Claire Lejeune: Of Poetic Citizenship - Karen Bouwer Women in French Studies, Volume 4, Fall 1996, pp. 70-79 (Article) Published by Women in ...
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Claire Lejeune: Of Poetic Citizenship
Karen Bouwer
Women in French Studies, Volume 4, Fall 1996, pp. 70-79 (Article)
Published by Women in French Association
DOI: https://doi.org/10.1353/wfs.1996.0006
For additional information about this article
https://muse.jhu.edu/article/496396/summary
[ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ]Karen Bouwer70Women In French Studies
Claire Lejeune: Of Poetic Citizenship
Si on n'est pas apatride de nais-
sance, on le devient par renais-
sance. La patrie n'est pas à gagner,
elle est à perdre: tel est l'enjeu de
l'écriture.
(L'Issue)
Claire Lejeune, Üie self-taught poet, painter and photographer, was born
in Havre-lez-Mons, Belgium, in 1926. She dedicated the first decade of her
career to poetry: La Gangue et le feu (1963), Le Pourpre (1966), La Geste
(1966), Le Dernier testament (1969), Elle (1969) and Mémoire de rien (1972).
She has since produced highly poetic philosophical essays. She has founded two
journals — Cahiers internationaux de symbolisme (1962) and Réseaux (1965),
an interdisciplinary journal of moral and political philosophy — and has edited
them since their inception. She is the permanent secretary to the Centre inter-
disciplinaire d'études philosophiques at the LIniversity of Mons. In 1975 she was
invited to participate in Üie Rencontre québécoise internationale des écrivains
which dealt wiüi women and writing. In 1977 and 1978 she led writing work-
shops at the LIniversity of Quebec in Montreal, an experience she reflects upon
in L'AiKaren Bouwer71Women In French Studies
die way in which Lejeune addresses the question of this double exclusion.
Many poets have suffered from die experience of marginahty. In die
introductory essay to his recent work Arpentage de la poésie contemporaine,
Jacques Danas claims that poets do not receive recognition, that dieir poems are
essentially soliloquies, that each one of them is stuck ruminating in his own cor-
ner and that no one shares in their disillusionment (2).2 A woman poet, (Yvonne)
Francesca Caroutch, contends mat the poet is not understood and appreciated
because his contribution "est loin d' être reconnue d'utilité publique, puisque la
notion d'oisiveté, de superflu, lui semble généralement attachée" (15). She is so
sensitive to mis image of the "poètes maudits" Üiat she feels Üiat the very word
"poet" is tinged "de nuances franchement péjoratives" (14). Unlike Lejeune, she
prefers to leave Üie question of women poets and gender issues aside in her own
poetic production, conceding only a laconic remark regarding the stigmatizing
term used to refer to them: "Quant au terme de poétesse, mieux vaut le passer
sous silence" (14). In Le Livre de la soeur (1992) Lejeune speaks of the "condi-
tion de paria" (77) of poetry in our society but also insists on die special position
of women writers by evoking, in L'Oeil de la lettre (1984), Üie "ghetto littéraire
où la franche langue de la femme- auteur demeure encore en résidence surveil-
lée" (50).
The sociologist Piene Bourdieu would of course explain these percep-
tions of marginahty as the result of the distribution of economic, cultural and
symbolic capital (Choses dites 152). He explains that artists make up a domi-
nated section of the dominant class (172). But it is the relationship among artists
which is of more interest to as. In "Le champ intellectuel: un monde à part,"
Bourdieu states that the field of cultural production is "ce monde social tout à fait
particulier qu'évoquait la vieille notion de république des lettres" (167), and con-
centrates on the power struggles that ensue among artists, speaking of the con-
stant battles that oppose "les avant-gardes toujours renaissantes à l'avant-garde
consacrée" (170).
La poésie est ainsi le lieu, en France, depuis le milieu du XIXe siècle, d'une
révolution permanente [...]: les nouveaux entrants, qui sont aussi les plus
jeunes, mettent en question ce qui a été opposé par la révolution précédente à
l'orthodoxie antérieure (c'est par exemple, la révolte des Parnassiens contre le
"lyrisme" romantique). (170)
This diachronic view does not, however, account for the consistent exclusion of
women poets. Recent anthologies do contain contributions by women.3 Yet, one
has but to penise the numerous volumes devoted to poetry to become aware of
the total absence of women poets in critical discourse. This omission apparent-
ly raises no concern since it is never mentioned. An example: at a 1984 collo-
quium witii the general title Espace et Poésie, papers were presented by poets
and critics, both women and men, but no mention of poetry by women was made,
not even by Marie-Claire Bancquart, herself a poet.4 Bourdieu elucidates the
catch-22 position in wliich women find themselves by pointing out that exclusionKaren Bouwer72Women In French Studies
prevents one from participating in die very process of (re)definitioii wliich
imposes the requirements for the "droit d'entrée" (172):
En fait, un des enjeux majeurs des luttes qui se déroulent dans le champ lit-
téraire ou artistique est la définition des limites du champ, c'est-à-dire de la par-
ticipation légitime aux luttes. (171)
He does acknowledge that "la condamnation ou la dénonciation [...] enferment
une forme de reconnaissance" (Les règles de l'art 314):
C'est déjà exister dans un champ que d'y produire des effets, fut-ce de simples
réactions de résistance ou d'exclusion. (Règles 313-314)
However, what if there is effective exclusion which is not accompanied by con-
demnation or denunciation? For when it comes to the poetic establishment, one
is struck by the silence sunounding the question of contemporary French women
poets.
The epigraphs to Lejeune's short essay "De la citoyenneté poétique"
explain Üie double prohibition she faces as a woman poet: Plato banned poetry
from die republic and Rimbaud acknowledged that women will be poets only
once they have been dismissed by men. Plato's text does not disturb her inordi-
nately and she attributes this to her "belgitude" which exempts her from having
to "[sj'affrancliir du poids héréditaire d'un prestigieux modèle" (Age 14). She
does, however, especially in recent years, join her voice to those of other poets
who attempt to prove that poetry does in fact have a role to play in the republic.
After all, Plato's exclusion is not unequivocal:
si la poésie [...] peut prouver par quelque raison qu'elle doit avoir sa place dans
une cité bien ordonnée, nous l'y ramènerons de grand coeur. (Age 13)
Rimbaud's text, which she refers to repeatedly, is seminal:
Quand sera brisé l'infini servage de la femme, quand elle vivra par elle et pour
elle, l'homme — jusqu'ici, abominable, — lui ayant donné son renvoi, elle sera
poète, elle aussi! La femme trouvera de l'inconnu! Ses mondes d'idées
différeront-ils des nôtres? — Elle trouvera des choses étranges, insondables,
repoussantes, délicieuses; nous les prendrons, nous les comprendrons. (Age 13-
14)
Rimbaud's understanding tiiat it is women's position of servitude that prevents
them from realizing dieir potential, from being both poets and citizens in their
own right — not only by "procuration, en tant que fille, épouse ou mère d'un
homme" (Le Livre de la soeur 122) — and his belief that the worlds they will
discover, once freed, will be welcomed by all, constitutes Üie act of faith which
has sustained her: "Cet acte de foi en la femme n'a cessé de tirer ma parole hors
de sa propre matrice." (Soeur 141) How does Lejeune fight die battle of gaining
"poetic citizenship" on the two fronts — getting her "renvoi" from men andKaren Bouwer73Women In French Studies
proving that she has a valuable contribution to make to the "republic"?
Lejeune, of course, does not seek entry into the "Cité" at any cost. This
would mean accepting die rules of the game, becoming like those who have
made the rules, and collusion with die "coupeurs de langue" (Atelier 47), with
the civilization which has erected its foundations on the very exclusion of
women/the feminine:
La vengeance la plus stupide du dominé: envahir le territoire du dominant pour
lui prendre sa place. Comme si l'Autre pouvait singer le Même sans trahir sa
propre cause! (Soeur 29)
How then are we to understand the statement: "gagner la citoyenneté poétique
devint [...] suprême ambition de mon écriture" (Age 14)? In order to answer the
question, we need to backtrack, to return to Lejeune 's early texts so that we can
retrace the steps of her voyage toward selfhood, toward others and finally to cit-
izenship as she defines it. Two statements can guide us in this exploration: to
the question "Mais le propre d'une femme accède-t-il à la pense du commun par
la même voie que la pensée d'un homme?" (Age 11) she has provided the fol-
lowing answer: "A force de s'intenoger, atteindre enfin ce point d'usure de l'his-
toire personnelle où transparaît la corde de l'âme universelle" (Age 12). Her own
story is therefore an essential starting point in the search for "la pensée du com-
mun."
Her intenogation of herself begins in January I960. Wife and mother
of four, she undergoes an experience of a dizzying ascent to a point of blinding
light. In an early volume of poetry which contains a significant nanative com-
ponent, La Geste (1966), she recounts this experience of a total loss of self:
Je cessais d'exister, je n'étais plus rien que cette évidence-là! Je courus devant
un miroir: je n'y vis plus qu'une explosion lumineuse. Je n'avais plus de vis-
age! Je n'existais donc plus!
"Si ¡e n'existe pas, les autres existent!"; je courus dans la chambre où dormait
la toute petite. Je vis son visage qui filait... (24)
This near-mystical experience, which Lejeune will always liken to the transfor-
mation a film undergoes when exposed to sunlight, leads her to "déserter la cui-
sine" in order to frequent "une chambre à soi" (Age 91), to create, on a daily
basis, "une page à soi" (Soeur 124) where she can (re)create herself. This
(re)structuring of herself is also expressed in tenus of the birth of Üie city in her,
which would presumably offer her citizenship simply as a human being:
"Aujourd'hui je suis moi, un être humain. Je veux croire que je suis un être
humain" (Geste 40):
je croyais bien me rebâtir
avec l'ancienne pierreKaren B ouwer74Women In French Studies
tout enfouir
ensevelir ma ville sainte
que tout pourrisse
ne rien vouloir sauver
ni ruines
ni dévotion
ni relique
rien
que mon oeil troue ce limon
que mon oeil crève ensuite
afin que s'y lise la loi
que la loi se disloque
afin que naisse la cité (Pourpre 18)
This text also demonstrates, in addition to her resistance to immobility, to stag-
nation, the complementary roles of destruction and creation. But references to
the salutary role of writing predominate. "(M]e rendre une pesanteur" (Geste 24)
becomes essential in the wake of this life-altering experience and writing helps
her to gather the fragments of her being (25):
j ' [ai] tenté de rassembler tout mon être et de le coincer là entre la feuille blanche
et la pointe de mon crayon. L'écriture comme salut! (Geste 40)
The trope of her consubstantiality witíi her text is reinforced by the abundance of
references to parturition: "Tandis que j'accouchais d'un livre, ce livre accouchait
d'une autre femme" (Soeur 142). Birth imagery is combined with spatial
metaphors in order to create a rich network of images that represent psychic
space and die space of relationship with others. The poet describes her books as
being "circulaires, annulaires, concentriques" (Soeur 113). She speaks of
expulsing her works and being expulsed by them, of rings, barriers, borders to be
crossed, centripetal and centrifugal movements, both in her relationship to her-
self and to others. Inside and outside are no longer clearly delineated, easily
defined spaces. For her the voyage toward selfhood and relationship is
la mise en circuit de soi à partir d'une position devenue invivable, vers une des-
tination inconnue. Cette distance-là [...] se laisse éprouver [...] en anneaux fon-
dant les sites entre eux. (Geste 69)
She circulates, moving in and out of circles and spirals. In her last volume of
poetry, Mémoire de rien, she states: "Le livre ainsi se préfigure en moi, se pré-
face en anneau, en couronne..." (85), but as die completion of the book draws
closer, she says: "Quand le jour se lev era il faut queje sois dans l'enceinte" (86),
Üiat is, within the confines of Üie pages. And then, finally, "[dj'outre-livre" (theKaren Bouwer75Women In French Studies
title of the last part of Mémoire de rien), she writes these words: "Je fus expul-
sée de ce livre au matin du 30 juin 1972." (109)
She marks a transition period in her writing when in L'Atelier (1979)
she states: "Jusqu'ici, j'ai écrit pour être." (35) Now diere is a new "enceinte"
to face: the "problème d'audience [est] à résoudre" because, unfortunately,
"[ê]tre compris ne va pas de soi..." (88), especially when one is a woman:
Toute femme qui [ose s'écrire] se voue à la solitude, tenue pour folle, elle est
à exclure, à corriger ou à interner. Telle qu'elle, elle n'a pas droit de cité. (Oeil
78)
Having healed herself, having created herself as a woman and a poet, having dis-
covered herself "telle quelle," she becomes aware of the distance separating her-
self and otiiers:
Mais au moment même où j'éprouve que mon éeartèlement intérieur s'est con-
verti en source de lucidité, je vois se radicaliser la faille autour de moi. (Atelier
80)
The "fossé circulaire" isolates and designates "l'étrangère, (...] celle qui
ne parle pas comme tout le monde" (80). Bourdieu once again reminds us Üiat
if a work "n'est pas doté d'un point de vue qui concorde ou coincide avec le point
de vue fondateur du champ" (Règles 310-311), it will be excluded. As a result,
she has felt herself quarantined (Atelier 81), ostracized. She explains that the
logical principle of die "tiers exclu," by which eiüier a proposition or its nega-
tion must be true, is applied to her words, thereby explaining the devalorization
of her assertions: if she is disagreeing with well-accepted premises, she must
inevitably be wrong according to this principle. The totalizing discourse ("uni-
verselle," "toujours," "partout") and Üie emotive force of the adjectives in the
following extract, effectively translate her pain and die experience of the inevo-
cable nature of Üie exclusion:
Telle est la destinée de cette juive universelle qu'est la pensée du tiers, toujours
et partout exclue, exécrée. (81)
Her first reaction to this imposed exile, is to join in the feminist battle
of undermining patriarchy. Her goal is "la rapture de la chaîne de transmission
du sens de l'Histoire, tradition que garantissait l'absence de testament féminin."
(Age 31) It is in the disruption, through the act of writing, of bearing testimony,
of Ulis tradition Üiat has excluded her that she finally experiences solidarity, starts
feeling as if she herself belongs to a tradition:
j'assistais à l'effondrement d'une Histoire minée de galeries souterraines [...].
Pour la première fois, je me sentais activement présente au sein de l'Histoire,
spectatrice en même temps que coresponsable de son eventration. [...] m'auto-
graphiant ponctuellement, je sais maintenant que j'authentifie l'histoireKaren Bouwer76Women In French Studies
anonyme de l'Autre; [...] je participe au minage décisif des fondements bibli-
ographiques du Patriarcat. (Agi? 31)
Ironically, what has given her the courage to develop her own voice is
an extremely harsh dismissal of the usefulness of her work.
M'écrivant "tu n'as rien à dire au siècle", tu m'as donné mon renvoi [...] Merci.
Sans ta mécréance, le doute ne me serait pas devenu bénéfice. (Age 37)
The word "renvoi" (Rimbaud's) is obviously heavily charged for Lejeune. She
has already taken leave of die servitude of household tasks and here she is tak-
ing her freedom a step further by refusing to accept the judgement of her inter-
locutor and relying on her own faith in herself and on her belief tiiat what she has
to say can in fact make a positive contribution to the republic.
What role is poetic citizenship to play and how will she define it? It will
not be a simple question of getting into Üie "Cité" as we have already seen,
because what she is striving for is "fraternité," a concept which will become bet-
ter-defined as we examine her definition of citizenship.
Cesser de se leurrer quant au possible avènement de la fraternité dans la Cité
patriarcale. (Soeur 66)
If it is not possible to establish the kind of relationships she desires
within the city and she does not seek entry at the cost of betraying her principles
and her self, what fonn of resistance remains which is not simply destructive, but
constructive, creative? In L'Issue (1980) she presents herself as "[m]oi-
mitoyemie, citoyenne de nulle part et de partout" (74) and further qualifies the
desirable forms of citizenship as "[mhtoyenne, apatride, étrangère" (277). The
tenu "mitoyenne" recurs regularly, emphasizing that she does not want to be
definitively inside or outside of the "Cité" but wants the freedom to move about
freely so that she can create links between Üie two spaces. She wants to become
"un éveilleur et un passeur, un être de transmission, citoyen agréé de tous les
lieux et de tous les temps" (Oeil 34). Along with Ulis position comes a whole
new definition of both citizenship and of the meaning of "poetic." She refuses
absolutely a poetry of self-glorification which is geared towards creating a last-
ing product (she takes a swipe at Eluard 's "dur désir de durer") rather than con-
centrating on the process; she rejects a poetry which "tire jouissance platonique
de nommer et de se renommer, c'est-à-dire de faire fond(s), défaire état de toute
parole" (Issue 253), which requires submission "à la norme mortifère qui institue
la lettre" (Oeil 75). The alternative üiat she ("moi-femme-poète, moi-la-soeur"
[Issue 253]) then brings to the republic is " Facte poétique en tant qu'il est initi-
ation de la conscience du tiers exclu à sa citoyenneté." (Oeil 77) She wants to
create a dynamic space of freedom where "la citoyenneté xénophile puisse
épanouir ses fonnes" (Oeil 147) because, she tells us,
[j]e n'ai pas d'autre religion, d'autre philosophie, d'autre horizon de figurationKaren Bouwer77Women In French Studies
que celui du tiers; d'autre citoyenneté que celle de Yétranger. (Oeil 29)
This is "la citoyenneté créatrice" (Oeil 93), this is what leads to a new era, die
"âge poétique" (Oeil 100), which also has Üie political implications foreshad-
owed by die symmetry of her 1987 tide: Age poétique, âge politique. This will
break down die artificial barriers Üiat exist among different peoples and between
women and men, so tiiat we can all be truly "human."
Trouver le secret des points d'harmonie entre deux ordres qui s'excluent, c'est
trouver la source de liberté créatrice qui caractérise cette citoyenneté faite de
mitoyenneté qu'est l'ordre humain. (Oeil 192)
This vision of hers is not simply theoretical. She relates an incident
which took place at the Rencontre québécoise internationale des écrivains of
1975 wliich dealt with women and writing. This meeting, originally "de struc-
ture traditionnelle, 'phallocratique'" (Issue 127), offers a moving account of sol-
idarity, albeit predominandy among women, and of how it can deconstract the
baniers of what one might call consecration by the literary establishment. This
deconstniction was already anticipated in one of her very early works, Le
Dernier testament (1969). What is missing from the early text is the sense of sol-
idarity gained from joining her voice to those of oüier women:
O Poète, je disloque l'hiver héréditaire où tu me scelles, toi, glacier menacé par
un noyau de feu. Je travaille à fondre tes murailles, j'oeuvre à mon jaillisse-
ment. (31)
Her description of the encounter in Quebec once again draws on die spatial
images so dear to her.
Dès son début, la Rencontre fut cernée par la marge, interpellée, contestée du
dehors par les non-invitées, par les évitées; perturbée par des interventions
sauvages, scandaleuses au regard de l'Ordre. Ce grand carré où se tenaient nos
assises fut bientôt cerclé d'une sorte d'anneau de violence, (issue 128)
When one of the "invitées" finally addresses this artificial separation,
one of the "évitées" responds with a traditional Québécois folk song ("ah, mon
dieu, que l'papier coûte cher" [28]) and all the women join in. The words and
the song "nous décloisonnaient, nous fondaient ensemble" and produced a
"débandade spectaculaire" because "[1] 'univers de la représentation positiviste"
had been "débordé, défoncé [...] par la puissance même de la relativité créatrice"
(129). Just as the external structures were broken down, so too her personal
defenses were destroyed: "je me suis trouvée défaite, cité ouverte" (131). This
event, wliich valorizes Üie "et" by becoming inclusionary, has multiple implica-
tions:
Désenvoûtement du tiers. Eclatante simultanéité de l 'acte poétique, de l 'acteKaren Bouwer78Women In French Studies
critique et de l'acte politique dans ce décryptement, dans cet avènement de la
différence. (129-130)
She concludes the account of this incident by insisting tiiat "[i]l n'y a
que s'écrire qui soit subversion créatrice" (136), bringing together in diis last
expression the necessary resistance to alienating constructs and institutions while
at die same time emphasizing the importance of creating spaces where we can all
be free. The tide of her most recent book. Le Livre de la soeur, highlights sev-
eral aspects of her thought: she is writing (herself) whiïe at die same time creat-
ing the space of "fraternité." Now Üiat she, as a woman, can live "par elle et pour
elle," she can be a true sister, Üiat is, someone who has been freed from Üie
authority of what she calls Üie "Père-Mère" and can enter into relationships of
tme equality with others. This, "poetic citizenship," she says, is what we "les
soeurs" have to offer the republic. And the tone of her warning is didactic, not
at all doubtful that she has, in fact, "[quelque chose] à dire au siècle":
La réinsertion du poète interdit de séjour, irradie le tissu social cancéreux où elle
s'opère. (Issue 251)
Tant que [l]a citoyenneté [du poète] n'est pas légitimement reconnue de néces-
sité publique, la santé sociale ne cessera de se dégrader. (Oeil 88)
Karen BouwerUniversity of San Francisco
Notes
1 Although pertinent to Üie present discussion, an examination of the relation-
ship between gender and genre in Lejeune 's work would constitute a paper in
itself. 1 would, however, like to quote a passage from the introduction to Poésies
en France depuis 1960: 29 femmes. Liliane Giraudon and Henri Deluy make it
clear that there are more questions than answers when it comes to these distinc-
tions: "Certaines écrivent en vers, d'autres pratiquent ce qu'on a pu appeler ?a
prose en poésie' . [...] La 'marge', la frontière 'prose/poésie' est-elle moins nette
pour les poètes- femmes que pour les poètes-hommes? Faut-il insister, dans la
mise en place et le fonctionnement du poème, sur l'écart entre la phrase et le ver -
susT (14)
2 Similar opinions were expressed in discussions entiüed "Le statut du poète"
during Üie Etats Généraux de la Poésie held in Marseille in 1992. Michel Deguy
laments our era of "mauvaise visibilité de la poésie" (248); Marianne Alphant
refers to poets as "[une] tribu paranoïaque" (250); Piene Gamier places himself
"en dehors des portes de la ville" (253); Geneviève Huttin speaks of the "désin-
térêt pour la production de la poésie en France" (261) and Denis Roche goes so
far as to say diat poetry is considered to be "inadmissible" (264).
3 Citing numbers may appear somewhat reductionist, but is it not of interest to
see what kind of representation women poets have in andiologies? Two recentKaren Bouwer79Women In French Studies
examples will suffice. There are seven women among die 120 poètes d'aujour -
d'hui (1992) and eight among the 64 poets in Poésie 1 Vagabondages (1995).
This also raises the question of Üie number of women who play an active role in
Üie production of poetry: "combien de femmes diligent des collections de
poésie? combien de femmes, dans les publications périodiques, tiennent une
rubrique de poésie? combien de femmes dirigent des revues de poésie? Quelle
est la situation des femmes dans les comités de rédaction? et dans l'édition de la
poésie? Et celle des hommes: mauvaise, certes, mais moins que celle des
femmes..." (Poésies en France depuis 1960: 29 femmes 14)
4 This is still true in 1992. Although there is a greater number of women par-
ticipating in the discussions at die Etats Généraux de la Poésie, there are no allu-
sions to women poets (with one exception: Liliane Giraudon's anecdotal refer-
ence to Marie Redonnet, 301) and gender is apparently considered an inelevant
issue since it is never raised. Marie Bancquart does, however, include five
women poets in her very recent study, La poésie en France du surréalisme à nos
jours (1996).
Works Cited
120 poètes français d aujourd hui. Montpellier: Maison du livre et des
écrivains, 1992.
Bancquart, Marie-( 'laire. La poésie en France du surréalisme à nos jours. Paris:
Ellipses, 1996.
Bourdieu, Piene. Choses dites. Paris: Minuit, 1987.
___. Les règles de l'art: Genèse et structure du champ littéraire. Paris: Seuil,
1992.
Caroutch, Yvonne Francesca. Ungaretti. Paris: Seghers, 1979.
Collet, Michel, and Jean-Claude Mathieu, eds. Espace et Poésie: Actes du col-
loque des 13, 14 et 15 juin 1984. Paris: Presses de l'Ecole Nonnale
Supérieure, 1987.
Danas, Jacques. Arpentage de la poésie moderne. Paris: Trois Cailloux, 1987.
Etats Généraux de la Poésie: Marseille, 12-13-14 juin 1992. Marseille: Centre
international de la poésie, Musées de Marseille, 1993.
Giraudon, Liliane and Henri Deluy. Poésies en France depuis 1960: 29femmes:
Une anthologie. Paris: Editions Stock, 1994.
Lejeune, Claire. Age poétique, âge politique. Montréal: l'Hexagone, 1987.
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Poésie 1 Vagabondages: Demain la poésie l (1995).Vous pouvez aussi lire
