Kamilya Jubran

L'humeur vagabonde (1/21)

"In January 2002, while Israeli tanks were incircling the Moukhata, headquarters of the Palestinian Authority, and were bombarding the city of Ramallah, the poet Mahmoud Darwish, shut up in his house like all the inhabitants of the city, was writing poems. They were published under the title "State of Siege" and almost everyone of them spoke of love, of the landscapes of Palestine, of the sky and of the song of the nightingale. Some reproached him at the time, as always, for not writing more political texts... Mahmoud Darwish died last summer. He must be read, today, as yesterday, so as not to despair of life.

"Kamilya Jubran is also a Palestinian. She composes music from poems that inspire her and she sings them, accompanied by her oud, the extraordinary traditional instrument of Mashrek music. And today, as a dead silence follows the din of arms in Gaza, she prepares to sing at the Institut du monde arabe, Saturday night. To sing, in her turn, of love, of the landscapes of Palestine, of the sky and of the song of the nightingale. Because these are the arms of poetry."

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Jean Roudaut

Du jour au lendemain (1/8)

Les Trois Anges: Essai sur quelques citations de A la Recherche du temps perdu

"As he delivers himself from them, the narrator evokes the errors that he committed; he is convinced that at the end of his clarification, he will firmly experience a state of happiness that he has intermittently seen hints of. But when, to draw an end to his journey, the narrator adjoins to the réconstitution of Lost Time, the hymn to the joy that is Time Regained, he is no longer the one who conceived the triumph. He is marked by the horrors of the war. From that point, isn't it delusional to hold the expression of a juvenile hope in literature as a victory?"

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Pascale Casanova

Du jour au lendemain (1/6)

La république mondiale des lettres

"This world republic of letters has its Greenwich meridian, to which the newness and modernity of works are measured.

This is the story literary revolutionaries who managed to invent their freedom as writers by creating new forms. The texts of Kafka, Joyce, Faulkner or Beckett, but also Arno Schmidt, Mario de Andrade, ibsen, Kateb yacine, Ramuz, Michaux, Cioran, Naipaul, Juan Benet, Danilo Kiš, Ngugi wa Thiong'o and many other "ex-centric" writers."

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Denis Podalydès

L'humeur vagabonde (12/31 - repeat)

Voix off includes a CD that complements this audio autobiography and includes texts read by Roland Barthes and the voices of his own family. 

"Could there be a more treasured place, safer shelter, a more peaceful retreat than a recording studio? Enclosed on all sides, covered, sitting in front of a single microphone, outloud - without making an effort to project, in the medium - for two or three hours, I read the pages of a book. The world becomes the one in this book. The world is in the book. The world is the book. The lives that I'm with, the dead that I mourn, the time that passes, the era of which I'm a contemporary, the story that unfolds, the air that I breathe, belong to the book. I enter into the reading. Nacelle or bathyscaphe, the small windowless room where I enclose myself permits a total immersion or ascension. We descend into the depths of the book, climb to a language sky. I leave it to the voice to represent me entirely.  Written and read words serve as perfect existence. But with my voice, reading the words of another, those of someone long gone, whose flesh has evaporated, but whose style, the beauty of this style,  triggers a world of echos, of connections and living voices through which I pass, speaking in turn, entering into these voices, surrendering myself to daydreaming, to the specific action of continuous daydreaming, parallel and free, I know that I'm speaking, I know that it is me, not in the text, of course, but in the enunciation of these pages. And so other voices make themselves heard, in mine."

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