Henri Michaux wrote itself. Its massive consumption of psychotropic drugs and, far from disturbing his writing, causing errors grammar and writing do wrong, far short of the push to play inspired him to write properly. Drugs never had an unpleasant effect on his writing, making it illegible, incoherent, deciduous. Instead, its unusual effects pushed her to write more rigor and clarity. Henri Michaux was not writing under the influence of drugs but because of them. He used their forces to establish a poetic incantation grammatically rigorous, clear and precise. It is the same for David Lynch. It is the same for Pacome Thiellement.
David Lynch's films are often considered incomprehensible suffering from a lack of logic, riddled with bullets irrational, beyond reason. In his essay on the series Twin Peaks , The left hand of David Lynch (Presses Universitaires de France, 2010) , Pacome Thiellement lets us finally see the opposite. It makes clear that, since Lost Highway, was no longer any doubt that behind the apparent irrationality of the creations of David Lynch shines an unwavering rationality, poetically rigorous, carefully controlled mechanisms. His creations are defined and each of its elements are explained rationally. Pacome Thiellement shows us what has made the series Twin Peaks , what is the poetic. His tour de force, as was the case in its previous tests (see especially the beautiful Man Electrical and Eskimo Economy: the dream of Frank Zappa ), is how to explain the modus operandi d a work, in this case what remains arguably the greatest television series, to release the strike force. Interpreting does not reduce but open possibilities. Pacome Thiellement is that, beset by personal obsessions beautiful, has a technical interpretation limpid, clear and fine. It also releases the potential of its own obsessions, developing beauty. Poetics emerges, one book after another.
Rémy Russotto
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