Extraits de La Machine à récit de Véronique Taquin

Abstract

The excerpt from Vous pouvez mentir (pp. 18–21) deals with the evolution of a radio program, which seamlessly slips from readers’ mail to the interactive fiction series, while the host, named “Pseudo,” participates with a certain carefree attitude.

The excerpt from Un roman du réseau (pp. 15–16) is devoted to the drift of the Odds site, which moves from dating site to collaborative fiction writing site, this at the cost of an unexpected reversal, because the Webmaster who proposed to his correspondents to write their “corrected biographies” becomes the subject of their stories: it is the life of the mad Master of this site that they begin to narrate in complete freedom.

The excerpt from Étreinte des fantômes (chapter “Offre de montage, par Lucques”) shows the new Webmaster of the Odds site, Lucques, asking his correspondents to freely create an episode of his life, past and future: he offers his talents to edit the texts and videos they will send, and receives interesting answers, especially from the user who signs Ghostwriter. He must meet again a companion he was separated from by circumstances.

Keywords:

• Écriture collaborative
• montage
• roman réticulaire
• radio
• roman-vidéo
• site de rencontre

Notes

1 Voir aussi: http://lejeudetaquin.free.fr/Odds.htm

Additional information

Notes on contributors

Laurent Loty

Laurent Loty has taught literature at university and has served as president of the French Society for the History of Human Sciences. Historian of literature and of scientific and political ideas at the CNRS (French National Center for Scientific Research), he investigates our representations of the individual and of society, and humanism from the printing press to digital technology. He recently co-edited Vers une économie “humaine”? (Hermann, 2014) and the Dictionnaire des anti-Lumières (Champion, 2017): http://www.cellf.paris-sorbonne.fr/chercheur/loty-laurent.

Véronique Taquin

Véronique Taquin teaches post-bac candidates for the Grandes Écoles in Classes préparatoires. She studied at the École Normale Supérieure and at the Institut des Hautes Études Cinématographiques. She worked with Gilles Deleuze on emotion in the cinema, and directed Bartleby ou les hommes au rebut (Bartleby, or Men on the Scrap-Heap) (Sépia Production, 1993). Her three most recent novels form the cycle La Machine à récit. She writes on literature, cinema, and ideological myths that present themselves as social sciences: http://lejeudetaquin.free.fr.

Béatrice Turquand d’Auzay

Béatrice Turquand d'Auzay, a Franco-German painter, has long had as her source of inspiration family history struggling with History. She taught plastic arts for more than thirty years as a professor of la Ville de Paris. Today, she is moving towards a return to roots, in other words, a work of observation and immersion in nature. Her most important exhibit took place at the end of 2012 at the Museum of the Great War in the Pays de Meaux, and her most recent exhibition (June–July 2018) was held at Auvers-sur-Oise.