{"id":380,"date":"2016-05-26T13:02:00","date_gmt":"2016-05-26T13:02:00","guid":{"rendered":"https:\/\/cwebbn.wixsite.com\/legsedition\/single-post\/2016\/05\/09\/%C3%89ditorial-DE-QUOI-PARLONS-NOUS-"},"modified":"2024-12-08T12:52:00","modified_gmt":"2024-12-08T12:52:00","slug":"editorial-de-quoi-parlons-nous","status":"publish","type":"post","link":"https:\/\/legsedition.net\/public\/2016\/05\/26\/editorial-de-quoi-parlons-nous\/","title":{"rendered":"\u00c9ditorial 7 – De quoi parlons-nous ?"},"content":{"rendered":"
\n

Un num\u00e9ro de revue sur la nouvelle g\u00e9n\u00e9ration d\u2019\u00e9crivains francophones a, aux yeux de tout amateur de litt\u00e9rature, une grande ambition. Parfois trop grande pour \u00eatre r\u00e9aliste. Car le th\u00e8me m\u00eame fait interagir des concepts sur lesquels il n’existe aucun consensus : francophonie, et \u00e9crivains \u00e9mergents. Mais de quoi parle-t-on ? Pour \u00eatre s\u00fbrs que nous sommes en train de lire la m\u00eame revue, je voudrais d\u00e8s le d\u00e9part, situer ce num\u00e9ro non pas dans son contexte, mais de pr\u00e9f\u00e9rence dans ces concepts controvers\u00e9s.<\/p>\n

En 2002, la revue litt\u00e9raire Notre Librairie<\/em> publie un num\u00e9ro sp\u00e9cial, consacr\u00e9 aux nouveaux auteurs de l’Afrique subsaharienne, de l\u2019Oc\u00e9an indien et des Cara\u00efbes ; mais surtout la nouvelle g\u00e9n\u00e9ration d\u2019\u00e9crivains de ce que l’on appelle couramment la Francophonie. L’ancienne g\u00e9n\u00e9ration \u00e9tait celle des grands manitous de l\u2019\u00e9criture et de la pens\u00e9e n\u00e9gro-africaine : L\u00e9opold S\u00e9dar Senghor (1906-2001), Aim\u00e9 C\u00e9saire (1913-2008), L\u00e9on-Gontran Damas (1912-1978), \u00c9douard Glissant (1928-2011), Ahmadou Kourouma (1927-2003) notamment. C\u2019est la premi\u00e8re g\u00e9n\u00e9ration d\u2019\u00e9crivains francophones reconnus \u00e0 l\u2019\u00e9chelle internationale. Cette g\u00e9n\u00e9ration, celle des ann\u00e9es (1910-1930), \u00ab dominait \u00bb la litt\u00e9rature de 1960 \u00e0 1990. Apr\u00e8s cette p\u00e9riode, une nouvelle g\u00e9n\u00e9ration d\u2019\u00e9crivains commence \u00e0 publier et \u00e0 sortir des sentiers battus de la n\u00e9gritude ou de la cr\u00e9olit\u00e9. C’est cette g\u00e9n\u00e9ration que le num\u00e9ro 146 de la revue Notre Librairie<\/em> qualifie de nouvelle g\u00e9n\u00e9ration. On y retrouve Dany Laferri\u00e8re (1953), Yasmina Khadra (1955), Lyonel Trouillot (1956), Ananda Devi (1957), Alain Mabanckou (1966)\u2026 On peut ajouter dans la liste ais\u00e9ment Yanick Lahens (1953), \u00c9velyne Trouillot (1954), Kettly Mars (1958), Louis-Philippe Dalembert (1962), pour Ha\u00efti ; Ernest P\u00e9pin (1950), Amadou Kon\u00e9 (1953), Patrick Chamoiseau (1953), notamment pour le reste de la Francophone. Les \u00e9crivains de la g\u00e9n\u00e9ration (1950-60) cit\u00e9s plus haut sont \u00ab confirm\u00e9s \u00bb. Une g\u00e9n\u00e9ration qui commence \u00e0 publier dans les ann\u00e9es 1990, devenue mature, dirait-on, avec des esth\u00e9tiques et des convictions qui diff\u00e8rent d’un auteur \u00e0 l’autre.<\/p>\n

Depuis les ann\u00e9es 2000, particuli\u00e8rement apr\u00e8s le s\u00e9isme du 12 janvier 2010, on assiste en Ha\u00efti \u00e0 l’effervescence d’une nouvelle g\u00e9n\u00e9ration d\u2019\u00e9crivains n\u00e9s pour la plupart dans les ann\u00e9es 1970-1980. Cette g\u00e9n\u00e9ration post-duvali\u00e9rienne a d\u00e9j\u00e0 donn\u00e9 naissance \u00e0 des \u00e9crivains qui \u00e9mergent et d’autres plus ou moins install\u00e9s comme Emmelie Proph\u00e8te (1971), Bonel Auguste (1973), Guy R\u00e9gis Junior (1974), James No\u00ebl (1978), Makenzy Orcel (1983), Evains W\u00eache (1984). Il faut \u00e9galement mentionner les \u00e9crivains comme In\u00e9ma Jeudi, Coutech\u00e8ve Lavoie Aupont, Jean Watson Charles, Kermonde Lovely Fifi qui ont fait leurs premi\u00e8res publications apr\u00e8s le s\u00e9isme. C’est cette effervescence que ce num\u00e9ro de la revue Legs et Litt\u00e9rature<\/em> tente de capter, tout en voyant ce qui se fait ailleurs.<\/p>\n

Dans son article \u00ab Emmelie Proph\u00e8te et Makenzy Orcel : d’un discours (inter)g\u00e9n\u00e9rationnel \u00e0 une po\u00e9sie de l’urbain \u00bb (p. 15), le critique litt\u00e9raire Dieulermesson Petit Fr\u00e8re s\u2019int\u00e9resse \u00e0 ces deux figures de la \u00ab nouvelle g\u00e9n\u00e9ration \u00bb, malgr\u00e9 un \u00e9cart d\u2019\u00e2ge de douze ans et un \u00e9cart de publication (l\u2019\u00e2ge litt\u00e9raire, selon Bourdieu) moins important (sept ans). Pour Petit Fr\u00e8re, \u00ab Emmelie Proph\u00e8te et Makenzy Orcel sont deux voix fortes de la nouvelle donne litt\u00e9raire ha\u00eftienne. Po\u00e8tes et romanciers tous les deux, quoiqu\u2019ils soient n\u00e9s \u00e0 un intervalle de douze ann\u00e9es de diff\u00e9rence, ils ne sont pas pour autant si distants dans leurs choix th\u00e9matiques et les probl\u00e8mes soulev\u00e9s dans leurs \u0153uvres \u00bb. (p. 21).<\/p>\n

Jean Watson Charles, de son c\u00f4t\u00e9, tente de faire un survol de la production litt\u00e9raire des ann\u00e9es 1980 dans son article titr\u00e9 \u00ab Ha\u00efti : les ann\u00e9es 1980, d’une litt\u00e9rature \u00e0 l’autre \u00bb (p. 45). Une production qui peine \u00e0 se faire conna\u00eetre. \u00ab [\u2026] les \u00e9crivains des ann\u00e9es 1960 ont connu aujourd’hui leur notori\u00e9t\u00e9, il n’en demeure pas moins que les jeunes \u00e9crivains sont toujours dans l’anonymat, malgr\u00e9 leurs divers efforts pour se faire publier \u00bb (p. 48).<\/p>\n

Jean James Est\u00e9pha, dans \u00ab Guy R\u00e9gis Junior : th\u00e9\u00e2tre, engagement et absurdit\u00e9 \u00bb (p. 55) propose une lecture critique des \u0153uvres du dramaturge Guy R\u00e9gis Junior, sp\u00e9cialement de la pi\u00e8ce De toute la terre le grand effarement, dans le prisme de l\u2019\u00e9volution du th\u00e9\u00e2tre en Ha\u00efti. \u00ab En Ha\u00efti, le th\u00e9\u00e2tre est toute une richesse dont les origines remontent, d\u2019une part, \u00e0 la p\u00e9riode pr\u00e9colombienne et, d\u2019autre part, \u00e0 la p\u00e9riode coloniale \u00bb (p. 57).<\/p>\n

Didier Mukaleng Makal, depuis la ville de Lubumbashi en R\u00e9publique d\u00e9mocratique du Congo (RDC), nous fait d\u00e9couvrir le po\u00e8me fleuve de Christian Kunda, auteur congolais. Ouvrez la porte, n’ayez pas peur est un po\u00e8me dans lequel \u00ab Christian KUNDA \u00e9voque aussi les fronti\u00e8res, les barri\u00e8res qui jalonnent son parcours, et par extension, celui de la jeunesse. Des fronti\u00e8res plut\u00f4t mentales, des barri\u00e8res psychologiques inscrites dans les c\u0153urs des hommes, de ses proches. Le rejet des a\u00een\u00e9s, la volont\u00e9 de freiner, de bloquer. La jalousie de partager son espace de vie, mais aussi la peur ou le doute d\u2019oser \u00bb. (p. 41)<\/p>\n

Dans la deuxi\u00e8me partie de ce num\u00e9ro, la parole est donn\u00e9e \u00e0 trois \u00e9crivains francophones \u00e9mergents : James No\u00ebl, po\u00e8te ha\u00eftien (p. 67), Aqiil Gopee, jeune \u00e9crivain mauricien plein d’avenir (p. 77) et Makenzy Orcel, po\u00e8te ha\u00eftien, devenu romancier (p. 81). La rubrique Portraits, portant le titre \u00ab Quatre plumes \u00e9mergentes \u00bb, pr\u00e9sente quatre figures francophones \u00e9mergentes : le Togolais Jo\u00ebl Amah Ajavon (p. 89), et les Ha\u00eftiens Evains W\u00eache (p. 93), Lovely Kermonde Fifi (p. 95) et In\u00e9ma Jeudi (p. 98).<\/p>\n

Enfin, dans les derniers chapitres de ce num\u00e9ro de Legs et Litt\u00e9rature<\/em>, sont publi\u00e9s des notes de lecture des livres de Felwine Sarr (S\u00e9n\u00e9gal), Marvin Vicor (Ha\u00efti), Wilfried N’Sond\u00e9 (Congo), Evains W\u00eache (Ha\u00efti), Miguel Bonnefoy (Venezuela-France), Natasha Kanap\u00e9 Fontaine (Canada), Bonel Auguste (Ha\u00efti), James No\u00ebl (Ha\u00efti), Asim KanAd (Togo) ; des po\u00e8mes et nouvelles de Vivan Ederi (France-Chine), Georges Cocks (Saint-Martin), Ayi Renaud Dossavi Alipoeh (Togo), Marie Jos\u00e9 Desvignes (France), Mekfouldji Abdelkrim (Alg\u00e9rie), Mirline Pierre (Ha\u00efti) et Sophie Boisson (\u00cele de la R\u00e9union).<\/p>\n

Ce num\u00e9ro de Legs et Litt\u00e9rature<\/em> donne \u00e0 lire et \u00e0 sentir le bouillonnement d’une litt\u00e9rature \u00e9mergente, la voix d\u2019\u00e9crivains qui, plus tard, deviendront des incontournables de la litt\u00e9rature francophone. C’est ce coup d\u2019\u0153il en avant que nous vous proposons de faire avec nous dans les pages qui suivent !<\/p>\n

W\u00e9bert CHARLES<\/strong><\/p>\n

Pour citer cet article : W\u00e9bert Charles, \u00ab De quoi parlons-nous ?\u00bb, Legs et Litt\u00e9rature<\/em> no <\/sup>7, 2016, pp. 5-8.<\/pre>\n
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Un num\u00e9ro de revue sur la nouvelle g\u00e9n\u00e9ration d\u2019\u00e9crivains francophones a, aux yeux de tout amateur de litt\u00e9rature, une grande ambition. Parfois trop grande pour \u00eatre r\u00e9aliste. Car le th\u00e8me m\u00eame fait interagir des concepts sur lesquels il n’existe aucun…<\/p>\n","protected":false},"author":1,"featured_media":105,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,11],"tags":[],"class_list":["post-380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editorial","category-legsetlitterature"],"yoast_head":"\n\u00c9ditorial 7 - De quoi parlons-nous ? | LEGS ÉDITION<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/legsedition.net\/public\/2016\/05\/26\/editorial-de-quoi-parlons-nous\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00c9ditorial 7 - De quoi parlons-nous ? | LEGS ÉDITION\" \/>\n<meta property=\"og:description\" content=\"Un num\u00e9ro de revue sur la nouvelle g\u00e9n\u00e9ration d\u2019\u00e9crivains francophones a, aux yeux de tout amateur de litt\u00e9rature, une grande ambition. 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