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                <text>« L’auteur a eu la faiblesse de prendre le surréalisme au sérieux. Il n’a pas la naïveté de croire que tout y fut sérieux, mais le burlesque même et la farce ont un sens qui les dépasse. C’est lui qu’il fallait retrouver. »&#13;
&#13;
M. N.&#13;
&#13;
De ce mouvement dont il fut un témoin privilégié au moment où il jetait ses derniers feux, Maurice Nadeau livre ici une histoire inscrite dans le contexte artistique, politique et social de l’entre-deux-guerres. Mais à travers les tensions et les crises que traversa le groupe réuni autour d’André Breton, c’est à une réflexion plus large sur le destin des avant-gardes que l’auteur nous invite.</text>
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&#13;
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                <text>&lt;p&gt;En artisan du Langage le poète « &lt;em&gt;bricole&lt;/em&gt; » dans l’inquiétude solitaire qui habite et hante probablement tout poète (là pour dire comme le monde ne va pas de soi), en demandant qu’on le laisse tranquille. Que l’on respecte la quiétude qu’il souhaite pour son art d’écrire, en l’occurrence exercer son travail de poète ; qu’on le laisse en toute quiétude bricoler avec l’inquiétude.&lt;/p&gt;
&lt;p&gt;On retrouve cette forme de respect à l’origine de tout geste rituel qui ponctue notre appartenance sociétale. Dans ces &lt;em&gt;Petits rituels sacrilèges&lt;/em&gt;, les grands thèmes existentiels se déclinent dans une mise en scène et didascalies textuelles qui agissent chacun de nos actes de vie, que l’on en soit les acteurs ou aussi les spectateurs. Le rituel &lt;em&gt;Des&lt;/em&gt; &lt;em&gt;funérailles…&lt;/em&gt;, &lt;em&gt;Des&lt;/em&gt; é&lt;em&gt;pousailles…&lt;/em&gt;, &lt;em&gt;Des&lt;/em&gt;&lt;em&gt;victuailles…&lt;/em&gt;, &lt;em&gt;Des&lt;/em&gt;&lt;em&gt;relevailles…&lt;/em&gt;, &lt;em&gt;Des jouvençailles…&lt;/em&gt;, &lt;em&gt;Des fiançailles mystiques…&lt;/em&gt;, &lt;em&gt;Des retrouvailles…&lt;/em&gt;, se jouent à l’avant-scène de textes plus réflexifs que dramaturgiques mais de même tonalité liturgique sur &lt;em&gt;De la merveille…&lt;/em&gt;, &lt;em&gt;De la conscience…&lt;/em&gt;, &lt;em&gt;Du couple…&lt;/em&gt;, &lt;em&gt;Des hommes et des femmes…&lt;/em&gt;, &lt;em&gt;De l’éveil…&lt;/em&gt;, dont les titres renvoient à une sorte de (livre de) sagesse philosophique.&lt;/p&gt;
&lt;p style="text-align:right;"&gt;L’image du « &lt;em&gt;temple&lt;/em&gt; » de l’amour fait résonner celui-ci de ses pierres luisantes depuis ses fondations. Temple vivant, sans cesse grandi par l’appel et le don de ses offrandes, l’édification et les ramifications de sa « &lt;em&gt;merveille&lt;/em&gt; » dans &lt;em&gt;l’éternité&lt;/em&gt;, ce &lt;em&gt;battement de cils&lt;/em&gt;. Sa force et sa fragilité, sa temporelle durabilité, que chante le poète, sont condensées par cette assertion aux accents liturgiques : « &lt;em&gt;Ceci est la merveille&lt;/em&gt; ».&lt;br /&gt;&lt;br /&gt;[...]&lt;br /&gt;&lt;em&gt;&lt;strong&gt;&lt;span&gt;Murielle Compère-Demarcy&lt;/span&gt;&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;</text>
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                <text>1956 : Henri Lhote organise la première expédition destinée à étudier les peintures préhistoriques découvertes par hasard dans le Tassili en 1933. On savait que le Sahara n'avait pas toujours été un désert. Mais qui eut cru que le Tassili renfermait de tels trésors archéologiques ? Au cours de longs mois, Henri Lhote et son équipe ont procédé au relevé de milliers de fresques produites entre 5000 et 2500 avant notre ère. &#13;
&#13;
Ce livre est aussi le récit d'une aventure : avec des moyens extrêmement réduits, vivant le plus souvent à la touarègue, l'expédition a été soumise aux rigueurs du climat et aux rigueurs du climat et aux aléas du ravitaillement. </text>
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                <text>Je l'imagine, elle a les yeux noisettes &#13;
Je les aurais pour moi bleus préférés&#13;
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ô mes cheveux mordorés et dorés &#13;
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écrit Louis Aragon dans un poème que lui inspira les amours avec Olivier de Magny de la légendaire Louise Labé (1524-1566), qui, dit-on, s'habilla parfois en garçon, fit des tournois et même la guerre, et ce qui est mieux, fit l'amour avec déléctation  et le chanta avec ferveur. </text>
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            <description>An entity responsible for making the resource available</description>
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            <description>An entity primarily responsible for making the resource</description>
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« Ici&#13;
sur un tertre&#13;
des mégalithes de plusieurs tonnes&#13;
ont su garder&#13;
l’âme et l’esprit volatils des morts&#13;
&#13;
On peut leur parler pour peu qu’on&#13;
accepte que ce soit&#13;
l’herbe&#13;
qui réponde ou le ciel dans la flaque&#13;
d’eau »&#13;
&#13;
Evocations précises et ouvertes, réalistes et magiques, appuyées par le caractère celtique de la typographie. Géopoésie dont l’être est le centre secret. Werner Lambersy adore l’Irlande, et cela se devine à son regard plein d’empathie humaine, à sa langue poétique légère quoique enracinée, allumant, chez le lecteur, des images qui font danser la pensée.&#13;
&#13;
Chez cet Irlandais de coeur,&#13;
« les étoiles lisent&#13;
silencieuses le livre des toits&#13;
Et (...) le ciel&#13;
est un doux marbre de suies. &#13;
&#13;
(...)&#13;
la marée&#13;
à cause de son grand âge&#13;
grogne&#13;
en remontant&#13;
les plages de galets noirs »&#13;
&#13;
Emotions, sensations palpables, non loin, parfois, d’une Guinness qui reprend de l’avance sur/ la nuit. Poème du bonheur simple et grave d’exister, loin des péripéties loufoques, matérialistes et barbares de notre pauvre époque.&#13;
&#13;
On aime qu’un muret / de pierres sans ciment / couve le jardin. On apprend que l’Irlandais aime dieu / parce que c’est  un bon conteur / d’histoires. (...) L’eau amère / de l’exil nous rappelle le passé tourmenté de cette nation, fière et sage, qui s’enorgueillit de plusieurs Prix Nobel, en plus du splendide Livre de Kells et autres merveilles à admirer.&#13;
&#13;
Abbaye, horizon, pluie, chevaux, océan, estuaires, Armada, tours et thé, pop corn et phoques,...  Infiniment, un monde s’esquisse sous les doigts de ce conteur né qui excelle à recréer un pan d’éternité dans le présent continu de ses verbes comme à nous faire voyager à dos d’île, avec l’allant et le naturel d’une embellie déposant son présent sur le bord du monde.&#13;
&#13;
Béatrice Libert&#13;
Cointe, ce 30 décembre 2006&#13;
&#13;
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