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Anima by Wajdi Mouawad

By Wajdi Mouawad

Lorsqu’il découvre le meurtre de sa femme, Wahhch Debch est tétanisé : il doit à tout prix savoir qui a fait ça, et qui donc si ce n’est pas lui ? Éperonné par sa douleur, il se lance dans une irrémissible chasse à l’homme en suivant l’odeur sacrée, millénaire et animale du sang versé. Seul et abandonné par l’espérance, il s’embarque dans une furieuse odyssée à travers l’Amérique, territoire de toutes les violences et de toutes les beautés. Les mémoires infernales qui sommeillent en lui, ensevelies dans les replis de son enfance, se réveillent du nord au sud, au touch de l’humanité des uns et de l. a. bestialité des autres. Pour lever le voile sur le mensonge de ses origines, Wahhch devra-t-il lâcher le chien de sa colère et faire le sacrifice de son âme ?

Par son projet, par sa tenue, par son accomplissement, ce roman-Minotaure repousse les bornes de los angeles littérature. Anima est une bête, à l. a. fois réelle et fabuleuse, qui veut dévorer l’Inoubliable.

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Sample text

Ainsi nourri de miel, visitant legerement les vastes tresors de I'histoire et de I'archeologie, comme il faisait ceux de la litterature, mais ne haissant pas les douceurs, les facilites, les liberies de son temps, recevant les suffrages du public et des femmes, disposant a sa guise des amusements de la societe, et ne se faisant faute, au milieu de tant d'avantages, en depit de tant de delices, d'observer les contradictions, de saisir et de tourmenter les ridicules, il composait a I'aise ses ouvrages ou circulait, sous les beautes d'un agrement perpetual, un jugement assez smistre; et il vivait suptoeurement" (pp.

Vivant en un mot mille vies! Voila pourquoi je ne m'intitule pas Esthete ni sym7 Here Valery's youthful declaration of radicalism is reminiscent of Rim­ baud's letter to Izambard, Charleville, 13 mai 1871 (Rimbaud, Oeuvres [Paris: Garnier-Freres, 1960], p. 343) Cher Monsieur! Vous revoila professeur . . vous faites partie des corps enseignants. —Ie prouve. Mais vous finirez toujours comme un satisfait qui n'a nen fait. . REFLECTIONS ON WRITING · 37 boliste—cela a des significations trop precises et trop etroites.

63-64) 30 · REFLECTIONS ON WRITING thing fundamental to his vocation. At times, at least, he seems to understand that the battle for autonomy resides not in a struggle between writer and reader, but rather in a struggle between writer and his own writing. Language itself is duplicitous; in his darker moments Valery even conceives of it as treacherous, as in this entry from the notebook of 1910, where writing is figured as an unfaithful mistress who gives the self that the writer has "emptied" into her to another: Qu'importe, pensais-je, l'ecrit?

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