By Pierre Yergeau
De la 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 optimal roman chez Québec Amérique, Pierre Yergeau se livre à un exercice de haute voltige qui questionne les mécanismes de l. a. 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 los angeles 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 novice 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 likelihood !
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Extra info for Conséquences lyriques
The bloody ideal against which Jules fulminates is a pretext for erecting sanctuaries, producing art works, writing novels, fashioning artifacts that outlive their creators for a while before returning to the generative matrix of the cemetery. Jules may assert: “La nature, ce n’est pas de rêver… c’est de vivre,”26 but when confronted with the world’s irrationality and violence – when forced to contemplate the prospect of death – men can do nothing but embody dreams that, in time, come to nothing.
As Mirbeau would come to realize, utopia is another disabling maternal sanctuary, a place where “artistes engagés” are rendered obsolete, as mankind’s universal happiness makes literature superfluous. This is why Mintié prefers the symbol of the crucifix, representing, as it does, the interminable Passion of the savior, which never ends with death and an indescribable resurrection. This is why Mintié projects himself as a suffering redeemer – imprisoned in the body, denied any real transcendence.
As he had with Jean Mintié, Mirbeau associates Pamphile’s greatness with his abjection, his threadbare clothes, his obsequious cunning being used in the service of an impossible goal. Cheating, wheedling, scheming, stooping to the most demeaning ruses, Pamphile displays an unscrupulousness that evidences his nobility. , p. 386. , p. 390. Iconoclasm: L’AbbJ Jules 47 begins with the removal of obstacles. Ultimately, for Mirbeau, creative energy is best utilized when it is directed at a program of hygienic destruction.
Conséquences lyriques by Pierre Yergeau