Literature. When a friendship can express itself with four hands


This book is a proof of friendship between two writers. Their meeting is due to the Danish novelist Pia Petersen. They usually live far from each other, since the Haitian Makenzy Orcel (born in 1983 in Port-au-Prince) is divided between his native island and Paris, while the Frenchman Nicolas Idier (born in Paris in 1981), an associate of history, already author, among others, of the noticed New youth (2016), navigated until then between Peking and Delhi. At the Book Fair of Calcutta, in February 2018 – France being guest of honor – the two friends decide, in a noisy nightclub where the gin tonic flows, to write, because in there We do not get along. Idier is then attached to the book at the French Institute-Embassy of France in New Delhi. Orcel was part of the delegation. A nightclub in Calcutta (a crime title!), The result of the challenge of writing in pairs, is an informal narrative of "experimental value". The whole oscillates between the exquisite corpse and the literary game in all complicity. They are exchanges without make-up, where their names take turns to speak: news on two pages, reflections around the world (India, China, France, Haiti …), tenderness of two young fathers bent over their offspring and move to comb end of editorial wildlife, to which they belong. There are wild, more intimate thoughts about the dead, childhood memories, the anguish of death. Everyone is laying bare. These confidences before the reader-witness sometimes have an aspect "unbearably sincere," says Makenzy Orcel. He exaggerates. Sincerity is not an evil. He himself, with his raw phrasing, often shouts his revolt before his traumatized society. His first novel, Les Immortelles (2010, Zulma), which is not commonplace the world of prostitutes in Port-au-Prince, was it not composed behind an old abandoned car, after the earthquake from January 2010? Today recognized, demanding, he travels the world, without living in luxury. He cultivates the "racinerrance" (Jean-Claude Charles). Nicolas Idier, him, reveals parts of an unsuspected personality, a little rebellious, even outright revolted. Cultivated, in love with oriental languages, he observes the world without illusion and this "consensualism terrible that seizes today's authors." He, who feels good only in China, currently holds the position of development center chief of the Cité de l'image in Angoulême. Makenzy gives his black part, his doubts as a creator, his temptation to commit suicide, which echoes the anxiety of Nicolas Idier.

It's an unintentionally funny book, as both of them sometimes take themselves a little too seriously. A nightclub in Calcutta is especially a sign of our time of deafening communication, because these two young people today had to go through the writing to try to get along.


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