{"id":2517,"date":"2025-07-09T15:22:59","date_gmt":"2025-07-09T13:22:59","guid":{"rendered":"https:\/\/jclebrun.eu\/blog\/?p=2517"},"modified":"2025-07-09T15:52:33","modified_gmt":"2025-07-09T13:52:33","slug":"yves-charnet-2","status":"publish","type":"post","link":"https:\/\/jclebrun.eu\/blog\/2025\/07\/09\/yves-charnet-2\/","title":{"rendered":"Yves CHARNET"},"content":{"rendered":"\n<h4 class=\"wp-block-heading alignfull has-text-align-center\"><strong>Sous un titre, \u00ab\u00a0<em>Abattis<\/em>\u00a0\u00bb, qui intrigue, Yves Charnet propose un livre \u00e0 nul autre pareil. L\u2019on sait son inventivit\u00e9 langagi\u00e8re comme son go\u00fbt de la provocation. L\u2019on sait \u00e9galement son insatiable curiosit\u00e9 et son immense culture. Le beau volume des \u00e9ditions Tarabuste en porte aujourd\u2019hui\u00a0 t\u00e9moignage<\/strong><\/h4>\n\n\n\n<figure class=\"wp-block-image alignleft size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"328\" height=\"443\" src=\"https:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2025\/07\/YC.png\" alt=\"\" class=\"wp-image-2520\" srcset=\"https:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2025\/07\/YC.png 328w, https:\/\/jclebrun.eu\/blog\/wp-content\/uploads\/2025\/07\/YC-222x300.png 222w\" sizes=\"auto, (max-width: 328px) 100vw, 328px\" \/><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Les abattis dont il est ici question ne sont pas ceux de la langue commune, d\u00e9coupes de volaille ou membres humains (\u00ab&nbsp;<em>Num\u00e9roter ses abattis<\/em>&nbsp;\u00bb), mais ceux qu\u2019\u00e9voquait d\u2019ironique et tr\u00e8s mat\u00e9rialiste fa\u00e7on Rodin quand en 1902 il avait re\u00e7u le jeune Rilke dans son atelier de Meudon&nbsp;: des morceaux sculpt\u00e9s de corps, bras, t\u00eates, jambes, mains, pieds, qu\u2019il assemblerait ensuite au gr\u00e9 de ses inspirations. Stefan Zweig restitua ces rencontres dans des pages devenues fameuses. Yves Charnet proc\u00e8de dans son livre \u00e0 l\u2019identique, rassemblant dans vingt-quatre chapitres suivant l\u2019ordre alphab\u00e9tique (il y manque le X et le Z) des phrases de toutes origines glan\u00e9es au fil du temps. Non seulement un v\u00e9ritable \u00ab&nbsp;<em>autoportrait en citations<\/em>&nbsp;\u00bb, mais une fa\u00e7on d\u2019immense r\u00e9servoir dans lequel piocher pour nourrir l\u2019\u0153uvre et enrichir la vie. L\u2019on y trouve du Blaise Pascal comme du Michel Audiard, du Georges Orwell comme du Dominique Sanda, du Pierre Bergounioux comme du Stig Dagerman\u2026 Des sources qui proviennent pour l\u2019essentiel de la litt\u00e9rature et du cin\u00e9ma et moindrement d\u2019autres arts comme la musique et la peinture. Non pas une collection d\u2019aphorismes, mais \u00e0 chaque fois des incitations \u00e0 la r\u00e9flexion. Si l\u2019\u00e9tendue de ces r\u00e9f\u00e9rences est impressionnante, c\u2019est aussi leur pertinence qui frappe. Rien \u00e0 voir avec ces \u00ab&nbsp;<em>hantologies<\/em>&nbsp;\u00bb qui rel\u00e8vent davantage de l\u2019exercice savant que d\u2019une vision donnant au tout sa coh\u00e9rence.<\/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>Un semblable d\u00e9sir de ramasser le long de son chemin tout ce qui, ins\u00e9r\u00e9 dans un plus grand tout, prendra une dimension nouvelle<\/strong><\/h4>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">Car ces \u00ab&nbsp;<strong><em>Abattis<\/em><\/strong>&nbsp;\u00bb trahissent la forte personnalit\u00e9 de l\u2019auteur. Collig\u00e9s dans son livre, ils signalent une v\u00e9ritable appropriation. Le rapprochement para\u00eetra vraisemblablement ill\u00e9gitime \u00e0 certains admirateurs d\u2019Yves Charnet, mais on ne peut s\u2019emp\u00eacher de distinguer dans son travail quelque parent\u00e9 avec ce qui avait guid\u00e9 le Facteur Cheval&nbsp;: un semblable d\u00e9sir de ramasser le long de son chemin tout ce qui, ins\u00e9r\u00e9 dans un plus grand tout, prendra une dimension nouvelle. Un simple exemple, pris en ouvrant le livre au hasard, mais on pourrait r\u00e9p\u00e9ter plusieurs fois l\u2019op\u00e9ration pour un r\u00e9sultat \u00e9quivalent&nbsp;: pages 105 \u00e0 108, la succession des occurrences \u00ab&nbsp;<em>\u00e9cole<\/em>&nbsp;\u00bb, \u00ab&nbsp;<em>\u00e9corcher<\/em>&nbsp;\u00bb, \u00ab&nbsp;<em>\u00e9cran<\/em>&nbsp;\u00bb, \u00ab&nbsp;<em>\u00e9crire<\/em>&nbsp;\u00bb, \u00ab&nbsp;<em>\u00e9criture<\/em>&nbsp;\u00bb, \u00ab&nbsp;<em>\u00e9crivain<\/em>&nbsp;\u00bb, \u00ab&nbsp;<em>\u00e9diteur<\/em>&nbsp;\u00bb, \u00ab&nbsp;<em>\u00e9duquer<\/em>&nbsp;\u00bb, signale un \u00e9vident cheminement de pens\u00e9e. Comme le choix des auteurs cit\u00e9s illustre la largeur du champ de r\u00e9f\u00e9rences&nbsp;: Pierre Bonnard, G\u00e9rard Depardieu, Fran\u00e7oise Sagan, Jean-Luc Godard, Antoine Blondin, Jorge Luis Borg\u00e8s, Jean Cocteau, Guy Debord, Marguerite Duras, Gustave Flaubert, G\u00e9rard Mac\u00e9, Pierre Michon, Marcel Proust, Pascal Quignard, Paul Scarron, Georges Bernanos, Yves Navarre, Maurice Blanchot , Gilles Deleuze, Josyane Savigneau, Eric Hazan, Marc Twain. Plac\u00e9s les uns \u00e0 la suite des autres, leurs textes dessinent une certaine fa\u00e7on de concevoir et pratiquer la litt\u00e9rature.<\/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>\u00ab\u00a0<em>Hantologie<\/em>\u00a0\u00bb, combinaison d&rsquo;anthologie et de hanter<\/strong><\/h4>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">A tout cela il faudrait ajouter ce qui d\u00e9j\u00e0 apparaissait dans la graphie du mot \u00ab&nbsp;<em>hantologie<\/em>&nbsp;\u00bb, combinaison d&rsquo;anthologie et de hanter, plac\u00e9 en ouverture de l\u2019ouvrage imm\u00e9diatement apr\u00e8s la tr\u00e8s p\u00e9n\u00e9trante et inspirante pr\u00e9face de Laurent Roth. Celui-ci y pr\u00e9sente en effet son ancien coturne de Normale Sup en usant de sa si singuli\u00e8re mani\u00e8re. Lire Laurent Roth c\u2019est avoir un avant-go\u00fbt puissamment \u00e9vocateur de la lecture d\u2019Yves Charnet. A quoi l\u2019on pourrait ajouter la malicieuse occurrence \u00ab&nbsp;<em>Charnet, Yves<\/em>&nbsp;\u00bb, page 85. Denis Tillinac en est l\u2019auteur. L\u2019\u00e9crivain et \u00e9diteur de La Table Ronde signe cet \u00e9tonnant exorde \u00e0 son entr\u00e9e d\u2019une vingtaine de lignes, \u00ab&nbsp;<em>Yves Charnet n\u2019est pas plus malade qu\u2019un autre<\/em>&nbsp;\u00bb, voulant dire par l\u00e0 que chez ce dernier tout semble sortir de la norme. Car dans ses livres et ailleurs, comme sur Facebook, l\u2019\u00e9crivain use d\u2019une graphie tr\u00e8s personnelle. Les mots y sont objets de m\u00e9tamorphoses et de combinaisons. \u00ab&nbsp;<strong>Abattis<\/strong>&nbsp;\u00bb donne aujourd\u2019hui plus qu\u2019un aper\u00e7u du terreau sur lequel la langue de l\u2019\u00e9crivain et son \u0153uvre se sont constitu\u00e9es. Un livre doublement utile.<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">\u00ab&nbsp;<strong><em>Abattis<\/em><\/strong>&nbsp;\u00bb d\u2019Yves Charnet, Editions Tarabuste, 277 pages, 20 \u20ac<\/h5>\n\n\n\n<h5 class=\"wp-block-heading\">10\/07\/2025 \u2013 1751 \u2013 W131<\/h5>\n","protected":false},"excerpt":{"rendered":"<p>Sous un titre, \u00ab\u00a0Abattis\u00a0\u00bb, qui intrigue, Yves Charnet propose un livre \u00e0 nul autre pareil. L\u2019on sait son inventivit\u00e9 langagi\u00e8re comme son go\u00fbt de la provocation. L\u2019on sait \u00e9galement son insatiable curiosit\u00e9 et son immense culture. Le beau volume des \u00e9ditions Tarabuste en porte aujourd\u2019hui\u00a0 t\u00e9moignage Les abattis dont il est ici question ne sont [&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":[101,100],"class_list":["post-2517","post","type-post","status-publish","format-standard","hentry","category-non-classe","tag-joyeusement-hors-norme","tag-une-anthologie-qui-est-aussi-lautoportrait-dun-ecrivain-inventif-et-malicieux"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Yves CHARNET - Blog de Jean-Claude Lebrun<\/title>\n<meta name=\"description\" content=\"Hantologie : une invention d&#039;un auteur hors norme\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jclebrun.eu\/blog\/2025\/07\/09\/yves-charnet-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yves CHARNET - 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