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&#13;
 &#13;
&#13;
Plus tard, par la vitre du train, je vois le roulé-boulé des toits de chaume, des toits d’ardoise, des mouchoirs dépliés de froment et de lavande, où les arbres noirs s’infiltrent en grandes pattes velues et soulèvent le paysage comme une araignée géante qui déguerpit, maman surchargée de proies.&#13;
&#13;
 &#13;
&#13;
On est toujours en mouvement et la toile n’a pas de centre à partir duquel suivre des fils. Aucune cohérence n’est visible dans les éléments épars qui se succèdent, évocation des premiers apprentissages ou réflexions sur la mort du père, mélange des jours de l’enfance et de la vie des disparus :&#13;
&#13;
 &#13;
&#13;
Quand je parle, je suis interrompu par les vivants. Quand j’écris, je suis interrompu par les morts, mais ce sont aussi des propos de morts qui m’emportent.&#13;
&#13;
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Éparpillement, parce qu’une vie n’est faite que de moments sans lien entre eux ? Sans doute, et l’absence d’ordre est le lot de chacun quand il s’agit de la ressaisir. Mais pour Daniel Franco, relater est devenu impossible puisque cela consisterait à raconter d’une manière précise. Des ruptures sont intervenues qui interdisent de s’inscrire dans quelque continuité que ce soit : l’extermination des proches, parce que juifs, a introduit une faille qui empêche le narrateur de penser un début, puis un parcours. C’est pourquoi le récit est brisé, c’est pourquoi les souvenirs et des bribes de ce qui fut rapporté par des proches alternent avec des réflexions sur l’aphasie ou à propos du débat sur l’écriture après les chambres à gaz. Viennent même s’insérer des extraits d’un Journal, celui d’une semaine de 20061, mais qui disent aussi à leur manière la difficulté à écrire le passé comme le présent ; on lit en effet sous Lundi 22 mai 2006 : « Dimanche, j’écris pour lundi. Comme au temps de l’école, la veille au soir est un estomac noué dans le temps »... Cela, dans le titre, c’est en raccourci dire ce morcellement, l’indécision du temps, ce qui demeure après la destruction.&#13;
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Daniel Franco explique dans les dernières pages comment est venue l’idée de cela. Le titre est né après une relecture dans Hamlet « d’une phrase mystérieuse : « This is me – Hamlet the Dane », traduite le plus souvent par « Me voici – Hamlet le Danois ». Par le biais d’un poème de Daniil Harms2, l’auteur propose sa traduction : « Je suis cela », et la commente : Ophélie est morte et c’est à son corps noyé qui gonfle dans les eaux que renvoie "cela" pour Hamlet. « "Je suis cela", c’est-à-dire, je ne suis pour l’essentiel rien d’autre que cette carcasse qui gonfle », et dans ce moment terrible Hamlet « découvre et reconnaît, bouleversé, ce qui lui avait tant manqué, la communauté de sort de ceux qui éprouvent la même chose dans le même temps ». C’est ce manque qui soutient le livre de Daniel Franco, manque explicité dans sa reprise du débat sur la possibilité de l’écriture, à partir de l’analyse d’Adorno et de l’œuvre de Celan, de la poésie après la Shoah : pages fortes sur ce qu’il est possible d’écrire après le rupture de civilisation qu’a été Auschwitz.&#13;
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Les fragments de vie rapportés par Daniel Franco, vie du père et de la mère, Moïse et Ruth, des grands-parents, du frère et de la sœur, sont toujours des bribes écrites « par sauts », qui ne tiennent pas entre elles, qui s’additionnent sans que se reconstitue un parcours. Il faut sans cesse reprendre, ajouter, en sachant que « cette obscurité passée en boucle ne fait pas revenir le cadre ancien », que les langues perdues de l’enfance étaient les traces des vies errantes des parents juifs : le ladino3 « truffé de dictons bulgares et de jurons turcs », le yiddish, l’hébreu.&#13;
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Comment écrire ? Certainement en acceptant jusqu’à un certain point le legs, comme le père faussaire : il copiait des tableaux de maître, mais « il [leur] conférait une tristesse absente dans l’original ». Je suis cela est nourri de la littérature comme des choses de la nature. Les œuvres sont là, entières, par un nom, une brève citation, une allusion — Kafka, Proust, Platon, Kleist, Gœthe, Ovide, Burroughs, Tagore, Fondane —  parfois lues au moment où le livre se construisait, Valérie Mréjen, Yehuda Amichaï. Yann Kassile. Etc. La familiarité est telle que l’on est tenté de reconnaître dans tel passage un pastiche de la phrase de Lautréamont, et tel autre évoque fortement celle de Thomas Bernhard ou, souvent, la tradition flamboyante du poème en prose. Comme s’il s’agissait en parcourant les genres littéraires de combler tous les manques, d’affirmer que dans l’écriture, « avec le concours équivoque des spectres, la terre entière peut bouger, sans même qu’un seul mot dans la phrase ne bouge ».&#13;
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Contribution de Tristan Hordé</text>
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