ThEo Robine-Langlois The Gabion /French

At the beginning, a simple anecdote: a hunting gabion typical of the Normandy marshes breaks away from its anchorage to drift in the Atlantic Ocean, with hunters unable to swim on board. Théo Robine-Langlois transposes this History on an interstellar scale: the Gabion, a hunter spaceship of asteroids designed to be attached to Earth, drifts in space. Following Anton, we cross the different communities that populate the building, world in itself where customs and models of society coexist and clash, and especially forms of language. Anton, himself, tries to escape from the one who claims to govern the ship, collecting photocopies scattered in its meanders, to its mysterious heart... \n \nBorrowing from the novel learning as much as science fiction, The Gabion is also a song of gesture: a symbolic odyssey where the language and the figure of the author are treated experimentally, as part of the narrative itself. languages ​​spoken by the characters contaminate the book, which is constructed as a montage of poetry, philosophy, literary history, hip hop and SMS exchanges come together. While browsing the Gabion, readers encounter different relationships to language, which are concretized at the end of the book by the election of a Parisian suburban mayor. \n \nThe Gabion continues the work started by Théo Robine-Langlois in his first book, [...], where the subterfuge typographical ellipsis between brackets meant both the existence of gaps in the language, of loopholes in the imagination, and of clouds in the sky. In The Gabion, you can hide in a paragraph, read between the lines of a photocopier manual, struggling with missiles-poems, meeting bloodthirsty children and sisterhoods feminists. We also go through several centuries of French poetry, troubadours to Henri Chopin or Hélène Bessette.