By Vincent Peillon
Le bien ou le mal, los angeles justice ou los angeles vengeance, l. a. guerre ou los angeles paix ?
Du Groenland à Tel Aviv, en passant par Copenhague et Paris, nous voici plongés dans une réalité qui est los angeles nôtre, dont on soupçonne l’existence mais qu’on préfère ignorer.
AURORA : c’est le nom du consortium qui fait major basse sur des réserves de pétrole et de gaz dans le Grand Nord. Son fondateur, un ancien nazi visionnaire, est protégé par des faucons américains et certains hauts responsables de l’Otan. Mais quand les intérêts stratégiques, les appétits économiques et les folies idéologiques se mêlent, l’histoire chemine vers son crépuscule. Il sera taché de haine et de sang.
Qui réglerait cela proprement ? Une équipe du Mossad, apparemment en sommeil. Des brokers menés par un homme qui a toutes les audaces et tous les skills – sauf celui de résister parfois à l. a. mélancolie. C’était sans compter sur les traîtres. Ceux qui se croyaient les prédateurs deviennent alors des proies.
Une intrigue géopolitique glaçante, menée tambour battant.
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Extra info for Aurora
T h e verbs are intransitive* and static: they indicate duration and condition rather than action; the consonant s provides assonance*/phonetic c o h e sion. By their rhyme, the line endings best demonstrate the i m p o r tance of sound. T h e rhyme Fred/dead invites us to semanticize*: The Art of Poetry: A Definition and Analysis 25 w e make a semantic link b e t w e e n t w o words that was n o t there before, and find that the m a n becomes fused w i t h his horizontal, still position. It is a kind of identification that leads to the point of the p o e m : an attitude of complete acceptance of the end, and o n e of great sobriety and dry h u m o r .
This is demonstrated by examples (a), (b), and (c) below: 5 (a) Ps. 2:1 Why do nations rage and peoples plot vain things? (b) Ps. 1:6 Yahweh knows the way of the righteous, but the way of the wicked is doomed. (c) Ps. 3:5 When I cry aloud to Yahweh, He answers me from his holy mountain. T h e first notable aspect of example (c) is that it contains a c o m p o u n d sentence, the parts of which—subclause and main clause— neatly coincide w i t h the cola, and present the actions of the speaker and his G o d .
A n d lo and behold, there is o n e single stanza in the Psalter (none in J o b or Proverbs) containing as many as five strophes: this is Ps. 18:8—16, a passage k n o w n as the t h e o p h a n y * . T h i s text is a g o o d example of the thesis that recognizing the structure is the instant proof of the correct strophe division: 42 v. 8a b c v. 9a b c Reading Biblical Poetry Then the earth rocked and quaked, the foundations of the heavens shook, rocked by his indignation, Smoke went up from his nostrils, devouring fire came out of his mouth, live coals blazed forth from him.
Aurora by Vincent Peillon