5150 rue des Ormes by Patrick Sénécal

By Patrick Sénécal

Un premiere essai....

Premier essai dans l. a. création littéraire pour ce bachelier en Études Francaises qui deviendra bien vite un des ténors de los angeles littérature de style au Québec, étant même étiqueté comme le Stephen King québécois.

Parlant de Stephen King, son most popular bouquin, "5150, Rue Des Ormes" laisse planer l'ombre intoxicante de son maître à penser et de son roman "Misery" tout autour de son intrigue. Yannick Bérubé, étudiant en littérature, fait une mauvaise chute à vélo devant los angeles maison des Beaulieu. Y entrant pour demander le téléphone, il y entend un râle moribond, pris de panique, il découvre un homme ensanglanté dans une chambre au deuxième étage. Et là vous l'aurez deviné.. il est... dans los angeles merde! Il devient prisonnier de Jacques Beaulieu, et de sa famille aux moeurs bizarres. Beaulieu ne veut pas l'assassiner , motor vehicle se dénommant lui-même comme un Juste (et non un juste), il ne peut pas assassiner quelqu'un qui n'a rien fait de mal. C'est alors que los angeles longue et tordue captivité de Yannick commence...

Comme vous pouvez le voir, intrigue classique, avec des pointes de l'originalité qu'on connait à Senécal, mais cependant quelque peu noyées dans l'utilisation superfétatoire de termes vides comme "horreur, folie, démence" Ce n'est qu'avec parcimonie que des termes de los angeles sorte viennent à frapper l'imagination du lecteur. Le personnage relevant, Yannick, semble également dans sa logique, un personnages avec autant de problèmes dans le ciboulot que Beaulieu parfois. Incapable de garder son sang-froid, il semble presque intentionnellement vouloir tomber dans los angeles folie.

Suffit cependant les reproches, Senécal, dès son most efficient solo nous donne un roman à narration polyphonique qui alterne entre Yannick, Maude (la maman Beaulieu) et un narrateur omniscient, ce qui donne une lecture des plus agréables et fluides. De plus si vous avez lu les ouvrages subséquents de Senécal vous y reconnaitrez des liens intertexuels dans "Aliss" et "Sur le Seuil",clins d'oeil à deux de ses chef d'oeuvre qui sont l'ombre de son habitude à venir d'intertextualité littéraire. Senécal tisse des liens également vers Cyrano de Bergerac, Crimes et Châtiments et Les Misérables de Victor Hugo.

Vous voulez lire Senécal? Commencez par celui-ci. Les autres n'en seront que plus délicieux.

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If the laborer alone experiences the truth of what the poet says, he recognizes only his own nothingness in that tflnh. Neither one, in his knowledge or . his life, holds the truth of which the other produces the semblance, or the knowledge of what the other suffers. Far from the man in the leather apron, the laborer cannot, in the poet's image,. recognize any self-identity. In this excbange of vanities uttered in the manlier -6fEpimenides, which steals away tbe subject who could attest to the truth about the untruth, the result is not skepticism but a certain kind of knowledge.

8. Henri Leneveux, Manuel de l'apprentissage, Paris, 18)). 9. Proces-verbaux du Conseif d'encouragement pour fa associations ouvn'eres publiis par Octave Festy, Paris,. 19 1 7, p. p, THE GATE OF HELL 7 of this general norm, given the hundreds of dossiers under scrutiny? Is it, perhaps, that their immorality exceeds the norm in seduced girls and downed glasses? That theirs is the worst sort of perversion, in that it turns at worker's occupation into the means to flee the condition of the man in the leather apron?

52. is there between the Sunday extravagances of these "artisans" and "petty bourgeois" men on the one hand, and the solid realities of exploitation and class struggle on the other? As with every ve~lgo and eyery Sunday, it is one of everything and nothing. Monday they wilt' begin again" the" monotony of work or the vagrancy of unemployment. "28 Nothing has changed, but nothing win ever be the same as before, either. Fifty years later, when many of the apostles will have forgotten or disavowed it, our seamstress and our joiner will stm proudly bear the marks of the bite.

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