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Plutot qu’un programme, la litteralite chez Nathalie Quintane est un procede et une posture a partir desquels elle retravaille la matiere historique. Plusieurs de ses oeuvres « repassent » l’Histoire officielle de la France, soit en aplatissant des personnages et evenements mythifies a des fins ideologiques dans de grandiloquents recits, soit en mettant en relief des « mauvais sujets » ou des episodes peu glorieux omis par cecite volontaire. De la meme maniere que la figure de « Kroutchev » est eclipsee dans Chaussure par le soulier avec lequel il tape sur la table de l’Assemblee generale de l’ONU, Jeanne Darc deboulonne la machine a fiction de la pucelle guerriere par la mise en exergue des contingences betes qui la font passer de bergere consciencieuse a soldate. Alors que Cavale montre l’inconsistance et la confusion de la memoire dans la construction de la realite historique, Grand ensemble en decoud avec la commemoration edulcoree des « evenements » d’Algerie en disant crument l’horreur cachee par les recits officiels. L’oeuvre de Nathalie Quintane est exemplaire du role politique de la litterature dans la resistance a l’ordonnancement de la memoire.AbstractThe political dimension of Nathalie Quintane’s work goes beyond her positioning in the restricted literary field. Rather than a program, her literal poetry is a device and posture allowing her to question and reshape the historical matter. Her writing revisits France’s official History, either by flattening characters and events mythicized into bombastic narratives to serve ideological means, either by showing up “bad subjects” or unglorious episodes voluntarily hidden or forgotten. As does Chaussure with the obliteration of Khrushchev’s character behind his slamming of a shoe on the UN General Assembly table, Jeanne Darc debunks the virgin warrior portrayal’s fictionalisation by showing the silly contingencies in the making a soldier out of a conscientious shepherd. Whereas Cavale shows the inconsistency and confusion of the memory in the construction of the historical reality, Grand ensemble fights the toned-down commemorations of the Algeria “events” by crudely telling the hor-rors behind the official stories. Nathalie Quintane’s work is exemplary of the political role played by literature in resisting the organization of memory.

Nathalie Quintane et la part sombre de l’histoire de France