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|a Reyns-Chikuma, Chris
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|a Pour un mode de lecture alternatif de/dans Helem de Stanley Wany, ou comment sortir du labyrinthe émotionnel et visuel ? Tressage, surréalisme, et multiculturalisme
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|a Dans mon article, j’étudie comment Helem de Stanley Wany diffère d’autres récits graphiques, d’une part du fait de sa faible séquentialité, et d’autre part, parce qu’il ne raconte rien, sinon la vie ordinaire de deux personnages en proie à des crises d’anxiété causées par leur aliénation. Je montre d’abord que les défis qu’il présente aux lecteurs ne peuvent être surmontés que par un mode de lecture spécifique, alternatif (lent, non-linéaire, « tressé »), et ensuite comment le contexte, tant transnational sur les plans artistique (surréalisme) et culturel (en connectant son afro-canadianité avec les traditions africaine et afro-américaine), que local, c’est-à-dire canadien (dans le cadre multiculturel), contribue à lui donner un sens qui, jusqu’à la fin, reste pourtant volontairement ambivalent.
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|a In my article, I study how Helem differs from other graphic narratives (in particular, on the one hand, because of its weak “sequentiality”, and on the other hand, because it does not tell much, other than the ordinary daily life of two characters who suffer from anxiety attacks because of their alienation). I show that the challenges that it presents can only be overcome by a specific, alternative reading mode (slow, non-linear, « braided »), and how the context, both transnational and national, can also help the readers to make sense of it. Hence, both the artistic references (surrealism) and the cultural connection of the author’s Afro-Canadianness with African and Afro-American traditions, and the local context, that is, Canadian multiculturalism, all contribute to give a meaning which, however, remains intentionally ambivalent until the end.
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