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&#13;
Il évoque, par ailleurs et dans l'ordre chronologique, les tracts, manifestes et autres écrits que Magritte, sans en être l'auteur, contresigna. Bien qu'il exclue la correspondance privée, même publiée, ce recueil retient néanmoins un petit nombre de lettres dont l'importance théorique ou la forme poétique justifient la présence.&#13;
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&#13;
Enfin, l'ouvrage évoque des "textes épars" - tirés, entre autres, d'articles et de livres monographiques, auxquels la relative abondance de citations de l'artiste confère un caractère "anthologique" - ainsi que des textes apocryphes prêtés au maître belge du Surréalisme Ce dernier "s'il écrit - hormis quelques textes de fiction d'une désinvolture assez dadaïste ou alors quelques scénarios non aboutis- il le fait sur requête, longuement mais sans plaisir et en s'appliquant pour éclairer sa démonstration picturale. Mais la démonstration par le verbe est moins convaincante. Elle n'a pas la plénitude, l'impérialisme et le défi, ni le définitif de ses toiles (...). N'exigeons pas qu'il écrive bien quand ce qu'il écrit, pour nous, importe", souligne André Blavier dans son Introduction.&#13;
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René Magritte, né à Lessines et qui sera particulièrement marqué par le décès, en 1912, de sa mère dont retrouvera le corps voguant sur la Sambre, rejoindra le groupe des Surréalistes en 1926 en même temps que ses "copains" E.L.T Mesens, Louis Scutenaire et André Souris, le "groupe bruxellois" des Surréalistes. Plus tard, en 1938, ils seront rejoints par Marcel Mariën. Ensemble, ils multiplieront les revues, les happenings, les tracts politiques et les expositions collectives et cela jusqu'au début des années 1950. </text>
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                <text>Ce livre accumule donc les projets foireux, les travaux non séductifs, éloge du fiasco et de la débandade ; un grand œuvre constitué de Dessins minables, de Projets inachevés, de peintures au caca représentant d’ennuyeux murs de briques, de Sculptures nulles, de Facéties comportementales piteusement clownesques ponctuées de grands Ha ! ha ! ha ! Une œuvre rare donc, continuellement commentée par le Petit Maître lui-même dans un souci d’autohistoricité revendiquée. Il fallait donc un véritable dictionnaire pour aborder cette syntaxe singulière, un « Petit Lizène illustré », auquel ont contribué quelques plumes averties, celles de Cécilia Bezzan, Jean-Michel Botquin, Antoni Collot, Emmanuel d’Autreppe, Denis Gielen, Eric Mangion, André Stas, notules ponctuées de citations de Nicolas Bourriaud, Patrick Corillon, Patrice Deramaix, Pascal Durand, Michel Houellebecq, Jean-Yves Jouannais, Arnaud Labelle-Rojoux, Denys Riout, Ben Vautier. C’est le Gai Savoir lizénien, introduit par Jean de Loisy qui rappelle avec pétillance toute la nécessité d’une certaine inconvenance. En fait, voilà donc le Pire de Lizène</text>
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&#13;
J'ai assisté à l'une de ses conférences dont le sujet était justement "L'incisive" ; je la connaissais certes depuis longtemps puisque nous habitons tous les deux la Wallonie picarde, mais j'avoue avoir été particulièrement sensible à la manifestation de son authenticité en cette occasion.&#13;
&#13;
Revenons au recueil publié par la célèbre maison ROUGERIE laquelle emploie le papier de qualité et la typographie à l'ancienne. Pour aborder la lecture, il faut d'abord découper les pages comme autrefois et cette opération possède une saveur particulière pour tout amateur de poésie.&#13;
&#13;
Dans ce recueil composé de petits poèmes successsifs, l'auteure raconte sa vie en pension lorsqu'elle était adolescente.</text>
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Dans les romans de Jean-Louis, il y a des personnages qui vivent d’une vie sauvage et qui posent la question : pourquoi passons-nous la plupart du temps à nous détruire au lieu de tenter sans relâche de vivre mieux ?  Il y a des personnages qu’une vie sauvage emporte dans un tourbillon sans qu’ils aient le temps d’harmoniser le chaos. De sorte que l’exubérance les submerge au point de les noyer.&#13;
&#13;
      D’autres, en revanche, s’emploient à incliner les circonstances en faveur de la vie. Ils disent les êtres et les choses de la vie, et ce qu’ils veulent. C’est une telle volonté que Jean-Louis perçoit chez un homme qui a été l’un des premiers à s’être dressé contre l’univers des multinationales de son temps, un homme qui a été un précurseur dans le combat mené aujourd’hui contre le capitalisme financier qui s’emploie à ruiner la planète. Cet homme, c'est Patrice Emery Lumumba.</text>
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                <text>Témoignage du lieu</text>
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                <text>Lambiotte, Michel</text>
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                <text>Le Taillis Pré</text>
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                <text>LAM-T-0 000 031</text>
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                <text>Tout suspendu à l'arche d'été une flambée d'herbe incessible toute l'apparence du jour dans l'enclos du vide / sinon l'écriture du sol où reste la seule écourtée berge creuse que longe la voie un glissement des jachères / ou retour aux bornes cette autre dehors au plus loin des sourcesla transparence du corps altéré que prolonge un signe des langues</text>
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                <text>191 p.</text>
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                <text>Province du Hainaut</text>
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                <text>Le pavillon des douanes</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Jauniaux, Jean</text>
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              <elementText elementTextId="12951">
                <text>Editions Luce Wilquin</text>
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                <text>Un fil rouge relie les nouvelles réunies dans ce recueil : la ligne d'horizon de la mer du Nord. Elle inspire à l'auteur des histoires que baignent une dérision salutaire et une mélancolie ironique. Sans doute est-ce là une des multiples formes que peut prendre la " belgitude " : appréhender le monde et le ramener à une dimension accessible par l'émotion, l'absurde ou l'exubérance. A propos de ces nouvelles, &#13;
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J.M.G. Le Clézio a écrit à l'auteur : je trouve vos nouvelles saisissantes. Vous avez une grande maturité d'écriture, sans excès, sans complaisance. L'humour équilibre vos textes, nous détourne d'un excédent de gravité, nous fait entendre un autre son. Vous mêlez habilement la réalité et l'imaginaire, votre expérience vécue et votre inexpérience rêvée. A-t-on un âge lorsqu'on écrit ? </text>
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              <text>exemplaire 100 sur 300</text>
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                <text>Traquenards, corps perdus</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Izoard, Jacques</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Le Taillis Pré</text>
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            <name>Type</name>
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                <text>IZO-T-0000029</text>
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            <description>A summary of the resource.</description>
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                <text>En-dehors de ces mots-ci, que désirer, qu'exiger ? C'est poussière de bleu, de bel encensoir, axe de vitesse à la pointe du sang. Tout tourne autour de ce seul vocable : corps ! </text>
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            <description>The material or physical carrier of the resource.</description>
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                <text>17 p.</text>
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              <name>Title</name>
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            <name>Title</name>
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                <text>éloge de l'élitisme</text>
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                <text>Le Grand Miroir</text>
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            <name>Type</name>
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                <text>Ouvrage imprimé</text>
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                <text>L'élitisme est une position très incorrecte qui consiste à attribuer une valeur maximale à tout ce que l'intelligence humaine peut réaliser de mieux et de meilleur pour l'humanité. L'état général de notre civilisation va à l'encontre des positions élitistes, qui se trouvent pratiquement réduites à prendre le maquis. Après avoir tenté d'expliquer comment, par le jeu des médias, de l'école " rénovée " et de l'Université de masse, on en est arrivé là, l'auteur réclame pour l'élitisme, dans une société qui se communautarise de plus en plus, le statut de minorité protégée. Dans ce pamphlet, Claude Javeau, sociologue réputé, professeur à l'Université libre de Bruxelles, répond à l'arrogance de la vacuité intellectuelle</text>
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                <text>Ode posthume de Foulon à « son pays » ITTELET,GUY Page 12 Jeudi 5 février 2009 Thuin Un an après le décès de Roger Foulon est édité « Les charmes de mon pays » Ciselé pendant plusieurs années au soir de sa vie, un ultime manuscrit de l’écrivain Roger Foulon vient d’être édité à l’occasion de la commémoration à Thuin du premier anniversaire de sa disparition. &lt;br /&gt;Intitulé tout naturellement « &lt;em&gt;Charmes de mon pays&lt;/em&gt; », l’ouvrage constitue un véritable survol d’un « voyage » au quotidien, étalé sur plusieurs décennies à travers un espace de proximité.&lt;br /&gt;&lt;br /&gt; Ce livre réjouira, une fois encore, tous les admirateurs de l’ancien instituteur devenu un des hommes de plume les plus prolixes du Hainaut. Au fil des pages, dans son style alerte associant ferveur et tendre ironie, Foulon raconte la vie à Thuin et en Thudinie durant l’entre-deux-guerres. Autobiographique, son récit s’attarde sur le vécu de sa propre famille mais élargit le propos à l’ensemble des activités thudiniennes. Des personnages truculents ou pittoresques, des métiers d’antan, des paysages dont les bords de Sambre ou encore des manifestations folkloriques sont ainsi évoqués. &lt;br /&gt;&lt;br /&gt;Ce manuscrit a été retrouvé par Pierre Jean Foulon dans les archives de son père. Le projet d’édition a été immédiatement soutenu par la Ville de Thuin qui souhaitait rendre un hommage particulier à l’homme qui fut non seulement un instituteur, un journaliste, un écrivain et un poète mais aussi un ambassadeur culturel de Thuin en tant que président des « Artistes de Thudinie » et membre de l’Académie royale de littérature française. Auteur de la préface de cet ouvrage, le journaliste Marcel Leroy insiste sur « la capacité de Foulon à explorer le monde au départ de Thuin sans aller pour autant à l’autre bout du monde ».&lt;br /&gt;&lt;br /&gt; Édité par l’Imprimerie du Hainaut, l’ouvrage (152 pages) est illustré de nombreuses photos d’époque en noir et blanc restaurées mais non retouchées.</text>
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                <text>Madame et le poète&#13;
&#13;
Selon mon dictionnaire, l'emporte-pièce est un outil servant à fabriquer, d'une seule pression et par découpe, des pièces de forme déterminée. L'expres­sion « à 1'emporte-pièce » signifie de ma­nière incisive, cassante ou sans nuance, d'un bloc.&#13;
&#13;
Refermons le dictionnaire et constatons tout de suite l'énigme que propose Claude Haumont : de prime abord, rien, dans son recueil, n'explique clairement ce titre. Aussi, le lecteur ne me tiendra pas rigueur, je l'espère, de mes tentatives d'interpréta­tions.&#13;
&#13;
Si le titre intrigue, on met toutefois du temps à s'en rendre compte. A l'inverse, il faut dire que, dès les premières lignes, le re­cueil subjugue : sont-ce des poèmes, des lettres, des dialogues, ou bien des souvenirs, des récits, des incantations ? Un peu tout cela à la fois et sans doute encore bien d'autres choses. Peu importe, il ne s'agit pas d'étiqueter mais de se laisser toucher par la vibration d'une parole. La première ligne ouvre une porte ; une porte dont nous ne savons rien sinon qu'elle donne directement sur l'écriture. La dernière ligne souhaite que les portes de l'Enfer demeurent fermées à jamais. Entre les deux, quelqu'un parle et cette parole voyage, mais pas innocemment, pas inutile­ment. Elle s'adresse à « Madame » et, tantôt l'apostrophe, tantôt la guide, l'interroge ou l'accompagne, la décrit. Madame a « choisi les gaines du quartz » quand l'auteur l'eût « aimée en cuir, en bottes et en lanières » ; Madame se laisse « fasciner par la mandragore », elle manifeste de la hâte, de l'impatience, de la folie, elle est cruelle, possède, au fond des yeux, une angoisse qu'elle ne partage ni avec ses amants ni avec ses anges. Madame hante les rêves, repasse les miroirs et devrait rester au plus profond de leur eau mais elle fait « si merveilleusement la belle ». Elle murmure à l'oreille « des contes à dormir debout » et pos­sède pour « le plus secret de sa peau », des re­changes à foison.&#13;
&#13;
Qui donc est Madame ? L'amante, la mort, la vie elle-même ou la fatalité ? Une épouse de circonstance pour le poète, un reflet de soi-même à qui adresser quelques mots ? Une inquiétude ou une douceur ? Une fé­minité mythique qui aurait traversé la nuit des temps et poursuivrait son œuvre bien au-delà des mots échangés avec elle au­jourd'hui ? A nouveau, le lecteur devra se glisser dans l'univers de ces poèmes et se laisser gagner par leur énigme ou s'ingénier à trouver une réponse à ces interrogations que je laisse ouvertes.&#13;
&#13;
On sait, depuis la parution de Trom, il y a bientôt vingt ans, combien l'inquiétude mé­taphysique est au centre des préoccupations et de l'écriture de Claude Haumont. J'ai usé déjà du mot « vibration » et je crois qu'il faut aborder ce recueil ainsi. Il n'y a ni question ni réponse définitives ; il n'y a que des cordes que nous puissions pincer et libre à chacun d'en apprécier la résonance. L'homme ne sait où il va mais au moins sait-il d'où il vient : la matrice n'est qu'une forme d'emporte-pièce. « Et fuis, quand même serions-nous objets rêvés, il reste l'aigrette des sens, plus étourdis­sante que [...] les élixirs et les poudres. »&#13;
&#13;
Jack Keguenne</text>
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                <text>Corinne Hoex, par touches successives, parle de l'amour qui se perpétue quand le corps n'est plus. Cet au-delà de l'amour fait son deuil, se révolte, ne cache ni sa tristesse, ni sa souffrance, ni son espoir. Une écriture au scalpel sert ce texte remarquable qui, avec retenue, se confronte à la mort.&#13;
&#13;
Bernard Villers, par sa capacité à mettre en image des idées, révèle l'architecture du texte, son rythme, sa force. Une interprétation graphique qui invite à une double lecture du texte.&#13;
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                <text>Fonds Luc Rémy</text>
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      <tag tagId="78">
        <name>Claude Haumont</name>
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      <tag tagId="15">
        <name>Poésie</name>
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          <name>ISBN</name>
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            <elementText elementTextId="12869">
              <text>2-87396-001-9</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Boulevard Jacqmain</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="12859">
                <text>Hamoir, Irène</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="12860">
                <text>Didier Devillez</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="12861">
                <text>1996</text>
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          <element elementId="42">
            <name>Format</name>
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              <elementText elementTextId="12862">
                <text>15 X 20 cm.</text>
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                <text>HAM-B-0 000 023</text>
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          <element elementId="53">
            <name>Abstract</name>
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              <elementText elementTextId="12866">
                <text>Dans ce roman, Irène Hamoir nous permet de remonter le temps de quelques décennies, dans les quartiers chauds de Bruxelles.  Dans un style dynamique et savoureux, l’auteure nous fait partager le quotidien de prostitués et de leurs souteneurs.  Les surnoms évocateurs, les situations nocturnes ou vespérales, l’espèce de justice du milieu, la plus ou moins bonne résolution d’une injustice relative nous rendent tous ces personnages plutôt sympathiques.&#13;
&#13;
L’ambiance typiquement bruxelloise des années ’50 et l’esprit surréaliste de l’auteure rendent ce court roman particulièrement agréable et divertissant à lire.   C’est une bonne chose qu’il fut réédité récemment pour nous en faire profiter à nouveau.</text>
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          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="12867">
                <text>154 p.</text>
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          <element elementId="90">
            <name>Provenance</name>
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                <text>Province du Hainaut</text>
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        <name>Irène Hamoir</name>
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              <name>Title</name>
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                  <text>Fonds Province de Hainaut - FPH</text>
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        <element elementId="95">
          <name>ISBN</name>
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            <elementText elementTextId="12857">
              <text>Néant</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Fertilité du désert</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12846">
                <text>Poèmes</text>
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          <element elementId="39">
            <name>Creator</name>
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            <elementTextContainer>
              <elementText elementTextId="12847">
                <text>Plisnier, Charles</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="12848">
                <text>Editions Labor</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="12849">
                <text>1933</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="12850">
                <text>12 X 19 cm.</text>
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              <elementText elementTextId="12851">
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            <description>The nature or genre of the resource</description>
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                <text>Ouvrage imprimé</text>
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            </elementTextContainer>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="12853">
                <text>PLI-F-0 000 022&#13;
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          <element elementId="53">
            <name>Abstract</name>
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              <elementText elementTextId="12854">
                <text>Fertilité du désert, qui appartient, comme Prière aux mains coupées, à cette période de sa vie où Charles Plisnier avait choisi d'adopter les techniques de l'écriture surréaliste.</text>
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          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="12855">
                <text>158 p.</text>
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          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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              <elementText elementTextId="12856">
                <text>Province du Hainaut</text>
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      <tag tagId="81">
        <name>Charles Plisnier</name>
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                  <text>Fonds Province de Hainaut - FPH</text>
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        <element elementId="95">
          <name>ISBN</name>
          <description/>
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            <elementText elementTextId="12844">
              <text>2-7103-2807-0</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="12833">
                <text>Une adolescence en Gueldre</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="12834">
                <text>Pirotte, Jean-Claude</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="12835">
                <text>La Table Ronde</text>
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            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12836">
                <text>2005</text>
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            </elementTextContainer>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="12837">
                <text>14 X 21 cm.</text>
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          </element>
          <element elementId="44">
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            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12838">
                <text>fr</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12839">
                <text>Ouvrage imprimé</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="12840">
                <text>PIR-A-0 000 021</text>
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          <element elementId="53">
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            <description>A summary of the resource.</description>
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              <elementText elementTextId="12841">
                <text>Fugueur à 12 ans, le Belge Jean-Claude Pirotte avait réussi à fuir aux Pays-Bas, en Gueldre, au centre du pays. Là, il avait été pris en charge par un linguiste éclairé qui lui avait appris la langue et bien d'autres choses. Au point que le jeune garçon avait donné à la maison de Bezuidenhout le statut de nouvelle demeure familiale. Une adolescence en Gueldre revient sur la découverte d'une famille, les Prins, dont le père, Willem Prins grand amateur de littérature confia au gamin, la mission de traduire Don Quichotte, et dont les deux fils, Han et Jan l'accompagnèrent dans leurs déambulations.&lt;br /&gt;&lt;br /&gt; Les atermoiements de la narration, cette façon de ne pas vouloir avancer mais de prendre d'incessants chemins de traverse, marquent une pudique approche des souvenirs. Dès l'amorce de son récit, Pirotte avoue son insurmontable faiblesse : " comment donner " à la scène de la rencontre avec M. Prins " tour à tour le poids du réel et l'empreinte du rêve ? Pas tour à tour, mais en même temps. " On ne revit pas deux fois une même vie. L'écrivain alors se fait peintre et nous détaille, comme s'il fermait presque les yeux, la lumière sur les paysages de Gueldre. Le roman foisonne de ces tableaux, nourris en même temps de la nostalgie et d'une érudition gourmande : " Je fais mes adieux à des coins de rues, à des ponts ignorés du côté du Jordaan, à quelques façades vétustes au bas desquelles s'appuient des vélos noirs ". Peu à peu, la prose semble se déliter avec le souvenir des filles aimées, croisées en d'autres carnets : " les souvenirs (...) s'estompent, se démembrent, se dispersent dans les replis d'un territoire dévasté. " On est touché alors de la délicatesse avec laquelle l'écrivain, le peintre, fuit son propre sujet, évoquant en des pages troubles sa mère, et cette incapacité à " s'engager dans l'existence " qui fait de lui un nomade. Dans les livres et les paysages.</text>
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          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="12842">
                <text>197 p.</text>
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            </elementTextContainer>
          </element>
          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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                <text>Province du Hainaut</text>
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        <name>Jean-Claude Pirotte</name>
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  <item itemId="1061" public="1" featured="0">
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      <elementSetContainer>
        <elementSet elementSetId="1">
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              <description>A name given to the resource</description>
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                <elementText elementTextId="17">
                  <text>Fonds Province de Hainaut - FPH</text>
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            <description>A name given to the resource</description>
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                <text>Faux Paseports</text>
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            <description>An account of the resource</description>
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                <text>Roman</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Plisnier, Charles</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="12822">
                <text>Jacques Antoine</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12823">
                <text>1984</text>
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            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="12824">
                <text>Tordeur, Jean</text>
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          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="12825">
                <text>15 X 21 cm</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12826">
                <text>fr</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12827">
                <text>Ouvrage imprimé</text>
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          <element elementId="43">
            <name>Identifier</name>
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              <elementText elementTextId="12828">
                <text>PLI-F-0 000 020</text>
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            <name>Abstract</name>
            <description>A summary of the resource.</description>
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              <elementText elementTextId="12829">
                <text>(Lecture d'un long extrait de Faux-Passeports, ou Les Mémoires d'un agitateur) &lt;br /&gt;&lt;br /&gt;José Gotovitch, historien, décrit l'attirance de Plisnier pour la révolution d'Octobre. Plisnier écrit régulièrement dans Les amis de l'Exploité, à l'origine du Parti Communiste Belge. Devenu avocat, sa trace politique n'est pas très marquée jusqu'au moment où le petit Parti Communiste crée une organisation spécifique, Le Secours Rouge International, "soutien financier et juridique aux camarades tombés dans la lutte des classes". Il se retrouve à la tête du Secrétariat Juridique International de cette organisation. On le prend au sérieux. &lt;br /&gt;&lt;br /&gt;En 1927, il est au coeur de l'action: il orchestre la campagne en faveur des anarchistes Sacco et Vanzetti. On le retrouve également au Présidium du Congrès de la Ligue contre l'Impérialisme et l'Oppression coloniale. Mais, peu à peu, les premiers doutes s'installent: l'esprit de la Révolution d'Octobre aurait été trahi par Staline. Il rejoint la dissidence trotskiste. (Lecture d'un extrait de Faux-Passeports dans lequel il tente d'analyser cette situation) &lt;br /&gt;&lt;br /&gt;En mars 1928, au congrès du Parti Communiste à Anvers, il prend la parole au nom de l'opposition trotskiste. Les dissidents sont exclus. Une année plus tard, Plisnier quitte cette opposition et il clôture sa période révolutionnaire. &lt;br /&gt;&lt;br /&gt;Il écrit alors Faux-Passeports. Quel est le rapport entre la réalité et la fiction dans ce livre? José Gotovitch estime qu'il a réussi une transposition littéraire d'une réalité qui n'avait pas encore été écrite jusque là. Il est un précurseur, d'une part, dans le portrait qu'il dresse du militant</text>
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="12830">
                <text>237 p.</text>
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