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Experimentation and the Lyric in Contemporary French Poetry pp 1–33Cite as

Palgrave Macmillan

Introduction: ‘It was war between the literalist and the lyric poets. Starwars. The grammatical-communist Robots against the real Humans’

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Abstract

This chapter situates the study within the context of historiographical debates over the status of the lyric in French poetics. In the last four decades, the question of whether lyrical discourse has a future or whether it faces extinction has been at the center of many discussions of poetics. This has led poetry of the last four decades to be divided into the opposing tendencies of ‘new lyricism’ and ‘literality’. However, whatever the terms used to describe the French poetic field, this chapter demonstrates that such dichotomies are not, in themselves, always useful. The chapter provides an extensive survey of the contrasting strands in poetry since the 1970s, and a detailed contextualization of the work of Denis Roche, Emmanuel Hocquard, Olivier Cadiot, Anne Portugal, Pierre Alferi and Franck Leibovici. It then argues for the necessity of examining the way in which these poets negotiate, question and reconfigure the lyric, avoiding an overly simplistic designation of poets as either ‘for’ or ‘against’ the lyric.

‘C’était la guerre entre littéralité et lyrisme. La guerre des étoiles. Les Robots grammatico-communistes contre les vrais humains’ asserts Olivier Cadiot. ‘Réenchanter les formes’ interview by Marie Gil and Patrice Maniglier, Les Temps Modernes, 5 no. 676 (2013): 9.

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Notes

  1. 1.

    Emmanuel Hocquard, ‘Tout le monde se ressemble’ in Ma haie (Paris: P.O.L, 2001), 229.

  2. 2.

    Jean-Michel Maulpoix, Du Lyrisme (Paris: José Corti, 2000), 17.

  3. 3.

    Jean-Marie Gleize, ‘Où vont les chiens?’, Littérature, no. 110, (1998): 70–80 (78).

  4. 4.

    Jean-Marie Gleize, A Noir: Poésie et Littéralité (Paris: Seuil, 1992), 188.

  5. 5.

    Ibid., 157.

  6. 6.

    Georges Bataille, Œuvres Complètes, vol.3, (Paris: Gallimard, 1971), 512.

  7. 7.

    Antonin Artaud, Pour en finir avec le jugement de dieu (Paris: Gallimard, 2007), 7.

  8. 8.

    Francis Ponge, ‘La pompe lyrique’ in Le Grand Recueil, Pièces (Paris: Gallimard, 1962), 18.

  9. 9.

    Christian Prigent cited by Jean-Claude Pinson, Habiter en poète – Essais sur la poésie contemporaine (Champ Vallon, 1995), 221.

  10. 10.

    See for instance, Change, ‘Le Montage’, no. 1 (1968), but also the article by Abraham Moles, ‘Poésie expérimentale, poétique et art permutationnel’, Arguments, no. 27–28(1962): 93–97.

  11. 11.

    Christian Prigent’s reponse in L’Enquête poésie (Paris: Jean-Michel Place, 1979), 362.

  12. 12.

    Jean-Claude Pinson, Habiter en poète (Paris: Champ Vallon, 1995), 12.

  13. 13.

    Nathalie Quintane, ‘Monstres et couillons, la partition du champ poétique contemporain’, October 19, 2004. Accessed January 21, 2016. https://www.sitaudis.fr/Incitations/monstres-et-couillons-la-partition-du-champ-poetique-contemporain.php. See also, Eric Lynch, Unidentified Verbal Objects: Contemporary French Poetry, Intermedia, and Narrative (2016). CUNY Academic Works.

  14. 14.

    T. S. Eliot, ‘Three Voices of Poetry’ in On Poetry and Poets (New York: Farrar Straus Giroux, 2009), 105–106.

  15. 15.

    In the French context, the term ‘lyric’ has an interesting history. While the substantive ‘lyric’ already existed in French in the Middle Ages and referred to the action of playing an instrument, the adjective ‘lyrique’ (‘lyric’) first appeared in the sixteenth century and denoted, according to Charles Batteux in Principe de littérature, poems ‘qui expriment les sentiments intimes du poète’ (which express the intimate feelings of the poet) but it is only during the romantic period that the idea of the lyric as a poetic genre, idiosyncratic mode of enunciation, subjective form and receptacle of human experience became central. All these references can be found on the dictionary Tresor de la Langue Française, http://atilf.atilf.fr

  16. 16.

    Gérard Genette, Introduction à l’architecte (Paris: Seuil, 1979).

  17. 17.

    Käte Hamburger, Logic of Literature (Indiana University Press, 1973).

  18. 18.

    Barbara Herrnstein Smith, ‘Poetry as Fiction’, New Literary History, no. 2 (1971): 259–281.

  19. 19.

    Roman Jakobson, The Framework of Language (Oxford: Oxon, 1980).

  20. 20.

    Karlheinz Stierele, ‘Identité du discours et transgression lyrique’ in Poétique, no. 32, (1978): 422–441.

  21. 21.

    See Jonathan Culler, ‘Three Theories of the Lyric’ in Theory of the Lyric (Harvard University Press, 2015), 91–131.

  22. 22.

    Denis Roche, ‘La poésie est inadmissible’ in La poésie est inadmissible: Œuvres poétiques complètes (Paris: Seuil, 1995), 471.

  23. 23.

    During this period, journals have been key to the dissemination of poetry. Action poétique (1955) directed by Henry Deluy became a vital forum for poetry and theory and was subsequently associated after 1967 with the review Change (1968) due to the presence on both boards of Jacques Roubaud. Let us also mention the significant experimental poetic review TXT (1969) founded by Christian Prigent, closely associated with Tel Quel textualism.

  24. 24.

    Roche , ‘Dialogues du paradoxe et de la barre à mine’ in La poésie est inadmissible, 437. Roche’s critique of Surrealism is very close to Sartre’s reading. Sartre writes, ‘Si Breton croit pouvoir poursuivre ses expériences intérieures en marge de l’activité révolutionnaire et parallèlement à elle, il est condamné d’avance’ (If Breton thinks that he can pursue his inner experiences on the margin of revolutionary activity and parallel to it, he is condemned in advance) and ‘ainsi la première tentative de l’écrivain bourgeois pour se rapprocher du prolétariat demeure utopique et abstraite parce qu’il ne cherche pas un public mais un allié, parce qu’il conserve et renforce la division du temporel et du spirituel et qu’il se maintient dans les limites d’une cléricature’ (thus, the bourgeois writer’s first attempt to reconcile himself with the proletariat remains utopian and abstract because he is not seeking a public but an ally, because he preserves and reinforces the division of the temporal and spiritual and because he maintains himself within the limits of a clerkship), Jean-Paul Sartre, Qu’est-ce que la littérature? (Paris: Seuil, 2013), 188, 193. Trans. Steven Ungar, What is Literature? and Other Essays (Harvard University Press, 1988), 156, 160.

  25. 25.

    Roche , ‘Le Mécrit’ in La poésie est inadmissible, 460.

  26. 26.

    Emmanuel Hocquard, Un privé à Tanger (Paris: P.O.L, 1987), 53.

  27. 27.

    Hocquard, ‘La Bibliothèque de Trieste’ in Ma haie, 26. Trans. Mark Hutchinson, The Library of Trieste (Paris: The Noble Rider, 1994), 29.

  28. 28.

    Ibid., 27 [29–30].

  29. 29.

    Paul de Man, ‘Lyrical Voice in Contemporary Theory’ in Lyric Poetry: Beyond New Criticism , edited by Chaviva Hosek and Patricia Parker (Ithaca NY: Cornell University Press, 1985), 55–82 (57).

  30. 30.

    See Jean Cohen, Structure du langage poétique (Paris: Flammarion, 1966).

  31. 31.

    Jacques Derrida, De la grammatologie (Paris: Minuit, 1967), 383. Trans. Gayatri Chakravoty Spivak, Of Grammatology (Baltimore: John Hopkins University Press, 1997), 272.

  32. 32.

    This distinction between the metaphorical and the literal echoes the romantic distinction between the allegorical (referring to a system of a reference outside the symbol) and the tautegorical, a neologism coined by Schelling referring to an autoreferential symbol carrying its own meaning. See ‘Tautegorial sublime’, chap 3, in Steven M. Wasserstrom, Religion After Relgion: Gershom Scholem, Mircea Eliade and Henry Corbin at Eranos (Princeton University Press, 1999), 56.

  33. 33.

    See Julia Kristeva ‘Le Sujet en procès’ in Artaud , edited by Philippe Sollers (Paris: U.G.E., 10/18, 1973), 43–108; and the recent synthesis on this question, L’Illisibilité en questions, edited by Bénedicte Gorillot and Alain Lescart (Paris: Presses universitaires du Septentrion, 2014).

  34. 34.

    Roland Barthes, ‘Introduction à l’analyse structurale du récit’, Communication, no. 8 (1966): 1–27 (4).

  35. 35.

    It should be noted that Wittgenstein’s presence has been more significant in the American context than in the French one. Many books written by the ‘L=A=N=G=U=A=G=E’ poets have been written under the sign of Wittgenstein from Charles Bernstein to Rosmarie Waldrop, passing through David Antin and Ron Silliman. For a study of Wittgensteinian French poetics, see M. Rusandra Muresan, ‘Wittgenstein in Recent French Poetics: Henri Meschonnic and Jacques Roubaud’ Paragraph 34, no. 3 (2011): 423–440.

  36. 36.

    Here is a very limited selection: Serges Fauchereau, Lecture de la poésie américaine (Paris: Minuit, 1968); ‘Poètes objectivistes’, Europe, no. 578–579 (1977); Jacques Roubaud and Michel Deguy, Vingt poètes américains (Paris: Gallimard, 1980); ‘Des Objectivistes’ Java, no. 4 (1990); Emmanuel Hocquard, Claude Royet-Journoud, 49+1 nouveaux poètes américains (Royaumont: Éditions Royaumont, 1991); ‘Charles Reznikoff’, If, no. 16 (2000); Franck Leibovici, des documents poétiques (Romainville: Al Dante/Questions théoriques, 2007). For an overview of this phenomenon, see Abigail Lang ‘The Ongoing French Reception of the Objectivists’, Transatlantica, no. 1 (2016). Accessed October 30, 2017. http://transatlantica.revues.org/8107

  37. 37.

    See Jacques Roubaud, La vieillesse d’Alexandre, essai sur quelques états du vers français (Paris: Ivrea, 2000).

  38. 38.

    François Cusset, La Décennie: Le grand cauchemar des années 1980 (Paris: La Découverte, 2008).

  39. 39.

    See Pierre Alferi, Olivier Cadiot, ‘Bataille en relief’ in La Revue de littérature générale , La Mécanique Lyrique’ 95/1 [subsequently, RLG1] (Paris: P.O.L, 1995), 408; and Pierre Alferi and Olivier Cadiot, ‘Bataille en relief: retour sur une provocation’, Les Temps modernes, no. 602 (1999): 296–300.

  40. 40.

    ‘ne sont pas moins un motif que les fleurs bleues des vrai-poëtes-lyriques-enfin-revenus’ (are no less a motive than the real-lyric-poets-finally-back), RLG1, 408.

  41. 41.

    Pierre Alferi, Olivier Cadiot, Revue de littérature générale, Digest 96/2 [subsequently, RLG2] (Paris: P.O.L, 1996), section 49.

  42. 42.

    This statement echoes Deleuze’s critique of lack as a counter-effect of desire: ‘Si le désir est manque de l’objet réel, sa réalité même est dans une “essence du manque” qui produit l’objet fantasmé. Le désir ainsi conçu comme production, mais production de fantasmes, a été parfaitement exposé par la psychanalyse. […] Mais même quand le fantasme est interprété dans toute son extension, non plus comme un objet, mais comme une machine spécifique qui met en scène le désir, cette machine est seulement théâtrale, et laisse subsister la complémentarité de ce qu’elle sépare: c’est alors le besoin qui est défini par le manque relatif et déterminé de son propre objet, tandis que le désir apparaît comme ce qui produit le fantasme et se produit lui-même en se détachant de l’objet, mais aussi bien en redoublant le manque, en le portant à l’absolu, en en faisant une “incurable insuffisance d’être”, un “manque-à-être qu’est la vie”. D’où la présentation du désir comme étayé sur les besoins, la productivité du désir continuant à se faire sur fond des besoins, et de leur rapport de manque à l’objet (théorie de l’étayage) […]. Le manque est un contre-effet du désir […]’ (If desire is the lack of the real object, its very nature as a real entity depends upon an ‘essence of lack’ that produces the fantasized object. Desire thus conceived of as production, through merely the production of fantasies, has been explained perfectly by psychoanalysis […] but even when the fantasy is interpreted in depth, not simply as an object, but as a specific machine that brings desire itself front and center, this machine is merely theatrical, and the complementarity of what it sets apart still remains: it is now need that is defined in term of a relative lack and determined by its own object, whereas desire is regarded as what produces the fantasy and produces itself by detaching itself from the object, though at the same time it intensifies the lack by making it absolute: an ‘incurable insufficiency of being’ an ‘instability-to-be at that is life itself’. Hence the presentation of desire as something supported by needs, while these needs, and their relationship to the object as something that is lacking is missing or missing, continue to be the basis of the productivity of desire (theory of an underlying support) […]. Lack is the counter-effect of desire […]) Gilles Deleuze, Félix Guattari, L’Anti-Œdipe: Capitalisme et Schizophrénie (Paris: Minuit, 1972), 33–35. Trans. Robert Hurley, Mark Seem, and Helen R. Lane, Anti-Oedipus: Capitalism and Schizophrenia (Minneapolis: University of Minnesota, 1983), 27–29.

  43. 43.

    The adjective ‘general’ here suggests a desire to break with taxonomies, and especially poetry. The adjective also echoes ironically the famous essays by Roman Jakobson or Émile Benveniste on linguistics. In these two volumes, Cadiot and Alferi provided a (nonnormative) ‘grammar’ of experimental writing through an inventory of techniques.

  44. 44.

    Alferi , Cadiot, RLG 1, 14.

  45. 45.

    Pierre Alferi, ‘Mémorandum 2, 1995 Prose’, unpublished, in Une dérive théorique: poésie, prose, montage , dessin, Post-doc diss., Université Paris 8, 2013, n.p.

  46. 46.

    The ufologic metaphor echoes Olivier Cadiot and Pierre Alferi’s influential journal La Revue de littérature générale (1995, 1996) in which they organise and draw on heteroclite verbal fragments to create new poetic forms that escape stable generic identifications. Since then, this acronym has been used in different contexts that include visual arts (OLP for ‘Objets Littéraires Plastiques’, ‘Plastic Literary Objects’), installation (IDO for ‘Installation Déréalisantes d’Objets’, ‘Derealized Installations of Objects’) or music (OSNI for ‘Objets Sonores Non Identifiés’, ‘Sonic Non Indentified Objects). By extension, the substantive ‘object’ refers to a lexical cosmology of references that includes, amongst others, Charles Olson’s objectism, Charles Reznikoff’s objectivism and Francis Ponge’s objeux.

  47. 47.

    Leibovici , des documents poétiques, 25–26.

  48. 48.

    Bruno Latour, “From Realpolitik to Dingpolitik, An Introduction to Making Things Public,” Making Things Public: Atmosphere of Democracy (Cambridge: MIT Press, 2005), 3–34.

  49. 49.

    Virginia Jackson ‘Lyric’ in The Princeton Encyclopedia of Poetry and Poetics, edited by Roland Green (Princeton University Press, 2012), 833.

  50. 50.

    Craig Dworkin, ‘The Ubuweb: Anthology of Conceptual Poetry’. Accessed December 17, 2017. http://www.ubu.com/concept/

  51. 51.

    Craig Dworkin, ‘The Fate of Echo’ in Against Expression: An Anthology of Conceptual Writing, edited by Craig Dworkin and Kenneth Goldsmith (Northwestern University Press, 2011), xxiii–liv (xliii).

  52. 52.

    Marjorie Perloff, Poetic License: Studies in the Modernist and Postmodernist Lyric (Northwestern University Press, 1990), 12.

  53. 53.

    Kenneth Goldsmith, Uncreative Writing: Managing Language in the Digital Age (New York: Columbia University Press, 2011), 1.

  54. 54.

    Here a very limited bibliography, Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media (Chicago: University of Chicago Press, 1991), Differentials: Poetry, Poetics, Pedagogy (Tuscaloosa: University of Alabama Press, 2004), Unoriginal Genius: Poetry by Other Means in the New Century (Chicago: University of Chicago Press, 2010); Carrie Noland, Poetry at Stake: Lyric Aesthetics and the Challenge of Technology (Princeton: Princeton University Press, 1999), Diasporic Avant-Gardes: Experimental Poetics and Cultural Displacement, co-edited with Barrett Watten (New York: Palgrave Macmillan, 2009); Charles Bernstein, Pitch of Poetry (Chicago: Chicago Press, 2016); David Kaufmann, Reading Uncreative Writing: Conceptualism, Expression and the Lyric (Basingstoke: Palgrave Macmillan, 2017).

  55. 55.

    See for instance, Robert von Hallberg, Lyric Powers (Chicago: University of Chicago Press, 2008); Virginia Jackson, Yopie Prins, eds., The Lyric Theory Reader: A Critical Anthology (Baltimore: Johns Hopkins University Press, 2014); Jonathan Culler, Theory of the Lyric , (Cambridge, MA: Harvard University Press, 2015). For a panorama of the main debates in Anglo-American scholarship, see Stephen Burt’s recent article, ‘What is This Thing Called Lyric?’ Modern Philology 113, no. 3 (2016): 422–440.

  56. 56.

    Jonathan Culler, ‘Changes in the Study of the Lyric’ in Lyric Poetry: Beyond New Criticism (New York: Cornell University Press, 1985), 41.

  57. 57.

    Marjorie Perloff argues in a very interesting article that what Barthes’s apparent of conviction about poetry must be read as a suggestion to consider the poetic differently. As she posits, ‘what Barthes is telling us (…) is perhaps the “poetic” in our own time, is to be found, not in the conventionally isolated lyric poem, so dear to the Romantics and Symbolists but in texts not immediately recognizable as poetry’ in Poetic Licence: Essays on Modernist and Postmodernist Lyric , 17–18.

  58. 58.

    In Le Degré zéro de l’écriture (Paris: Seuil, 2004), Roland Barthes writes, ‘Cette faim du Mot, commune à toute la poésie moderne, fait de la parole poétique une parole terrible et inhumaine. Elle institue un discours plein de trous et plein de lumières, plein d’absences et de signes surnourrissant, sans prévision ni permanence d’intention […] la poésie moderne est une poésie objective’, 38–39 (This Hunger of the Word, common to the whole of modern poetry, makes poetic speech terrible and inhuman. It initiates a discourse full of gaps and full of lights, filled with absences and over nourishing signs, without foresight or stability of intention […] modern poetry is a poetry of the object). Trans. Annette Lavers and Colin Smith, Writing Degree Zero (Hill & Wang: Reissue edition, 1990), 49–50.

  59. 59.

    See Roland Barthes, ‘La notation’ in La Préparation du Roman I et II: Cours et séminaires au Collège de France 1978–1979 et 1979–1980 (Paris: Seuil, 2003).

  60. 60.

    Jean-Claude Pinson, A Piatigorsk, sur la poésie (Cécile Défault, 2008), 133.

  61. 61.

    Jérôme Game, Poetic Becomings (Oxford: Peter Lang, 2011), 52.

  62. 62.

    Jean-Michel Maulpoix, ‘La poésie française depuis 1950’. Accessed February 2, 2013. http://www.maulpoix.net/decanter.html

  63. 63.

    Dominique Rabaté, Gestes Lyriques (Paris: Corti, 2013), 236.

  64. 64.

    Wolfgang Iser, The Act of Reading: A Theory of Aesthetic Response (Baltimore: John Hopkins University Press, 1980) 81.

  65. 65.

    Ibid.

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  1. Murray Edwards College, University of Cambridge, Cambridge, UK

    Jeff Barda

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Barda, J. (2019). Introduction: ‘It was war between the literalist and the lyric poets. Starwars. The grammatical-communist Robots against the real Humans’. In: Experimentation and the Lyric in Contemporary French Poetry . Palgrave Studies in Modern European Literature. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-15293-2_1

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