2007 · Débrayage · De Vos · Vigner (EN)

"This is like musical chairs below a metaphysical heaven. Without support, these characters, archetypes of modern man in an urban setting, tumble down into the abyss, and as they fall they talk, or rather shout, in a clear, unrestrained language in order to save themselves. RÉMI DE VOS’ text is that of a poet. He does not preoccupy himself with the sordid aspects of the world, nor with a socio-political - or merely political - analysis of its inevitable decline. What he writes is simply an expression of his feelings about a world that has seen its day, of his innermost sentiments, a far cry from any sort of nihilism. What is so new about it is that we laugh as we invent our contemporary truth."
ÉRIC VIGNER

"I think it is wrong to say that Marx is dead. Of course he has died, there’s no denying it, and a six-year-old child can see that he is dead if you tell him that he was born 150 years ago, that he was just an ordinary man etc. So far so good. […] God - we don’t even know if he was born. Marx is dead, we say, that’s quite all right if you want to insist on it, but we know at least that he was born, that’s undeniable, and that’s clearly a good thing, because we don’t have to ask ourselves all the time, ‘But are you sure that he did say that, are you sure that Marx actually existed?’ or something like that. Hey, guys! I say all this just for argument’s sake.” [1]

"RÉMI DE VOS is a fast thinker. What he produces is neither reasoning nor reflection, it is simply logorrhoea. Make sure that what you say is out of the ordinary. If it turns into a dialogue there’s something one does not understand. Follow the rhythm of the phrase, don’t run ahead or lag behind. Follow the words closely, word for word – and you will move forward..."
ÉV Rehearsal quote 

"When I wrote DÉBRAYAGE, sometimes I came across a newspaper article that caught my attention. There was, for instance, a report about an amusement park that had been opened in Lorraine, formerly a centre of the iron and steel industry, now a down-at-heel region marked by mass unemployment, and that the workers had found new jobs in which they had to masquerade as smurfs. I simply had to write a passage about this. But that is nearly all there is to it… My literary tastes had little to do with the subject that I had set out to treat. I had read a lot of BECKETT, KAFKA, Fernando PESSOA... I remembered from BECKETT that ‘nothing is funnier than misery’, and from KAFKA the undeniably comic aspect of a man caught in the snares of an all-powerful and inhuman administration. PESSOA’s “The Book of Disquiet” moved me deeply because he wrote about a clerk trying to get out of the mediocrity of his life by writing, by dedicating himself to his inner self, by simply contemplating living beings and things. I had a very similar life... These are the three great writers I read at the time, and that I still read today. They have clearly influenced me greatly, but under cover." 
RÉMI DE VOS