The information of Pierre Alferi’s demise in Paris on Wednesday, August 16, on the age of 60, instantly triggered the extraordinary, nearly egocentric disappointment of shedding a fabulous author. He was a splendidly idiosyncratic and surprisingly multi-faceted writer, whose books, like his many different works, had been an everyday and considerably mischievous addition to a physique of labor that was at all times in movement – vibrant to the acute, on the crossroads of poetry, the novel, cinema, music, philosophy, the visible arts and even, one may say, science and know-how.
Now sealed by demise, this work however stays open, accessible for future readings, of which there will definitely be many. It’s the product of a thinker by coaching, himself the kid of a thinker, Alferi being the eldest son of Jacques Derrida (1930-2004) and psychoanalyst and translator Marguerite Aucouturier (1932-2020). He studied on the École Normale Supérieure on rue d’Ulm, handed the agrégation, which is the French civil service examination, after which, beneath the supervision of Louis Marin, wrote a thesis on the medieval thinker and theologian William of Ockham (c. 1285-1349), which he would shortly publish as his first e book, Guillaume d’Ockham le singulier (Minuit, 1989).
A style for speculative play
Discreet about his ancestry, adopting his maternal grandmother’s identify for public life, Alferi was no much less loyal to a sure spirit of Derrida, to whom he pays a discreet tribute in his final printed e book, Divers chaos (P.O.L, 2020): “I have not forgotten my father’s postcard” (allusion to Jacques Derrida’s well-known e book, The Publish Card. From Socrates to Freud and Past, Aubier-Flammarion, 1980). He has the identical philosophical curiosity, a manifest style for speculative play and a rigorous consideration to things that will transform sudden, in addition to a formidable aptitude for titles: Kub Or; Fmn; Sentimentale journée; Après vous; Kiwi (1994; 1994; 1997; 2010; 2012, all printed by P.O.L), or Le Cinéma des familles, a novel that joyfully reinvents the autobiographical style by imagining a baby’s filmed account, from an early age, of “Mompère” and “Mammère” (P.O.L, 1999).
Initially a poet, who printed plenty of collections and essays beginning within the Nineties, Alferi quickly confirmed a penchant for collaborative creation and private friendship. He collaborated (beneath the identify Thomas Lago) with musician and Kat Onoma singer Rodolphe Burger, who remained one in every of his favourite accomplices, from the creation within the early 2000s of Cinépoèmes et movies parlants, till their revival on varied French levels final spring. He labored with sculptor Jacques Julien, wrote an album with Jeanne Balibar (Paramour, 2003), participated within the creation of reveals with choreographer Fanny de Chaillé, hosted the journal Détail with photographer Suzanne Doppelt, and in 1995 and 1996, along with Olivier Cadiot, edited the 2 problems with a publication that it will be no exaggeration to explain as historic: the Revue de littérature générale, which could be learn as a abstract of poetic creation for the transition to the subsequent century. He was additionally a translator (of John Donne, Giorgio Agamben, John Ashbery…) and a professor on the École des Beaux-Arts in Paris.
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