Georges-Emmanuel Clancier is a French writer, poet and novelist, born in 1914.

Biography

Georges-Emmanuel Clancier is born with Limoges on May 3rd, 1914 in a family of craftsmen and workmen porcelain. He makes his studies of 1919 to 1931 with the College of Limoges, stopped in class of Philosophie by the disease.

Having discovered in 1930 modern poetry thanks to young professors, it starts to write poems and proses and, as from 1933, to collaborate in reviews, in particular the Books of the South. It comes in 1939 to Paris where his wife prepares the boarding school of the psychiatric hospitals but turns over in 1940 to the Limousin, continues studies with the Faculty of Arts of Poitiers then of Toulouse, meets Joe Bousquet in Carcassonne. It enters in 1940 to the editorial board of the review Fontaine directed to Algiers by Max-pol. Fouchet. With Saint-Léonard-with-Noblat (High-Vienna) it still meets Raymond Queneau and Michel Leiris, and with Lourmarin Claude Roy, Pierre Seghers, Loys Masson, Pierre Emmanuel and Max-pol. Fouchet. From 1942 to 1944 it collects and transmits clandestinely to Algiers the texts writers of the Résistance in occupied France.

With the Libération Clancier is in charge of the programs with Radio-Limoges and journalist to the Populaire of the Center . At that time, it gives its support for the " young person peinture" school of Paris. In particular, he writes articles and fact of long radiophonic comments on the work of Maurice Boitel (*), come to paint in the area and to expose to Limoges. He founds with Robert Margerit and Rene Rougerie the review Centres then directs a collection of handwritten poems, Poésie and critical , at Rougerie (poems in particular of Claude Roy, Jean Lescure, Boris Vian). In 1949 the Price Maurice Bourdet is decreed to him for the whole of its radiophonic reports. It is called in 1955 in Paris to be a general secretary of the committees of programming of the rtf, then of ORTF, until 1970. It publishes in 1956 the first volume, the black Bread , of a romantic continuation in which it will tell, until 1961, history of its maternal family and her grandmother illiterate shepherdess. The Grand Prix of the Company of the Men of letters and the Price of the Four Jurys are allotted to him in 1957 and 1958. Clancier in September 1960 directs with Jean Lescure to Cerisy one decade devoted to Raymond Queneau which is directly at the origin of the foundation of the Oulipo.

Thereafter it is in 1967 acting general with the Businesses artistic and cultural for the House of France to the World Fair of Montreal, receives the Price of the Booksellers in 1970 and the following year the Grand Prix of literature of the French Academy. Its novel the black Bread is adapted in 1974 for television by Francoise Verny and Serge Moati. President of the PEN French Club of 1976 to 1979 it works with the defense of the writers threatened, prisoners, off-set, exiled. In 1980 he is vice-president of the French commission on UNESCO, in 1987 international vice-president of the PEN Club, president of the House of the Writers of his foundation in 1986 to 1990.

(*) Radio operator Limoges, " Colors of the temps" , May 17th, 1954.

Poetic work

Poet and novelist, at whole share each time, without one of the orientations of its work not being, as it can arrive, than an additional prolongation of the other, Georges-Emmanuel Clancier analyzes in poetry and its surroundings what distinguishes and gathers these two forms of creation: it sees " there; two faces of the same attempt or temptation of the man to overcome time, death, to cause an object which integrates them and the dépasse". But one and the other enracinent in this time in different ways all. " The roman" , he, " write; not save the life by tearing off it at time but, on the contrary, while making sensitive the movement of time through a vie". Complementarily, " the poem is negation of time, exaltation of the moment made motionless and unlimited, a such microscopic image of the eternity (...), which does not cease spouting out out of time or, more exactly, above time, as the island is above the mer".

If the novel of Clancier is indeed placed under the sign of the patient reconquest of time spent, it is on the contrary under that of the moment that its poems will try to recognize other capacities of the language. During the publication of Grounds of memory , he entrusted his hope " to engage poetry on the roads in cross or better: out of star, langage" i.e., agreeing the risk to be mislaid by thus refusing only one orientation, " to track and build the poem on all the levels of the langage". And through the Oscillating word , it is in its work several voices " who compose his voix" or " who speak his voix" , which is answered, are opposed, tangle up, among which it would be possible to distinguish five essential levels or movements.

" Poetry, for me, always binds to the souvenir" , note Georges-Emmanuel Clancier. The first of these voices could be that of the Poèmes of the black Bread which return, in several of its collections, with the romantic cycle of which they take again the name. But if they undertake them well also " to tear off with never more what was once " , their instantaneous invocations refract it differently. In a closer and more emotional connection still with the beings which haunt the poet, which requires " justice and grace by (its) voice,/Juste grace that a cheating world (their) vola" , these poems could be qualified the “méta-romantic ones”. Being registered in margin of the work of the writing of the novel, they poetically outline to it tragic lesson of its promise and its defeat, at best of its " poor wretch victoire".

The poems of Approaches , according to the title of another of the moments of Grounds of memory , would constitute a second perceptible level in the work of Georges-Emmanuel Clancier. They would be rather poems beyond that, but as well often in-on this side, this time of the poem itself. Poem-mirrors, placed often at the head of the collections, they also naturally find their place in their last pages. On both sides of the poem, they are question about its birth, the enigma of its appearance, " the proper walk of the poet towards his poème" , rise of the language through silence or rather " silence through the langage" , as on the direction of its project: " If the words were poisoned (...)/If the poem were mortal mensonge" ?

In a third level, it is with the play of the language itself that the poet would seem to entrust. Here, the poem is built in variations starting from its first towards or connects them according to different orders. Elsewhere, in the short poetic news of Obviousnesses , the images, catches literally, fantastic adventures secrete. Or even Clancier, in the Poem haunted gives itself invisible constraints, would say one to Oulipo of which, bound to Queneau, he knows work well, but purely poetic and emotive: the filigree of the " words of the autre" , of " a former word and aimée" , of Apollinaire or Nerval, of Rutebeuf or Villon. It is thus in multiple ways that it tries to enter " the quasi vegetable organization of the langage" , to follow these routes that the sound and visual flesh of the words opens in front of him. This exploration of the language by the language seems however only to accompany at Clancier exploration by the world by the language which remains its objective, the first constituting only one of dimensions of the second.

Because it is primarily like perpetual Éveil , title of the ultimate movement of Grounds of memory , which appears, in a fourth level, the major dimension of the poetry of Clancier. The language is most directly launched here with the meeting of the enigmas or the obviousnesses of a secret Ground perpetually . Been obstinated continuation, " tracking among rocks, algae, puddle pools, the word, the trace" , revenge on the carelessness, the wear of the hours, the vain concern of the lost life, the poetic moment is that of a reconquest here on the ditch which time dug between the man and the world. The language is the face on which a life is increased in an unceasingly fugitive new life: opening in the world, raising the veil whose practices covered it, the image is the specific experiment where the life, far from reflecting itself, is invented lately. The poetic word, exploring the feeling, giving him form, reflecting it, extending it beyond sensitive, finally makes it possible to spell the presence of the things, through the inventories or the land registers as of now and of here privileged, of the native Limousin in Alpe, the Atlantic island in Mediterranean Aspre, and of " perhaps demeurer" the world: of living, in spite of the life, a little this “True life”, soft and fatal, which would give to the man his Vrai face .

But this True life remains remote. " Man of being able and profit, trick, hatred and fear. /Man of system, contempt, war, man of death, idiotic mould on the man. /With far, the festival juste." The poems, finally, that Clancier gathers in the center of Oscillante word under the name of Poèmes of shame , are other poems of the black Bread, extended to the horizons of the ground. The language here does not hesitate to denounce, the wounded word continues there jerked, tight, shingling protest against the silly thing and the crime, " empire of the haine" , against " the war made with the man/By the animal with head of homme". These poems would seem the attempt to indicate the unacceptable one, to bring back in the field of the poetic writing what she very often forgot or driven back, the reality of " infamy that the world rabâche". Clancier does not seek to flee the conscience of it and would seem there to despair of the man and the verb if, by registering this despair, it did not call any yet with other men, who could divide it.

At Clancier to be denounced today, to save yesterday combine themselves, like the poem to come and the incipient poem, the desire of the True life and the refusal of the crime. Each one of these ways, in the multiplicity of their connections, the complexity of their correspondences, returns the poet on the others, is prolonged there and metamorphose themselves there, in a partition where " the variations of topics, stamps, movements, contribute to build only one sound being whose external diversity proceeds of single and even vibration". Thus in the same Momentary poems of of time the two votes of récitatif and shorter stanzas, in counterpoint, do not cease alternating, or in Against Chants the land celebrations and the nightmare always reappearing of the " killers chamarrés". Refusing the monolog and undertaking to mutilate itself of any of its sources, it is of all the possible surface of the language that the poetic work of Clancier thus endeavors to coincide with the world, as if the oscillations of a finally total word could only decipher in the writing of the days, encircle and collect with measurement the ambiguous facets of the enigma to be and not to be not.

Selective bibliography

Poetry

  • Time of the heroes , Books of the School of Rochefort, 1943.
  • the celestial Peasant , Marseilles, Robert Laffont, 1943.
  • Radio news , Limoges, Rougerie, 1949.
  • secret Ground , Paris, Seghers, 1951.
  • the Other bank , Limoges, Rougerie, 1952.
  • True face , Paris, Seghers, 1953; Paris, Robert Laffont, 1965.
  • Obviousnesses , Paris, Mercure de France, 1960.
  • Grounds of Memory, Paris, Robert Laffont, 1965
  • the Century and space , Marc Pessein, 1970
  • Perhaps a residence , preceded by Writing of the days , Paris, Gallimard, 1972
  • the analogical Voyage , Paris, Jean Briance, 1976
  • Oscillating word , Paris, Gallimard, 1978
  • Words of Aspre , Georges Airspeed indicator, 1980
  • the Poem haunted , Paris, Gallimard, 1983
  • the Peasant celestial , followed Songs on porcelain , Our time , Writing of the days, foreword of Pierre Gascar, Paris, Gallimard Poetry, 1984
  • Orée , Luxembourg, Euroeditor, 1987
  • Attempt at a land register in love , Ottawa (Canada), Written Forging mills, 1989
  • Momentary of time , Paris, Gallimard, 1991
  • Against Songs, Paris, Gallimard, 2001

Novels

  • Squares on the lathe , Algiers, Edmond Charlot, 1942
  • the crown of life , Paris, Edmond Charlot, 1946
  • Last hour , Paris, Gallimard, 1951; Editions of the Rock, 1998
  • black Bread (I), Paris, Robert Laffont, 1956
  • the Factory of the king (II), Paris, Robert Laffont, 1957
  • Flags of the city (III), Paris, Robert Laffont, 1959
  • the Last season (IV), Paris, Robert Laffont, 1961
  • Dubious the , Paris, Seghers, 1965; Paris, Robert Laffont, 1970
  • Eternity plus one day, Paris, Robert Laffont, 1969; The Roundtable, 2005
  • the Halt in the summer , Paris, Robert Laffont, 1976
  • black Bread, the Factory of the king , Volume I, Flags of the city, the last season , Volume II, Paris, Robert Laffont, 1991
  • the shade sarrasine , Paris, Albin Michel, 1996

News and tales

  • the Grass snake of Sunday , Nice, Méditerranea, 1937
  • the Party of the children , Paris, free Works n°137, Arthème Beech, 1957
  • the Baptism , Paris, free Works n° 156, Arthème Beech, 1959
  • Arenas of Vérone , Paris, Robert Laffont, 1964
  • the Child of snow , Paris, Casterman, 1978
  • the child who took the wind , Paris, Casterman, 1984

Autobiography

  • These shades which light me :

- the Child doubles , Paris, Albin Michel, 1984 - the Schoolboy of the dreams , Paris, Albin Michel, 1986 - an Young man with the secrecy , Paris, Albin Michel, 1989

Critical works

  • Andre Frénaud , Paris, Poets of today, Seghers, 1953
  • critical Panorama of the French poetry of Rimbaud to the Surrealism , Paris, Seghers, 1953
  • critical Panorama of the French poetry of Chénier to Baudelaire , Paris, Seghers, 1963
  • Poetry and its surroundings , Paris, Gallimard, 1973
  • In the adventure of the language , Paris, University Presses of France, 1987

  • Georges-Emmanuel Clancier also composed the scenario and the dialogs of the telefilm the loves of badly-liked (Apollinaire)

  • It in addition wrote poems, articles and forewords around the drawings and of paintings of Michel Arnaudiès, Maurice Boitel, Michel Brigand, Roger Chastel (1982), Francoise Dufay, Eudaldo (1986), Pierre Frilay, Elie Lascaux (1988), Michel Thompson. Editions of its poems were accompanied by works by Georges Badin, Sergio Ceccotti, Nathalie Dasseville Lunine (1987), Pierre Frilay (1976).

On Georges-Emmanuel Clancier

  • Michel-Georges Bernard, Georges-Emmanuel Clancier , Paris, Poets of today, Seghers, 1967
  • Clancier, Guillevic, Tortel (communications of the conference of Cerisy, September 1979), Marseilles, South, 1983
  • Rene Bertelé, Panorama of the young contemporary poetry , Marseilles, Robert Laffont, 1942.
  • Mara Merolli-Mariano, Clancier , (in Italian), Academic institute of euro-African studies, Paris-Lecce, 1996
  • J. - M. Baude, poetic Creation and romantic creation in the work of G. - E. Clancier , Villeneuve d' Ascq, Presses of North, 1997
  • Aude Lend-of-Beaufort, Georges-Emmanuel Clancier , in Dictionary of poetry of Baudelaire at our days, under the direction of Michel Jarrety, Paris, university Presses of France, 2001
  • Georges-Emmanuel Clancier, passenger of the century , Acts of the Congress of Cerisy, 2000, Limoges, University Presses of Limoges, 2003

Judgments

  • "The poetry of Clancier is, in its bottom, tragedy like any poetry, but it expresses simultaneously a will of agreement, an exceptional faculty of reception. As well in the grace, the chance as in the tragedy of the novels, of the poems of the black Pain it is the testimony of the man on the man, in his contradictions, its pride, its possibilities of love. (...) It is like a call to confidence in the man, it relies on the promesse."
Andre Frénaud (1967)

  • "Obscure clearness which fall from the stars cornéliennes and the enigmatic obviousnesses which form the substance of the tales of the Perrault son, one finds them throughout the history of the French literature, it is a source which re-appears with violence in the work of Nerval, it is the same source which gives to the poetry of Georges-Emmanuel Clancier his limpid and opaque qualities, its development of a terroit of which it seems to as well find the indefinite prolongations towards an incommensurable future as towards a prehistoric past and touhours présent."

Raymond Queneau (1967)

Quotation

Pages, of the pages, the words, of the words,

Each page is a newspaper
Each word one moment
Of the pages, words to tear off you with death (...)
You and hold them, innocent wonders,
Then torn, ridiculed by the Masters,
Privés of bread, deprived of direction.
Of the words alas! To find shame and misery,
to again dig your suffering and hunger! (...)
Of the words, only of the words
to erase the death which them efface"

( Grounds of memory , 1965)

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