By Guy Mouton
Qu’ont en commun un gardien de musée, une jeune artiste-peintre et un médecin généraliste de l. a. banlieue de Montréal ? Ils ont tous momentanément perdu le goût de vivre. Le retrouve-t-on jamais, que ce soit grâce à l. a. likelihood, à l. a. endurance, à un retournement du destin ? Le sens des choses nous revient parfois de façon insoupçonnée...
Dans une savante development constituée « d’arrêts sur photo », man Mouton discover à fond l’idée du portrait : snap shots individuels, pix d’ensemble. Mais qu’y a-t-il au juste derrière los angeles façade de nos vies ?
Trois personnages, étrangers l’un à l’autre, cherchent désespérément à sortir de los angeles fâcheuse posture dans laquelle ils se trouvent. Tout à fait par hasard, ils se retrouvent dans l. a. salle d’un musée, face à une toile de Van Dyck faisant partie d’une exposition. Grâce à l’énigmatique personnage de ce tableau du XVIIe siècle, le lecteur connaîtra les pensées intimes qui animent chacun d’eux. D’une size de vie et de temps à une autre, ce témoin les perçoit, les écoute et parfois, projette une courte pensée qui atteint certains de ces visiteurs. Où serait-ce le fruit de leur mind's eye ?
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Additional resources for Confidences en trompe-l'œil
Shall she rouse herself to walk and shake her black head, and stretch her prodigious arms into the sky? She will arise. And man – man – poor idiot in his painted boat – down, down, down … she lies still, so still that her heart stops beating …. (“MS”, 91) The emphasis on the hugeness of the ocean’s breast infantilises the man lying upon this “tremendous bosom” and suggests a mother-child relationship. It is thus on the dead mother’s bosom that Mr Slaughterboard’s painted ship is stuck; it is the dead mother that waits to receive her child at the point where the story breaks off.
F. C. Hull [London: Routledge and Kegan Paul, 1954], 179). Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon Roudiez (New York: Columbia University Press, 1982), 3. “Kristeva’s use of the concept of jouissance is conceived essentially as the pleasure of an anarchic sexuality, a sexuality without a structured relation to an Psychoanalytic Perspectives 29 the absence of a psychological boundary between mother and infant. In exploring the child’s psychological task of separating from the mother, Kristevan theory turns away from the father-dominated Freudian and Lacanian versions of psychoanalytic theory towards an emphasis on the role of the mother in the child’s development.
R. F. C. Hull, 2nd edn (Princeton: Princeton University Press, 1967), 334. Sigmund Freud, “Delusions and Dreams in Jensen’s Gradiva”, in Jensen’s “Gradiva” and Other Works, The Complete Psychological Works of Sigmund Freud, trans. James Strachey (London: Hogarth Press, 1959), IX, 7. , 41. Julia Kristeva and Alain Nicolas, “Proust: ‘A Search for Our Time’”, in Julia Kristeva, Interviews (New York: Columbia University Press, 1996), 239. Jacques Lacan, “Seminar on “The Purloined Letter”, trans. Jeffrey Mehlman, in The Purloined Poe: Lacan, Derrida and Psychoanalytic Reading, eds John Muller and William Richardson (Baltimore: Johns Hopkins University Press, 1988), 37.
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