| Popis: |
Antoine Volodine: In my early novels, I was referring exclusively to police situations. The exchange took place in prisons, in cellars, in torture chambers. Nevertheless, the form of the responses always had a relationship to literature: under the guise of a response, the interrogated person recounted stories, or, more accurately, imagined them. Sometimes, too, as in Rituel du mepris, he wrote them down, on whatever was available-straw, mildewed paper-in the darkness of a cage. Quickly, though, starting with Lisbonne, derniere marge, the interrogation was carried out on two fronts: that of information and that of literature. For example, in Vue sur l'ossuaire, the truth that the inquisitors seek with such brutality is inexplicably included in a collection of poetic prose. This slim volume becomes the focus of all the questions. Despite their obsession with piercing its secret, the interrogators do not see the evidence: there is no great mystery; the book seals an amorous alliance that is beyond the reach of the ugliness of politics and war. It's true that the frequency of interrogations in my books has been reinforced since I have been invited by researchers and journalists to speak about my texts, to avow my intentions, and to justify myself concerning the literary means that I use. At the risk of appearing disagreeable, I affirm that only my texts contain the answers to the questions you'd like to ask me. The interview is an exercise that I go along with because I am obliged to, but I don't sincerely believe that it is part of the communication between my readers and myself, or, rather, between the voices of my narrators and the friendship of my readers. |
