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In 1916, the Indian poet Rabindranath Tagore delivered a series of lectures that would eventually be collected into the book, Nationalism. Tagore was writing in the glow of his own celebrity (he had just won the Nobel Prize for literature) and from within the heart of the crisis engulfing the modern world, two years into the slow, grim war that had converted Europe into a labyrinth of trenches covered over with clouds of poison gas. For Tagore, this was the tragic but inevitable outcome of a social calculus that valued efficiency, profit and, especially, the spirit of us versus them that bonded together the inhabitants of one nation and allowed them to go out, conquer and enslave other people, most of them members of no nation at all.

In May 2011, Percival Everett took part in the fifth edition of the Assises Internationales du Roman, organised by the Villa Gillet and Le Monde. He was kind enough to grant us an interview at the Hotel Carlton in Lyon.

Langston Hughes (1902-1967) fait partie de ces poètes qui ont nourri leur travail de l'exploration d'autres arts, en l'occurrence de la musique et des arts plastiques. Omniprésente dans des pans entiers de sa carrière, la musique n'a pas fait office chez lui de simple source d'inspiration, mais d'une sorte de matrice à un travail d'alchimie : déplacer les rythmes du jazz ou du blues vers le territoire poétique, c'est-à-dire « adapter » le langage musical au langage poétique.