The Art and Genius of Anne Hébert: Essays on Her Works : Night and the Day Are One

By Janis L. Pallister | Go to book overview

Féminitude et folie dans
Les Fous de Basson d'Anne Hébert

CLAUDINE FISHER

Anne Hébert publie son recueil de poésie Le Tombeau des rois (1953) onze ans après ses premiers poèmes, Les Songes en équilibre (1942), et se sert des mythes de ses propres poèmes comme source d'inspiration pour sa fiction. Cette intertextualité restreinte s'exemplifie dans le roman Les Chambres de bois (1958) ainsi que dans un roman plus récent, Les Fous de Bassan (1982, 249). L'écriture poétique et l'expérience romanesque ne s'opposent nullement pour la romancière/poète du Québec. Au contraire, fiction et poésie font appel, sous sa plume lyrique et impressionniste, au language subjectif, aux données du rêve et à l'intériorité profonde.

Une petite morte s'est couchée en travers de la porte…
Nous menons une vie si minuscule et tranquille
Que pas un de nos mouvements lents
Ne dépasse l'envers de ce miroir limpide
Où cette sœur que nous avons
Se baigne bleue sous la lune
Tandis que croit son odeur capiteuse

(Hébert 1953)

La petite morte devient le reflet de la jeune fille "vivante" ou plutôt morte-vivante dans l'exiguïté de sa minuscule existence aux gestes lents et silencieux, femme-Narcisse scrutant l'envers du miroir limpide ou l'autre, sa sœur d'âme se défait. La claustration interne de la vie (Les Chambres de bois) ponctue en contrepoint l'exploration de la mort par les forces collectives des structures humaines (Le Tombeau des rois). Les Fous de Bassan élargissent cette esthétique tout en poursuivant une recherche poussée de la féminitude. Au niveau littéral, Les Fous de Bassan se lit comme un roman

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