Fiction 2

Singuliers voyageurs by Hélène Vachon

By Hélène Vachon

Quatre personnages enfermés dans un espace restreint, un teach. Voilà les prémices de ce bold huis clos qui se déroule sur une période de vingt-quatre heures. A-t-on vraiment le temps de connaître quelqu'un dans ce court docket laps de temps? Et si oui, que restera-t-il de cette rencontre une fois le voyage achevé?

Après avoir écrit los angeles Tête ailleurs (avec lequel elle a été finaliste au prix des Libraires et au prix du Gouverneur général en 2002), Hélène Vachon nous présente un roman aux dialogues fins et percutants mettant en scène des personnages excentriques, ennemis de toute mesure. En somme, des hors-la-loi bien sous tous rapports. Voici donc un roman qu'il faut lire pour s'offrir un concentré de vie où l. a. personnalité de chacun se dévoile au grand jour.

Quatre voyageurs prennent le foremost educate du matin pour Plaisance. Ils ne se connaissent pas, ils n'ont pas réservé, tout est pris. Il ne reste qu'un wagon libre, le wagon nuptial, que l'on met à leur disposition. C'est là qu'ils feront connaissance, dans cet espace clos, rose, où tout a été prévu pour deux et où chacun tentera de se faire une position.

Deux hommes, deux femmes, tous hors l. a. loi à des degrés divers : Arnold, sexagénaire amoureux sans des femmes jeunes et des prostituées; Colin, forty seven ans, machiavélique et roublard, « grand médecin » qui n'a pas le droit de pratiquer mais le fait tout de même; Élisabeth, avocate de 39 ans tiraillée entre témérité et intégrité; Olivia, 19 ans, qui oppose aux trois autres sa jeunesse, sa perspicacité et ses ruses.

Un voyage de vingt-quatre heures s'amorce, fait d'attirance et de rejet, de rapprochements et de trahisons, où l'histoire de chacun se dévoile petit à petit. Jusqu'au second où un cinquième passager vient compliquer les règles du jeu et imposer sa présence au element de bouleverser los angeles trajectoire de chacun.

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Singuliers voyageurs

Quatre personnages enfermés dans un espace restreint, un educate. Voilà les prémices de ce ambitious huis clos qui se déroule sur une période de vingt-quatre heures. A-t-on vraiment le temps de connaître quelqu'un dans ce court docket laps de temps? Et si oui, que restera-t-il de cette rencontre une fois le voyage achevé?

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For both, this last issue constituted a painful and not wholly reconciled problem of moral equality. It was also a problem which, to a very large degree, they inherited from some of their most powerful influences: the Romantic poets, and Henri Barbusse whose novelLe Feu (appearing in translation as Under Fire in 1917) affected both Sassoon and Owen. The poet or artist as hero is obviously a central notion of Romanticism and a specific theme of some of its major literary works. It was a notion which caused Shelley, in A Defence of Poetry, to assert the supreme value of poets (in their widest sense) against the claims of 'reasoners and mechanists' and led to his famous claim that 'Poets are the unacknowledged legislators of the world'.

Was not meant to hide a personality but a fact' (10). Such facts define the man, even in the world of the imperfect heroes of Lord Jim. Marlow's repeated insistence that Jim is 'one of us' is a reminder both of responsibilities and of weaknesses. Two years after Lord Jim came Heart of Darkness where the frail artefacts of civilisation are close to collapse. Man, in Conrad's 26 English Fiction and Drama of the Great War, 1918-39 VISion, is responsible for the only order in nature; yet Kurtz destroys all moral order, not by weakness, but by a perverse strength.

The confidence with which Owen here assumes his task is reflected in a number of poems written in 1917, soon after meeting Sassoon at Craiglockhart, when he writes passionately on behalf of the doomed, pathetic soldier. Yet there is also something naive about this earlier work. In even such a famous poem as 'Dulce et Decorum Est' (written soon after his initial acquaintance with Sassoon), there is a too-neat division of morality for the poem to be effective: the soldier is merely a victim; civilians bear the whole guilt; the poet himself, undefiled by pitch, heroically reports the truth.

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