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Yolaine Parisot,<\/strong>\u00ab\u202fThe fiction of the first murderous smile \u00bb, or the relevance of Jean-Claude Charles\u2019 Enracinerrance<\/i> as politics of literature<\/span><\/p>\nThis paper aims at showing how Jean-Claude Charles brings together doc<\/span>umentary, non-fiction novel, travel writing and author\u2019s fiction in order to found a poetics of fiction that would be suitable for dealing with the political stakes of the contemporary world. This poetics is characterized by a democratic sharing of authority and a translational ethic. It thus largely prefigures the politics of so-called \u00ab\u202flitt\u00e9rature-monde\u202f\u00bb.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n
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Florian Alix<\/strong>, Ironical lyricism and drifting in Jean-Claude Charles\u2019 essays<\/p>\nThis article analyses forms of lyricism in Jean-Claude Charles\u2019s two major essays, Le Corps noir<\/i> and De si jolies petites plages<\/i>. The reflexive way of the essay brings the author to an ironic form of lyricism which becomes a manner to question the language itself. Finally lyricism is linked to an ethical approach of wrtiting which highlights a multiplicity of singular individuals against the groups\u2019 unity.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n
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Yves Chemla<\/strong>, Black body, brillant considerations, cultural opacities<\/p>\nThe title of Jean-Claude Charles\u2019s essay, Le Corps noir<\/i>, looks like an enigma. On the one hand, he designates an object that the explanation fails to take charge\u202f; on the other, he seems only a fragile screen against racist prejudices. In a writing which chooses the step aside and the shift from the current argumentation, Jean-Claude Charles highlights the different linguistic and pictorial forms and constructions by which the racist imagination is carried back into the Western context. Finally, it seems that he offers cultural elements in the text whose interpretation is complex, presumably to lead his readers to pursue by themselves the questions he leaves open. However, we note that the blind spot from which these questions originate remains the Haitian space anchored in memory\u202f: that of childhood.<\/p>\n
Alessia Vignoli<\/strong>, I am where I write\u202f: the writing journey of Jean-Claude Charles<\/p>\nJean-Claude Charles created and developed in his work the concept of \u00ab\u202fenracinerrance\u202f\u00bb to express the constant search for a balance between his Haitian origins and his relentless wandering. This essay shows the results of the analysis of the main character\u2019s wandering in the novels Manhattan Blues<\/i> (1985) and Ferdinand, je suis \u00e0 Paris<\/i> (1987). In this unfinished cycle, Charles tells the adventures of Ferdinand, his fictional counterpart. Our analysis is based on three thematic axes\u202f: the presence of Haiti, the notion of identity and the representation of space. We will see that the writer and the main character, always on the move, feel comfortable in places that do not conform to a fixed, defined identity. They both are constantly moving, accompanied by a feeling of detachment from their native land and a desire to take root in different places. This contrast leads them to a search that seems impossible to accomplish.<\/p>\n<\/div>\n<\/div>\n\n
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Dieulermesson Petit Fre\u0300re<\/strong>, Jean-Claude Charles\u202f: straddling between out here and elsewhere\u202f: living and appropriating the world in Manhattan Blues<\/i> and Ferdinand, je suis \u00e0 Paris<\/i><\/p>\nIn L<\/i>\u2019<\/i><\/span>Espace litt\u00e9raire<\/i>, Blanchot asserts that to write is to indulge in the fascination of the absence of time. It is as if the writer, by fading or by projecting himself into time, was inscribing his work in a diffrent space than that in which it is produced or in which the hero considers as his own. As there is a time of the narrative \u2013<\/span>\u202fwhether it is perceived as a story or as a discourse in Todorov\u2019<\/span>s perspective\u202f\u2013<\/span> there is also a space that makes one with the work\u202f: the space of the text, and another that (de)limits the field of action of the hero and\/or the characters. In Jean-Claude Charles\u2019<\/span> novelistic universe, space, far from referring to the idea of confinement or immobility, is rather subject to movement, to rupture or fragmentation, it has neither beginning nor end. The idea of this paper is to try to understand the role and scope of space in two of Charles\u2019<\/span> novels\u202f: Manhattan Blues <\/i>(1985) and Ferdinand, je suis \u00e0 Paris <\/i>(1987).<\/p>\nSte\u0300ve Puig<\/strong>, \u00ab\u202fNew York, second Haitian city in the world \u00bb\u202f: representations of New York in the works of Jean-Claude Charles<\/p>\nNew York is one of the few cities which exist in the mind of its visitors before they even set foot in the city. Since the quasi-anthropological vision of Paul Morand in New York<\/i> (1929) and C\u00e9line\u2019s images of a phallic New York in Journey to the End of the Night<\/i> (1932), many French writers have dedicated their novels to the Big Apple. The myths that nourish the mind of these writers do not necessarily operate the same way for Haitian writers for whom New York is a more familiar city, as it is the home of a large Haitian diaspora. In Jean-Claude Charles\u2019 work for instance, the megalopolis is presented as the epicenter of Haitian immigration to the United States, to the point that Charles describes it as \u00ab\u202fthe second Haitian city in the world\u202f\u00bb. In this article, I aim to analyze the representations of the city in Manhattan Blues<\/i> (1984) as well as in Baskets<\/i> (2018), and in particular the way Charles anticipate phenomena such as the gentrification of the city as well as other issues such as racism in New York, and by extension in the United States.<\/p>\n
Eliana Va\u0306ga\u0306la\u0306u<\/strong>, Manhattan Blues\u202f<\/i>: novel, jazz score, or screenplay\u202f?<\/p>\nManhattan Blues<\/i> works against fixed structures on many levels\u202f: philosophical, through the deployment of an enracinerrant<\/i> way of being in the world\u202f; linguistic, through the confusion of languages and registers; and literary, through the systematic breaking down of genres, and incessant shifts in narrative voice among other techniques. But Charles pushes beyond the question of genre in two particularly innovative ways\u202f: through the musicalisation of writing and through the adoption of screenwriting techniques. While the way in which the novel can be read as a musical score has been the topic of another detailed recent study, this article focuses on Charles\u2019 means of incorporating the cinematic gaze of the French New Wave into his narrative, and proposes that, when read alongside Jean-Luc Godard\u2019s Pierrot le Fou<\/i>, the novel becomes a revision of the former, two decades after the film.<\/p>\n<\/div>\n<\/div>\n\n
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Jasmine Claude-Narcisse<\/strong>, Bamboola Bamboche<\/i>\u202f: a fiction of Jean-Claude Charles \u00ab and the others\u202f\u00bb<\/span><\/p>\nThis article explores the decisive role of self-referentiality in the narrative project of Jean-Claude Charles\u2019s Bamboola Bamboche<\/i>. Very few critics followed Jonassaint\u2019s track indicating the importance of this autofictional trait in Charles\u2019 writing and when it is mentioned, as in the case of De si jolies petites plages <\/i>for example, it is often against him and to lament its pervasiveness and its inappropriateness. Nevertheless, Charles himself acknowledges that he uses his life as material for his writing and it is indeed obvious, whether in his essays or his fictional texts, in random and unexpected interjections about his exile and his enracinnerance<\/i>, or his more intimate child memory of kites. Thus the pressing need to identify in Charles texts these various instances where his self is embedded in the creative process and understand how it informs his writing. In the particular case of Bamboola Bamboche<\/i>, distorted temporality, multiplicity of narrative voices and spaces, diversion of traditional narrative functions count amongst the multiple avenues Charles crosses to achieve his undertaking of his self-fictionalisation.<\/span><\/p>\n Alba Pessini<\/strong>, Jean-Claude Charles and the aesthetics of the notebook<\/p>\nBaskets<\/i>, the posthumous text by Jean Claude Charles published in 2018 by the Montreal publisher M\u00e9moire d\u00b4encrier is at the origin of the discovery of the writer\u2019s notebooks that he used to write, during his travels. The article examines all of his handwritten texts with the objective of drawing up a description of them and approaches the notebook in its materiality, form and function by trying to insert it into the larger field of studies that still today wonder about this medium and the different places it occupies among writers. This essay provides a few examples of the practice of the notebook, the information Charles privileges, the investigations he conducts, the reflections that result to underline the importance of this activity in all of his production and to possibly sensitize future researchers to look at substantial but most stimulating material.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>\n
Yolaine Parisot<\/strong>
\n<\/span><\/p>\nAncienne Pr\u00e9sidente du Conseil International d\u2019\u00c9tudes Francophones, Yolaine Parisot est professeure de litt\u00e9ratures francophones et compar\u00e9es, chercheure au laboratoire \u00ab\u202fLettres, Id\u00e9es, Savoirs\u202f\u00bb-UR 4395 et co-responsable de l\u2019axe strat\u00e9gique \u00ab\u202fFrancophonies et Plurilinguismes\u202f\u00bb \u00e0 l\u2019Universit\u00e9 Paris-Est Cr\u00e9teil. Elle est \u00e9galement la responsable scientifique de l\u2019\u00c9cole Universitaire de Recherche du Grand Paris FRAPP \u00ab\u202fFrancophonies et Plurilinguismes\u202f: Politique des langues\u202f\u00bb. Sp\u00e9cialiste des litt\u00e9ratures francophones et anglophones postcoloniales et des litt\u00e9ratures issues des soci\u00e9t\u00e9s post-esclavagistes (en particulier Ha\u00efti et les Am\u00e9riques), elle entend contribuer \u00e0 une histoire litt\u00e9raire d\u00e9centr\u00e9e en connexion avec les autres arts. Ses publications r\u00e9centes comptent l\u2019essai Regards litt\u00e9raires ha\u00eftiens. Cristallisations de la fiction-monde<\/i> (Classiques Garnier, 2018) et des ouvrages collectifs comme Pour un r\u00e9cit transnational. La fiction au d\u00e9fi de l\u2019histoire imm\u00e9diate<\/i> (2015, codirig\u00e9 avec C.\u202fPluvinet), Dany Laferri\u00e8re<\/i> (Interculturel Francophonies<\/i>, 2016), Discours artistiques du contemporain au prisme de l\u2019oc\u00e9an Indien<\/i> (TrOPICS<\/i>, 2017, codirig\u00e9 avec V.\u202fMagdelaine-Andrianjafitrimo et G.\u202fArmand) et Pouvoir de la litt\u00e9rature. De l\u2019energeia \u00e0 l\u2019empowerment<\/i> (2019, codirig\u00e9 avec E.\u202fBouju et C.\u202fPluvinet). Son prochain essai, La fiction peut-elle \u00eatre (encore) postcoloniale\u202f?<\/i>, para\u00eetra aux \u00e9ditions Classiques Garnier.<\/p>\n
Florian Alix<\/strong><\/p>\nFlorian Alix est ma\u00eetre de conf\u00e9rences \u00e0 la Facult\u00e9 des Lettres de Sorbonne-Universit\u00e9, rattach\u00e9 au CIEF\/CELLF. Il est l\u2019auteur d\u2019une th\u00e8se sur l\u2019essai postcolonial et travaille plus largement sur les relations entre litt\u00e9rature et savoir au Maghreb, en Afrique subsaharienne et aux Antilles. Il s\u2019int\u00e9resse \u00e9galement au conte litt\u00e9raire dans ces espaces et aux \u00e9tudes de genre. Il a codirig\u00e9 les ouvrages Postcolonial Studies : modes d\u2019emploi<\/i> (au sein du collectif \u00ab\u202fWrite back\u202f\u00bb, Presses Universitaires de Lyon, 2013) et Penser le roman francophone contemporain<\/i> (avec Lise Gauvin et Romuald Fonkoua, Presses de l\u2019Universit\u00e9 de Montr\u00e9al, 2020).<\/p>\n
Yves Chemla\u00a0<\/strong><\/p>\nYves Chemla enseigne les techniques d\u2019expression \u00e0 l\u2019Universit\u00e9 de Paris. Ses recherches touchent au traitement de la pr\u00e9sence de l\u2019alt\u00e9rit\u00e9 dans les \u00e9critures ha\u00eftiennes. Apr\u00e8s La Question de l\u2019autre dans le roman ha\u00eftien<\/i> (Ibis Rouge, 2003), il a publi\u00e9 de nombreux articles consacr\u00e9s \u00e0 des publications d\u2019\u00e9crivains francophones de la Cara\u00efbe, du Maghreb et du Machrek. Litt\u00e9rature ha\u00eftienne 1980-2015<\/i> (C3 \u00e9ditions) dresse un panorama de la litt\u00e9rature r\u00e9cente d\u2019Ha\u00efti. Ses recherches actuelles concernent plus sp\u00e9cifiquement l\u2019\u00e9crivain Jacques Roumain. En 2018, il a accompagn\u00e9 L\u00e9on-Fran\u00e7ois Hoffmann pour la seconde \u00e9dition des \u0152uvres compl\u00e8tes<\/i> de l\u2019auteur de Gouverneurs de la ros\u00e9e<\/i> (CNRS \u00c9ditions).\u00a0<\/span><\/p>\nAlessia Vignoli<\/strong><\/p>\nAlessia Vignoli est docteure en Litt\u00e9ratures francophones des Am\u00e9riques \u00e0 l\u2019Universit\u00e9 de Varsovie. Son principal domaine de recherche est l\u2019\u00e9criture des catastrophes naturelles dans les pays carib\u00e9ens d\u2019expression fran\u00e7aise, en particulier dans la litt\u00e9rature ha\u00eftienne contemporaine. Elle b\u00e9n\u00e9ficie d\u2019une subvention de recherche accord\u00e9e par le Centre National des Sciences de Pologne (Narodowe Centrum Nauki). Derni\u00e8res publications parues\u202f: \u00ab\u202f\u00c9crire face \u00e0 la \u201cfaille diasporique\u201d\u202f: Ha\u00efti kenbe l\u00e0\u202f!<\/i> (2010) de Rodney Saint-\u00c9loi \u00bb (\u00c9cho des \u00e9tudes romanes<\/i>, XVI, n.\u202f2, 2020)\u202f; \u00ab\u202fLa repr\u00e9sentation de la catastrophe naturelle chez Laurent Gaud\u00e9\u202f: une \u201cd\u00e9localisation\u201d engag\u00e9e\u202f?\u202f\u00bb (dans La D\u00e9localisation du roman<\/i>\u202f