Dans Esther Tellermann: Enigme, priere, identite, premiere monographie consacree a l’?uvre de l’ecrivain, Aaron Prevots met en lumiere un regard poetique novateur sur des realites tant interieures qu’exterieures. Il montre comment Tellermann (1947-) explore l’intime du monde, ses textures et ses contours, ses terres insituables semblant s’entrecroiser, et le reve et le mythe faits tremplin pour une traversee renouvelee de l’Histoire et du deuil. Il apprehende le caractere enigmatique de longues suites de chants dont la forme peut s’apparenter a celle de la priere, ainsi que les enjeux identitaires d’un dire singulierement ouvert a l’Autre. En examinant des textes de 1999-2019, Aaron Prevots souligne le lyrisme decentre d’un poete majeur et la presence de ses pairs comme interlocuteurs.
In Esther Tellermann: Enigma, Prayer, Identity, the first book-length study of the writer’s ?uvre, Aaron Prevots highlights her innovative poetic approach to inner and outer realities. He shows how Tellermann (1947-) explores the world’s innermost structures, its textures and contours, its indeterminate places that seemingly intersect, and dreams and myth as springboards for experiencing anew historical turning points and timeless rites of mourning. He considers the enigmatic quality of long suites of poetic song whose form can resemble that of prayer, as well as the stakes regarding identity when poetic expression foregrounds openness to the Other. In examining texts from 1999-2019, Aaron Prevots emphasizes this major poet’s decentered lyricism and the presence of fellow writers as interlocutors.
In Esther Tellermann: Enigma, Prayer, Identity, the first book-length study of the writer’s ?uvre, Aaron Prevots highlights her innovative poetic approach to inner and outer realities. He shows how Tellermann (1947-) explores the world’s innermost structures, its textures and contours, its indeterminate places that seemingly intersect, and dreams and myth as springboards for experiencing anew historical turning points and timeless rites of mourning. He considers the enigmatic quality of long suites of poetic song whose form can resemble that of prayer, as well as the stakes regarding identity when poetic expression foregrounds openness to the Other. In examining texts from 1999-2019, Aaron Prevots emphasizes this major poet’s decentered lyricism and the presence of fellow writers as interlocutors.