the occasion of the publication of his collection of poems Choir of opposites editions of the Small Vehicle, Michel L'Hostis has agreed to answer some questions.
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NOT FOR NO: "Poetry is the chorus of opposites" you write. I know you little, but I suspect that this "chorus of opposites" also means that you, somehow, it means: this mix of physical strength and extreme gentleness that characterizes you, this balance always rebuild between the deepest despair and more positive energy. "The chorus of opposites," for you, it's almost a philosophy of life?
The HOSTS MICHEL: Yes, the "Chorus of opposites" is exactly this balance still rebuilding from the deepest despair and the most positive energy and is thus also a philosophy of life .
This balance is achieved through the meeting of opposites. For this, I scattered the senses. I create a new readiness of the words, sacrificing their static image the benefit of a clear destination.
I (The poet who writes) become (t) so a tightrope walker who vacillates between opposites, such as nudity of the poem and its opposite to achieve the alchemy of the everyday.
The goal is to create harmony (which speaks very well René Char ("Rage and Mystery") to move towards more poetry and truth.
It is So much about balance. Sometimes you see the words in the text to exalt far as they recreate desire (desire of the poet's desire reader) and then the link they put in place. Here words have healing power, because in the "Chorus of opposites' desires to flourish.
Thus, the poet builds his landscape of the language that the desire to be resuscitated and therefore puts us face the truth of being, including the construction of women (and the leaf page is often the other, as well as what the words mean and what or to whom they are addressed). Language, even that gathering and the work become another body, that of being desired.
is why I wrote this sentence: "A poem is successful when it feels like it has arms that are waiting for the player drops it."
One and the Many also are reconciled in the poem. Mean by that the self and the universal, and mystery, so dear to poets, is preserved.
The reader then measures the power of healing words themselves which allow her to make her own analogy. The universal analogy so dear to Rene Char.
NDN: Your writing, which mixes clever poems in stanzas and aphorisms is quite original. Where did you get it? What are your masters in poetry?
LH: Where did I get my writing? What are my masters in poetry?
My writing comes from my childhood. I had the chance to be a precocious child and build myself through words.
She also comes from adolescence when I built my identity by reading the poets. Baudelaire, Tristan Corbiere, Rimbaud, Verlaine, Mallarmé, Apollinaire but Breton, Max Jacob and many others.
After the depression that I made in 21 years, I decided to be more readable, less tight and I do not hide that Jacques Prevert, Francis Ponge Eluard and have great importance for me. Rene Char too. For me the 1950s are the key to my poetry.
Char mixed poems and aphorisms. Jacques Prevert too. Perhaps this is related to my admiration for these poets.
But this is not the only answer. Noting that a surprising word is worth more than dictation of words, she was driven from heaven or the unconscious, I try to write with legible words. Prévert and Gainsbourg are my masters.
My other masters are Louis Dubost, Rene Daumal, Jean-Pierre Lesieur, Richard Brautigan, Vercey Claude Alain Wexler and Michael Francis Lavaur for the friendship he gave me (Our souls are similar). My friend Eric Simon too. Another of my teachers was Jean-Claude Koutchouk (+).
NDN: In several of your poems one feels that there is a background Michel L'Hostis malicious, mischievous, endowed with a real sense of humor . Is it a dimension that you are planning to explore more finely one day?
LH: Yes, I have a sense of humor but a sense of humor as the defined Gainsbourg. "Humor is the politeness of despair," he wrote. Mixture of tenderness and bitterness or desire for beauty bounces on the delights, that is the backdrop for my humor.
In fact, my words name things, these things resume their place in the reader with the codes of love and imagination that save. I am looking into the language as I said earlier games analogy that reconcile with this matter around us that could be painful at one time or another. For me it was depression.
Hence the importance of humor that I did not necessarily intend to explore more finely. I keep it in half shade because I'm afraid one day he fainted. I want and that's why he has not abandoned me yet.
NDN: Finally, what are your future plans?
MLH: My future plans are:
1) To finish the play I started writing in July In puris naturabilis . The first draft of this play, whose characters are: the word, the verb, the comma, the poet and the moon will be played at the Vasse room (lobby) on 15 December.
2) Take the turning point that I mention in the title of this play In puris naturabilis for my poetry to over counting towards nudity finally expressed.
3) complete my collections: Soliloquy of an afternoon of January , Poetry whole, poetry and my total Letter to an imaginary love .
4) I am invited to play for Lyon in the coming months.
5) To write, always write more, maybe drag my work in the universal after meeting me and the universal, but to keep the direction that I took to mix poetry and aphorisms.
6) Finish my novel which is entitled: On a song by Serge Gainsbourg .
7) Finally, meet the woman mentioned in Letter to an imaginary love .
8) And the icing on the cake, why not bring my aphorisms and maxims to a wide audience.
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