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I added that to date the engine registered 2This single copy is sold for 130000 eurosThe fingers in decisionmakingThe bubbles are what they were of the highend at prices more accessibleNo question of competing with the federationsWe begin to understand how is moving this choiceIn the meantime everyone chooses his campThe morning saw an alltime record with 10Same observation for gas storage activitiesSome such as California are incompetent"These are not people who change, these are the things" ("the foam of days"). Much has changed for Boris Vian. It fifty years after his death of a heart disease in thirty-nine years is dedicated. The writer will be published a year next in the Pléiade. Gallimard, who had dropped him after "The foam of days" (1946), her great reopens its doors.
In the 1970s, in full rock culture, Vian, jazz writer, was a sublime troublemaker in school program. Today, in full world, electro and hip-hop culture, it continues to move young people looking for simple benchmarks: love, poetry, derision, taste of the day... They were many applauded last month at the Théâtre Déjazet "The foam of days", adapted for the stage with "swing" by Béatrice La Boulaye. The seduction comes from his music writing. Free: taste for neologisms and metaphors, unbridled fantasy. In "The foam", Chloé (given name "borrowed" a piece of Duke Ellington) dies from a water lily that grows in the lungs beautiful discreet image of incurable disease. Vian is a writer can and politically incorrect. It saves the young black series collection bankruptcy by writing "I'll spit on your graves" (1946), under the name of Vernon Sullivan, posing as his translator. This polar dark and raw, which denounces the condition of blacks in the United States, will be censored and it will be in trouble with the law.
Vian commitment is modern. It is of no party, no Chapel. He attended Sartre, but prefers the spirit of Queneau and Jarry, the Pataphysics in Existentialism. Positions are heartfelt and instinctive: anti-racism, fueled by his passion for the black jazzmen; antimilitarism, the defended with his song "The deserter" of become a pacifist anthem in the world.
"The Knight of snow".
Vian is not only a novelist, it is also a musician, a Decouflé. When he ends his fiction career without success (circa 1953), he tackles the theatre and Opera. It is building its knowledge and practice of jazz it is a sharp critic and a gifted trumpet player to write songs. He has bequeathed to 500. The writer long considered minor, helps make the song a major art. Far from being superficial and "dispersed", it is a complete artist. It is the same energy and inspiration to write a new to organize an evening in the cellars of Saint-Germain-des-Prés.
The only triumph in his lifetime is "The Knight of snow", a full show from the legend of Lancelot of the Lake and put in music by Georges Delerue, represented in Caen, Normandy 1952 Drama Festival: a scene of 1,800 square metres, 30 actors, Extras, a dreamlike setting 100... Vian the entertainer, the protester, dandy jazz, impresses with an epic creation that puts into practice the precepts of Artaud "theatre of cruelty".
His home is rediscovering to (re) read (novels, his plays, his stories, his columns); to (re) listening (songs sung by him or by others). There is no elusive and arcane "Delighted Bison" (his nickname/anagram), but a unique and harmonious complexity: the joy of living tragic, timeless elegance, the insolent art of genius who knew his time counted.
