue<\/em>&nbsp;(\u2026) <em>\u00e0 un tournant de la route<\/em>\u00bb, situ\u00e9e \u00e0 une douzaine de kilom\u00e8tres d\u2019Angers. L\u2019on ne peut alors s\u2019emp\u00eacher de se rappeler, telle une constante chez Gracq, des \u00e9vocations d\u2019autres constructions, dont les \u00ab&nbsp;<strong>Carnets du grand chemin<\/strong>&nbsp;\u00bb (1992) proposaient une foule de variations&nbsp;: maisons de la Sologne, de la Franche-Comt\u00e9, du pays de Bade, ou encore pavillons de briques de la banlieue pauvre de Londres s\u2019apparentant \u00e0 une \u00ab&nbsp;<em>l\u00e8pre urbaine informe<\/em>&nbsp;\u00bb\u2026 Leurs visions d\u00e9clenchaient infailliblement &nbsp;une r\u00e9flexion sur leur allure et sur l\u2019histoire longue qui s\u2019y trouvait refl\u00e9t\u00e9e. La &nbsp;villa \u00ab&nbsp;<em>de pr\u00e9tentieuse et m\u00e9diocre apparence<\/em>&nbsp;\u00bb aper\u00e7ue depuis le car renvoie ainsi pour lui \u00e0 l\u2019architecture des constructions du bord de mer \u00ab&nbsp;<em>sur les plages de second <\/em>ordre&nbsp;\u00bb au d\u00e9but du 20<sup>\u00e8me<\/sup> si\u00e8cle. Au fil de ses trajets Julien Gracq observe la maison sous tous les angles possibles, puis un jour descend du car pour enfin s\u2019en approcher, dans une d\u00e9marche que l\u2019on pourrait comparer au grossissement progressif d\u2019un zoom. Il se rend finalement compte que la maison est habit\u00e9e, en entendant&nbsp; chanter une voix de femme. Alors commence un travail d\u2019imagination en lequel se reconna\u00eet l\u2019influence du romantisme. Nerval et \u00ab&nbsp;<strong>Les Filles du feu<\/strong>&nbsp;\u00bb ne sont pas loin, jusque dans la suggestion \u00e9rotique. Les derni\u00e8res lignes du texte s\u2019attachent \u00e0 l\u2019apparition sur le balcon de la maison de deux pieds nus, puis \u00ab&nbsp;<em>plus nue encore et plus secr\u00e8te que les pieds nus, la masse ond\u00e9e, prodigieuse, fabuleuse, d\u00e9ploy\u00e9e comme une draperie, d\u2019une longue chevelure blonde, la chevelure d\u00e9faite d\u2019une femme<\/em>.&nbsp;\u00bb<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Une mani\u00e8re de matrice de l\u2019\u0153uvre \u00e0 venir<\/p>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">On l\u2019aura compris, ce texte r\u00e9dig\u00e9 alors que l\u2019\u00e9crivain \u00e9tait entr\u00e9 dans la trentaine et n\u2019avait encore fait para\u00eetre que \u00ab&nbsp;<strong>Au Ch\u00e2teau d\u2019Argol<\/strong>&nbsp;\u00bb (1938) trace d\u00e9j\u00e0 ce qu\u2019on pourrait d\u00e9signer comme son arc d\u2019\u00e9criture, entre la pr\u00e9cision quasi maniaque des observations du g\u00e9ographe et la vision quasi hallucin\u00e9e de l\u2019admirateur du Surr\u00e9alisme, telle que lui-m\u00eame en pointe le m\u00e9canisme dans \u00ab&nbsp;<strong>La Maison<\/strong>&nbsp;\u00bb&nbsp;: \u00ab&nbsp;<em>il y avait une suggestion d\u2019\u00e9tranget\u00e9, o\u00f9 le quotidien n\u2019entrait plus en compte, o\u00f9 le plausible m\u00eame \u00e9tait frapp\u00e9 de pauvret\u00e9<\/em>.&nbsp;\u00bb Sans autrement exag\u00e9rer, il est permis de consid\u00e9rer ce nouvel in\u00e9dit, en attendant ceux contenus dans les 29 cahiers qu\u2019une clause de l\u2019\u00e9crivain interdit de publication&nbsp; jusqu\u2019en 2027, comme une mani\u00e8re de matrice de l\u2019\u0153uvre \u00e0 venir. Puisqu\u2019ici se met en place la circulation dans les deux sens entre la description et l\u2019impression qui donne \u00e0 cette litt\u00e9rature sa dynamique. Ces 27 pages en constitueraient alors le noyau rest\u00e9 longtemps dissimul\u00e9.<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">\u00ab&nbsp;<strong>La Maison<\/strong>&nbsp;\u00bb, de Julien Gracq, Editions Corti, 84 pages, 15 \u20ac<\/h5>\n\n\n\n<h5 class=\"wp-block-heading\">20\/04\/2023 &#8211; 1655 &#8211; W36<\/h5>\n","protected":false},"excerpt":{"rendered":"<p>Seize ans apr\u00e8s la disparition de Julien Gracq, en 2007, Jos\u00e9 Corti, son \u00e9diteur de toujours, nous donne \u00e0 lire un nouvel in\u00e9dit de 27 pages autoris\u00e9 \u00e0 la publication en attendant 2027 et la lev\u00e9e du black-out d\u00e9cid\u00e9 par l\u2019\u00e9crivain sur de nombreux autres textes Ce qui se joue sous nos yeux, c\u2019est un [&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":[1],"tags":[],"class_list":["post-1151","post","type-post","status-publish","format-standard","hentry","category-non-classe"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Julien Gracq - Blog de Jean-Claude Lebrun<\/title>\n<meta name=\"description\" content=\"Un nouvel in\u00e9dit de Julien Gracq, l&#039;un des grands \u00e9crivains fran\u00e7ais du 20\u00e8me si\u00e8cle influenc\u00e9 par le Romantisme et le Surr\u00e9alisme. 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