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Deleuze relevait chez Beckett des « disjonctions inclusives », soit des selections paradigmatiques logiquement incompatibles qu’une langue « begayante » fait cependant cohabiter. La prose d’Eric Chevillard travaille cette limite de la langue. Ainsi, le protagoniste de Palafox (1990) est a la fois papillon, reptile et elephant ; Crab ( Un fantome , 1995) se distingue a la fois par « sa laideur effrayante » et « la beaute irreguliere de ses traits ». Une taxinomie fantaisiste sur le plan des mots entraine une ontologie irreconciliable au niveau du monde-referent. Nous etudions ici les modalites par lesquelles ces corps irrationnels parasitent les structures du discours et, partant, celles du « reel ». Abstract Deleuze had noted Beckett’s “inclusive disjunctions”, that is, logically incompatible paradigmatic choices which could nonetheless coexist in a “stammering” language. Eric Chevillard’s prose works this limit of language. Thus the protagonist of Palafox (1990) is at the same time butterfly, reptile and elephant, Crab ( Un fantome , 1995) is distinguished both by his “frightening ugliness” and the “irregular beauty of his features”; a fantastical taxonomy of words engages an irreconcilable ontology on the level of world-referent. I reflect here on the modalities whereby such irrational bodies parasitically occupy the structures of discourse and, thereby, of the “real”.

Le degré in-fini de l'écriture : la prose d'Éric Chevillard