Les Deux Beune : Pierre Michon ou la littérature à l’estomac
This second part presents the same places and characters as La Grande Beune, as well as the various manifestations of the “hole” that is the origin of the world: the prehistoric caves, the river Beune, the Woman’s sex, her “slit”. What changes decisively is that Jean le Pêcheur and Jeanjean are now...
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| Formaat: | Article ou chapitre numérique |
| Taal: | Français |
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2024
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| Online toegang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Samenvatting: | This second part presents the same places and characters as La Grande Beune, as well as the various manifestations of the “hole” that is the origin of the world: the prehistoric caves, the river Beune, the Woman’s sex, her “slit”. What changes decisively is that Jean le Pêcheur and Jeanjean are now fallen beings, “jokers”. One is master of La Beune, the other of Yvonne, but only in jest. The former breaks the laws of fishing, but not the Law of the ‘Great Pike’, the prohibition of incest and the castration that punishes its transgression. In La Grande Beune, Jeanjean was supposed to have escaped the ghetto of language, with his cave devoid of any inscriptions and the lashes written directly on the Woman’s flesh. But the myth of natural writing collapses, as we learn that the two men erased the paintings that did exist in Jeanjean’s cave. In vain, they thought they had freed themselves from the language that cuts them off from things and from the Woman, and in which Lacan sees the real castration: it transforms presence into “absence”, into a despairing “nothing”, so that desire is always unsatisfied. Jeanjean is just another Son, castrated by language. Neither of them has the “great trident”, the phallic emblem par excellence. With the pseudo-father out of the way, the narrator can now take possession of Yvonne. In this second book, the creatures all appear fallen. This is because, despite the narrator’s many hesitations about whether or not language can be an instrument for mastering things and beings, in the end it is seen as a “mask” that obscures not only reality, but first another mask, and so on. Hence the passage from the Grande Beune to the Petite Beune. |
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