Dix minutes avant l'heure aux montres de Dali by Sylvie Nicolas

By Sylvie Nicolas

Le 25 août 1998, Sylvie Nicolas est à Montréal où elle participe au dévoilement d’un cahier pédagogique auquel elle a collaboré, intitulé Est-ce ainsi que les filles vivent ? Pendant ce temps, trois brokers de los angeles DPJ débarquent chez elle, à Québec, et enlèvent sa fille. Presque dix ans plus tard, l. a. poète parvient à tracer les ravages que causent les erreurs sur los angeles personne.

Un livre pour les amateurs de poésie, les aventuriers de l’image, les cascadeurs du mot ou de los angeles métaphore, escouade tactique de los angeles parole vivante et exilés en tous genres.

Ce recueil constitue avant tout l. a. transcription lente et mesurée de toutes les conséquences que cet enlèvement entraîne. On n’a pas idée à quel aspect l’univers de Kafka est à deux doigts de nombreuses réalités. Peut-être suffit-il de dire qu’il s’agit d’une femme qui se retrouve malgré elle dans les coulisses d’un théâtre d’ombres, dans un scénario qu’elle n’aurait jamais envisagé, campée dans un rôle qu’elle n’aurait su imaginer. Peut-être suffit-il d’ajouter que cette bifurcation de sa vie se joue en moins de dix mins. Et que tout ce qui a été vécu avant revient se lover dans chacun des instants qui s’écoulent.

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Qxd 10-Dec-02 6:43 PM Page 23 DRAFTING POETRY 23 moments after a trigger word had been introduced and before a free writing activity begins) teachers identified that they were experiencing the following thoughts: • • • • • • • • • • • • • • mental blanks; feeling speedy or buzzy; making links with specific memories growing in their minds; exploring the impact of the trigger word on themselves; questioning – have I got anything to say? forming and/or repeating images; responding to sounds in their heads; being aware that they might be ‘thinking outside the box’; feeling liberated; wondering what they should write down; listing words or pictures; beginning to organise mental images; trying to make sense; waiting.

If you are not going to be supporting a child (as described above), take the opportunity to work on a draft yourself and make it clear that you do not want to be disturbed while drafting either. After the initial draft D’Arcy states that further opportunities for reflection are needed. Ideas previously rushed on to paper can now be clarified, developed and reshaped. Editing for meaning is the most important aspect at this stage. This will involve the pupils in listening to their thoughts and the developing rhythm of the piece – aspects which they may only be subconsciously aware of when they first began to transfer thoughts into words.

Its arrival coincided with the introduction of National Curriculum 2000. First implemented in a draft form as a two year pilot in 17 LEAs across England, the Framework was subsequently ‘recommended’ (DfEE, 2001a) to all secondary schools in England halfway through the pilot before any wide-scale evaluation had been completed. Ironically, it was only with the arrival of the strategy in Key Stage 3 that there was official endorsement of ‘flexible’ interpretations of the strategy. ’ – a conference for Heads of English at the University of Nottingham in spring 2001 – was at pains to reassure teachers they would be able to adapt the Framework and to use creative and flexible approaches in their classrooms.

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