{"id":10434,"date":"2026-04-09T23:51:39","date_gmt":"2026-04-09T21:51:39","guid":{"rendered":"https:\/\/editionsjou.net\/?p=10434"},"modified":"2026-04-09T23:51:39","modified_gmt":"2026-04-09T21:51:39","slug":"263-tu-auras-mes-yeux-nicoletta-vallorani-par-martina-mileto","status":"publish","type":"post","link":"https:\/\/revuetina.editionsjou.net\/?p=10434","title":{"rendered":"#263\/ Tu auras mes yeux, Nicoletta Vallorani, par Martina Mileto"},"content":{"rendered":"\n


Nous nous sommes appauvris. Il ne nous reste que le souvenir du pays que nous \u00e9tions.
Nous vivons au bord d\u2019un d\u00e9sastre dont nous sommes incapables de reconna\u00eetre les sympt\u00f4mes.
Nous n\u2019existerons que par morceaux, apr\u00e8s coup, sur une terre polie par la destruction.
Une main de peau sombre se tend vers toi. Elle est bless\u00e9e et tremblante.
Tu fouilles \u00e0 l\u2019int\u00e9rieur de toi, \u00e0 la recherche d\u2019une piti\u00e9 que tu ne trouves pas.<\/em>

Ce roman est un corps en morceaux : Nicoletta Vallorani semble avoir h\u00e9rit\u00e9 de Frankenstein, le roman \u00e0 travers lequel une femme inventa la science-fiction. Difficile, en effet, de l\u2019assigner \u00e0 un seul genre. Tu auras mes yeux<\/em> rel\u00e8ve \u00e0 la fois du cyberpunk, du roman noir, du polar et de la dystopie, tout en int\u00e9grant des fragments \u00e0 forte densit\u00e9 po\u00e9tique. Il s\u2019agit donc de bien plus qu\u2019un simple noir fantastique.

Figure majeure de la science-fiction italienne depuis R\u00e9plicante<\/em> (Prix Urania 1993), Vallorani poursuit ici son exploration d\u2019un imaginaire dystopique aux tonalit\u00e9s sombres, travers\u00e9 par des \u00e9chos culturels multiples, de la chanson de Fabrizio De Andr\u00e9 (\u00ab Se ti tagliassero a pezzetti\u2026 \u00bb, \u00ab Si l\u2019on te d\u00e9coupait en morceaux\u2026\u00bb) \u00e0 la po\u00e9sie de Cesare Pavese (\u00ab Verr\u00e0 la morte e avr\u00e0 i tuoi occhi \u00bb, \u00ab La mort viendra et aura tes yeux \u00bb). Au c\u0153ur du roman, une constante : la violence faite aux femmes. Une violence diffuse, syst\u00e9mique, institutionnalis\u00e9e, qui, dans le Milan futuriste imagin\u00e9 par Vallorani, ne peut \u00eatre contr\u00e9e que par un effort extr\u00eame d\u2019empathie et de reconstruction du lien communautaire.

La ville \u2013 un Milan des ann\u00e9es 2050, fragment\u00e9 en secteurs selon des hi\u00e9rarchies sociales rigides \u2013 devient le th\u00e9\u00e2tre d\u2019un chant fun\u00e8bre : celui des mourners<\/em>, entit\u00e9s cyborg engag\u00e9es pour pleurer les cadavres de femmes. D\u2019o\u00f9 viennent ces corps ? Pourquoi ces morts ? Faut-il les consid\u00e9rer comme humaines, alors qu\u2019il s\u2019agit de \u00ab cobayes \u00bb ? \u00ab Que savons-nous de la vie des choses ? \u00bb, cette question obs\u00e9dante traverse le roman et nous invite \u00e0 nous interroger sur une question loin d\u2019\u00eatre \u00e9vidente aujourd\u2019hui : qu\u2019est-ce que l\u2019on consid\u00e8re comme \u00ab humain \u00bb ?

Les cobayes ne sont pas des personnes, seulement des corps. Des objets fonctionnels \u00e0 une fin, cens\u00e9e \u00eatre celle d\u2019objets \u00e0 sacrifier \u00e0 la recherche scientifique. Une mat\u00e9rialit\u00e9 sans \u00e2me, qui ne souffre pas et ne r\u00e9agit pas, et pourtant manifeste des r\u00e9actions physiques parfaitement compatibles avec la structure de l\u2019\u00eatre humain. C\u2019est comme \u00e7a que \u00e7a a commenc\u00e9, non ?<\/em>

Pour tenter de r\u00e9pondre \u00e0 ces questions, deux figures arpentent la ville : Olivia et Nigredo. Deux trajectoires narratives distinctes mais constamment entrelac\u00e9es, puisque Olivia voit aussi \u2013 comme nous le sugg\u00e8re le titre \u2013 \u00e0 travers ses yeux.

Nous nous appartenons, Nigredo, dans cette ville mosa\u00efque.
Tu auras mes yeux pour en dessiner la carte.
Je suis Olivia, et je vois avec toi.
La ville est souffle, et nous avec elle.<\/em><\/p>\n\n\n\n

La fragmentation de la ville et des corps se refl\u00e8te dans l\u2019\u00e9criture de Vallorani : une syntaxe bris\u00e9e, \u00e0 l\u2019image des corps d\u00e9crits, qui met le lecteur \u00e0 l\u2019\u00e9preuve ; une narration polyphonique qui alterne points de vue, dialogues, flashbacks et documents bureaucratiques issus du \u00ab R\u00e9servoir Ghisolfa \u00bb, archive anarchique des rares r\u00e9sistants. En fran\u00e7ais, Cristina Vignali parvient \u00e0 restituer le rythme heurt\u00e9 et la tension de l\u2019original italien, sans jamais en lisser les asp\u00e9rit\u00e9s.

Mais \u00e0 quoi bon une dystopie face aux d\u00e9fis bien r\u00e9els du monde ? Vallorani nous rappelle que l\u2019imaginaire n\u2019est jamais gratuit : \u00ab la cr\u00e9ation imaginaire [\u2026] permet d\u2019hypoth\u00e9tiser des mondes capables de nous apprendre quelque chose sur le n\u00f4tre. \u00bb La dystopie devient alors un instrument critique, un miroir d\u00e9formant \u2013 et pourtant r\u00e9v\u00e9lateur \u2013 de notre propre r\u00e9alit\u00e9.

<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Tu auras mes yeux\u2028<\/em><\/strong>
Nicoletta Vallorani
traduit de l\u2019italien par Cristina Vignali\u2028
KC \u00c9ditions\u2028 – 2026\u2028
240 pages\u2028 – 19 \u20ac

Demain samedi 11 avril<\/strong>
de 15 \u00e0 16h, Maison de la po\u00e9sie de Paris
https:\/\/www.italissimofestival.com\/toute-la-programmation\/2026\/4\/11\/antonio-moresco-et-nicoletta-vallorani-sombres-univers<\/a>

Martina Mileto<\/strong> pr\u00e9pare une th\u00e8se \u00e0 Sorbonne Universit\u00e9 sur les Nouvelles formes de l\u2019engagement dans la po\u00e9sie d’Anedda, Magrelli et Valduga<\/em>. Sp\u00e9cialiste de litt\u00e9rature italienne contemporaine, elle collabore avec des revues litt\u00e9raires italiennes et fran\u00e7aises. <\/p>\n\n\n\n

image<\/strong> : Cross Point<\/em><\/strong>, Beppe Devalle 2005. Source: <https:\/\/www.artribune.com\/attualita\/2013\/02\/goodbye-devalle\/<\/a>><\/p>\n\n\n\n


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