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Philippe Sollers L’Écriture Au Combat Sylvain Brehm

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Philippe Sollers L’Écriture Au Combat Sylvain Brehm Document généré le 23 sept. 2021 14:56 Nuit blanche Philippe Sollers L’écriture au combat Sylvain Brehm Numéro 87, été 2002 URI : https://id.erudit.org/iderudit/19154ac Aller au sommaire du numéro Éditeur(s) Nuit blanche, le magazine du livre ISSN 0823-2490 (imprimé) 1923-3191 (numérique) Découvrir la revue Citer cet article Brehm, S. (2002). Philippe Sollers : l’écriture au combat. Nuit blanche, (87), 8–10. Tous droits réservés © Nuit blanche, le magazine du livre, 2002 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ ilippe Sollers : 'écriture au combat Par Sylvain Brehm Au printemps dernier, Philippe Sollers a occupé le devant de la scène éditoriale française. Pas moins d'une demi-douzaine de ses anciens ouvrages, dont Paradis, Le parc, et Lois, ont été réédités au format poche. Dans le même temps, Gallimard a fait paraître le Pablo Picasso : Les Femmes d'Alger, d'après Delacroix (étude pour), volumineux Éloge de l'infini, présenté par Sollers 2 janvier 1955 (III) comme la suite de La guerre du goût Bien que Philippe Sollers insiste sur le caractère inédit d'Éloge de l'infini, il convient de préciser qu'il s'agit d'un recueil d'essais et d'articles publiés, pour la plupart, depuis 1994. n contrepoint, Gérard de Cortanze a publié un por­ trait inédit de l'écrivain français : Philippe Sollers ou la volonté de bonheur2. Cet Eouvrage présente la particularité de se consacrer exclusivement à l'enfance et à l'adolescence de Philippe Sollers, c'est- à-dire à la genèse de l'écrivain. Agré­ mentée de documents iconographi­ ques, de témoignages et d'extraits de textes, cette biographie jette un éclai­ rage utile sur l'œuvre d'une figure régulier ou occasionnel de nombreux consiste à montrer que l'écriture est liée importante de la littérature française journaux français, Sollers est aussi à l'enfance et au corps, ce que Sollers contemporaine. fréquemment invité à participer à des lui-même confirme: « L'œil, l'oreille, la émissions télévisées (dont le défunt respiration, les réflexes, le sens de la L'enfance de l'art Bouillon de culture). Rien d'étonnant, cible, ça s'éduque [...]. Un enfant donc, à ce que ce personnage média­ imprime en soi cette réalité brute. Un Gérard de Cortanze nous avertit tique séduise, fascine ou exaspère. adulte est écrivain s'il sait retrouver d'emblée : « On ne sait rien de Phiïippe Gérard de Cortanze choisit d'aller au- cette inscription ». Sollers sauf si l'on se décide à le lire delà des évidences et de ne pas écouter C'est sous le nom de Philippe Joyaux vraiment. Les documents ne sont pas la rumeur. Son objectif : « parler d'un que le futur Sollers naît, en 1936, à rares, ils existent. C'est beaucoup. Il faut Philippe Sollers antérieur à l'écrivain Talence (en banlieue de Bordeaux). La se débrouiller avec eux ». Collaborateur Philippe Sollers ». Le pari est simple, il même année, le Front Populaire accède IUIT IHANCHI . S au pouvoir et la guerre d'Espagne Ce qui est vrai pour la littérature préciser que le premier roman de éclate, jetant sur les routes des centaines l'est tout autant pour les autres disci­ Sollers a été remarqué et salué par des d'exilés qui remontent jusqu'à Bordeaux. plines artistiques. Cortanze rappelle écrivains tels que François Mauriac, Le jeune Joyaux est un enfant de la que chez Auguste Rodin, Pablo Picasso, Louis Aragon, André Breton. Para­ petite bourgeoisie de province. Son père Willem De Kooning l'œuvre d'art est la doxalement, cette paternité se révèle et son oncle sont propriétaires d'une signature d'un corps. Les créateurs plutôt embarassante pour un jeune usine de métallurgie et jouissent d'un (musiciens, peintres, écrivains, dan­ auteur qui ne tient pas à être ramené statut de notable. Trois ans plus tard, seurs) convoqués par Sollers entretien­ dans le giron de l'Institution littéraire. pourtant, la France est occupée par les nent tous ce rapport singulier au corps Si, comme l'écrit Gérard de Cor­ Allemands. Malgré la réquisition d'une et à la sensation. Il s'agit, en somme, tanze, « l'écriture [chez Philippe partie du domaine familial, la famille de promouvoir un autre rapport au Sollers] est née d'une dissidence », Joyaux choisit de cacher des aviateurs monde en montrant qu'il est possible l'œuvre sollersienne, dans son ensem­ anglais dans la cave à vins. Pour le jeune de s'arracher au temps collectif et à la ble, peut être considérée comme le Philippe, le drame de la guerre se finitude de l'être humain en devenant combat d'un homme soucieux de résume à d'étranges mots : « Ici, un corps de jouissance. conserver sa singularité et sa liberté. Londres », « spitfires », « Royal Air Philippe Sollers le déclare sans ambages : Force », « Luftwaffe ». Il y a aussi ces Le corps insoumis « Tout individu est désormais en guerre étranges étoiles jaunes que certains habitants de la ville sont désormais Enfant dissipé et chahuteur, il contraints de porter sur leurs vête­ doit très vite composer avec la ments. Sollers se souviendra de tout volonté de normalisation de cela : « très jeune, on vit à fond des la société. Issu d'une famille sensations qu'on n'oubliera pas, nettes, assez libérale, il grandit dans cachées, débordantes ». un climat quelque peu inces­ Après la guerre, le jeune Joyaux est tueux au milieu de femmes victime de violentes crises d'asthme et (mère, sœurs, tante) dotées de très fréquentes otites. Tenu à l'écart d'une forte personnalité. Le et choyé, il s'adonne au plaisir de la nom de la famille lui vaut lecture et découvre la poésie au contact quelques brimades et quolibets de Baudelaire, Rimbaud et Lautréa­ de la part de ses camarades, mont. Ces premières émotions sont trouvant vraisemblablement empreintes d'une sensualité particulière que « Joyaux » a trop d'éclat. car l'enfant commence à lire dans le « Sollers » devient le pseudo­ parc de la propriété familiale. Il par­ nyme sous lequel sera signé, court les livres à la recherche des textes quelques années plus tard, un mais aussi des images : Jean-Auguste- premier roman : Une curieuse Dominique Ingres, Jean-Honoré solitude. Fragonard, Jean-Antoine Watteau, dont Ce récit initiatique, aux le tableau Assemblée dans le parc est accents proustiens, relate accroché dans sa chambre, en face de l'éveil à la sexualité de son son lit. Comment, alors, ne pas enten­ auteur. En 1951, en effet, la dre dans la conclusion de « Paradis de famille Joyaux engage une Cézanne » une évocation indirecte aux jeune domestique espagnole, jardins de l'enfance : « Cézanne ? Il est jeune, belle et farouchement où Cézanne ? Partout, nulle part. Dans indépendante. La découverte le fond du jardin du Temps, sous le du désir, de la séduction et de tilleul » ? Être artiste, c'est habiter la gratuité du bonheur achè­ pleinement son corps et apprendre veront de convaincre Philippe Philippe Sollers à faire de celui-ci une formidable Sollers de la nécessité de demeurer contre l'ensemble, quel qu'il soit, dans machine à percevoir, sentir et enre­ réfractaire à tout embrigadement et à lequel il se trouve pris. Il ne peut gistrer des sensations. Irrémédia­ toute forme de soumission. Il aura compter rigoureusement que sur lui- blement marqué par le souvenir de ces d'ailleurs l'occasion de montrer sa même ». La fondation de la revue Tel maladies enfantines, Sollers a très tôt détermination lors de la Guerre d'Al­ Quel, en 1960, témoigne d'une volonté réalisé que chez tous les grands écrivains gérie, qui débute en 1954. Refusant de rompre avec le conformisme et le « c'est le corps qui donne à la respira­ d'aller combattre les rebelles indé- conservatisme qu'incarnent notam­ tion rythmique sa fluidité, sa puissance ». pendandistes, Philippe Sollers est ment l'Académie française et les uni­ H, Paradis, Paradis 2 : trois romans, interné dans les hôpitaux psychia­ versités. Inlassablement, entouré de sans ponctuation, qui consacrent la triques militaires et ne doit son salut quelques amis, il défend et réhabilite voix et le souffle comme instrument qu'à une intervention d'André Mal­ Antonin Artaud, Georges Bataille, privilégié de la lecture. raux, alors ministre de la Culture. Il faut Louis-Ferdinand Céline, Francis Ponge 87 . NUIT BLANCHE alors même que ces écrivains sont à peu compte du conflit fondamental qui Bossuet, Henri de Saint-Simon, le près totalement ignorés en France. oppose, à travers l'histoire, les écrivains Marquis de Sade, Denis Diderot. L'aventure de Tel Quel cessera avec le et les artistes à la société dans son Gérard de Cortanze ne s'y trompe pas passage de Philippe Sollers chez Galli­ ensemble. Le propos ne change pas en affirmant que chez Philippe Sollers mard, au début des années quatre-vingt. dans Éloge de l'infini. Le ton, en « le goût du bonheur vient de loin, de Certains reprochent précisément à revanche, se radicalise. L'extrait du l'enfance ». »»» Philippe Sollers d'être un inconstant, traité de Houai-nan-tse placé en voire un vil opportuniste. Celui-lui leur exergue de l'ouvrage annonce que le répond : « Sollers est quelqu'un que recueil se veut une sorte de manuel de 1.
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