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la classification. Le roman -c'est ainsi qu'il est spcifi sur la couverture- n'a rien de romanesque: absence d'intrigue, de narrateur, de description On peut dcliner ainsi  loisir tout ce qui ne fait pas de ce roman un roman. Ce n'est pas non plus un nouveau roman: la description est quasi-absente.</p> <p class="story-body">El Kouch utilise un procd qui a dj fait ses preuves. Les similitudes avec le Neveu de Rameau de Diderot ou La chute de Camus sont flagrantes. Diderot oppose deux personnages dans un dialogue volumtriquement quilibr. La rencontre au caf de la rgence est fortuite. Moi, le philosophe, discute avec lui, le neveu de Rameau, de sujets divers; tout y passe : l'thique, l'esthtique, la sagesse bref, tous les sujets chers aux philosophes des lumires. Camus, lui, oppose un avocat parisien brillant, auto proclam juge pnitent,  un de ses compatriotes, rencontr fortuitement dans un bal malfam d'Amsterdam. Le dialogue tourne au soliloque, il devient une longue et pnible confession, une descente aux enfers, une chute. Tout y passe: l'hypocrisie sociale, l'arrivisme, l'ambition bref tous les sujets chers aux auteurs de la premire moiti du XXe sicle.</p>  <p class="story-body">El Kouch fait rencontrer ses deux personnages dans un bar. Ils ont rendez-vous. Le bar est celui de l'htel le plus chic de Tanger. Le dialogue est volumtriquement quilibr. Les sujets sont d'actualit: le racisme, les pateras, l'acculturation bref les sujets qui nous interpellent en ce dcembre 2002.</p> <p class="story-body">Divergences et Similitudes avec les oeuvres cites ne participent pas  une stratgie de camouflage des sources; au contraire, El Kouch multiplie les clins d'oeil  plusieurs autres textes; l'inter-textualit est en filigrane dans le dialogue.</p> <p class="story-body">Dans le roman deux personnages se rencontrent  plusieurs reprises. Le premier, un Franco-marocain, ayant longtemps souffert de discrimination avant de s'imposer par ses comptences dans le gotha des mdias audiovisuels franais, est  Tanger pour prparer un reportage sur l'immigration clandestine et les pateras. On ne connatra pas son nom. Sa double nationalit est dj une identit. Un statut bancal mais qui a l'avantage de permettre un regard crois sur deux cultures, sur deux identits. Le second, Rachid, un Tangrois, ayant fait ses tudes  Paris, roul sa bosse dans l'Hexagone, vcu en concubinage avec une "francilienne" de souche jusqu' la nause est installe  Tanger.</p> <p class="story-body">Comment les deux compres se sont-ils rencontrs? Quand ont-ils pris ce rendez-vous? Pourquoi Rachid fait-il le guide? ? Questions auxquelles le narrateur de Jacques le fataliste a dj rpondu: cela ne regarde pas le lecteur. L'essentiel est ailleurs. La fiction est au service des ides. Rachid nous en prvient  deux reprises. Quant il ironise sur les lecteurs de Madame Bovary ou quand il fait sa dernire recommandation au journaliste: "Ne croyez pas tout ce qu'on vous dit!" (dernire phrase du roman).</p> <p class="story-body">Le dialogue  la premire lecture parat bien dcousu. Mais il y a une progression. D'abord Paris et l'hexagone par opposition  Tanger et l'Afrique. Ensuite les Franais et les Franciliens par opposition aux Marocains et aux Africains. L'autre et l'ailleurs semble tre la problmatique constitutive du roman. On est toujours l'autre et l'ailleurs de quelqu'un. Le quartier maghrbin de Paris est dcrit comme le "ici de la bs". Le roman peut se lire comme une qute d'une altrit impossible. Toutfois, il ne s'agit pas d'un choc des civilisations  la Samuel Huntington.</p> <p class="story-body">La discussion est bon enfant: on se souvient, on se raconte des histoires, on analyse la situation des immigrs clandestins, l'alternance au Maroc, la discrimination raciale en France avec humour, ironie et compassion. Sans haine.</p> <p class="story-body">Mais ce roman est aussi le roman de Tanger. La cit internationale. La ville mythique. Mais qui mieux que El Kouch pourrait parler de Tanger. N'est-il pas l'auteur de Ragarde, voici Tanger (l'Harmattan 1997)? Visite guide des trsors cachs de la ville, anecdotes croustillantes sur les crivains, peintres, dramaturges, hommes politiques qui ont transit par Tanger ou qui y ont lu domicile. Une mine d'informations sur la ville, son histoire, ses hommes et son virus: la trangrite.</p> <p class="story-body">Enfin, le roman est crit dans un style qui mlange les registres de langue: une langue soutenue y ctoie une langue relche  la limite de la correction grammaticale. Les propos des deux interlocuteurs sont bourrs des lieux communs. Une question se pose. El Kouch a-t-il voulu parodier les discussions des pseudo-intellectuels qu'il frquente dans les bars de Tanger?</p> <!-- end story layout piece here --> <br clear="all" /> <table width="480" cellpadding="0" cellspacing="0" border="0"> <tr><td align="center"> <hr align="left" size="1" width="480" /> </td></tr> <tr><td align="center" class="basic-ninety"> <a href="/browser_sethome.html" class="blue"><strong>Faites d'allAfrica.com votre page d'accueil</strong></a>   </td></tr>  <tr>   <td align="center">     <hr align="left" size="1" width="480" />   </td>  </tr>   <tr><td align="center"> <span class="text-nav"> <b> <a class="blue" href="#top">Dbut&nbsp;de&nbsp;page</a>&nbsp;| <a class="blue" href=http://allafrica.com/stories/200301130628.html>English&nbsp;Site</a> | <a class="blue" href="/howto.html">Plan&nbsp;du&nbsp;Site</a> | <a class="blue" href="/whoweare.html">Qui&nbsp;Nous&nbsp;Sommes</a> | <a class="blue" href="javascript:void 0" onMouseOver="window.status='Publicit'; return true;" onclick="window.open('/media_kit/frames.html?page=main', 'Publicit', 'scrollbars,toolbar=no,location=no,nonresizable,width=600,height=600,left=0,top=0').focus()">Publicit</a>&nbsp; </b> </span>  <tr><td align="center"> <hr align="left" size="1" width="480" /> </td></tr> <tr><td align="center" class="copy"> <a class="blue" href="/copyright.html"><u>Copyright</u></a> &copy; 2003 Libration. 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