{"id":1866,"date":"2019-03-13T16:13:33","date_gmt":"2019-03-13T15:13:33","guid":{"rendered":"https:\/\/littexpress.iut.u-bordeaux-montaigne.fr\/?p=1866"},"modified":"2019-03-25T10:09:47","modified_gmt":"2019-03-25T09:09:47","slug":"emily-st-john-mandel-station-eleven","status":"publish","type":"post","link":"https:\/\/littexpress.iut.u-bordeaux-montaigne.fr\/index.php\/2019\/03\/13\/emily-st-john-mandel-station-eleven\/","title":{"rendered":"Emily St. John MANDEL,\u00a0Station Eleven\u00a0"},"content":{"rendered":"

Emily St. John MANDEL,\u00a0<\/span><\/b>Station Eleven<\/span><\/i><\/b>\u00a0<\/span><\/h1>\n

\u00a0<\/span>Traduit de l’anglais (Canada) par G\u00e9rard de\u00a0Cherge.\u00a0<\/span><\/b>
\n<\/span>Rivages, 2016.<\/span><\/b>
\n<\/span>Rivages poche,\u00a0<\/span><\/b>2018.<\/span><\/b>
\n<\/span>ISBN:\u202f978-2-7436-4200-6<\/span><\/b>\u00a0<\/span><\/p>\n

Reconstruire l\u2019<\/span><\/b>H<\/span><\/b>umanit\u00e9 par les Arts<\/span><\/b>\u00a0<\/span><\/h2>\n

\u00a0<\/span>Et si l\u2019humanit\u00e9 \u00e9tait presque enti\u00e8rement d\u00e9cim\u00e9e par un virus ? Comment survivrait-on sans le confort et la technologie ? Comment se reconstruire en ayant connu le cataclysme \u00e0 l’\u00e2ge adulte\u202f? Comment \u00e9lever les enfants ? S’adapteraient-ils mieux que les<\/span>\u00a0a\u00een\u00e9s\u00a0<\/span>dans un monde qu’ils auraient toujours connu ? Les religions existeraient-elles toujours ou verrait-on \u00e9voluer des sectes anarchistes ?<\/span>\u00a0<\/span>Quelle place occuperaient les arts litt\u00e9raires et la musique ?<\/span>\u00a0<\/span><\/p>\n

\u00c0 travers\u00a0<\/span>Station Eleven<\/span><\/i>,<\/span>\u00a0paru en France en 2016<\/span>\u00a0chez Rivages<\/span>,\u00a0<\/span>la romanci\u00e8re canadienne\u00a0<\/span>Emily St John Mandel quitte le genre du roman policier dans lequel elle s\u2019est distingu\u00e9e avec ses trois pr\u00e9c\u00e9dents romans<\/span>\u00a0<\/span>Derni\u00e8re nuit \u00e0 Montr\u00e9al<\/span><\/i>\u00a0(2009),\u00a0<\/span>On ne joue pas avec la mort<\/span><\/i>\u00a0(2010) et\u00a0<\/span>Les variations Sebastian<\/span><\/i>\u00a0(2013) pour sa premi\u00e8re \u0153uvre de science-fiction. Finaliste du National Book\u00a0Award, prim\u00e9e au Arthur\u00a0C.Clark, elle a \u00e9galement obtenu le Prix des Libraires du Qu\u00e9bec en 2017 pour son r\u00e9cit post-apocalyptique.<\/span>\u00a0<\/span><\/p>\n

L<\/span>\u2019<\/span>autrice nous questionne,<\/span>\u00a0gr\u00e2ce aux personnages de son roman choral<\/span>,<\/span>\u00a0<\/span>p<\/span>lausible \u00e0<\/span>\u00a0<\/span>en\u00a0<\/span>faire peur,\u00a0<\/span>sur notre\u00a0<\/span>confort de vie actuel et \u00e9met l’hypoth\u00e8se<\/span>\u00a0que tout pourrait s’ar<\/span>r\u00eater du jour au lendemain. Ses<\/span>\u00a0<\/span>person<\/span>nages \u00e9voluent en trois<\/span>\u00a0temps : avant, pendant et apr\u00e8s le cataclysm<\/span>e. Certains survivront, d\u2019autres non. Certains<\/span>\u00a0s\u2019adapteront et\u00a0<\/span>d\u2019a<\/span>utre<\/span>s<\/span>\u00a0pas. Le monde, devenu hostile, n\u2019\u00e9pargnera personne\u2026<\/span>\u00a0<\/span><\/p>\n

\n

\u00a0<\/span><\/i>\u00ab\u202f<\/span><\/i>I<\/span><\/i>l n\u2019avait jamais connu un homme aussi dou\u00e9 pour l\u2019euph\u00e9misme. Si Hua disait qu\u2019il s\u2019agissait d\u2019une \u00e9pid\u00e9mie, c\u2019est que le mot \u00e9pid\u00e9mie n\u2019\u00e9tait pas assez fort.<\/span><\/i>\u202f\u00bb<\/span><\/i>\u00a0(p.37)<\/span><\/i>\u00a0<\/span><\/p>\n<\/blockquote>\n

Nous sommes dans une salle de th\u00e9\u00e2tre \u00e0 Toronto. Arthur\u00a0Leander, acteur et com\u00e9dien c\u00e9l\u00e8bre, interpr\u00e8te\u00a0<\/span>Le Roi Lear<\/span><\/i>\u00a0de William Shakespeare avant de s\u2019effondrer sur sc\u00e8ne. On ne\u00a0<\/span>parvient pas \u00e0 le ranimer, et l\u2019homme s\u2019\u00e9teint. D<\/span>eux jours plus tard, une \u00e9pid\u00e9mie fulgurante passe d\u00e9j\u00e0 au stade\u00a0<\/span>de pand\u00e9mie\u202f:\u00a0<\/span>la quasi-totalit\u00e9 de l\u2019humanit\u00e9 est ravag\u00e9e<\/span>.\u00a0<\/span>Ces deux\u00a0<\/span>\u00e9v\u00e9nements sont le point de d\u00e9part d\u2019un univers que nous\u00a0<\/span>esquissera<\/span>\u00a0au fur et \u00e0 mesure l\u2019autrice.<\/span>\u00a0<\/span><\/p>\n

Il est\u00a0<\/span>difficile d\u2019exprimer la complexit\u00e9 du syst\u00e8me de narration d\u2019Emily St John Mandel<\/span>, pourtant parfaitement ma\u00eetris\u00e9<\/span>. Nous partons d\u2019un \u00e9v\u00e9nement mettant en sc\u00e8ne des perso<\/span>nnages que nous allons \u00e0\u00a0<\/span>nouveau<\/span>\u00a0croiser<\/span>,<\/span>\u00a0<\/span>mais aussi en d\u00e9couvrir d\u2019autres<\/span>\u00a0tout au long du livre<\/span>.\u00a0<\/span>Toutefois, ces\u00a0<\/span>nombreux personnages n\u2019apparaissent pas toujours dans la m\u00eame temporalit\u00e9. En e<\/span>ffet,\u00a0<\/span>le roman couvre vingt<\/span>\u00a0ann\u00e9es<\/span>\u00a0\u00e0 compter de l\u2019<\/span>apparition du virus. Ainsi<\/span>\u00a0nous allons voir rapidement des personnages mourir, mais qui\u00a0<\/span>peuvent r\u00e9appara\u00eetre\u00a0<\/span>plus loin dans le roman\u00a0<\/span>lors de flash-back ant\u00e9rieurs \u00e0 la catastrophe.\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>Finalement, le\u00a0<\/span>lecteur bascule constamment d\u2019une temporalit\u00e9 \u00e0 l\u2019autre<\/span>. Et<\/span>\u00a0ses\u00a0<\/span>seuls rep\u00e8res sont les personnages qu<\/span>\u2019il conna\u00eet\u00a0<\/span>d\u00e9j\u00e0<\/span>\u00a0ou<\/span>\u00a0<\/span>bien\u00a0<\/span>l\u2019art et la culture de l\u2019ancien mond<\/span>e\u00a0<\/span>auxquels il est fait<\/span>\u00a0d\u2019abondantes r\u00e9f\u00e9rences. Et c\u2019est \u00e0 travers toutes les pi\u00e8ces de cet imme<\/span>nse puzzle en prose qu\u2019\u00e9merge\u00a0<\/span>un fil conducteur<\/span>\u202f: un simple illustr\u00e9.<\/span>\u00a0<\/span><\/p>\n

Il est \u00e9vident<\/span>\u00a0que la romanci\u00e8re sait exploiter toutes les facettes de la narration. Mais elle excelle \u00e9galement\u00a0<\/span>en ce qui concerne l\u2019ambiance de son roman. L\u2019univers post-apocalyptique mis en place es<\/span>t tr\u00e8s r\u00e9aliste et coh\u00e9rent, et<\/span>\u00a0\u00e0 la diff\u00e9rence des nombreuses dystopies Young\u00a0Adult\u00a0de ces derni\u00e8res ann\u00e9es, le monde d\u00e9peint est tr\u00e8s proche du n\u00f4tre.<\/span>\u00a0Ce sont les m\u00eames pays, les m\u00eames villes, les m\u00eames rep\u00e8res culturels.<\/span>\u00a0Par cons\u00e9quent<\/span>, le r\u00e9cit\u00a0<\/span>devient<\/span>\u00a0vite angoissant pour le lecteur.<\/span>\u00a0<\/span><\/p>\n

La psychologie fouill\u00e9e des p<\/span>ersonnages y est pour beaucoup\u202f: p<\/span>ersonne n\u2019est v\u00e9ritablement bon ou mauvais, mais c<\/span>hacun r\u00e9agit \u00e0 sa mani\u00e8re face\u00a0<\/span>au cataclysme et la densit\u00e9 de protagonistes cr\u00e9e une sorte de chaos projet\u00e9 sur le lecteur contraint de se positionner.<\/span>\u00a0Emily St John Mandel insuffle, au-del\u00e0 du divertissement de lecture, des r\u00e9flexions sur ce qui fait une soci\u00e9t\u00e9 et comment elle tient debout. La question du confort de l\u2019<\/span>\u00e9lectricit\u00e9,\u00a0<\/span>des technologies<\/span>\u00a0modernes ainsi que la facilit\u00e9 d\u2019utilisation des transports reliant<\/span>\u00a0le monde entier est centrale. En d\u00e9couleront bien d\u2019autres, comme la place de la religion et ses d\u00e9bordements<\/span>\u00a0potentiels\u202f: la mont\u00e9e en puissance d\u2019un nouveau dogme par un individu voyant sa survie comme un \u00e9lan mystique, en contraint d\u2019autres \u00e0 \u00eatre soumis et oppr<\/span>im\u00e9s<\/span>\u00a0par la peur.\u00a0<\/span>
\n<\/span>Conjointement, une approche plus optimiste se dessine\u00a0<\/span>gr\u00e2ce \u00e0 l<\/span>a transmission du savoir et de l\u2019art,\u00a0<\/span>de\u00a0<\/span>la connaissance de soi et celle des autres, permettant ainsi le libre-arbitre.\u00a0<\/span>\u00a0<\/span><\/p>\n

\n

\u00ab\u202fEt tous ces gens, avec leur collection de petites jalousies, de n\u00e9vroses, de syndromes post-traumatiques non diagnostiqu\u00e9s et de\u202franc\u0153urs\u202fbr\u00fblantes, vivaient ensemble, voyageaient ensemble, r\u00e9p\u00e9taient ensemble, jouaient ensemble trois cent soixante-cinq jours par an,\u202fcompagnie permanente, en tourn\u00e9e permanente.\u202f\u00bb<\/span><\/i>\u00a0<\/span><\/p>\n<\/blockquote>\n

Une autre part i<\/span>mportante de l\u2019histoire se d\u00e9roule vingt<\/span>\u00a0ans apr\u00e8s la pand\u00e9mie. Une troupe itin\u00e9rante de survivants se d\u00e9place de communaut\u00e9 en communaut\u00e9 pour donner des repr\u00e9sentations de pi\u00e8ces de Shakespeare\u00a0<\/span>et jouer des<\/span>\u00a0morceaux de Beethoven autour du lac Michigan.<\/span>
\n<\/span>Dans ce groupe, on rencontre des ho<\/span>mmes et des femmes de tout \u00e2ge et\u00a0<\/span>de toute condition. Certains \u00e9taient enfants lors de la catastrophe. Bien que traumatis\u00e9s<\/span>\u00a0\u00e0 l\u2019\u00e9poque<\/span>, ne sont-ce pas eux, finalement, les mieux adapt\u00e9s<\/span>\u00a0<\/span>?\u00a0<\/span>Car ils n\u2019ont gard\u00e9 que peu de souvenirs de l\u2019ancien monde et n\u2019ont connu que le suivant. A moins que ce ne soit les adultes, pour qui la prise de recul a peut-\u00eatre \u00e9t\u00e9 plus simple\u202f? Mais que faire de tous ces souvenirs de confort et le sentiment de s\u00e9curit\u00e9 aujourd\u2019hui disparus\u202f?<\/span>\u00a0<\/span><\/p>\n

Les acteurs et musiciens nomades font la connexion intrins\u00e8que entre l\u2019Avant et l\u2019Apr\u00e8s, entre le monde vivant et le monde mort, entre les vivants et les morts.\u00a0<\/span>Station Eleven<\/span><\/i>\u00a0est une histoire de survie et de transmission, mais pas seulement…\u00a0<\/span>\u00ab\u202f<\/span>Parce que survivre ne suffit pas<\/span>\u202f\u00bb<\/span>.<\/span>\u00a0Cette phrase tir\u00e9e de\u00a0<\/span>Star Trek<\/span><\/i>\u00a0est\u00a0<\/span>aussi\u00a0<\/span>le message peint sur le v\u00e9hicule de la troupe<\/span>\u202f; elle<\/span>\u00a0r\u00e9sume parfaitement le choix de ces hommes et femmes utilisant les arts comme souvenir d\u2019une nation<\/span>,<\/span>\u00a0pour ne pas oublier d\u2019o\u00f9 ils viennent<\/span>,<\/span>\u00a0et apporter r\u00e9confort et humanit\u00e9.\u00a0<\/span>C\u2019est l\u2019art qui fait le lien entre les gens, comme ultime rempart face \u00e0 la barbarie humaine.<\/span>\u00a0C\u2019est aussi l\u2019art qui les aide \u00e0 tenir debout quand ils ont tout perdu.<\/span>\u00a0<\/span><\/p>\n

Station Eleven<\/span><\/i>\u00a0est\u00a0<\/span>un<\/span>\u00a0roman capable \u00e0 la fois de nous immerger dans un autre monde tout en soulevant des questionnements absolument pertinents sur notre soci\u00e9t\u00e9 et nos modes de vie actuels. Ce qui semble acquis et auquel on ne pense plus<\/span>,<\/span>\u00a0tant c\u2019est naturel, ne l\u2019est peut-\u00eatre plus pour tr\u00e8s longtemps.<\/span>\u00a0<\/span>Apr\u00e8s cette lecture il semble presque urgent de s\u2019interroger sur la condition humaine<\/span>\u00a0aujourd\u2019hui<\/span>.<\/span>\u00a0<\/span><\/p>\n

C\u2019est aussi u<\/span>n r\u00e9cit post-apocalyptique qui\u00a0<\/span>ne se cantonne pas \u00e0 un seul continent mais bien \u00e0 l\u2019ensemble de la plan\u00e8te. Les r\u00e9f\u00e9rences culturel<\/span>les sont issues d\u2019\u0153uvres classiques,<\/span>\u00a0universelles et diverses\u202f:<\/span>\u00a0litt\u00e9rature, musique, cin\u00e9ma.\u00a0<\/span>\u00a0<\/span><\/p>\n

En refermant le livre, c\u2019est un message salvateur et optimiste qui nous reste\u202f: notre monde moderne peut dispara\u00eetre, mais l\u2019art et la culture demeureront toujours.\u00a0<\/span>\u00a0<\/span><\/p>\n

Et si\u00a0<\/span>avec\u00a0<\/span>Station Eleven<\/span><\/i>\u00a0<\/span>Emily St John Mandel avait d\u00e9pass\u00e9 le l\u00e9gendaire\u00a0<\/span>La Route<\/span><\/i>\u00a0de McCarthy, o<\/span>u\u00a0<\/span>bien\u00a0<\/span>Le Fl\u00e9au<\/span><\/i>\u00a0de Stephen King\u202f?<\/span>\u00a0<\/span><\/p>\n

Roxane PERON, AS, Biblioth\u00e8ques-M\u00e9diath\u00e8ques, 2018-2019\u00a0<\/strong><\/p>\n

Sources<\/span><\/b>\u202f:\u00a0<\/span>\u00a0<\/span><\/p>\n

Station Eleven<\/span><\/i>, Emily St. John Mandel, Rivages poche, mai 2018.<\/span>\u00a0<\/span><\/p>\n

Site de l’autrice<\/span><\/a>\u00a0<\/span>(en\u00a0anglais)<\/span>,\u00a0<\/span>consult\u00e9 le 17\/11\/18<\/span>\u00a0<\/span><\/p>\n

Site \u00e9diteur<\/span><\/a>\u00a0: compl\u00e9ment pour la biographie et la bibliographie, consult\u00e9 le 17\/11\/18<\/span>\u00a0<\/span><\/p>\n

Biographie<\/span><\/b>\u202f:<\/span>\u00a0<\/span><\/p>\n\n\n\n
\"\"<\/span><\/td>\nNationalit\u00e9 : am\u00e9ricaine<\/span>
\n<\/span>N\u00e9e en Colombie britanique, 1979<\/span><\/td>\n		Elle \u00e9crit principalement des romans policiers et a \u00e9t\u00e9 plusieurs fois prim\u00e9e. Tous ses romans sont publi\u00e9s en France par les \u00e9ditions Payot et Rivages. Elle vit aujourd\u2019hui \u00e0 New-York avec sa famille.\u00a0 <\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Bibliographie<\/span><\/b>\u202f:<\/span>\u00a0<\/span><\/p>\n

Derni\u00e8re nuit \u00e0 Montr\u00e9al<\/span><\/i>, Payot, 2009.<\/span>
\n<\/span>On ne joue pas avec la mort<\/span><\/i>, Payot, 2010.<\/span>
\n<\/span>Les variations Sebastian<\/span><\/i>, Payot, 2013.<\/span>\u00a0<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Emily St. John MANDEL,\u00a0Station Eleven\u00a0 \u00a0Traduit de l’anglais (Canada) par G\u00e9rard de\u00a0Cherge.\u00a0 Rivages, 2016. Rivages poche,\u00a02018. ISBN:\u202f978-2-7436-4200-6\u00a0 Reconstruire l\u2019Humanit\u00e9 par les Arts\u00a0 \u00a0Et si l\u2019humanit\u00e9 \u00e9tait presque enti\u00e8rement d\u00e9cim\u00e9e par un virus ? Comment survivrait-on sans le confort et la technologie ? Comment se reconstruire en ayant connu le cataclysme \u00e0 l’\u00e2ge adulte\u202f? Comment \u00e9lever […]<\/p>\n","protected":false},"author":1,"featured_media":1864,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","h5ap_radio_sources":[],"footnotes":""},"categories":[1],"tags":[33,60],"class_list":["post-1866","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-litterature-americaine","tag-dystopie","tag-science-fiction"],"yoast_head":"\nEmily St. John MANDEL,\u00a0Station Eleven\u00a0 - Litt'Express<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/littexpress.iut.u-bordeaux-montaigne.fr\/index.php\/2019\/03\/13\/emily-st-john-mandel-station-eleven\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Emily St. John MANDEL,\u00a0Station Eleven\u00a0 - Litt'Express\" \/>\n<meta property=\"og:description\" content=\"Emily St. John MANDEL,\u00a0Station Eleven\u00a0 \u00a0Traduit de l’anglais (Canada) par G\u00e9rard de\u00a0Cherge.\u00a0 Rivages, 2016. 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