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                <text>&lt;span style="text-decoration: underline;"&gt;&lt;strong&gt;Avertissement&amp;nbsp;&lt;/strong&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Paul Colinet, son neveu Robert Willems et Marcel Piqueray se voyaient, depuis des années, tous les lendemains du jour appelé jeudi.&lt;br /&gt;Un problème de distance, crée par le long séjour du neuveu en Afrique, se trouva résolu par la création de revues manuscrites.&lt;br /&gt;Le présent Phantomas donne la quasi totalité de celle publiée en Belgique par Paul Colinet et Marcel Piqueray sous la dénomination de "Vendredi". Les numéros originaux, reliés aujourd'hui en volumes, s'échelonnent du 11 novembre 1949 au 5 octobre 1951 et portent sur 100 expéditions aériennes hebdomadaires.&lt;br /&gt;De Kinshasa, Robert Willems répondait par l'"Alingala Mintanu" : démarche plus restreinte que Phantomas editera.&lt;br /&gt;Germant dans l'enthousiasme de ses deux directeurs, "Vendredi" ne devait pas tarder à se ramifier, singulièrement entre la Porte Louise et la Porte de Namur, à Bruxelles, et à développer son feuillage : Scutenaire, Magritte, Dotremont, Mariën, Permantier, ...&lt;br /&gt;Susceptible d'apparaître, avec le recul, commeune manière de passage entre la méconnue "Invension collective" (deux numéros : février et avril 1940) et la véritable invention collective Phantomas, la revue "Vendredi", qui offrait un caractère, par la force des choses, confidentiel, est enfin ouverte à tous ceux qui pourraient en venir à l'aimer.&lt;br /&gt;Certains esprits chagrins, qui travaillent tour à tour rigueur et raideur, pourront-ils jamais considérer la présente démarche autrement que comme un jeu ?&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Phantomas propose en sous-titre à "Vendredi" : L'Humour vert.</text>
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                <text>Contient les &lt;span style="text-decoration: underline;"&gt;&lt;strong&gt;textes&lt;/strong&gt;&lt;/span&gt; suivants :&amp;nbsp;&lt;br /&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;Avertissement - p. 6&lt;/li&gt;&#13;
&lt;li&gt;Bonne année / Paul Colinet - p. 9-12&lt;/li&gt;&#13;
&lt;li&gt;Choses vraies / Paul Colinet - p. 13&lt;/li&gt;&#13;
&lt;li&gt;Le submersible antihépatique - p. 14&lt;/li&gt;&#13;
&lt;li&gt;Un climat oppressant / Paul Colinet, Robert Willems, Marcel Piqueray &amp;amp; Legrand - p. 15&lt;/li&gt;&#13;
&lt;li&gt;Poème par l'algèbre / Paul Colinet - p. 15&lt;/li&gt;&#13;
&lt;li&gt;Une histoire complètement idiote / Les 4 du Quinza - p. 16 -17&lt;/li&gt;&#13;
&lt;li&gt;Un souvenir indéterminable / Paul Colinet - p. 17&lt;/li&gt;&#13;
&lt;li&gt;Problème / Paul Colinet - p. 18&lt;/li&gt;&#13;
&lt;li&gt;La grippe / Marcel Piqueray - p. 18&lt;/li&gt;&#13;
&lt;li&gt;Propositions pour assurer un maximum de rendement au rhume du cerveau / Paul Colinet - p. 19-20&lt;/li&gt;&#13;
&lt;li&gt;Bouffe-pot / Les 4 - p. 22-26&lt;/li&gt;&#13;
&lt;li&gt;Les abstraits du Spitzberg (textes et gouaches) / Marcel Piqueray - p. 27-31&lt;/li&gt;&#13;
&lt;li&gt;Péritoine de veston / Paul Colinet - p. 33&lt;/li&gt;&#13;
&lt;li&gt;Sans commentaire / Paul Colinet - p. 33&lt;/li&gt;&#13;
&lt;li&gt;La féline orientaliste / Marcel Piqueray - p. 34&lt;/li&gt;&#13;
&lt;li&gt;Le coq va dormir / Paul Colinet - p. 35&lt;/li&gt;&#13;
&lt;li&gt;Alban Berg / Paul Colinet - p. 35&lt;/li&gt;&#13;
&lt;li&gt;Une prise de bec gâteuse qui finit bien / Paul Colinet - p. 36-39&lt;/li&gt;&#13;
&lt;li&gt;En couvée / Armand Parmentier - p. 40&lt;/li&gt;&#13;
&lt;li&gt;Pensées non pensées / Mariën, Magritte, Nougé, Vandercam, Irine et Paul colinet - p. 41&lt;/li&gt;&#13;
&lt;li&gt;Un autographe / Paul Nougé - p. 41&lt;/li&gt;&#13;
&lt;li&gt;Texte faible / Marcel Mariën - p. 43-44&lt;/li&gt;&#13;
&lt;li&gt;Les difficulteurs / Robert Willems &amp;amp; Paul Colinet - p. 45-78&lt;/li&gt;&#13;
&lt;li&gt;Figures semblables / Paul Colinet - p. 50&lt;/li&gt;&#13;
&lt;li&gt;A verser au dossier / p. 51-52&lt;/li&gt;&#13;
&lt;li&gt;Expectoration aristocratique en forme de talion danois / Marcel Piqueray - p. 53&lt;/li&gt;&#13;
&lt;li&gt;Lettre à Loisa / Christian Dotremont - p. 54&lt;/li&gt;&#13;
&lt;li&gt;Jehanne / Paul Colinet - p. 55&lt;/li&gt;&#13;
&lt;li&gt;La bravoure des bassets / Lucienne Colinet - p. 56&lt;/li&gt;&#13;
&lt;li&gt;Poèmes / Marcel Lecomte - p. 57&lt;/li&gt;&#13;
&lt;li&gt;La petite bouteille verte sur l'étagère / Paul colinet - p. 58-59&lt;/li&gt;&#13;
&lt;li&gt;La corde flottante / Marcel Mariën - p. 60&lt;/li&gt;&#13;
&lt;li&gt;Avis / Paul Colinet - p. 61&lt;/li&gt;&#13;
&lt;li&gt;Choses vraies / Paul Colinet - p. 62&lt;/li&gt;&#13;
&lt;li&gt;Avez-vous déjà été vivant ? / Marcel Mariën, René Magritte &amp;amp; Paul Colinet - p. 63-64&lt;/li&gt;&#13;
&lt;li&gt;Choses vraires / Paul Colinet - p. 65&lt;/li&gt;&#13;
&lt;li&gt;Le Paysan / Paul Colinet - p. 66&lt;/li&gt;&#13;
&lt;li&gt;Dark eyes / Marcel Piqueray - p. 67&lt;/li&gt;&#13;
&lt;li&gt;Choses vraies / Paul Colinet - p. 68&lt;/li&gt;&#13;
&lt;li&gt;Ode frontalière du pinard insectiside / Marcel Piqueray - p. 69&lt;/li&gt;&#13;
&lt;li&gt;Rapport sur l'état psychique de la gomme à effacer / Marcel Piqueray - p. 70&lt;/li&gt;&#13;
&lt;li&gt;Gymnastique trop matinale / Paul Colinet - p. 71&lt;/li&gt;&#13;
&lt;li&gt;Les culbuteurs sculpturaux / Marcel Piqueray - p. 72&lt;/li&gt;&#13;
&lt;li&gt;Une page de poupouésie / Paul Colinet - p. 73&lt;/li&gt;&#13;
&lt;li&gt;Texte poétique / Louis Scutenaire - p. 74&lt;/li&gt;&#13;
&lt;li&gt;Pensée située en dehors de la boîte crânienne / Paul Colinet - p. 75&lt;/li&gt;&#13;
&lt;li&gt;Le ranz des vaches / Paul Colinet - p. 76&lt;/li&gt;&#13;
&lt;li&gt;Lettre euvarte / Paul Colinet - p. 77&lt;/li&gt;&#13;
&lt;li&gt;Choses vraies / Paul Colinet - p. 78&lt;/li&gt;&#13;
&lt;li&gt;Mesdames et Messieurs ! / Paul colinet - p. 80-82&lt;/li&gt;&#13;
&lt;li&gt;L'événement (texte et dessins) - p. 83&lt;/li&gt;&#13;
&lt;li&gt;A propos du touchisme / Marcel Piqueray - p. 84-85&amp;nbsp;&lt;/li&gt;&#13;
&lt;li&gt;L'exploration / Armand Permantier - p. 86&lt;/li&gt;&#13;
&lt;li&gt;Les élégants / Marcel Mariën - p. 87&lt;/li&gt;&#13;
&lt;li&gt;Choses élégamment vraies / Paul Colinet - p. 87-90&lt;/li&gt;&#13;
&lt;li&gt;Odyssée pomologique du Jazz-fan veuf / Marcel Piqueray - p. 91&lt;/li&gt;&#13;
&lt;li&gt;Strophe sèche / Paul Colinet - p. 96&lt;/li&gt;&#13;
&lt;li&gt;Les bonnes actions / Paul Colinet - p. 97&lt;/li&gt;&#13;
&lt;li&gt;Poème / Marcel Piqueray - p. 98&lt;/li&gt;&#13;
&lt;li&gt;Lassitude et latude / Christian Dotremont - p. 100&lt;/li&gt;&#13;
&lt;li&gt;Nuit / Marcel Piqueray - p. 101-102&lt;/li&gt;&#13;
&lt;li&gt;Quelques objets verbaux pour la cheminée (textes et dessins) / Paul Colinet - p. 103&lt;/li&gt;&#13;
&lt;li&gt;Choses vraies / Paul Colinet - p. 103&lt;/li&gt;&#13;
&lt;li&gt;Poème / Marcel Lecomte - p. 104&lt;/li&gt;&#13;
&lt;li&gt;Poème wallon / Anonyme - p. 104&lt;/li&gt;&#13;
&lt;li&gt;L'abonné / Paul Colinet - p. 104&lt;/li&gt;&#13;
&lt;li&gt;Pièce à dire / Paul Colinet - p. 105&lt;/li&gt;&#13;
&lt;li&gt;Tolu d'ork à papuif / Paul Colinet - p. 105&lt;/li&gt;&#13;
&lt;li&gt;Lettre d'un colonial belge à sa famille / Paul Colinet - p. 106-107&lt;/li&gt;&#13;
&lt;li&gt;Le bout du nez / Paul Colinet - p. 108-109&lt;/li&gt;&#13;
&lt;li&gt;L'évidence / Louis Scutenaire - p. 109&lt;/li&gt;&#13;
&lt;li&gt;Shamrock tune / Marcel Piqueray - p. 110&lt;/li&gt;&#13;
&lt;li&gt;Porc hermaphrodite / Paul Colinet - p. 112&lt;/li&gt;&#13;
&lt;li&gt;Porc en fibre de noix de coco / Paul Colinet - p. 113&lt;/li&gt;&#13;
&lt;li&gt;Le poète / Paul Colinet - p. 114&lt;/li&gt;&#13;
&lt;li&gt;Le homard géométrique / Paul Colinet - p. 114&lt;/li&gt;&#13;
&lt;li&gt;Le surnois petit douillet / Paul Colinet - p. 115&lt;/li&gt;&#13;
&lt;li&gt;Un émule de Jean Paulhan / Paul Colinet - p. 116&lt;/li&gt;&#13;
&lt;li&gt;Tentative d'auto-empaillage / Paul Colinet - p. 117&lt;/li&gt;&#13;
&lt;li&gt;La girafe récompensée / Paul Colinet - p. 119&lt;/li&gt;&#13;
&lt;li&gt;La puissance du regard / Paul Colinet - p. 119&lt;/li&gt;&#13;
&lt;li&gt;Les parallèles estacades / Pierre Alechinsky - p. 119&lt;/li&gt;&#13;
&lt;li&gt;Spectroscopie d'un arrondissement / Marcel Piqueray - p. 120&lt;/li&gt;&#13;
&lt;li&gt;Les simultanéistes / Paul Colinet - p. 121 - 122&lt;/li&gt;&#13;
&lt;li&gt;Les bronches à brandebourgs / Marcel Piqueray - p. 123&lt;/li&gt;&#13;
&lt;li&gt;La gageure interplanétaire / Armand Permantier - p. 124-125&lt;/li&gt;&#13;
&lt;li&gt;L'épiciaire du coin / Paul Colinet - p. 125&lt;/li&gt;&#13;
&lt;li&gt;15a black Humor Corner : Le civisme abdominal / Les 4 - p. 126-127&lt;/li&gt;&#13;
&lt;li&gt;Orchestration hydraulique / les 4 - p. 128&lt;/li&gt;&#13;
&lt;li&gt;May souvenance / Marcel Piqueray - p. 130&lt;/li&gt;&#13;
&lt;li&gt;Women 51 / Marcel Piqueray - p. 131&lt;/li&gt;&#13;
&lt;li&gt;Constatations d'ordre pratique / Paul Colinet - p. 132&lt;/li&gt;&#13;
&lt;li&gt;Ca et là / Louis Scutenaire - p. 133&lt;/li&gt;&#13;
&lt;li&gt;La cendre du calendrier / Paul colinet - p. 134&lt;/li&gt;&#13;
&lt;li&gt;Dessin commenté par Paul Colinet / Marcel Piqueray - p. 135&lt;/li&gt;&#13;
&lt;li&gt;Un garde frontière / Pierre Alechinsky - p. 137&lt;/li&gt;&#13;
&lt;li&gt;La notion du grossier / Paul Colinet - p. 140&lt;/li&gt;&#13;
&lt;li&gt;La diférentielle des escadres / Armand Permantier - p. 142&lt;/li&gt;&#13;
&lt;li&gt;La brochette des sept têtes / Paul Colinet - p. 144-145&lt;/li&gt;&#13;
&lt;li&gt;Novels tune girls / Marcel Piqueray - p. 146-147&lt;/li&gt;&#13;
&lt;li&gt;Le potofisme / Marcel Piqueray - p. 148&lt;/li&gt;&#13;
&lt;li&gt;Flash / Marcel Piqueray - p. 149&lt;/li&gt;&#13;
&lt;li&gt;Le cristal sous roche / Christian Dotremont - p. 150&lt;/li&gt;&#13;
&lt;li&gt;Problème déprimant / Paul Colinet - p. 150&lt;/li&gt;&#13;
&lt;li&gt;Dessin et texte / Aubin Pasque - p. 151&lt;/li&gt;&#13;
&lt;li&gt;Dans les rideaux / Paul Colinet - p. 151&lt;/li&gt;&#13;
&lt;li&gt;Poésie / Paul Colinet - p. 152&lt;/li&gt;&#13;
&lt;li&gt;Un tour de garenne / Armand Permantier - p. 153&lt;/li&gt;&#13;
&lt;li&gt;L'instable et l'émérite / Marcel Piqueray - p. 154&lt;/li&gt;&#13;
&lt;li&gt;Un monologue / Paul Colinet - p. 155&lt;/li&gt;&#13;
&lt;li&gt;L'invasion / Louis Scutenaire - p. 156&lt;/li&gt;&#13;
&lt;li&gt;Joinville's corner / Paul Colinet - p. 157-159&lt;/li&gt;&#13;
&lt;li&gt;Chronique d'Echateuze / Marcel Piqueray - p. 160&lt;/li&gt;&#13;
&lt;li&gt;Quelques chiffres / Marcel Piqueray - p. 161-163&lt;/li&gt;&#13;
&lt;li&gt;Echos-soupirs - p. 164-166&lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
Contient les &lt;span style="text-decoration: underline;"&gt;&lt;strong&gt;illustrations&lt;/strong&gt;&lt;/span&gt; suivantes :&amp;nbsp;&lt;br /&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;Photos-montages / Paul Colinet - p. 7-8&lt;/li&gt;&#13;
&lt;li&gt;Bonne année / Paul Colinet - p. 9-12&lt;/li&gt;&#13;
&lt;li&gt;Dessin / Paul Colinet - p. 21&lt;/li&gt;&#13;
&lt;li&gt;Dessin / Robert Willems - p. 26&lt;/li&gt;&#13;
&lt;li&gt;Les abstraits du Spitzberg (textes et gouaches) / Marcel Piqueray - p. 27-31&lt;/li&gt;&#13;
&lt;li&gt;La version d'ébène (dessin) / René Magritte - p. 32&lt;/li&gt;&#13;
&lt;li&gt;La machine à pipes (dessin) / Marguerite Willems - p. 32&lt;/li&gt;&#13;
&lt;li&gt;Dessin / Robert Willems - p. 35&lt;/li&gt;&#13;
&lt;li&gt;Les difficulteurs / Robert Willems &amp;amp; Paul Colinet - p. 45-78&lt;/li&gt;&#13;
&lt;li&gt;L'événement (texte et dessins) - p. 83&lt;/li&gt;&#13;
&lt;li&gt;Collages - montages / Paul Colinet - p. 92-97&lt;/li&gt;&#13;
&lt;li&gt;Le beau canasson déshabillé pour son bain de siège (dessin) / Marcel Piqueray - p. 98&lt;/li&gt;&#13;
&lt;li&gt;Un poète belge (dessin) / Paul Colinet - p. 99&lt;/li&gt;&#13;
&lt;li&gt;Un poète de couleur (dessin) / Paul Colinet - p. 99&lt;/li&gt;&#13;
&lt;li&gt;Quelques objets verbaux pour la cheminée (textes et dessins) / Paul Colinet - p. 103&lt;/li&gt;&#13;
&lt;li&gt;Le Cycliste (gouache) / Marcel Piqueray - p. 111&lt;/li&gt;&#13;
&lt;li&gt;Dessin &amp;nbsp;: Frou-frous d'éborgnements d'alcool pour retrousser .../ René Magritte - p. 118&lt;/li&gt;&#13;
&lt;li&gt;Les vieux systèmes / Paul Colinet - p. 129&lt;/li&gt;&#13;
&lt;li&gt;Dessin commenté par Paul Colinet / Marcel Piqueray - p. 135&lt;/li&gt;&#13;
&lt;li&gt;Un berger (gouache) / Annie Piqueray - p. 136&lt;/li&gt;&#13;
&lt;li&gt;Montage / Paul Colinet - p. 136&lt;/li&gt;&#13;
&lt;li&gt;Montages / Paul Colinet - p. 137-140&lt;/li&gt;&#13;
&lt;li&gt;6 photos-montages / Marcel Piqueray - p. 141&lt;/li&gt;&#13;
&lt;li&gt;Paquets (dessins) / Paul Colinet - p. 143&lt;/li&gt;&#13;
&lt;li&gt;Dessin et texte / Aubin Pasque - p. 151&lt;/li&gt;&#13;
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                <text>Résumé :&#13;
Rappelle-toi Barbara&#13;
Il pleuvait sans cesse sur Brest ce jour-là&#13;
Et tu marchais souriante&#13;
Epanouie ravie ruisselante&#13;
Sous la pluie&#13;
Rappelle-toi Barbara...&#13;
Oh Barbara&#13;
Quelle connerie la guerre&#13;
Qu'es-tu devenue maintenant&#13;
Sous cette pluie de fer&#13;
De feu d'acier de sang&#13;
Et celui qui te serrait dans ses bras&#13;
Amoureusement&#13;
Est-il mort disparu ou bien encore vivant...&#13;
&#13;
&#13;
Fatras/succession Jacques Prévert, droits numériques réservés.&#13;
&#13;
Né en 1900 à Neuilly, Jacques Prévert est à la fois, par ses poèmes et ses chansons, le poète le plus populaire et le scénariste de L'affaire est dans le sac, du Crime de monsieur Lange, de Drôle de drame, de Quai des brumes, du jour se lève, des Visiteurs du soir, des Enfants du paradis.</text>
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                <text>Résumé :&#13;
"Qui est avec moi est contre moi."&#13;
Francis Picabia&#13;
&#13;
Francis Picabia (1879-1953), fut à la fois peintre, poète, pamphlétaire, et animateur de la revue 391 qu'il publait à Barcelone, Zurich ou Paris au gré de ses incessants voyages. Très tôt il se lança dans entreprise systématique de négation de l'art, illustré de dessins de Georges Ribement-Dessaignes, Jésus-Christ rastaquouère est l'oeuvre phare de Dada à Paris. Ce livre inconoclaste, scandaleux, dans lequel sont mis à mal les concepts les plus sacrés est naturellement dédié "à toutes les jeunes filles".&#13;
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                <text>Queneau-Blavier&#13;
&#13;
Réagir&#13;
Mis en ligne le 29/09/1988 à 00:00&#13;
Michel Grodent&#13;
Queneau-Blavier:&#13;
&#13;
pour tout savoir&#13;
&#13;
sur une amitié pataphysicienne&#13;
&#13;
LE Botanique a célébré ces jours-ci, par deux soirées littéraires non pédagogiques, ce qui constitue l'un des événements de la rentrée culturelle: la publication des Lettres croisées que Raymond Queneau et André Blavier ont échangées durant près de trente ans. Une exposition qui rassemble des oeuvres picturales de l'auteur de Zazie et des documents photographiques est ouverte jusqu'au 13 novembre (1).&#13;
&#13;
En présentant et en annotant une correspondance qui s'est révélée à la fois amicale, lucide, technique et pataphysicienne, Jean-Marie Klinkenberg se veut «fidèle à lui-même.» Raymond Queneau fait partie de ses auteurs favoris. Quant à André Blavier, il fut en quelque sorte son premier professeur de littérature: «C'est dans la revue Temps mêlés, à laquelle mon père était abonné, que j'ai appris l'art de la lecture. Blavier, je n'ai cessé de lui demander des conseils, lorsqu'il officiait au guichet de la bibliothèque de Verviers. Il me rudoyait gentiment quand j'avais le malheur d'emprunter un livre qu'il jugeait stérile. Il m'a profondément marqué.»&#13;
&#13;
Jean-Marie Klinkenberg enseigne à l'université de Liège les littératures belges et québécoises ainsi que la sémiologie (la science des signes). Traducteur d'Umberto Eco (la version française du Segno paraîtra prochainement chez Labor), il appartient au groupe «mu» (2). Il nous présente son travail éditorial:&#13;
&#13;
- Quand Labor m'a demandé de m'occuper de la correspondance Queneau-Blavier, je n'imaginais pas que la tâche serait aussi rude. Rapidement, je me suis rendu compte que les lettres - surtout celles de Blavier - sont semées d'allusions à toute la vie culturelle des années cinquante et soixante, au point de paraître énigmatiques ici et là. Fort heureusement j'avais André Blavier à côté de moi pour me guider dans la forêt des références ou me déshabiller un calembour trop enveloppé. J'ajoute immédiatement qu'il n'a pas su tout m'expliquer, ni tout me relire (son écriture est l'une des pires que je connaisse!). Sa mémoire lui a, mais rarement, fait défaut. Frère de Jarry, amoureux des fous littéraires, Blavier s'est forgé, au contact de Raymond Queneau, un style inimitable où le jeu de mots sert à désamorcer le lieu commun, à pulvériser le préjugé linguistique. Au début de la correspondance, Blavier fait lire à Queneau un roman qui sera publié vingt-cinq ans après, précisément au moment où se clôt la relation épistolaire: Occupe-toi d'homélie, que le bibliothécaire, de son propre aveu, placera «sous l'invocation des Enfants du limon». Ainsi la boucle est-elle bouclée. Tout se passe comme si, de manière symbolique, l'édition de ce livre était le signe tangible d'une amitié.&#13;
&#13;
Vital&#13;
&#13;
- C'est Blavier qui relance le dialogue quand il risque de s'essouffler. On sent que cette correspondance, c'est vital pour lui.&#13;
&#13;
- Il en a besoin, c'est vrai, pour se désennuyer. Il écrit avant tout pour échapper à son environnement morose. Et c'est pourquoi, ces lettres, il les travaille, il les polit. Je n'irai pas jusqu'à dire que nous tenons là la meilleure oeuvre de Blavier. Il ne faudrait tout de même pas oublier son roman, son livre sur «les fous littéraires», son édition de la correspondance de Magritte où les notes ont une telle importance ou ses prières d'insérer de la revue Temps mêlés. Le talent de Blavier, c'est aussi dans les «seuils», pour employer l'expression de Gérard Genette, qu'on peut le rencontrer, dans tout ce qui encadre un texte.&#13;
&#13;
- Concernant la vie privée, Queneau en dit beaucoup moins que Blavier.&#13;
&#13;
- Cela correspond à tout ce qu'on sait d'un homme qui se livrait peu. Personnellement, ayant croisé une ou deux fois le personnage, j'estime qu'il se découvre déjà beaucoup dans la correspondance qui, de ce fait, n'en est que plus précieuse. Habituellement, quand on lui posait une question, Queneau répondait par des rires ou par d'autres questions. Il donnait toujours l'impression d'essayer d'en savoir plus sur vous que vous sur lui et de se soustraire à l'échange, non sans élégance au demeurant. On ne sortait pas de son bureau de la N.R.F. sans éprouver un fort sentiment de frustration. C'est indirectement que les lettres qu'il adresse à Blavier nous renseignent sur son caractère: sa méticulosité, par exemple. Queneau s'y montre très soucieux de la qualité matérielle de l'édition de ses oeuvres. Sur la publication à Verviers du Chien à la mandoline, on peut glaner ainsi pas mal de renseignements révélateurs dans la correspondance.&#13;
&#13;
Cocardier&#13;
&#13;
- Blavier entretient avec sa ville, sa province, son pays des liens qu'on pourrait qualifier d'amour-haine.&#13;
&#13;
- Vis-à-vis de ses concitoyens, il adopte une attitude ambiguë. D'une part, il a un côté cocardier. Il ne manque jamais de s'intéresser à un écrivain né à Verviers - Christian Beck, par exemple - dès qu'il se sent une affinité littéraire avec lui. La première lettre à Queneau tourne autour de Tapon-Fougas, célèbre fou littéraire, cité dans Les Enfants du limon, et qui a l'avantage d'avoir visité la région verviétoise. D'autre part, Blavier n'a jamais assez de mots pour condamner les réflexes mentaux de la province, la tartufferie made in Belgium. Certains Verviétois, plus ou moins haut placés, se sont émus des activités «séditieuses» de leur bibliothécaire: leurs noms, dans la présente édition, ont été remplacés par des points de suspension.&#13;
&#13;
- Douze ans après sa mort, comment voit-on Queneau chez les historiens de la littérature?&#13;
&#13;
- Deux aspects de lui émergent à présent. En premier lieu, il est devenu une référence «incontournable», pour employer le jargon à la mode. Il fait figure de classique qui a joué un rôle crucial au sein des éditions Gallimard - en tant que lecteur et en tant que fondateur de «L'Encyclopédie de la Pléiade». On le fait lire en classe, avec circonspection, car l'auteur de Pierrot, mon ami n'a pas perdu sa réputation de dangereux «humoriste», assassin de l'orthographe. Ensuite, et c'est plus important, on l'étudie scientifiquement. A Limoges, et jusqu'à une date récente, à Verviers, il a été décortiqué par de jeunes universitaires français, américains, japonais ou australiens, aussi experts en «quenologie» que les tintinologues le sont d'Hergé. Cela nous vaut une foule de thèses habitées par le Gay Savoir. L'oeuvre de Queneau n'est pas au purgatoire, on peut s'en réjouir. Elle vit, elle rayonne. Sans doute parce que sa qualité majeure est de traiter sans grandiloquence les problèmes les plus graves. Humoriste, Queneau? Certainement pas! Mais ironiste, oui, sûrement! Ironiste comme l'était Socrate qui faisait accoucher les esprits en les mettant à distance d'eux-mêmes, de leur propre langage.&#13;
&#13;
Recueilli par&#13;
&#13;
MICHEL GRODENT.</text>
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                <text> FPPB-QUE-C-0 001 850</text>
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                <text>«Ce recueil contient les poèmes écrits par Raymond Queneau depuis l'Instant fatal paru en 1948 ; la plupart sont inédits. Ils sont présentés dans leur ordre chronologique formant ainsi une sorte de journal intime : on y trouvera des allusions à l'histoire des quinze dernières années, on reconnaît des faits divers qui intéressèrent les gazettes. À ces échos du temps qui passe pour tous, se mêlent les menus incidents de la vie privée de l'auteur.&#13;
Le livre comprend deux parties, les sonnets étant réunis dans la seconde.»&#13;
Bulletin NRF, janvier 1965.</text>
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              <text>Marabout Université</text>
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                <text>Histoire du théâtre 1.</text>
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                <text>Origines du spectacle&#13;
Théâtre antique&#13;
Comédie médiévale et renaissance</text>
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                <text>Pandolfi, Vito</text>
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                <text>Grunewald, Klaus</text>
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                <text>12 X 18 cm</text>
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                <text>FPPB-FOU-A-0 000 699</text>
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                <text>Pour Charles Fourier, l'attraction passionnée serait l'attraction universelle (ou gravitation universelle) d'Isaac Newton étendue au monde social. Aussi naturellement que la Lune est attirée par la Terre (dans une moindre mesure, la Terre l'est également par la Lune), les êtres humains sont attirés par certaines personnes, certaines activités et certaines choses. Toujours selon Fourier, l'association libre des attractions (ou passions) permettrait d'atteindre l'harmonie</text>
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