Extract
[...] Hervé Le Tellier then makes a direct reference to Georges Pérec when he writes: 'Exhaustion of an improbable place'. This expression is a direct reference to Georges Pérec who is the author in 1975 of Attempted exhaustion of a Parisian place: A large number, if not most, of these things have been described, inventoried, photographed, recounted or counted. My purpose in the following pages has rather been to describe the rest: what is generally not noted, what is not noticed, what is not important: what happens when nothing happens, except time, people, cars and clouds4. [...]
[...] From this man observed, Victor therefore thinks back to a moment of his life lived with his father and therefore does not completely situate himself in a complete 'attempt to exhaust' the external world, the world that presents itself to him in an immediate way. III - Chapter 'Three letters, two emails, a song, zero absolute', a transgressive use of literature Hervé Le Tellier, in L'Anomalie, does not hesitate, in the Oulipian tradition, to play with literature. He questions the boundaries between what theoretically should belong to literature and what does not. In the final chapter of the novel, he inscribes the letters of two characters. This first aspect does not deviate from traditional literature to this point. [...]
[...] If Hervé Le Tellier's novel is not as lush, we can still find this passage from one character to another in a sudden way. We also notice in this chapter a large part attributed to intertextuality and the game on intertextuality was also typical of Oulipian literature. Hervé Le Tellier tries to get into the psychology of his main character, who, by the way, is not called Blake in the true sense of the word, but he took this name in relation to the poet: It is that night that Blake invents Blake. [...]
[...] Hervé Le Tellier inscribes himself in this playful dimension of literature, properly orlipian. II - Chapter 'Table the reappropriation of the 'attempt at exhaustion' perecquian This chapter is characterized in particular by digressions, meta-linguistic digressions in which the author will bounce in a completely unprompted way on terms: 'Hangar is such a bizarre word. Not far from haggard, from hazard2 ». We are not so far from the work of Francis Ponge in Le Parti pris des choses: 'Halfway between the cage and the cell the French language has cageot3 ». [...]
[...] You can indeed see the sender's address, the recipient's address and even the subject of the email which can somewhat disconcert the reader: From: To: Date: 1he July 2021, 09:43 Subject: rupture Hervé Le Tellier even chooses to insert the sender's and recipient's email addresses in blue as if they were actual email addresses. The language used in the emails is also everyday language. This is probably a way for Hervé Le Tellier, as an oulipian, to question what is supposed to be literary and what is not. We would sometimes define literary style by the use of literary devices, for example, or by a certain lexical richness. [...]
