Ryoko Sekiguchi : l’exil entre simultanéité et surimpression

In an interview, Ryoko Sekiguchi said of her exile experience: "People in exile always experience two seasons simultaneously" (2021). This means, for example, that in winter she can live with the skies of Tokyo, Beirut or Grenada while still being in Paris. This imaginative ubiquity of presence is not only at the heart of her condition as a foreigner in France, but also of her poetic work, which involves a space-time characterised by a principle of simultaneity and by the constant attempt to superimpose several texts or several voices on the same sensitive surface. This study analyses the role of simultaneity and superimposition as poetic and heuristic tools in the poet's work. Among the works that make up her vast corpus, we have chosen to focus particularly on Héliotropes. This book seems to us to be particularly important because it bases the simultaneity of all its elements on the superimposition of the poetic world and the world of plants. After a brief introduction to the text, we will explore the overlap between textual and botanical forms in order to identify the principles of spatialisation that allow Sekiguchi to neutralise time: we begin by examining the isomorphism between metric and botanical blocks, since the measure chosen by the author is based on a principle of crystallisation that leaves no room for random prolifera- tion and recalls, on the one hand, the geometric principles that govern the formation of the regu- lar and symmetrical structures of plants and, on the other, the desire for order that allows nature to be arranged in a garden. We then explore the analogy between forms of textual grafting and so-called plant grafting. Our aim is to reconstruct the movements and space-time of this writing of exile, which is configured as the simultaneous listening to multiple sonorities.