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                <text>Paul Nougé : la poésie au coeur de la révolution</text>
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                <text>Michel, Geneviève</text>
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                <text>Cet ouvrage est une plongée précise dans la rigueur du projet poétique d’un des écrivains les plus radicaux et les plus cohérents du XXe siècle, le surréaliste belge Paul Nougé (1895-1967). Il présente une analyse minutieuse de l’ancrage politique de ses choix et de sa trajectoire dans l’histoire du premier demi-siècle et le dégagement d’éléments que l’on peut considérer comme un passage de témoin aux situationnistes.&#13;
&#13;
Cherchant à mettre en lumière la façon dont Nougé conçoit son engagement révolutionnaire à travers l’écriture, l’auteure éclaire plus précisément la singularité du groupe surréaliste de Bruxelles, notamment par rapport aux proches de Breton.&#13;
Un recours attentif aux hypotextes permet de démonter la logique d’intervention du poète bruxellois, et donne lieu à d’importantes découvertes sur sa pratique de l’écriture et de la réécriture, qui, à certains égards, préfigure le détournement des situationnistes. Au fil de cette analyse, menée de façon strictement chronologique, se dessinent presque naturellement plusieurs grandes phases dans une œuvre qui, en dépit de son éclatement, était jusqu’ici considérée comme monolithique en raison de sa cohérence profonde.&#13;
&#13;
Un travail de fond au cœur d’une démarche foncièrement rétive aux récupérations dont le surréalisme fait l’objet. Un travail essentiel qui constitue un préalable à l’étude de textes proprement dite. </text>
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                <text>Fernand Nathan</text>
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                <text>De Haes, Frans</text>
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                <text>Instigateur et maître à penser du surréalisme belge, Paul Nougé s'est tenu volontairement à l'écart de la scène littéraire. A son initiative prend néanmoins cours, dès 1924, une aventure littéraire, artistique et éthique, qui compte parmi les plus singulières du demi-siècle en Europe. Elle diffère ainsi profondément du surréalisme français.&#13;
La présente anthologie permet de prendre mesure des multiples facettes et de la cohérence d'une démarche que Francis Ponge considérait comme essentielle</text>
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                <text>Sonates pour un homme seul</text>
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                <text>Desclée De Brouwer</text>
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                <text>" Nous vous en prions, sous le familier, découvrez l'insolite, sous le quotidien, décelez l'inexplicable. Puisse toute chose dite habituelle vous inquiéter. " Colette Nys-Mazure a pris au sérieux l'exhortation de Brecht pour nous offrir cette Célébration du quotidien. Car dans la routine des jours, nous sommes bien souvent ailleurs, absents à nous-mêmes, sourds à ce miracle continu qu'est notre vie ordinaire. A travers une écriture poétique et très féminine, Colette Nys-Mazure célèbre la trame secrète de nos existences. " Chaque matin, je m'étonne et je me réjouis d'être en vie. Je ne m'y habitue pas. "</text>
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                <text>Marcel Proust, un auteur d’autrefois, bon pour les bibliothèques poussiéreuses et autres musées de la littérature ? Le présent ouvrage démontre qu’il n’en est rien.&#13;
Suivant une grille d’analyse et un plan de lecture rigoureux, Michel Joiret passe en revue différents personnages, thèmes, caractéristiques d’écriture, nous montrant à quel point les “figures” de Proust, aussi modelées soient-elles par la société de son époque, sont proches de nous et nous offrent de nous-mêmes un portrait en miroir. Nous découvrons combien, une fois la “Recherche” démythifiée, les récits et autres portraits de l’impitoyable observateur-analyste qu’était Proust, peuvent s’insérer dans notre quotidien. À travers la chronique d’un nanti, les circonvolutions de la pensée, les phrases interminables, c’est toute une sensibilité, une sensualité, qui se déploie, symphonie de parfums, couleurs, atmosphères, ouvrant le lecteur à une finesse, une richesse de perceptions auquel le monde contemporain ne l’a pas initié, et qu’il pourra désormais insérer dans sa palette de perceptions.&#13;
« À l’instar des écoles françaises,  qui privilégient la connaissance de Proust – en attirant de jeunes lecteurs amusés et intrigués par la prodigieuse exactitude du propos –, les élèves des enseignements secondaire et supérieur ont tout à apprendre de l’homme, de l’écrivain, de l’époque, de la sensibilité, de l’humour, de l’emprunt continuel aux ressources sensorielles,  de cet univers encombrant certes mais si proche des mille et une sollicitations dont nous sommes aujourd’hui les sujets. », nous dit l’auteur en guise d’entrée en matière.&#13;
Un ouvrage, certes, indispensable aux professionnels qui font vœu d’enseigner la vie profonde à travers les œuvres littéraires, mais aussi à tous les curieux intéressés par une des plus grandes voix de la littérature mondiale.</text>
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                <text>&lt;div style="text-align:right;"&gt;" Mon métier est de créer des jardins. Pourtant ma vie professionnelle fut très diversifiée : j'ai été appelé à diriger des plantations publiques, à participer à des expositions universelles et internationales, à étudier l'urbanisme, à enquêter sur le problème des espaces verts, puis à m'intéresser aux jardins historiques... En fait, il s'agit là des multiples facettes d'un même métier. Mon propos n'est pas d'établir une théorie et une pratique de l'Art des jardins, mais plutôt de livrer quelques " Secrets de métier " moins connus et peu publiés jusqu'ici... Ce petit volume tente de montrer ce que je crois être l'essentiel. " René Pechère&lt;/div&gt;
&lt;br /&gt;Cet ouvrage, écrit comme une sorte de " testament ", est un classique de base pour toute bibliothèque d'amateur de jardins. Étudiants, professionnels, propriétaires ou simples amateurs y trouvent depuis quinze ans une source constante d'inspiration et de sagesse en matière de conception ou d'aménagement de jardins</text>
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                <text>Voilà ce qu'il est convenu d'appeler "une belle histoire": l'évocation du destin funeste de Thomas Quercy, cet homme plein d'ardeur et de passion, qui voit fondre sur lui presque au même moment un bonheur extrême et une douleur tragique.</text>
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                <text>Figure emblématique de la documentation, Paul Otlet (1868-1944) continue de fasciner. Novateur, il a accompli une œuvre originale dans des domaines aussi diversifiés que la bibliographie, la photographie, la schématique, l’encyclopédie ou encore la muséographie. &lt;br /&gt;Précurseur, il anticipe avant la seconde guerre mondiale l’arrivée d’Internet et, avec son fidèle ami Henri La Fontaine (Prix Nobel de la Paix en 1913), pose les bases du Mundaneum, une sorte de Google de papier à vocation pacifiste. Utopiste, il travaille à construire une société idéale et conçoit avec l’aide de Le Corbusier un projet de Cité mondiale. &lt;br /&gt;&lt;br /&gt;Dans cet ouvrage, des spécialistes d’horizons divers abordent ces thématiques. Par leur contribution, ils jettent un éclairage tout à fait neuf sur un personnage incontournable de la première moitié du XXe siècle.</text>
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                <text>Un père parle de son fils. Il parle à son fils. Il raconte, mais son récit se déroule dans un univers qui n'est pas celui du concret quotidien. Il raconte la naissance, l'éveil de l'enfant, son apprentissage de la vie — surtout de la vie intérieure. Et puis sa mort, à vingt ans.</text>
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                <text>Le narrateur au centre de «Boléro» est plusieurs. Macache ou Verdi, Pirotte sans se dire, il va dans les miroirs trouver ses vérités. Loin dans l'enfance, son univers danse avec un mère qui tourne sans fin sur le «Boléro» de Ravel. Il se souvient d'un disque posé et reposé sur la platine d'un vieil électrophone. Suffit d'une musique pour réveiller le monde autour duquel une vie fait sourdement sa ronde.&#13;
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Depuis la prison de Looz-les-Lille où il est enfermé, Verdi remonte le fil brisé de son histoire. Et le lecteur s'égare en même temps que le personnage se pose la question de son identité. Il est né avec les pieds de travers, comme s'il voulait retourner d'où il venait. Une malformation qui fit dire à sa mère qu'elle avait mis au monde un fils des ténèbres. Et l'enfant devenu adulte de se demander: Ai-je jamais cessé d'aller à reculons?&#13;
&#13;
Le roman de Jean-Claude Pirotte se fracture en trois parties. «Verdi» est la première. Sous le titre de «Macache», la deuxième renvoie l'autre côté de l'image. Elle trace le profil sombre d'un homme déchiré. Elle nomme l'absent en chacun de nous.&#13;
&#13;
Ensuite, «Youssouf» porte sur tout cela un regard de côté. Il aurait croisé dans ses voyages un type s'appelant Makash, ou Müslüm, ou Verdi - les trois à la fois peut-être. L'auteur convoque ses phrases au banquet des nostalgies. Dans les vapeurs d'alcool, les vérités se dédoublent. Et la haine du jour épouse les soifs de bonheur.&#13;
&#13;
L'histoire a beau être floue, les mots cognent précis. Poétique, rythmée, charriant les grandes et sourdes soifs d'humaine facture, l'écriture de Pirotte ravit toujours le chercheur de littérature claire. Cet auteur a des traits de plume qu'on n'oublie pas. Des manières magnifiques de mettre les dérives et rêves en musique. Comme quand il écrit la pluie qui sanctifie les chimères au seuil des tavernes louches.&#13;
&#13;
Quelques mots agencés, et la caverne s'ouvre. Les trésors qu'elle renferme ont des reflets assassins et des odeurs d'orage. L'amour et la mort y dorment enlacés. On y croise aussi des gitans, les étoiles, le rire de Lalia, l'ombre de Sarah, et toujours des musiques à danser aux accents âpres. Entre le Nord et des ailleurs où l'on se perd - les langueurs lisboètes, la Turquie, l'Albanie,... -, Jean-Claude Pirotte enfonce le couteau de son «Boléro».&#13;
&#13;
L'auteur fait une fois de plus la preuve de son talent hors normes par cette histoire qui ne se laisse pas enfermer dans un discours rond. Personne mieux que lui ne démasque l'innocence tapie au fond des bars et l'enfance qui dure au plus profond des nuits adultes.&#13;
&#13;
Livre après livre, il nous offre de purs plaisirs, comme surgis des ténèbres. On retrouve en lui les poètes de minuit. Ceux qui riment quand les autres dorment. Ceux qui s'en vont voir ce qui vit derrière le jour.&#13;
&#13;
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                <text>Décousu et fugacité, telles sont au point où nous en sommes, les deux caractéristiques de la pensée bûl : on peut, à la rigueur, les reconnaître au passage et sans insister dans ces enchaînements d'idées ou d'images qui conduisent un homme au suicide au fou rire ou à la confusion mentale définitive... &lt;br /&gt;&lt;br /&gt;&lt;em&gt;La pensée bûl n'est pas souvent ce qu'on croit - elle en serait même, le cas échéant, tout le contraire.&lt;/em&gt;
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- Les Os &#13;
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&lt;li&gt;Les filles bien nues sont bleues de tout&lt;/li&gt;
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