Then I saw you adjust your breathRomain Verger First donated the stone
the beasts
your word to the size of the body breathe
extract the last saliva quartz.
The first novel by Romain Verger Hotspots , transported us into a world where everyday life was gradually replaced by the strange, in a thrilling journey where the human was based insensibly Ocean. The relation of man to the universe, its possible merger or not with the nature that rejects it, absorbed or digested, his loneliness, his uniqueness, his desperate attempts to become her own refusal to conform, are themes that haunt the novelist's exceptional work. And his three novels are they cause a constellation mysterious and exciting, a whole both disparate and consistent as these texts are linked to the enigmatic beauty. The second Big Dipper , guide us on unexpected paths, both linear and cyclical, leading the reader into a surprising move: begins a journey taken between temporality and permanence, much like those stars that seem immutable but whose light reaches us from time immemorial, perhaps already dead when we perceive the brightness.
Could this be the dawn of time? Already, the dawn is gone. Its sweetness that installs clarity gradually evaporated in the brutality of an eternal day. The man leaves the darkness of his cave to face the relentless white landscape of ice, expelled as a matrix that can offer him nothing. Arcas, the sole survivor of a clan Paleolithic stands before the horizontality of a world buried. This body, unique vertical element, seems to offend the refined nature.
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| Personal Photo |
Death also fled, abandoning this mineral alone. In the cave where he took refuge, sleep it is not given, as to prevent the neglect, but ignorance of the fate of his book fantasy enabled by the flames of fire that licked the walls tormented shelter. Depletion of reserves is born a "great hunger" which is not turned away in his dreams: a dream world is gradually replacing the intolerable reality. His feverish dreams resurrected his tribe, he followed the women admiring their skill in the art of preparing meals, Era, the companion disappeared, her son finally ... In his dreams, he can touch them again, reliving the beautiful love under the waterfall, find the love of things forgotten. But the contact of flesh, even in a dream, revived the hungry, and caresses become biting, love is turning into greed. Gradually, Arcas is stripped of everything that made him a human being: his body falls asleep, his desires are fading, all sensation disappears. The journey he undertakes journey aimlessly in a glacial landscape, keeps it in the living world:
Days in advance in the ice while slipping under the horizon itself, in rotating always returning to his original point. There was something foolish to chain lengths of these landscape, swallow them one after the other, without knowing either the purpose or reason: at most it seemed to him that its not decided on the survival the world that this land which was started and would end with him and that the second when his body let go, the world would cease at the same time, for he was alone and walking without this object, this wandering white, he had finally gratification higher: in every area of space captured in each plain sight loss in each stride, he drew the certainty of having extended the world, to be transplanted into new territories, new extensions, such as sewing room after room of huge crust.
Human-animal, that is to say, still driven by a desire: I would invite the reader to refer to the article by Jean-Clet Martin appeared in number 73 Chimera (1). This work preserves his humanity, or at least life in him, distinguishing it from the landscape of ice that snapped tree trunks, brush, rocks ... The whiteness and the cold made him a being of purity, deprived of any carnal attraction: neither hunger or sexual desire. Arcas seems doomed in this race under the sign of a star, punctuated by stops inhospitable but that it survives because it no longer feels the need for comfort. Only living element, standing before the infinite horizon, he hopes for nothing. Until the unexpected encounter with the splendid animal, the Big Dipper, which reinstates death in this universe heat, odor, softness ... But confrontation is also a threat to which man submits without fear. He is saved, then drawn into the world of animals. Now the bear is a presence, she breaks his solitude and returned to life. Then everything becomes possible, appetite and desire can be reborn; human and animal recreate a link aggregate, and the bear, a giant white body, the goddess of flesh, becomes a female figure that unites Arcas. The fun is possible again, even multiplied, since the man now lives in unison with stones, animals, the universe.
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| Grotte Chauvet altar bear skull. |
time then freezes in the whiteness of the animal that affects the landscape traversed, it merges with outer space, a nirvana of forgetfulness of self and others, the body does being one with the world.
Filled with the neglect of his family and himself, he crossed the weather, sleet, an immense time, unknown, the fanatic, although the idea of him frozen in time, had taken thickness he imagined the earth to his body he cracked, as is walking on, within, in white. That's what he should know what he had taken so far to seek in the depths of this beast.
The mortification suffered becomes a source of a desire to merge, but she can not live at the cost of loneliness and fading. Thirty five thousand years later, alone among men, Mâchefer reproduced voluntarily, this harrowing experience and soft. All his energy turns paradoxically towards laborers from exhaustion, he saw as a source of strength. It is to resist the effects of hunger pain and his body is battered pushed past the limits of resistance. Arcas as he lives in a cave, a mineral subsoil and humid where light barely penetrates. Every day he began a journey through tunnels and alleyways, which leads to the gallery where he watches every day on animals frozen in an appearance of movement. Sometimes, to achieve this, it also passes through large areas of the city pale in the snow. The whiteness of her empty fridge opens in a blast of ice that reassures Echoing the purity he hopes. Humans who populate the world does not interest him: he lives for himself, focused on this asceticism. The only figures who sign up for a time in the landscape are feminine: mothers obsessed with food, whose body seems made only to the extremities, which engulfs and expelling it, reduced to a digestive tract.
His physique revolved around an early prolapse, as if shaped by a childhood omnibuccal mind, his body had adapted to his needs in a flexible tube wound infinitely expandable , terminated at both ends by two interchangeable mouths.
This frightening mother splits in two Women: Mia, ogress, she-bear that feeds Mâchefer, filling her sex-hungry food in quantity, in a strange courtship of the gift and the sinking; Ana, an older woman spreading across strange plants and fragile, making the basement lair of a plant where Mâchefer soon nature would impede his movements. Each of them has something the bear. One is a goddess hideous that it makes a weird cult idol of flesh to be fed, the other around the man recreates a natural kingdom. The existence of clinker is shattered by an unexpected event: Mia disappears from his life, leaving him a monstrous child which she gave birth in the basement, as if spitting out all the food absorbed.
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| Jackson Pollock, Birth (1941) | | |
The birth of this baby to the huge size, whose face was deprived of eyes adorned with a scarlet mouth made to swallow, appears to separate the man from his hunger. While her appetite disappears, focusing exclusively in appalling infant whose destiny seems to be eating, digesting, and produce smelly secretions. While it seems unclean, but the filth that spread are those that come over the body of a father that has been the cause. Bear a child, which splits into a filthy plush offered by Ana
Similarly, the belly open a thousand times had definitely lost its stuffing and dragged his misery, his stinking envelope from one corner to the another bed because, after being filled and filled, stitched and sewed the bear offered at the sight and smell his adult abandonment, surrender all the more repugnant that ill concealed identity olfactory inimitable made grease, hair wet, moss, armpits, cheese crusts.
The focus remains fearful Mâchefer denies everything. While the child enjoys, growing up to become a gigantic, man gradually disfigures the body's refusal to voluntarily reaching this decorporation suffered by Arcas. Its climax occurs when the body finally reduced to a skeleton, melts to create support for the world. The two men are joined by their amalgam mineral world, the whiteness, the strength of the intangible. They freeze solid, creating a bridge between time and space to eternity ...
NB: Read First donations Stone is attend a double birth (at least): the birth of poetry before the words on the walls of the Chauvet tormented, but also the Big Dipper ... I can only encourage the reader to see this poetic, beautiful and moving, where Romain Verger found the breath of the man whose body is gone but the spirit remains in these traces poetic contours, these scratches . It also discovers another gift: that of the author for other forms of art (drawings who register their routes in the book are his ...
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| Giacometti's Man Walking, 1948 |
Romain Verger Big Dipper, Quidam Publisher, 2007
Romain Verger First donations Stone , unannounced, 2003
It will also benefit from reading the very interesting and personal chronicle Tavern.
I want to thank the bartender in passing that led me with great persuasion in this plunge into the work of Romain Verger.
And yet beautiful chronicle of Nikola on Paludes ...
(1) The animal, which the word itself suggests, appears first as animation. It is invested with a movement that is not stone, a movement that does not just fall like when a body descends, driven into a hill. Instead, the animal moves from the inside by a force whose own mechanics can not account, she has a knowledge of movement outside, do nothing better than dealing with the inertia of the body he was actually moving.
Cletus Jean-Martin animal spirits in Chimera No. 73, 2010
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