Bibliography of studies : Abax, Abécassis, O. Adam, Ph. Adam, Adely, Aggoune, Almassy, Angot, Apperry, Autin-Grenier, Ayerdahl, Barbéris, Bauchau, Bayon, Beaussant, Beigbeder, Beinstengel, Bellefroid, Bellin du Coteau, Bergounioux, Bertina, Bichelberger, Bobin, Bocquet, Boman, Bon, Borel, Boulouque, Brasme, Brebel, C. Breillat, Ch. Breillat, Buffard, Cadiot, Caligaris, Calle, Camus, Cannone, Card, Cardinal, Carrère, Chaillou, Chamoiseau, Chandernagor, Châtelet, Chatelier, Chawaf, Chevillard, Cixous, Claudel, Clinquart, Combescot, Commengé, Constant, Daeninckx, Darrieussecq, Delaume, Delbée, Delerm, Delhomme, Desarthe, Desbiolles, Desbordes, Despentes, Detambel, Deville, Djebar, Djian, Doubrovsky, Doumet, Drevet, Dubois, Dunyach, Duras, Duteurtre, Échenoz, Ernaux, Fleischer, Fleischman, Fleutiaux, Forest, des Forêts, Françaix, Frappat, Gailly, Garréta, Gaudé, Germain, Gluck, Goetz, Graff, Grainville, Grangé, Grimbert, Guibert, Héaume, Holder, Honoré, Houellebecq, Huston, Izzo, Janody, Janvier, Japrisot, Jauffret, Kaplan, Klossowski, Koening, Koltès, Kristof, Kundera, Lacarrière, Laclavetine, Lambrichs, Lambron, Langlade, Lascault, Laurens, Le Bris, Le Clézio, Lê, Legendre, Louis-Combet, Macé, Mainard, Makine, Mauriès, Mauvignier, Mérot, Michon, C. Millet, R. Millet, Modiano, de Monferrand, Montserrat, Mrejen, Nadaud, NDiaye, Nimier, Nobécourt, Noël, Nothomb, Ohl, Ollier, d’Ormesson, Oster, Page, Pelot, Pennac, Pingaud, Pinget, Pirotte, Pontalis, Pourriol, Pouy, Puech, Pujade-Renaud, Quignard, Rambaud, Raynal, Redonnet, Reza, Rheims, Robbe-Grillet, Roberts, J. Rolin, O. Rolin, Rombaut, Rouanet, Rouart, Rouaud, Roubaud, Roze, Sallenave, Salvayre, Sarraute, C. Simon, Y. Simon, Sollers, Tournier, Toussaint, Trassard, Troyat, Valléjo, Vasset, Vautrin, Viel, Visage, Volodine, Vuillard, Weitzmann, Weyergans, Wiazemsky, Wolkenstein, Yzac. (www.greclet.it)

Between memory and creation, found in Une façon de chanter (Gallimard, 2012), the familiar world of Jean Rouaud and his final thoughts on music and the work of transfiguration operated by writing. Echo a quote from Rimbaud (in a letter to his mother, dated July 10, 1882) Une façon de chanter is also a way of life - "J’étais […] redevable à mon honnête et généreux cousin de cette espèce de façon de chanter "(p. 59). Elegant and lyrical, the "long sentences" by R. seems to wrap around images, impressions and specific sounds and then move away evoking, not without a fine, subtle irony, the great transformations and cultural revolution of the 1970s, making the soundtrack of fifty anxious and controversial. Thus, a digression to another, from one memory to another without ever losing the thread of the narrative, Jean Rouaud starts listening to this "noise of the world" of ours and draws, also supported by the music, the portrait of a youth which is that of a generation. The music is in Rouaud expression of pain and melancholy, and emancipation; in the fragmented world of his adolescence, punctuated by Sunday Mass, music can be a form of release. Red lead a nomadic thought, the music becomes space of representation and redefinition of a man and of a world. This is analyzed by what processes, literature and language, music prose Rouaud restores the "life", true. Far from a fictionalized biography of the writer, Une façon de chanter is therefore novelistic crossing a part of his life, when one wonders about the possibility that the song is a model for prose daily construction using concrete situations around the sensible world of existence. Through his writing, Rouaud not he would try to give a "tempo" different to live and articulate his emotions? How does life passes by this song so special is writing R., singing raises "the question of the language" as the writer himself watched in an interview in «La Femelle du Requinۚ»(n. 35, fall 2011)?

In writing Mathias Enard outlining a space at the same time geographically indistinct and precise, where feelings are not an expression of the individual, but of humanity as a whole. It 'a kind of map by which to move, often on the edge of the memory, in search of itself; a gray area, gray area, human space, the flowing contours, in constant motion, as the history of man. Unusual journey that leads to the heart of delirium polished of the different characters, this geography of the soul presents landscapes and itineraries whose magnitude corresponds to the flow of feelings, expressed with a certain restraint, refusing to be the emphasis that the clumsy declamation. If geography traces the profile of the collapse of the character, the place is actually a mobile on which to project the dream of a better future because no matter how rampant, anger reveals itself carries a comforting energy, while violence and evil become the engine of an aesthetic

This communication focuses on À quoi penses tu?, created in 2005, signed by the writer Marie Nimier and dancer-choreographer Dominique Boivin. Result of the latest collaboration between dance and French literature Extrême Contemporain, this piece comes from the common project to decrypt the imagination of the dancer while his body is in motion, to know how he thinks his actions and what think while dancing. The writer has met these "thoughts danced" in the text Vous dansez?, The choreographer put them on stage through her dancers. A connection that mixes, for seventy-five minutes, words, movements and images, as part of a series of duo between dancers and actors and only one. Far from the "commission" of a text for the scene, this creation combines writing and movement to arrive at work in its own right that is interested in one and the other, to the dance "in" and "through" the word written, and vice versa, without the one exceeds the other, without the one transposes or illustrates the other. How the narrative of the text does go to the scene? It is not, perhaps, a write-once you need at the same time the movement and the written word?

Writing Maylis Kerangal approach feelings, first of all that of "feeling alive" in tune with reality. Feelings are caught in the vortex of life and seem to be an "external" experience. Seeking to identify the subjective impasses of today's society, writing Maylis Kerangal fast, punctuated by commas, with the effects of shock, together in one real movement and fiction to tell the world. The reality that emerges is a real "created" the real fiction, as part of a text being written, which runs through this with a clear look at the complexity of feelings and human relationships. Thus, writing is the place of observation and discussion of the act of writing, as well as a tool for reflection on some features of the prose of contemporary extreme.

As part of a universe that says all the brutality of the world, don’t the unbearable devastation of the individual, as well as his strategies of resistance, the "violence" of the novel and its strength as well, consist in the delicacy of its look on the world and in the courage to tell the little deaths of every day with a more and more refined and essential writing, a writing to read and listen to, in order to understand the meaning of life? From Exercices de deuil to Frère animal through Sweet Home, Cathrine's prose tends to decrease gradually, as if it needed to lighten itself in order to better narrate the heaviness of the world, to become aggressive in order to better write his anger. The human anguish and violence are even more poisoned as tragically ordinary. It is the just and measured staging of everyday sadness and violence that make the work of Arnaud Cathrine fascinating. With Frère animal, the author works out a new literary form, the "musical novel", halfway between the novel and the song, in which the brevity of the text associated with the sound and the sung word, makes the reader a listener, to be "in" life through writing. Is it when words are not enough that one feels the need to listen, maybe? To listen to oneself?

La tête en arrière (P.O.L. 2010), the first novel by Violaine Schwartz begins with a false note. While the main character - a young singer - loses her voice after a memory hole in the middle of the concert - the writer finds his own, exchanging one song to another, more unique. This hole is a hole in the text - there are many blank spaces on the page - that cause to the narrator a situation of loss, isolation, loneliness, as well as its word that fading through a syntax decomposed, but that at the time overflows on the same page through the multiplication of segments of writing, always shorter, essential, that emphasize the benefits of being alone. Closed in herself, a prisoner of her inner voice that does not stop, the woman begins a monologue in his own way (in which the '"I" self-sufficient is replaced by a fragmented soliloquy in the second person) comic and disturbing, that, however, bring back her on the trail herself. In this "loneliness of the word", is to study how the "word prevented" allows, if not to regain the lost self, at least not to lose the fragments of an I exploded. The absence of word generates a proliferation of thought speech and a narrative in form of echoes, through the increase of the images and the particular use of the word. This loneliness is new because it is in its normal, away from abandonment or any form of unhappiness close to death, it calls anyway to stay in the breach.