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Alejandro Zambra
traduction : Sophie Gewinner

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Fernando Iwasaki
traduction : Marie-Ange Brillaud

B:CHIGJ:H
(MONSTRES DE GENRE)

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Eloy Fernández Porta
traduction : Sophie Gewinner

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 cdjkZaaZ
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Les œuvres d’Amélie Nothomb et de Mario Bellatin montrent un penchant singulier

à faire surgir la beauté là où l’attend le moins. Créatures pétries de contradictions et
de manies étranges, leurs personnages frôlent parfois l’abjection. Mais ce mélange de
tendresse et d’étrangeté ne se cantonne pas à leurs écrits, et l’esthétique qu’ils défen-
dent imprègne jusqu’à leurs personnes, qu’on dirait toutes deux tirées de leurs propres
romans. La réalité est chez eux une déclinaison de la fiction.
Le dialogue énigmatique auquel ils se sont prêtés pour CbZgd % est le fruit d’un
échange de courriers électroniques, fax et autres lettres manuscrites. Devant la
liberté de leurs réponses, nos questions font presque figure de présence importune, de
chaperon devenu l’instrument d’une rencontre placée sous le signe de l’allusion. En voici
le résultat.

Tout ce qui se présente comme indé- hj_ZiXg‚ViZjgjc^fjZ#

finissable, comme hybride, interstitiel, ce
qui échappe aux lois de l’uniformité, tend
à être repoussé vers les marges, occulté
et persécuté. Dans vos livres, il semble y
avoir une volonté délibérée de mettre ceci
en lumière. Pourquoi ? S’agit-il d’un projet
esthétique ?
Amélie Nothomb / ?Z Yd^h Vkd^g jc gZ\VgY
W^V^h‚/_ZcZkd^hfjZaÉ^ciZghi^XZ#?ZcZeZg"
d^heVhaZgZhiZYZaVg‚Va^i‚#
Mario Bellatin/?ZcÉV^YÉVjigZ^ciZci^dc!Zc
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Quel est le premier monstre qui ait attiré
votre attention ?
85
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Quelle est la différence entre les monstres
nés d’un excès de veille et ceux que pro-
duisent les cauchemars ?
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Que pensez-vous de l’économie du langage ?
86
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Quel est donc le pouvoir de l’omission ?
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La peur de la différence et l’angoisse qui en
découle entraînent bien souvent des réac-
tions de rejet et de rare violence envers le
freak. Vous considérez-vous comme un
défenseur de l’anormalité ?
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Quel rôle jouent les enfants terribles, les
femmes fatales, les poètes maudits dans
la galerie contemporaine des phénomènes
littéraires ?
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 D’où vient la fascination de l’homme pour
l’insolite ?
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D’où vient cette séparation des créatures
fabuleuses entre dieux et monstres ? En
quoi consiste la beauté du monstre ?
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Etes-vous d’accord avec Mario Bellatin
quand il dit que « vouloir raconter ce qui ne
88
peut se raconter est en quelque sorte le but
inconscient qui fait que je continue à écrire » ?
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A-t-on déjà rejeté votre œuvre ou votre per-
sonnalité pour ce qu’elles pouvaient avoir
d’inquiétant ou de troublant ?
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D’où vous vient cette fascination pour le
goût japonais ?
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Et la littérature produite ailleurs ?
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Si vous rencontriez Mario Bellatin, quelle
question lui poseriez-vous ?
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^chiVaa‚Vj"YZa|YZhdc]jbVc^i‚#Alejandra Bernal
traduction : Marie-Ange Brillaud
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Pablo Raphael
traduction : Pierre Bureau
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Gastón García
traduction : Sophie Gewinner
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Guadalupe Nettel
traduction : Sophie Gewinner
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