Blandine le Callet, dont le roman L

Blandine le Callet, dont le roman La ballade de Lila K concourt pour le 1er Prix du livre numérique, raconte ce qui l'a poussée à écrire de son livre.

Comment vous est venue l'idée de ce livre et dans quel état d'esprit l'avez-vous écrit?
À mi-chemin entre le roman d'anticipation et d'initiation, Blandine Le Callet change de registre avec La ballade de Lila K.

La Ballade de Lila K m'a été inspirée par un fait divers des années 80: la découverte d'un petit garçon qui vivait enfermé dans un placard. Des années plus tard, j'ai lu dans la presse le témoignage de cet enfant martyr, qui s'était reconstruit et parlait de son expérience avec lucidité, tout en exprimant un immense amour pour sa mère. Cet amour survivant à la maltraitance m'a semblé à la fois magnifique et impensable, et c'est ce mystère qui a servi de point de départ au roman. Dans La Ballade de Lila K, j'ai voulu raconter la reconstruction chaotique d'une enfant fracassée, et l'enquête qu'elle mène pour retrouver sa mère à laquelle elle demeure attachée par un lien d'amour fou. Mais je me suis rendu compte assez vite que ce roman risquait de virer au témoignage sociologique sur l'enfance maltraitée, ce que je tenais à tout prix à éviter. J'ai donc décidé de situer l'action dans un monde légèrement futuriste, en y projetant les tendances qui me semblent se dessiner dans notre société contemporaine. J'ai "récupéré" un univers romanesque que j'avais mis en place pour un autre projet, commencé il y a près de quinze ans et resté inachevé. Cela m'a permis d'enrichir l'histoire personnelle de Lila d'un arrière-fond politique, en abordant des thèmes qui me tiennent à coeur.

L'écriture de La Ballade de Lila K n'a pas été simple: j'avais conscience de m'atteler à un projet ambitieux et je me suis demandé jusqu'à la fin si j'arriverais à le mener à bien. J'avais aussi conscience de prendre le risque de déconcerter mon éditeur et mes lecteurs, en écrivant un roman très différent du premier, Une pièce montée. À cela s'est ajoutée la difficulté inhérente à l'écriture, les doutes constants sur la qualité de mon travail, les moments de profond découragement... J'ai failli plusieurs fois abandonner ; mais comme Lila, je suis tenace, et à l'arrivée, j'éprouve une grande fierté d'avoir terminé ce roman.

Comment avez-vous perçu les chroniques de nos jurés à l'égard de votre livre?

Je ne sais pas si j'ai lu toutes les chroniques concernant mon livre, mais celles dont j'ai pris connaissance m'ont toujours semblé portées par un véritable respect de l'oeuvre, même lorsqu'elles étaient réservées. Dans la plupart des chroniques, j'ai apprécié l'alliance d'une subjectivité assumée - les jurés expriment ce qu'ils ont ressenti à la lecture du livre - et d'un véritable souci d'analyse et d'argumentation. Comme souvent lorsque je lis une critique (positive ou négative) de mon livre, cela m'a donné envie d'en rencontrer les auteurs pour en discuter avec eux.

En tant qu'auteur, que vous inspire le livre numérique?

Cela fait des années que je côtoie les livres sous forme numérique, dans le cadre de ma profession (en dehors de mon activité d'écrivain, je suis enseignant-chercheur à l'université), et j'ai pu mesurer les avantages de la numérisation. Elle permet l'accès à des textes rares ou fragiles qu'il serait quasiment impossible de consulter par les voies "classiques"; elle permet aussi de découvrir des textes, car le vagabondage d'une oeuvre à l'autre est facile et rapide. Pour moi, cela représente un gain intellectuel considérable, mais aussi un gain de temps et d'argent.

En tant qu'auteur, je crois que le livre numérique va permettre l'invention de nouvelles formes de littérature: des formes mixtes, intégrant des séquences cinématographiques, des illustrations ou de la musique; le numérique facilitera des formes de récit "en étoile", offrant le choix entre plusieurs versions de l'histoire. Je suis sûre que des auteurs comme Perec ou Queneau auraient été passionnés par l'irruption de ce nouvel "outil" sur la scène littéraire.

Mon enthousiasme n'est pourtant pas dénué d'inquiétude face à la montée de la censure, et d'une tendance à la révision des oeuvres. Dans une édition de l'Huckleberry Finn de Mark Twain récemment parue, le mot "nigger" et été remplacé par le mot "slave". Je trouve scandaleuse cette réécriture, au nom de principes sans doute très respectables mais qui, à mon avis, trouvent là une application aussi imbécile que dangereuse. Ce qui m'inquiète avec le numérique, c'est qu'il rend la mise en oeuvre de ce type de censure techniquement très facile, et invisible. C'est du reste l'un des thèmes de La ballade de Lila K: dans le cadre de son travail à la Grande Bibliothèque, Lila passe son temps à numériser des oeuvres et des articles, tout en effectuant coupures et modifications en fonction des directives de sa hiérarchie.

Réel enthousiasme donc, mais prudence. Je crois qu'il est important de ne pas se contenter des facilités que nous offre l'accès aux oeuvres sous une forme dématérialisée. Le numérique est un progrès, mais il ne faut pas oublier que nous ne possédons véritablement le texte que lorsque nous le détenons sous sa forme papier.

Hasil (Jerman) 1:

Blandine le Callet, whose novel The Ballad of Lila K competed for the 1st prize of the digital book, tells what pushed her to write her book.How did you get the idea of this book and in what state of mind do you have it written?At halfway between the novel of anticipation and initiation, Blandine Le Callet changes registry with the Ballad of Lila K.The Ballad of Lila K me was inspired by a fact of the 1980s: the discovery of a small boy who lived locked up in a closet. Years later, I read in the press the testimony of this martyr child, which was rebuilt and spoke of his experience with clarity, while expressing an immense love for his mother. This love surviving abuse seemed both beautiful and unthinkable, and it is this mystery which served as a starting point to the novel. In the Ballad of Lila K, I wanted to tell the chaotic reconstruction of a broken child, and the investigation to find her mother in which she remains attached by a bond of love. But I realized pretty quickly that this novel might turn to the sociological evidence of child abuse, what I wanted at all costs to avoid. So I decided to place the action in a slightly futuristic world, projecting trends that seem to draw in our contemporary society. I "recovered" a fiction universe I had put in place for another project, started there nearly fifteen years and remained unfinished. This allowed me to enrich the personal story of Lila from a political background, addressing themes that keep me in heart. L'écriture de La Ballade de Lila K n'a pas été simple: j'avais conscience de m'atteler à un projet ambitieux et je me suis demandé jusqu'à la fin si j'arriverais à le mener à bien. J'avais aussi conscience de prendre le risque de déconcerter mon éditeur et mes lecteurs, en écrivant un roman très différent du premier, Une pièce montée. À cela s'est ajoutée la difficulté inhérente à l'écriture, les doutes constants sur la qualité de mon travail, les moments de profond découragement... J'ai failli plusieurs fois abandonner ; mais comme Lila, je suis tenace, et à l'arrivée, j'éprouve une grande fierté d'avoir terminé ce roman. Comment avez-vous perçu les chroniques de nos jurés à l'égard de votre livre?Je ne sais pas si j'ai lu toutes les chroniques concernant mon livre, mais celles dont j'ai pris connaissance m'ont toujours semblé portées par un véritable respect de l'oeuvre, même lorsqu'elles étaient réservées. Dans la plupart des chroniques, j'ai apprécié l'alliance d'une subjectivité assumée - les jurés expriment ce qu'ils ont ressenti à la lecture du livre - et d'un véritable souci d'analyse et d'argumentation. Comme souvent lorsque je lis une critique (positive ou négative) de mon livre, cela m'a donné envie d'en rencontrer les auteurs pour en discuter avec eux. En tant qu'auteur, que vous inspire le livre numérique?It's been years that I work with the books in digital form, as part of my profession (apart from my writer activity, I'm teacher-researcher at the University), and I was able to measure the benefits of digitization. It provides access to rare or fragile texts that it would be almost impossible to see through the 'traditional' channels; It also allows to discover texts, because vagrancy of one work to another is quick and easy. For me, this represents a considerable intellectual gain, but also saving time and money. As an author, I believe that the digital book will enable the invention of new forms of literature: the mixed forms, integrating film footage, illustrations or music; Digital will facilitate forms of narrative "Star", offering a choice between several versions of the story. I am sure that authors such as Perec or Queneau would have been passionate about the emergence of this new "tool" on the literary scene. However, my enthusiasm is not devoid of concern at the rise of censorship, and a tendency to the revision of works. In an edition of Huckleberry Finn by Mark Twain recently published, the word "nigger" and was replaced by the word "slave". I find scandalous this rewrite on behalf of principles without doubt very respectable but which, in my opinion, there are dangerous as stupid application. What worries me with digital, it is that it makes the implementation of this type of censorship technically very easy, and invisible. It is one of the themes of the Ballad of Lila K: as part of his work at the Grande Bibliothèque, Lila spends her time to digitize works and articles, while performing cuts and changes according to the guidelines of its hierarchy. Therefore real enthusiasm, but caution. I believe that it is important to not just the facilities that we offer access to works in a dematerialized form. Digital technology is a step forward, but do not forget that we do actually have the text when we hold in its paper form.

Hasil (Jerman) 2:

Blandine the Callet, whose novel The Ballad of Lila K contributes to the 1st Prize of digital books, tells what led her to write her book. How did you get the idea for this book and in what state of the spirit did you write? Halfway between fiction novel and initiation, Blandine Le Callet changes register with The Ballad of Lila K. The K Lila Ballade was inspired by a news item 80s: the discovery of a little boy who lived locked in a closet. Years later, I read in the press the testimony of the child martyr, which was rebuilt and spoke of his experience with clarity, expressing immense love for his mother. This love surviving abuse seemed both beautiful and unthinkable, and it is this mystery that was the starting point of the novel. In The Ballad of Lila K, j'ai wanted to tell chaotic reconstruction of a shattered child, and the investigation leads it to find his mother in which it remains attached by a link of love crazy. But I realized pretty quickly that this novel might turn into a sociological testimony on child abuse, what I wanted at all costs to avoid. So I decided to place the action in a slightly futuristic world, by projecting the trends that seem to be emerging in contemporary society. I have "recovered" a fictional universe that I had set up for another project started there nearly fifteen years and left unfinished. This allowed me to enrich the personal story of Lila political backdrop, with themes that are important to me. The writing of The Ballad of Lila K was not easy: I ' was aware of me to tackle an ambitious project and I wondered until the end if I could to carry it out. I also realize disconcerting to risk my editor and my readers, writing a very different first novel, A cake. To this was added the difficulty in writing, the constant doubts about the quality of my work, the moments of profound discouragement ... I almost give up several times; but as Lila, I am tenacious, and at the finish, I am very proud to have finished this novel. How did you perceive the chronicles of our jurors with respect to your book? I do not know if I read all reviews about my book, but those I have read I have always felt supported by a genuine respect for the work, even when they were booked. In most chronic, I enjoyed the combination of an assumed subjectivity - jurors express how they felt when reading the book - and a genuine concern analysis and argument. As often when I read a review (positive or negative) of my book, it made ​​me want to meet the authors to discuss it with them. As an author, you inspired the digital book? It's been years I work with books in digital form, as part of my profession (outside of my activity as a writer, I am a teacher and researcher at the university), and I was able to measure the benefits of digitization. It allows access to rare or fragile documents that would be almost impossible to see through the channels "classic"; it also allows to discover texts as vagrancy of a work to another is easy and fast. For me, this represents a considerable intellectual gain, but also saves time and money. As an author, I believe that the digital book will enable the invention of new forms of literature: mixed forms, integrating movie clips, pictures or music; facilitate the digital narrative forms "star", offering a choice of several versions of the story. I am sure that authors like Perec and Queneau were passionate about the emergence of this new "tool" on the literary scene. My enthusiasm however, is not devoid of concern about the rise of censorship, and a trend of revision works. In an edition of Huckleberry Finn Mark Twain published recently, the word "nigger" and was replaced by the word "slave". I find this scandalous rewriting, on behalf of principles undoubtedly very respectable but which, in my opinion, there are also a fool dangerous application. My concern with digital is that it makes the implementation of this type of censorship technically very easy, and invisible. It's still one of the themes of The Ballad of Lila K: As part of his work at the Grande Bibliothèque, Lila spends time scanning works and articles, while making cuts and changes according to guidelines its hierarchy. Real enthusiasm then, but prudence. I believe it is important not to be content with the facilities we offer access to works in dematerialized form. Digital is an improvement, but we must not forget that we truly possess the text when we hold it in its paper form.

Hasil (Jerman) 3:

in the callet blandine, whose novel the ballad of lila (competed for the first prize of digital books, "which led her to write the book." how did you come up with the idea for the book and what state of mind, you say? the midway between the novel and the pre induction, blandine callet change register with the ballad of lila. "the ballad of lila k, he was inspired by the story of the 1980s: the discovery of a small boy who was locked in a closet. years later, i read the testimony of the child martyr, was rebuilt, and talked about his experience with clarity, with a great love for his mother.this love surviving abuse seemed to have beautiful and mysterious, and it is this which was the starting point for the novel. in the ballad of lila, i want to talk about the reconstruction of chaotic of a child ", and the investigation in order to find his mother, to which it is attached by a bond of love.but i realized quickly that this novel could transfer to the sociological evidence on child abuse, that is what i wanted to avoid. so i decided to work in a slightly futuristic world by projecting trends that seem to me to be happening in our society today.i have "recovered" a universe of novels that i had put in place a project started almost 15 years ago, and left unfinished. it has enriched the history of - a political background, and address issues that are important to me. in the writing of the ballad of lila k has not been easy.i was conscious of going to an ambitious and i asked myself until the end if i can succeed. i was also aware of the risk of having my editor, and my readers, writing a novel is very different from the first, a cake. this is compounded by the difficulty in writing, the ongoing concerns about the quality of my work.the moments of despair. i almost give up several times, but like lila, i'm still here, and i feel proud to have finished the novel. "how did you perceive the chronicles of our jury for your book? "i don't know if i've read all about my book chronicles.but as i read, i have always felt as a genuine respect for the work, even when they are used. in the majority of chronic, i enjoyed the alliance of subjectivity are assumed - the jury what they felt to be the reading of the book, and a genuine concern for the analysis and argument.as so often when i read a review (positive or negative) of the book, it made me want to meet the authors to argue with them. "as the author of the book, what do you think about digital? "for years i have are books in digital form, in my profession, in addition to my work as a writer, i'm a teacher and researcher at the university).and i was able to assess the benefits of digitization. it provides access to the texts of rare and fragile that it would be almost impossible to see through the "traditional"; it also allows to find texts as the vagrancy of work to another is easy and fast. for me, this represents a gain considerable intellectual, but also saves time and money.



as a writer, i believe that the digital books will allow the invention of new forms of literature: mixed forms, including movie footage, images and music, digital forms of narrative "will star, offering a choice between different versions of the story.i'm sure that authors such as perec or queneau were passionate about this new "tool" in the literary scene.

my enthusiasm, however, is not without concern that the rise of censorship, and a tendency for the revision of the work. in an edition of huckleberry finn by mark twain, recently published, the word "nigger" and was replaced by the word "slave".i think it is disgraceful that rewriting, on behalf of the principles, without doubt, very respectable, but which, in my opinion, are as stupid as a dangerous operation. what worries me with digital, it makes the implementation of this type of censorship, technically easy, and invisible. it is one of the themes of the ballad of lila (k:as part of its work to the great library, lila's digitized works and articles, with cuts and changes in accordance with the directives of the hierarchy. "enthusiasm, but be careful. i think it is important not only for facilities that provides access to works in a dematerialised form.digital technology's progress, but we must not forget that we have indeed the text as we have in the paper.