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Hotspots ... with Romain Verger

Entering the work of Romain Verger is a journey strange and paradoxical. Strange as it opens on distant and mysterious though falling in the real. Paradoxical, because the player is caught in a double movement: an exploration of an elsewhere unknown, but a plunge into the intimate and creates a spiral of both spatial and temporal vortex of seizing player to lead in unexpected areas. Already published three novels emerges a tumultuous harmony, as the world emerges through the words of the author is violent and consistent: it is about human space difficult to decipher, but gradually the absorbs, ingests, assimilates closely.

The narrator Hotspots belongs to the real world, even our everyday world. Teacher in the Paris suburbs, he takes the train every day to find difficult classes. His name is Roman, as the author, narratological element that could mislead readers accustomed to stories of self-fiction, but it may be a decoy more placed in its path, or else a reminder that any novel is the product a conscience or subconscious - two, actually. At the outset, the journey of the Roman defeat - even if committed on a specific route guided by the rails of this train commuter route to inevitable: the bleak prospects that follow the haunting rhythm of the race desperate awaken imagination that lets him escape, then raise or fall asleep and dream. The landmarks are erased to make room for a seascape that gradually invades the whole universe of the passenger train. Thus, soil, earth, asphalt is a straitjacket that must escape, the narrator strong presentiment that this world is not his.

Going from one point to another, such as making on-site, I am used to move against the direction of the crowds massed around the city, across the wrong way to space hair, embraquant with me to the river dump them beyond the pale of the world, bordering uplands. But I know that the sea is at hand, secretly innervating concrete, cement and asphalt frozen. Even close all its fibers hold up in the skinny arms of the Seine, away from mouth, I feel his presence every day, saturating the air as the announcement of a tidal wave.

The feeling of not belonging to the land element is accurate: Romain complains of pain acute, located in the bony part of her body, her spine, which symbolizes this strange, especially since Dr. Moore is unable to treat her, the narrator's body undergoing a series of treatments powerless to alleviate. Meanwhile, the usual components of his world are transposed into the fantasy world that consumes more and more an ocean space smells of iodine, sea spray, liquid salted colleague turns into a mermaid, becomes a textbook red alga ... inexplicable pain intensifies, and opens a door to a surprising addition:

My body is the division of iron, it is the crossing of trains crashing, it is the leatherette cover of obscene writings and erasures, the cut stones, a tunnel through which the winds, it is the immense patience parapets . It will be all over soon. We'll stop soon. I'm getting ready as a wedding.

I walk towards my destination, my reinvention.

Noumea Aquarium

After the surgery referred as a "parenthesis" in the exact middle of the novel begins the astonishing change. The narrator, recovering at the Armor Whirlpool is hosted by Dr. Alpheus - recalling the river god son of Oceanus and Tethys - in a world both strange and familiar, which unites the present with the past: "Passers-down seem outdated, from another time. Their clothes, their gait, voice, everything about them seems stuffy. ", Which exudes the ocean. Everything eddies that create their harmonious movements, the sound of their voice, evokes the sea

To have heard many, they seem to speak without vowel sounds in "ch", "s", "f" and "th". Even the "k" is sweet, as if it were always followed by an "s" that absorbed. To hear them, it looked like a concert shell; mussels and cockles found by the thousands in the muted chattering wind.

sounds of childhood, those of the shell that is glued to her ear ... Now this journey to the confines of Earth is also a journey through time, which seems to abolish itself, punctuated by activities who invited themselves, pleasant but meaningless (Romain surrenders to a program he does not try to understand, seduced and lulled by the mystery). The evolution of processing that occurs with delight escaped him, like the subtle changes occurring in his body, he remark but he worries away. The chronology seems evasive dissolve any apprehension, any roughness; edges soften, no more no shock strikes the body of Roman whose pain has disappeared. The rhythm of the text, its prosody adapt to the sweetness of this underwater world and embrace the movements of this consciousness bercée.Les markers are abolished to make way for a world clear and soft, enveloping the narrator as a protective padding that the swaddles:

I do not know how long my treatment began, or when she will end. I lost count of the appointment with Dr. Alpheus, transferred the chair on the promenade, sea bathing, the hours spent in front of the bay window or my dreams days to reopen the same night. Reading the newspaper I hang up well to weather, world time, unless he delivered his daily flood of gruesome news. Equally unchanging face blue sky pierced by blinding its orbit, and the imperturbable tidal cycle.

The marine component seems to suspend the narrator between heaven and earth, in the pleasant limbo that cushion the harshness of the world, as the amniotic fluid that bathes the unborn, protecting the contacts brutal while letting in sound attenuated. This position of the fetus is also part of caring for Roman: "My program is enriched with a new treatment: the floating bath. It makes me go into a huge shell filled with seaweed and water so salty that I float effortlessly like a cork. It closes and I must stay at least one hour in the dark. " ... Thus begins a regression from man to child, but who can not stop this human stage. The body of the narrator is engaged in an inevitable process which integrates even more closely in the world. Beings take an intermediate consistency, half human, half sea creatures. Thus, the two women who become the companions of choice of narrator mutate into strange mermaids or sea lions holding a sensual choreography Navy:

This morning, Ophelia and engaged in Ondine a curious parade. They turned into the swimming pool while swimming belly to belly, sometimes one below the other, sometimes the reverse. Sometimes it took several laps before that which was under water reappears at the surface and resumes breathing. Then they alternated, continuing their aquatic ballet. When they passed me, I followed their eyes pearly undulating body and collected the wavelets arising from their movements. By not seeking any way to hide them, I could only find that I no longer existed in their eyes.

The two women first names first water instill some excitement into the erotic life of the narrator which therefore is still attached to land. Their relationship seems sexualized n'ad'ambiguïté for Roman, whose power fantasies have not yet disappeared. So is he disturbed by the mention of women taking bath together. But sexuality must also be denied: so is he alone in this strange dream that the doctor tells Frida:

Then I return to my last dream I was lying on a beach, sex driven into the ground. I wanted to fertilize land of my semen. Beside me, a woman was sitting and shook the sand between his lips. The bank took a sudden water: a huge wave carried the bathers. I was alone in resisting, anchored to the ground by my penis. "Breathe, I told the sea, flows in my current draws little water is left. Then movement, chains or straps holding tight to the feet and dragged me by the door of a train.

This dream recalling the fact that before the treatment is one recent contacts with the narrator's experience of man, even if sometimes, fantasy, reminiscence or strangeness of the situation, he sees some of the characters who once populated his daily routine: Ariel, the mermaid-colleague, Manuel, transplanted the suburban market at this resort, which becomes a messenger of the ocean ... Similarly, her sexuality falls asleep gradually, as the imperceptible changes undergone by the body whose consistency loses its rigidity and becomes increasingly flexible. Its members acquire a remarkable elasticity, while diminishing their sex.

Although prominent, it is now the size of a slug and has the form of a Hexabranchus. It gives me no more or less feel that another area of my body became completely and uniformly sensitive, but sensitivity and other new, extended to perceptions infinitesimal. As a ray of sunshine suddenly exposes the dust particles suspended in the air, I feel them land on my skin, and air movement heralding an approach, I suspect, to my texture changes , storms, cloud bursts, ski sea changes in the moon releases My skin at the opening of its pores.

Great Barrier Reef

Thus, the metamorphosis of the Roman (which has meanwhile lost its identity) continues imperceptibly, the away from the human to be closer to the marine component of the fluidity that allows the union of the shapes and contours that can fit together perfectly. This whole body becomes "sensitive area" permeable every nuance of the atmosphere, in harmony with the cosmos ... But this transformation is a harbinger of death - since the body can not subsist in its shape to the desired fusion.

The three beautiful and subtle novels Romain Verger lead us to think about our place in the universe, in different ways (I will Big Dipper and Black Forest in chronicles to come) but in a haunting harmony: the questions they generate are painful, as it is to think that this parenthesis is the life among the darkness prior to conception and the nothingness of death. This passage, path to the unknown and mysterious end, can fill us with anxiety. Hotspots imagines a possible symbiosis at the cost of abandoning humanity Big Dipper and Black Forest exploring other ways exciting but scary, but each of these novels provides an essential questioning metaphysics, opening up fascinating and poetic.