Mohamed Khair-Eddine is a myth Maghrebi literature in French. He has marked his beautiful pen, his generation and one who later has long been inspired by his words rebellious, rude to his world, singing both beauty "sudique" and denouncing the slump that has hurt Morocco for many years.The leader of the "linguistic guerrilla" has come to blows articles, literary publications, to shape its own world. He shared homesickness as a feather "mad". With other Moroccan writers involved (and Laâbi Nissabouri ...) it initiates the regenerative power that will mark a watershed in the history of Moroccan literature, and by extension, the North African language literature française.Il shouted above and strong and cons for his country. As contradictory as it may seem, this duality has long singled out for the work of the enfant terrible of the Moroccan literature. The poet calls into question all of society. "We must impose, it is time. We denounce the criminals who streaked flesh of our people, trying to abolish traditions closest ferries. Proclaim liberty. It is not without reason that I go into exile here, "wrote in 1961, Mohamed Khair-Eddin Abdel Laâbi about his involvement in the journal Souffles.En exile, memories of Morocco is omnipresent. Le souvenir du pays d’origine habite presque toute son oeuvre. L’éloignement a renforcé ses liens avec le pays, ses maux, ses problèmes et tissé de solides liens d’amitié avec des amis poètes et écrivains qui sont restés sur place pour mener le combat, son propre combat.
Engagement
Mohamed Khair-Eddine est né en 1941 à Tafrouat, d’un père commerçant qui quitte très tôt le Sud, à destination de Casablanca. À son tour, le jeune Khair-Eddine habitera à Casablanca pour poursuivre ses études au lycée. Son amour pour la littérature révèle très tôt son penchant pour la poésie. Les centres d’intérêt are diverse. The style is very neat. Poetry is colère.Bientôt escape and he left his studies for writing. Perfection in his tracks, he landed in France. There, he worked as a miner and laborer. Nevertheless, he managed to expand collaborations in academic journals (Inks Vives, Dialogues, Letters news, African Presence ...) and publish the vast majority of his writings. A period of wandering that lasted fifteen years, between the south of France and Paris.more later, in 1980, Mohammed Khair-Eddine returns to Morocco. A period of reconciliation that gave birth to "Story legend "and" Life of Agoun'chich. Nine years will be enough to dissuade him to stay in Morocco. Exile is needed again as an alternative. "I go, I run, I try hard to do something that I desire life," wrote the author in "Agoun'chich." He fled from his new Morocco in search of new ways of creation, a wind. The quest continues a few years later, before the poet goes out to Morocco, following a lengthy cancer.
Mahjoub Haguig
In the literary landscape of North African French, echoes a voice as rough and rocky that "places where the geology and metaphysics blend into multiple images [1] it echoes both aggressive, generous, disturbing and so human, that of Mohammed Khair-Eddine. "Word savage" [2], it introduces the discrepancy in the literature Maghreb, shattering both dogmas sclerosing literary values. Enfant terrible of literature Maghreb, Khair-Eddin occupies a prominent position and contributes to its vitality and its renewal. Soon came to literature, it triggers with other great movement regenerative production Maghreb, what the movement Souffles in 1966. With them, it brings new blood to this literature far too restricted by certain rules and artistic and cultural values.
Thus, the route of this son of shopkeepers undersigned immediately falls in marginality and contestation. Born Tafraout, in southern Morocco in 1941, Khair-Eddin spent a number of common childhood Berber children, from the South, land of emigration, women and old men and the father's absence, the party seeking fortune in the North. Enrollment coincides with the departure to Casablanca and the abandonment of the mother and the South. It is also the discovery of literature. Asked about this period of his life and his coming to writing, Khair-Eddin says:
Say I started writing in high school class of 5th (...). I published in the Moroccan Vigie, there were even teachers who encouraged me but the family was against (...). I was rather strong in science and French, no one in Arabic, except in poetry. I even wrote tragedies that my father sold them to merchants who made peanuts des cornets... [3]
Ceux qui ont connu Khaïr-Eddine à cette époque se souviennent d'un jeune garçon déclamant des poèmes entiers quand il n'en inventait pas déjà lui-même. Entré en littérature malgré l'opposition de son père, Khaïr-Eddine trouve là une nouvelle famille. Ses découvertes et ses rencontres orientent alors sa vie et ouvrent un parcours jalonné par des mots-repères, thèmes majeurs aussi, tels que séisme, exil, retour, errance perpétuelle. Aussi, quatre grandes périodes marquent cet itinéraire de poète errant, ce trajet en pointillé.
En effet, la période 1961-1965 est dominée par le séisme. First one who knocks, February 29, 1960, the city of Agadir where Khair-Eddine installs (1961-1963), leaving the school for writing. Instructed to survey the population on behalf of the Social Security where he works, Khair-Eddin is pregnant and Agadir Survey to be released later. Finally, the young poet is in turn "worked" by the earthquake which he made through his work the major symbol of all questioning and all individual and collective vibrations. With a group of friends Nissaboury, he advocated that revolution in the field of poetry and calls it "guerrilla language "in a manifesto entitled" Poetry all. "There follows a review, Whitewater, ephemeral but the starting point of a romantic and poetic career, which itself is in the great literary and intellectual movement characterized by the birth of breath 1966. From 1963 to 1965, based in Casablanca, Khair-Eddin product so intense: "The Burial", new evidence published in June 1966, "Nausea black" (Centuries at Mains, London, 1964). It binds friendship with those who base Souffles, including B. and A. Jakobiak Laâbi, poetry and fellow fighter. This first stage of the journey of the writer débouche, comme chez nombre d'écrivains de cette époque, sur le départ pour la France (1965), à la rercherche "dans la distance, du seul lien possible"[4] avec la famille et le pays, fuis l'un comme l'autre.
S'ouvre alors une longue période d'exil volontaire de 1965 à 1980, pendant laquelle Khaïr-Eddine mène la vie des "boucs" comme mineur, ouvrier (1965-1966). En témoigne se correspondance avec Laâbi: "J'ai un mauvais travail, je n'ai pas de logement, j'écris au prix de mille souffrances dans les cafés, c'est là que je me terrorise". Khaïr-Eddine publie "Faune détériorée" dans la revue Encres Vives en 1966; le texte was awarded the prize "Inks Vives. It also participates in various journals including Dialogue, News Letters, Presence Africaine in Paris and works at the foundation of Blasts in 1966. In 1967, his poems are noticed in Modern Times, The Journal of the Poets. Threshold seems to Agadir and receive the prize of "Enfants terribles", founded by Cocteau. The Burial wins award New Maghreb. It is a fertile period: Body negative, followed by History of God (1968), Sun Arachnid (1969), third prize in the price of Franco-Arab Friendship. Me the sour (1970), The snatchers (1973), Morocco (1975), Une Odeur de mantèque (1976), Une Vie, un rêve, un peuple toujours errants (1978) témoignent de cette fécondité qui donne une oeuvre rivée, malgré l'exil, à la terre marocaine et "sudique".
Parallèlement, Khaïr-Eddine anime pour France-Culture des émissions radiophoniques nocturnes, vit dans le mouvement des idées de Mai 68 et continue à faire des rencontres importantes pour lui: Malraux, Sartre, Beckett, Senghor, Césaire, Damas...
Sa vie sentimentale, pour le moins mouvementée, est marquée par un mariage avec "Annigator", ainsi nommée dans Soleil Arachnide et la naissance d'un fils, Alexandre. This balance is broken when Khair-Eddine left the south of France where he settled and separated from his family for the tumultuous life of Paris. There, Khair-Eddin resumed his wandering, tormented by homesickness, lack of a South that, in fact it never left. In 1979, Khair-Eddine wants to return to Morocco. This return, "made on a whim" [5], no doubt aided by his friend Senghor takes place in 1980 and gave rise to writing a book of poems: Resurrection of wildflowers (1981). Healing after the "troubles of all sorts" [6], for balance, the return that explains Khair-Eddine in a text entitled "The return to Morocco" opens, as the poet, a historical cycle with a story, legend and life Agoun'chich (1984) that sealed their reunion with the South so loved and so fled.
From 1980 to 1989, with the exception of this great text, Khair-Eddin produces nothing striking. Happy and excited to return to its land and its culture, its arrival over the years, the poet leads a life again dissolved in a society where it feels decidedly out of place, bringing with him his unhappiness, abroad everywhere, always powered from faraway. Khair-Eddine crisscrosses Morocco, not mettant pas de séparation visible entre voyage réel et voyage intérieur. Ils sont chez lui les deux modalités d'une même recherche, les deux expressions d'un même désir. Pour subsister, il écrit des articles dans divers journaux marocains: Le Message, Le Libéral, L'Opinion, participe à des manifestations culturelles et se prête volontiers à des exhibitions médiatiques, se laisse enfin fêter comme l'un des rares écrivains maghrébins vivant dans son pays. Croisé dans une rue de Casablanca, Rabat ou Tiznit, Khaïr-Eddine n'a alors que le mot partir à la bouche. En 1989, il quitte de nouveau le Maroc pour la France. Il vivrait actuellement à Paris et préparerait une pièce intitulée Les Cerbères, renouant ainsi avec le théâtre, vers lequel l'auteur a toujours été attiré.
Homme d'exil, Khaïr-Eddine est encore une fois reparti vers cet "ailleurs inaccessible", à l'instar de cet ancêtre fondateur de Légende et vie d'Agoun'chich, pris à son tour par cet "amour de l'exil et de l'errance". Ainsi, l'errance perpétuelle domine le parcours inachevé de cet écrivain à l'image du poète-chantre de la tradition maghrébine.
THÈMES FONDAMENTAUX
Travaillée par les thèmes de l'exil et de l'errance, l'oeuvre montre qu'ils ne sont pas de simple literary elements characteristic of this literature, but they refer to a cultural practice for which the North African exile and wandering are attributable to the outcast, the hero and the poet. In number of characters, combining these three figures, exile and wandering thus become a principle of life. From this perspective, the biography of Khair-Eddine itself is a significant testimony.
Associated with these two dominant themes, exclusion and the search also involved in the fundamental theme of the work which is an expression of social marginalization, political, cultural and identity, while generating This wandering and this quest appears every book of the author. The exclusion is, above all, individual initiative, self-exclusion, rejection and rebellion, challenging socio-political and individual desire for liberation.
Collections of poems, Black Nausea (1964) Resurrection of wildflowers (1981), via Sun Arachnid (1969) and Ce Morocco (1975), express the revolt of both individual and social, this claim Similarly, while shouting his frustrations of being and the desire for change and seeking a better life. Producing a poetry book poetry essentially vindictive, inaccurate and conjuring, poetry sometimes violent exile in delusion and dreams, shelter against evil. It also manifests a concern for the collective, the poet is dreaming voice of the people. Like the writers marked by the spirit of Souffles, Khair-Eddin not imagine a literature outside of the commitment. The management of collective evil is still very strong in the production of the romantic writer.
The latter is built around the same principle of the questioning: the origins of patriarchal identity and power in all its forms. Agadir (1967) announces a work dominated by the symbolism of the earthquake affecting not only space but individuals and especially identity systems, social and political.
negative body monitoring Story of a Good God (1968) blames this trilogy of power, that combines Khair-Eddine violently negative one body: God the King, the father. Subversion of power and political denunciation relate to the fundamental theme of the work and the scriptural practice of the author. Like most writers of his generation, Khair-Eddin practice literature iconoclastic, profane, who mocks the sacred and the divine. God himself is not spared by denouncing the demystification, notably through the figure of fqih, diverted practice of religion. The work addresses of all officers povoir patriarchal.
dominant theme in North African literature, the verbalization of the conflict with the father takes place as a fundamental element in the theme-Khair Eddinienne. Central figure on which to focus the challenge of speech can and transgressive, the father is subject to corrosive discourse, ruthless and accuser. Animality monstrous, greedy, cruel, lecherous, treacherous, cowardly, the father is disgraced in Khair-Eddine - especially because it repudiated- Mother and son abandoned - until fantasy, obsessive in work, always lacked the murder of the father, who stands as a persecutor and spectrum with which the bonds are constantly broken. This break with tradition, whose expression is important in the work, justifying the rejection and exile of the country and society and is the refusal to ensure the continuity of patriarchal power, that of trade and the money, paternal inheritance and opposed by the Berber script designed as a space weapon and the questioning of the authority. The work reveals a problematic relationship with the father and ancestors as it is about identity and culture, both dismissed, and claimed as "navel reality that connects to Berbers. [seven]
The question identity strong in all literature Maghribi is acute in Khair-Din, and two levels , individually and collectively. The identity is a relationship with a space, called "sudique, which occupies a focal place in the work, geographic area of southern Morocco chleuh and especially social sphere, history and culture. It is significant that the work of Khair-Eddine, conceived in exile for the most part, this space is invaded by "sudique" with which writing has relationships ambivalent refusal and claims. The last book of Khair-Eddine, Legend and Life of Agoun'chich (1984), size enhances the glorious past history and Berber culture and worried about their current collapse. From this point of view, the work remains dominated by the theme of the place inaccessible mythical South, South-feeding, Southern childhood: "The South" Southern "My mother's True!" [8], South imagination and claimed by the writing that allows only the return to space with which it merges. Finally
work remains basically the place of say about itself, expressing a different aspect of the problem of identity in Khair-Eddine. Ubiquitous, the I, single and multiple, constantly dispossession itself is, especially me, sour (1970), The snatchers (1973) and A Smell of mantèque (1976), affected in turn by the blasting, driving principle in Khair-Eddine. Metamorphosis, duplication or multiplication of the break-"I", an expression of sexuality exacerbated animalization through a teeming bestiary or reification and finally death through complacency in putrid and cadavérisation, are all manifestations of what appears here as a rejection and enhancement of self and draws, in any case, the space scriptural in place of self-questioning and origins.
LITERARY METHODS
Regarded as a difficult author, hermetic and even incoherent, Khair-Eddin practice, it is true, writing that first seeks to divert, by the principle of "linguistic guerrilla" proclaimed by the writer when he came to writing. It acts on the traditional literary forms and genres. As part of the movement of breath, this script breaks down traditional distinctions between poetic, narrative and discursive and tended towards the search for the uniqueness of language.
This will
vested with multiple and subjected to intense and privileged. Writing "terrorist" dynamite the very notion of plot, reduced to fragments of narrative. Only the dominant word in these texts in which characters are absent and replaced by pronouns that are waging a real fight to the floor. In this, most of the texts of Khair-Eddine are characterized by polyphony, by the multiplicity of voices, speeches and stories and by highlighting a word multipass.
From this point of view, the practice of theater - small skits common in all these texts - a good illustration of this basic research de la voix dans l'écriture de Khaïr-Eddine. Celle-ci cherche à se faire entendre avec force et violence jusqu'au cri de révolte qui pulvérise la phrase, elle-même complètement disloquée, parfois jusqu'à l'incohérence.
La description, l'achronie, la disjonction, l'incongruité fondent cette écriture insolite qui cultive aussi l'extraordinaire et l'étrange. Tantôt ironique et satirique, le langage chez Khaïr-Eddine se fait aussi plus mordant, voire scatologique car il se veut essentiellement provocateur et déroutant. Aussi est-on en présence d'une écriture paradoxale qui se pose comme une non-écriture et s'oganise autour d'une dialectique de la construction-déconstruction d'elle-même.
Discontinuité du récit, lui-même à la limite du réel et du fictif, écriture de l'hallucination et de la fantasmagorie, éclatement de toute logique et de l'intrigue, pronominalisation des personnages qui aboutit à leur négation, abolition du temps et de l'espace, contradiction des discours par le procédé de l'affirmation-infirmation caractérisent ces nouvelles formes narratives s'inspirant de Joyce, Faulkner, Kafka, Céline, Beckett et des nouveaux romanciers. Elles inscrivent ainsi l'écriture de Khaïr-Eddine dans une modernité scripturale qui met l'accent sur la difficile mise en oeuvre du récit et sur la reflexion d'une écriture on itself.
However, this question is essentially the power of appointment gives the writing. So we can say that in Khair-Eddine, language which operates uniquely, stereotyped is constantly questioned, did perceive that in this "perpetual dispossession" [9], characteristic of the body and identity in the author. Here and more prominent, writing translated into its mechanisms and its erratic, a desire for freedom from the constraints of the absolute refusal of language and the clarity of words, a search of the last polysemy, meaning open and plural.
The principle of "writing crossed out in advance" is positive as generator of stories, like the earthquake is a prerequisite for renewal. This loss still writing itself aims to subvert itself, including the introduction in the field of writing, processes which together form a poetics of orality, the oral tradition is revisited here by modernity. Everything contributes, in the interference of writing and orality, an attempted subversion of one by another. That would explain the premise Khair-Eddinien non-writing. This poetry is evident in particular through the report and first introduced by fun writing with language, deconstructed, reconstructed, according to a principle where the clean speech is known to dissolve in the very act that produces it.
say and not say, self-destruction remains a common practice of orality. "It was and it was not" said the traditional tale. The poetics of orality is also at work in the very functioning of the narrative, in that it favors a body language, a writing-centered organic body, sexuality, metamorphosis, the mask, which dominates voice concern about the utterance act seems important because it is the founder of "I".
Fragmentation text, so characteristic of writing Khair-Eddine, reflects the bursting of the "I" which reflects on the stirring narration prey to the same fever and even wandering. The "I" becomes one with the text and embodied in a word that always comes back to him.
by Zohra MEZGUELDI
1 - Life and Legend Agoun'chich, p 12.
2 - Violence of the Text, p. 92.
3 - Interview recorded in Rabat in September 1988.
4 - "Moroccan Literature," Europe, Paris, 1979 (June-July).
5 - "The Back in Morocco," Ruptures, Sept-Oct. 1981, No. 2, p. 13.
6 - Ibid.
7 - A life, a dream, a people, always wandering, p.80.
8 - snatchers, pp. 119-120.
9-Ibid.
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BIBLIOGRAPHY :
Agadir, 1967
body negative, followed by History of God, 1968 Sun
peanut, 1969
Me, sour, 1970
The snatchers, 1973
This Morocco ! 1975
A Smell Mantèque, 1967
A life, a dream, a people, always wandering, 1978
Resurrection of wildflowers, 1981
Legend and life Agoun'chich, 1984
It was once an old happy couple
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Ass. Khair Eddine Culture and Development
Address: PO Box No. 62 Tafraout E-mail :
association.Med_Khair_eddine @ caramail.com
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