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Litterature

  • "La Jouissance" en poche

    la jouissance.jpg

    Le dernier livre de Florian ZELLER, "La jouissance" est disponible aux éditions "J'ai lu".

    Acheter

  • LA JOUISSANCE, le nouveau roman de Florian Zeller

    L'histoire commence là où toutes les histoires devraient finir : dans un lit. Nicolas vit depuis deux ans avec Pauline, ce n'est donc pas la première fois qu'ils se retrouvent l'un en face de l'autre et qu'elle lui fait un sourire équivoque en lui prenant la main. Ce sont des gestes qu'ils connaissent par cœur, des gestes qui peuplent le territoire des choses familières et rassurantes. 

    Ce jour-là, pourtant, quelque chose d'inédit se produit. Il est allongé sur le dos et Pauline, qui vient de retirer son soutien-gorge, ferme légèrement les yeux, comme elle a l'habitude de le faire quand le plaisir commence sa douce anesthésie du monde. Soudain, la couette se soulève, et une troisième tête apparaît.

    Acheter "La Jouissance" de Florian Zeller

  • Interview de Florian ZELLER à propos de Julien Parme

    Voici une vidéo trouvée sur DailyMotion:

     

     Cliquez au centre de l'image pour voir la vidéo en grand format.

  • The Fascination of Evil, by Florian Zeller

    Voici un article de the Independent sur Florrian ZELLER.

    At just 26, Florian Zeller is one of the hottest literary talents in France. A playwright and journalist who lectures at the University of Political Science in Paris, he is about to publish his fourth novel; this is his third, and the second to be translated into English. A great admirer of Milan Kundera, Zeller adopts the Czech novelist's method - a spare, lean narrative in which characters are placed in testing situations, interspersed with philosophical disquisitions and dream-like episodes - to address one of the most pressing issues today: the relationship between Islam and the West.

    His lucid style, admirably served in this translation by Sue Dyson, and topical subject matter helped the book to sell more than 70,000 copies in France, and won its author the Prix Interallié; the Dutch translation became a bestseller after the murder of the film-maker Theo van Gogh in November 2004. The French title, La Fascination du pire, could perhaps be better translated as "Expecting the Worst".

    The unnamed narrator, a young writer who may or may not be Zeller himself, is always imagining the worst-case scenario. Invited to a book fair in Cairo, he is joined by a fellow author, Martin Millet, who may or may not be Michel Houellebecq , the controversial French novelist prosecuted for inciting racial hatred in his 2001 novel Platforme. Aboard the plane, Millet picks a quarrel with a Saudi passenger who wants to change seats because he does not wish his wife to sit next to a Western man. The anxious narrator is already thinking of the possibility of a crash, when the Muslim passengers all stand up at once. Both he and Millet jump to the same conclusion, but it is actually time for prayer.

    Armed with a copy of Flaubert's correspondence, Millet is determined to recreate the 19th-century author's sexual penetration of the Orient. His first question to their bemused guide from the embassy is, "Can a Westerner pick up an Egyptian girl?" He offends his hosts with his views on Islam, and drags the narrator on a comically futile odyssey through the night clubs of Cairo in search of an Egyptian woman who will have sex with him.

    It is no accident that Zeller has made his shock-jock novelist a Francophone Swiss; the embattled defender of French civilisation hails from one of its outposts, just as the real-life Houellebecq was born in Réunion. At the bottom of Millet's sexual and cultural aggression lie insecurity and self-loathing. When he is given the brush-off by two women in the hotel bar, the narrator sees "something very menacing in his eyes, a kind of hatred... directed not against those two girls in particular, but against the whole of humanity, and at that moment I thought I glimpsed the man he truly was, and it frightened me."

    Millet's crisis is heightened by the appearance of Lamia, an enigmatic French Muslim journalist who may or may not be the haughty beauty who rejected him while he was still a schoolboy. When Millet fails to turn up for an engagement, the narrator again fears the worst.

    Embedded in the heart of the novel, the story of the unloved schoolgirl Astrid Grégoire examines the relationship between market forces and sexual liberation, a theme explored in Zeller's previous novel Lovers or Something Like it (Les Amants du n'importe quoi). In a society in which sexuality has become a commodity, the unattractive and the sexually gauche, like Martin and Astrid, lose out. Far from abolishing sexual frustration, Western freedom has intensified it.

    The narrator observes that the Islamic world has a great tradition of poetry, but little fiction. The novel is a part of the process of individuation, and thus characteristic of the West. Its birth is simultaneous with the birth of the modern world, and a response to it. "This European art," he says, quoting Kundera, "is by definition incompatible with all religious thinking: for by its essence it is a kind of profanation."

    Despite the inevitable comparisons made in the French press to Houellebecq, Zeller's novel is not an critique of Islam, but rather a nuanced examination of the fault lines where an intransigent Western sensibility meets an intransigent Muslim one. Yet it offers cold comfort for anyone on either side of the debate who believes that understanding can be fostered by self-censorship and emollient platitudes about respecting other cultures.

     

  • Article de l'Express sur la Fascination du Pire

    Zeller et la manière

    par Marie Zawisza

     Mêlant fiction et réalité, un drôle de jeu de pistes sur la création littéraire

    Le troisième roman de Florian Zeller est de ceux dont on ne saisit le sens que dans les dernières pages. On croit avoir lu une histoire banale, sans grand intérêt - et sans style - celle d'un jeune homme qui recherche au Caire l'Orient érotique de Flaubert; il n'y trouve que frustration sexuelle et conclut que c'est à cause du jihad. Il rentre à Paris. Là, coup de théâtre: il reçoit un manuscrit dont le titre est celui de son propre roman, La Fascination du pire. Il résume, à quelques détails près, ce qu'on vient de lire, et en fait une critique lucide et sévère. Mais qui raconte? Qui écrit?

    Dès lors, les frontières entre auteur et narrateur, entre fiction et réalité, se brouillent. Du coup, on se souvient de l'avertissement au lecteur: «Ce livre est une fiction: la plupart de ce qui y est dit est faux; le reste, par définition, ne l'est pas non plus.» Dans La Fascination du pire, le roman n'est que prétexte à une réflexion littéraire et politique. La question est alors relancée, qui nous ramène à l'avertissement de la première page: qu'est-ce qu'une fiction?