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By Philippe Djian

De vingt à trente ans, Philippe Djian a lu comme un fou. Il a lu comme on court docket sous un orage, recevant chacun de ces livres majeurs comme un cadeau et une leçon heureuse. Parmi ces livres, il en a retenu dix dont il nous offre sa lecture personnelle. "L'Attrape-cœurs" de Jérôme David Salinger "Mort à crédit" de Louis-Ferdinand Céline "Du monde entier" de Blaise Cendrars "Sur los angeles direction" de Jack Kerouac "Moby Dick" de Herman Melville "La Crucifixion en rose" de Henry Miller "Tandis que j'agonise" de William Faulkner "Le Vieil Homme et l. a. mer" de Ernest Hemingway L'intégrale de Richard Brautigan L'intégrale de Raymond Carver Après le phénomène "37 °2 le matin" et le succès de son dernier roman "Vers chez les blancs", "Ardoise" est un texte insolite et profondément unique. Loin de los angeles pédagogie mesquine, du règlement de comptes sournois et des magouilles d'épiciers, Philippe Djian parle des livres comme il faut le faire, avec les accents bouleversants d'un amant forcené.

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Il n’y a plus de larmes, plus de vertiges, plus de tremblements, plus de bonheur indicible, plus de connexion directe avec le firmament. Il y a de la littérature. Certes. J’ai vécu ces dix années dans une sorte d’ivresse permanente. J’étais au milieu d’une tempête. Des océans s’abattaient sur moi et je pensais à reprendre ma respiration. Le hasard voulut que ce ne fût pas Cervantès mais Salinger, Kerouac ou Carver, au plus fort de la tourmente. Il y a cette période de la vie où l’on est fécondé.

Je n’attendais rien de la littérature. Je ne lisais pas beaucoup, et en général, quand je n’avais rien de mieux à faire. Je n’accordais aux livres qu’une attention distraite. Quelquefois, j’étais surpris par l’étrange intensité qui se dégageait d’une page, mais il en était comme d’une apparition fugace et improbable dont on ne sait s’il faut réellement y croire, si l’on a du temps à perdre avec certaines anomalies sensorielles. J’étais très intéressé par la vie, à cette époque. Par l’expérience de la vie.

Si l’on veut savoir à quoi l’on joue, il n’y en a pas d’autre. Si l’on veut comprendre quelque chose à la magie, si l’on veut apprendre le respect et l’amour de l’écriture, la poésie est le passage obligé. Et à défaut de la pratiquer, la consommer au maximum. Il n’y a qu’avec la poésie que l’on peut apprécier les différentes qualités d’un mot, ses différentes propriétés et ses relations avec les autres. De même que la vitalité d’une phrase, les éléments de sa circulation interne, l’intérêt de ses articulations, la nature de son rythme.

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