Conséquences lyriques by Pierre Yergeau

By Pierre Yergeau

De l. a. à Montréal, en passant par Paris, Conséquences lyriques, est un roman savamment déconstruit, pour ne pas dire cubiste, et constitué de six groupes de personnages. L’histoire étant un assemblage de faits divers, et le lecteur est appelé à tisser les liens selon les indices soigneusement distillés par l’auteur.

Pour son most appropriate roman chez Québec Amérique, Pierre Yergeau se livre à un exercice de haute voltige qui questionne les mécanismes de los angeles création et qui a l’américanité en trame de fond. Nous sommes toutefois en désaccord avec le narrateur du roman, qui stipule que « Un livre devrait se terminer par l. a. mort de son auteur » !

Dans ce roman, vous êtes invités à suivre les péripéties d’un chasseur d’extraterrestres, d’une journaliste spécialisée dans les faits divers et dont le père ressemble à s’y méprendre à John Wayne, d’un policier, d’un ex-mannequin Calvin Klein beginner d’enterrements, d’une grosse dame de plus three hundred livres et de son jeune fils, d’un scénariste québécois qui a des conversations avec un alligator qui aime les bonbons, et, en leading, de l’énigmatique Gomme, degré zéro du personnage. Même Céline Dion fait son apparition dans ce cortège pour le moins hétéroclite !

Et votre travail de lecteur consiste à déterminer qui sert d’inspiration à qui ? Bonne probability !

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Theories of postmodern culture are attempts—albeit often oblique, partial, and mystificatory attempts—to grasp the changing relationship between culture and capital. Such changes did not occur punctually with the advent of the postmodern condition, whenever that might have occurred, but are part of a long series of shifts in the social significance of cultural activity during the capitalist mode of production. ” The legitimating forms of high bourgeois culture, the versions and definitions of subjectivity which they have to offer, appear less and less adequate to the experience of late capitalism, but on the other hand cannot be merely abandoned.

By a much greater attention to quick-changing fashions and the mobilization of all the artifices of need inducement and cultural transformation that this implies. ”39 While this description of postmodern culture is hardly remarkable—it recalls Baudelaire’s celebrated aphorism about modernity (“Modernity is the transient, the fleeting, the contingent”)40—it does help to emphasize the dynamism, uncertainty, and fluidity of the new regime of accumulation, and the stamp it leaves on the cultural realm.

Such a view is particularly anxious to consign modernism to the distant past, along with all the lessons it was once thought to teach. The novel can return to a measured, useful, and responsible existence, a realism reinvigorated and newly relevant to these confessional times. literary field / 29 Postmodernism and Literary Fiction In Steiner’s history, critical taste has left behind experimentalism, and has also abandoned the supporting arms of criticism that privileged textuality. This is a significant subtext of her account: New Criticism, poststructuralism, and literary theory generally are all outgrowths of modernism, and must be rejected accordingly.

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