Affaire de la petite Yanela: C’est la formulation, imbécile ! (It’s not fake news, it’s misstated news, stupid !)

24 juin, 2018
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Two children detained by the Border Patrol in a holding cell in Nogales, Ariz. This image has been widely shared on social media in recent days, offered as an example of the Trump administration’s cruel policies toward immigrants, but in fact the picture was taken in 2014.

La

Les fausses images d'enfants séparés de leurs parents à la frontière USA-Mexique

Devrai-je sacrifier mon enfant premier-né pour payer pour mon crime, le fils, chair de ma chair, pour expier ma faute? On te l’a enseigné, ô homme, ce qui est bien et ce que l’Eternel attend de toi: c’est que tu te conduises avec droiture, que tu prennes plaisir à témoigner de la bonté et qu’avec vigilance tu vives pour ton Dieu. Michée 6: 7-8
Laissez les petits enfants, et ne les empêchez pas de venir à moi; car le royaume des cieux est pour ceux qui leur ressemblent. Jésus (Matthieu 19: 14)
Quiconque reçoit en mon nom un petit enfant comme celui-ci, me reçoit moi-même. Mais, si quelqu’un scandalisait un de ces petits qui croient en moi, il vaudrait mieux pour lui qu’on suspendît à son cou une meule de moulin, et qu’on le jetât au fond de la mer. Jésus (Matthieu 18: 5-6)
Une civilisation est testée sur la manière dont elle traite ses membres les plus faibles. Pearl Buck
Le monde moderne n’est pas mauvais : à certains égards, il est bien trop bon. Il est rempli de vertus féroces et gâchées. Lorsqu’un dispositif religieux est brisé (comme le fut le christianisme pendant la Réforme), ce ne sont pas seulement les vices qui sont libérés. Les vices sont en effet libérés, et ils errent de par le monde en faisant des ravages ; mais les vertus le sont aussi, et elles errent plus férocement encore en faisant des ravages plus terribles. Le monde moderne est saturé des vieilles vertus chrétiennes virant à la folie.  G.K. Chesterton
Je crois que le moment décisif en Occident est l’invention de l’hôpital. Les primitifs s’occupent de leurs propres morts. Ce qu’il y a de caractéristique dans l’hôpital c’est bien le fait de s’occuper de tout le monde. C’est l’hôtel-Dieu donc c’est la charité. Et c’est visiblement une invention du Moyen-Age. René Girard
Notre monde est de plus en plus imprégné par cette vérité évangélique de l’innocence des victimes. L’attention qu’on porte aux victimes a commencé au Moyen Age, avec l’invention de l’hôpital. L’Hôtel-Dieu, comme on disait, accueillait toutes les victimes, indépendamment de leur origine. Les sociétés primitives n’étaient pas inhumaines, mais elles n’avaient d’attention que pour leurs membres. Le monde moderne a inventé la « victime inconnue », comme on dirait aujourd’hui le « soldat inconnu ». Le christianisme peut maintenant continuer à s’étendre même sans la loi, car ses grandes percées intellectuelles et morales, notre souci des victimes et notre attention à ne pas nous fabriquer de boucs émissaires, ont fait de nous des chrétiens qui s’ignorent. René Girard
L’inauguration majestueuse de l’ère « post-chrétienne » est une plaisanterie. Nous sommes dans un ultra-christianisme caricatural qui essaie d’échapper à l’orbite judéo-chrétienne en « radicalisant » le souci des victimes dans un sens antichrétien. René Girard
J’espère offrir mon fils unique en martyr, comme son père. Dalal Mouazzi (jeune veuve d’un commandant du Hezbollah mort en 2006 pendant la guerre du Liban, à propos de son gamin de 10 ans)
Nous n’aurons la paix avec les Arabes que lorsqu’ils aimeront leurs enfants plus qu’ils ne nous détestent. Golda Meir
Les Israéliens ne savent pas que le peuple palestinien a progressé dans ses recherches sur la mort. Il a développé une industrie de la mort qu’affectionnent toutes nos femmes, tous nos enfants, tous nos vieillards et tous nos combattants. Ainsi, nous avons formé un bouclier humain grâce aux femmes et aux enfants pour dire à l’ennemi sioniste que nous tenons à la mort autant qu’il tient à la vie. Fathi Hammad (responsable du Hamas, mars 2008)
L’image correspondait à la réalité de la situation, non seulement à Gaza, mais en Cisjordanie. Charles Enderlin (Le Figaro, 27/01/05)
Oh, ils font toujours ça. C’est une question de culture. Représentants de France 2 (cités par Enderlin)
La mort de Mohammed annule, efface celle de l’enfant juif, les mains en l’air devant les SS, dans le Ghetto de Varsovie. Catherine Nay (Europe 1)
Il y a lieu de décider que Patrick Karsenty a exercé de bonne foi son droit à la libre critique (…) En répondant à Denis Jeambar et à Daniel Leconte dans le Figaro du 23 janvier 2005 que « l’image correspondait à la réalité de la situation, non seulement à Gaza, mais en Cisjordanie », alors que la diffusion d’un reportage s’entend comme le témoignage de ce que le journaliste a vu et entendu, Charles Enderlin a reconnu que le film qui a fait le tour du monde en entrainant des violences sans précédent dans toute la région ne correspondait peut-être pas au commentaire qu’il avait donné. Laurence Trébucq (Présidente de la Cour d’appel de Paris, 21.05.08)
Voilà sept ans qu’une campagne obstinée et haineuse s’efforce de salir la dignité professionnelle de notre confrère Charles Enderlin, correspondant de France 2 à Jerusalem. Voilà sept ans que les mêmes individus tentent de présenter comme une « supercherie » et une « série de scènes jouées » , son reportage montrant la mort de Mohammed al-Doura, 12 ans, tué par des tirs venus de la position israélienne, le 30 septembre 2000, dans la bande de Gaza, lors d’un affrontement entre l’armée israélienne et des éléments armés palestiniens. Appel du Nouvel observateur (27 mai 2008)
This is not staging, it’s playing for the camera. When they threw stones and Molotov cocktails, it was in part for the camera. That doesn’t mean it’s not true. They wanted to be filmed throwing stones and being hit by rubber bullets. All of us — the ARD too — did reports on kids confronting the Israeli army, in order to be filmed in Ramallah, in Gaza. That’s not staging, that’s reality. Charles Enderlin
Dans le numéro 1931 du Nouvel Observateur, daté du 8 novembre 2001, Sara Daniel a publié un reportage sur le « crime d’honneur » en Jordanie. Dans son texte, elle révélait qu’à Gaza et dans les territoires occupés, les crimes dits d’honneur qui consistent pour des pères ou des frères à abattre les femmes jugées légères représentaient une part importante des homicides. Le texte publié, en raison d’un défaut de guillemets et de la suppression de deux phrases dans la transmission, laissait penser que son auteur faisait sienne l’accusation selon laquelle il arrivait à des soldats israéliens de commettre un viol en sachant, de plus, que les femmes violées allaient être tuées. Il n’en était évidemment rien et Sara Daniel, actuellement en reportage en Afghanistan, fait savoir qu’elle déplore très vivement cette erreur qui a gravement dénaturé sa pensée. Une mise au point de Sara Daniel (Le Nouvel Observateur, le 15 novembre 2001)
Les Israéliens ne savent pas que le peuple palestinien a progressé dans ses recherches sur la mort. Il a développé une industrie de la mort qu’affectionnent toutes nos femmes, tous nos enfants, tous nos vieillards et tous nos combattants. Ainsi, nous avons formé un bouclier humain grâce aux femmes et aux enfants pour dire à l’ennemi sioniste que nous tenons à la mort autant qu’il tient à la vie. Fathi Hammad (responsable du Hamas, mars 2008)
Les pays européens qui ont transformé la Méditerranée en un cimetière de migrants partagent la responsabilité de chaque réfugié mort. Erdogan
Mr. Kurdi brought his family to Turkey three years ago after fleeing fighting first in Damascus, where he worked as a barber, then in Aleppo, then Kobani. His Facebook page shows pictures of the family in Istanbul crossing the Bosporus and feeding pigeons next to the famous Yeni Cami, or new mosque. From his hospital bed on Wednesday, Mr. Kurdi told a Syrian radio station that he had worked on construction sites for 50 Turkish lira (roughly $17) a day, but it wasn’t enough to live on. He said they depended on his sister, Tima Kurdi, who lived in Canada, for help paying the rent. Ms. Kurdi, speaking Thursday in a Vancouver suburb, said that their father, still in Syria, had suggested Abdullah go to Europe to get his damaged teeth fixed and find a way to help his family leave Turkey. She said she began wiring her brother money three weeks ago, in €1,000 ($1,100) amounts, to help pay for the trip. Shortly after, she said her brother called her and said he wanted to bring his whole family to Europe, as his wife wasn’t able to support their two boys alone in Istanbul. “If we go, we go all of us,” Ms. Kurdi recounted him telling her. She said she spoke to his wife last week, who told her she was scared of the water and couldn’t swim. “I said to her, ‘I cannot push you to go. If you don’t want to go, don’t go,’” she said. “But I guess they all decided they wanted to do it all together.” At the morgue, Mr. Kurdi described what happened after they set off from the deserted beach, under cover of darkness. “We went into the sea for four minutes and then the captain saw that the waves are so high, so he steered the boat and we were hit immediately. He panicked and dived into the sea and fled. I took over and started steering, the waves were so high the boat flipped. I took my wife in my arms and I realized they were all dead.” Mr. Kurdi gave different accounts of what happened next. In one interview, he said he swam ashore and walked to the hospital. In another, he said he was rescued by the coast guard. In Canada, Ms. Kurdi said her brother had sent her a text message around 3 a.m. Turkish time Wednesday confirming they had set off. (…) “He said, ‘I did everything in my power to save them, but I couldn’t,’” she said. “My brother said to me, ‘My kids have to be the wake-up call for the whole world.’” WSJ
Personne ne dit que ce n’est pas raisonnable de partir de Turquie avec deux enfants en bas âge sur une mer agitée dans un frêle esquife. Arno Klarsfeld
La justice israélienne a dit disposer d’une déposition selon laquelle la famille d’un bébé palestinien mort dans des circonstances contestées dans la bande de Gaza avait été payée par le Hamas pour accuser Israël, ce que les parents ont nié. Vif émoi après la mort de l’enfant. Leïla al-Ghandour, âgée de huit mois, est morte mi-mai alors que l’enclave palestinienne était depuis des semaines le théâtre d’une mobilisation massive et d’affrontements entre Palestiniens et soldats israéliens le long de la frontière avec Gaza. Son décès a suscité un vif émoi. Sa famille accuse l’armée israélienne d’avoir provoqué sa mort en employant des lacrymogènes contre les protestataires, parmi lesquels se trouvait la fillette. La fillette souffrait-elle d’un problème cardiaque ? L’armée israélienne, se fondant sur les informations d’un médecin palestinien resté anonyme mais qui selon elle connaissait l’enfant et sa famille, dit que l’enfant souffrait d’un problème cardiaque. Le ministère israélien de la Justice a rendu public jeudi l’acte d’inculpation d’un Gazaoui de 20 ans, présenté comme le cousin de la fillette. Selon le ministère, il a déclaré au cours de ses interrogatoires par les forces israéliennes que les parents de Leila avaient touché 8.000 shekels (1.800 euros) de la part de Yahya Sinouar, le chef du Hamas dans la bande de Gaza, pour dire que leur fille était morte des inhalations de gaz. Une « fabrication » du Hamas dénoncée par Israël. Les parents ont nié ces déclarations, réaffirmé que leur fille était bien morte des inhalations, et ont contesté qu’elle était malade. Selon la famille, Leïla al-Ghandour avait été emmenée près de la frontière par un oncle âgé de 11 ans et avait été prise dans les tirs de lacrymogènes. Europe 1
Donald Trump aurait (…) menti en affirmant que la criminalité augmentait en Allemagne, en raison de l’entrée dans le pays de 1,1 million de clandestins en 2015. (…) Les articles se sont immédiatement multipliés pour dénoncer « le mensonge » du président américain. Pourquoi ? Parce que les autorités allemandes se sont félicitées d’une baisse des agressions violentes en 2017. C’est vrai, elles ont chuté de 5,1% par rapport à 2016. Est-il possible, cependant, de feindre à ce point l’incompréhension ? Car les détracteurs zélés du président omettent de préciser que la criminalité a bien augmenté en Allemagne à la suite de cette vague migratoire exceptionnelle : 10% de crimes violents en plus, sur les années 2015 et 2016. L’étude réalisée par le gouvernement allemand et publiée en janvier dernier concluait même que 90% de cette augmentation était due aux jeunes hommes clandestins fraîchement accueillis, âgés de 14 à 30 ans. L’augmentation de la criminalité fut donc indiscutablement liée à l’accueil de 1,1 millions de clandestins pendant l’année 2015. C’est évidement ce qu’entend démontrer Donald Trump. Et ce n’est pas tout. Les chiffres du ministère allemand de l’Intérieur pour 2016 révèlent également une implication des étrangers et des clandestins supérieure à celle des Allemands dans le domaine de la criminalité. Et en hausse. La proportion d’étrangers parmi les personnes suspectées d’actes criminels était de 28,7% en 2014, elle est passée à 40,4% en 2016, avant de chuter à 35% en 2017 (ce qui reste plus important qu’en 2014). En 2016, les étrangers étaient 3,5 fois plus impliqués dans des crimes que les Allemands, les clandestins 7 fois plus. Des chiffres encore plus élevés dans le domaine des crimes violents (5 fois plus élevés chez les étrangers, 15 fois chez les clandestins) ou dans celui des viols en réunion (10 fois plus chez les étrangers, 42 fois chez les clandestins !). Factuellement, la criminalité n’augmente pas aujourd’hui en Allemagne. Mais l’exceptionnelle vague migratoire voulue par Angela Merkel en 2015 a bien eu pour conséquence l’augmentation de la criminalité en Allemagne. Les Allemands, eux, semblent l’avoir très bien compris. Valeurs actuelles
Je vous demande de ne rien céder, dans ces temps troublés que nous vivons, de votre amour pour l’Europe. Je vous le dis avec beaucoup de gravité. Beaucoup la détestent, mais ils la détestent depuis longtemps et vous les voyez monter, comme une lèpre, un peu partout en Europe, dans des pays où nous pensions que c’était impossible de la voir réapparaître. Et des amis voisins, ils disent le pire et nous nous y habituons. Emmanuel Macron
Il y a des choses insoutenables. Mais pourquoi on en est arrivé là ? Parce que justement il y a des gens comme Emmanuel Macron qui venaient donner des leçons de morale aux autres. Il y a une inquiétude identitaire » en Europe, « c’est une réalité politique. Tous les donneurs de leçon ont tué l’Europe, il y a une angoisse chez les Européens d’être dilués, pas une angoisse raciste, mais une angoisse de ne plus pouvoir être eux, chez eux. Jean-Sébastien Ferjou
Our message absolutely is don’t send your children unaccompanied, on trains or through a bunch of smugglers. We don’t even know how many of these kids don’t make it, and may have been waylaid into sex trafficking or killed because they fell off a train. Do not send your children to the borders. If they do make it, they’ll get sent back. More importantly, they may not make it. Obama (2014)
I also think that we have to understand the difficulty that President Obama finds himself in because there are laws that impose certain obligations on him. And it was my understanding that the numbers have been moderating in part as the Department of Homeland Security and other law enforcement officials understood that separating children from families — I mean, the horror of a father or a mother going to work and being picked up and immediately whisked away and children coming home from school to an empty house and nobody can say where their mother or father is, that is just not who we are as Americans. And so, I do think that while we continue to make the case which you know is very controversial in some corridors, that we have to reform our immigration system and we needed to do it yesterday. That’s why I approved of the bill that was passed in the Senate. We need to show humanity with respect to people to people who are working, contributing right now. And deporting them, leaving their children alone or deporting an adolescent, doing anything that is so contrary to our core values, just makes no sense. So I would be very open to trying to figure out ways to change the law, even if we don’t get to comprehensive immigration reform to provide more leeway and more discretion for the executive branch. (…) the numbers are increasing dramatically. And the main reason I believe why that’s happening is that the violence in certain of those Central American countries is increasing dramatically. And there is not sufficient law enforcement or will on the part of the governments of those countries to try to deal with this exponential increase in violence, drug trafficking, the drug cartels, and many children are fleeing from that violence. (…) first of all, we have to provide the best emergency care we can provide. We have children 5 and 6 years old who have come up from Central America. We need to do more to provide border security in southern Mexico. (…) they should be sent back as soon as it can be determined who responsible adults in their families are, because there are concerns whether all of them should be sent back. But I think all of them who can be should be reunited with their families. (…) But we have so to send a clear message, just because your child gets across the border, that doesn’t mean the child gets to stay. So, we don’t want to send a message that is contrary to our laws or will encourage more children to make that dangerous journey. Hillary Clinton (2014)
Over the past six years, President Obama has tried to make children the centerpiece of his efforts to put a gentler face on U.S. immigration policy. Even as his administration has deported a record number of unauthorized immigrants, surpassing two million deportations last year, it has pushed for greater leniency toward undocumented children. After trying and failing to pass the Dream Act legislation, which would offer a path to permanent residency for immigrants who arrived before the age of 16, the president announced an executive action in 2012 to block their deportation. Last November, Obama added another executive action to extend similar protections to undocumented parents. “We’re going to keep focusing enforcement resources on actual threats to our security,” he said in a speech on Nov. 20. “Felons, not families. Criminals, not children. Gang members, not a mom who’s working hard to provide for her kids.” But the president’s new policies apply only to immigrants who have been in the United States for more than five years; they do nothing to address the emerging crisis on the border today. Since the economic collapse of 2008, the number of undocumented immigrants coming from Mexico has plunged, while a surge of violence in Central America has brought a wave of migrants from Honduras, El Salvador and Guatemala. According to recent statistics from the Department of Homeland Security, the number of refugees fleeing Central America has doubled in the past year alone — with more than 61,000 “family units” crossing the U.S. border, as well as 51,000 unaccompanied children. For the first time, more people are coming to the United States from those countries than from Mexico, and they are coming not just for opportunity but for survival. The explosion of violence in Central America is often described in the language of war, cartels, extortion and gangs, but none of these capture the chaos overwhelming the region. Four of the five highest murder rates in the world are in Central American nations. The collapse of these countries is among the greatest humanitarian disasters of our time. While criminal organizations like the 18th Street Gang and Mara Salvatrucha exist as street gangs in the United States, in large parts of Honduras, Guatemala and El Salvador they are so powerful and pervasive that they have supplanted the government altogether. People who run afoul of these gangs — which routinely demand money on threat of death and sometimes kidnap young boys to serve as soldiers and young girls as sexual slaves — may have no recourse to the law and no better option than to flee. The American immigration system defines a special pathway for refugees. To qualify, most applicants must present themselves to federal authorities, pass a “credible fear interview” to demonstrate a possible basis for asylum and proceed through a “merits hearing” before an immigration judge. Traditionally, those who have completed the first two stages are permitted to live with family and friends in the United States while they await their final hearing, which can be months or years later. If authorities believe an applicant may not appear for that court date, they can require a bond payment as guarantee or place the refugee in a monitoring system that may include a tracking bracelet. In the most extreme cases, a judge may deny bond and keep the refugee in a detention facility until the merits hearing. The rules are somewhat different when children are involved. Under the terms of a 1997 settlement in the case of Flores v. Meese, children who enter the country without their parents must be granted a “general policy favoring release” to the custody of relatives or a foster program. When there is cause to detain a child, he or she must be housed in the least restrictive environment possible, kept away from unrelated adults and provided access to medical care, exercise and adequate education. Whether these protections apply to children traveling with their parents has been a matter of dispute. The Flores settlement refers to “all minors who are detained” by the Immigration and Naturalization Service and its “agents, employees, contractors and/or successors in office.” When the I.N.S. dissolved into the Department of Homeland Security in 2003, its detention program shifted to the U.S. Immigration and Customs Enforcement agency. Federal judges have ruled that ICE is required to honor the Flores protections for all children in its custody. Even so, in 2005, the administration of George W. Bush decided to deny the Flores protections to refugee children traveling with their parents. Instead of a “general policy favoring release,” the administration began to incarcerate hundreds of those families for months at a time. To house them, officials opened the T. Don Hutto Family Detention Center near Austin, Tex. Within a year, the administration faced a lawsuit over the facility’s conditions. Legal filings describe young children forced to wear prison jumpsuits, to live in dormitory housing, to use toilets exposed to public view and to sleep with the lights on, even while being denied access to appropriate schooling. In a pretrial hearing, a federal judge in Texas blasted the administration for denying these children the protections of the Flores settlement. “The court finds it inexplicable that defendants have spent untold amounts of time, effort and taxpayer dollars to establish the Hutto family-detention program, knowing all the while that Flores is still in effect,” the judge wrote. The Bush administration settled the suit with a promise to improve the conditions at Hutto but continued to deny that children in family detention were entitled to the Flores protections. In 2009, the Obama administration reversed course, abolishing family detention at Hutto and leaving only a small facility in Pennsylvania to house refugee families in exceptional circumstances. For all other refugee families, the administration returned to a policy of release to await trial. Studies have shown that nearly all detainees who are released from custody with some form of monitoring will appear for their court date. But when the number of refugees from Central America spiked last summer, the administration abruptly announced plans to resume family detention. (…) From the beginning, officials were clear that the purpose of the new facility in Artesia was not so much to review asylum petitions as to process deportation orders. “We have already added resources to expedite the removal, without a hearing before an immigration judge, of adults who come from these three countries without children,” the secretary of Homeland Security, Jeh Johnson, told a Senate committee in July. “Then there are adults who brought their children with them. Again, our message to this group is simple: We will send you back.” Elected officials in Artesia say that Johnson made a similar pledge during a visit to the detention camp in July. “He said, ‘As soon as we get them, we’ll ship them back,’ ” a city councilor from Artesia named Jose Luis Aguilar recalled. The mayor of the city, Phillip Burch, added, “His comment to us was that this would be a ‘rapid deportation process.’ Those were his exact words.” (…) “I arrived on July 5 and turned myself in at 2 a.m.,” a 28-year-old mother of two named Ana recalled. In Honduras, Ana ran a small business selling trinkets and served on the P.T.A. of her daughter’s school. “I lived well,” she said — until the gangs began to pound on her door, demanding extortion payments. Within days, they had escalated their threats, approaching Ana brazenly on the street. “One day, coming home from my daughter’s school, they walked up to me and put a gun to my head,” she said. “They told me that if I didn’t give them the money in less than 24 hours, they would kill me.” Ana had already seen friends raped and murdered by the gang, so she packed her belongings that night and began the 1,800-mile journey to the U.S. border with her 7-year-old daughter. Four weeks later, in McAllen, Tex., they surrendered as refugees. Ana and her daughter entered Artesia in mid-July. In October they were still there. Ana’s daughter was sick and losing weight rapidly under the strain of incarceration. Their lawyer, a leader in Chicago’s Mormon Church named Rebecca van Uitert, said that Ana’s daughter became so weak and emaciated that doctors threatened drastic measures. “They were like, ‘You’ve got to force her to eat, and if you don’t, we’re going to put a PICC line in her and force-feed her,’ ” van Uitert said. Ana said that when her daughter heard the doctor say this, “She started to cry and cry.” (…) Many of the volunteers in Artesia tell similar stories about the misery of life in the facility. “I thought I was pretty tough,” said Allegra Love, who spent the previous summer working on the border between Mexico and Guatemala. “I mean, I had seen kids in all manner of suffering, but this was a really different thing. It’s a jail, and the women and children are being led around by guards. There’s this look that the kids have in their eyes. This lackadaisical look. They’re just sitting there, staring off, and they’re wasting away. That was what shocked me most.” The detainees reported sleeping eight to a room, in violation of the Flores settlement, with little exercise or stimulation for the children. Many were under the age of 6 and had been raised on a diet of tortillas, rice and chicken bits. In Artesia, the institutional cafeteria foods were as unfamiliar as the penal atmosphere, and to their parents’ horror, many of the children refused to eat. “Gaunt kids, moms crying, they’re losing hair, up all night,” an attorney named Maria Andrade recalled. Another, Lisa Johnson-Firth, said: “I saw children who were malnourished and were not adapting. One 7-year-old just lay in his mother’s arms while she bottle-fed him.” Mary O’Leary, who made three trips to Artesia last fall, said: “I was trying to talk to one client about her case, and just a few feet away at another table there was this lady with a toddler between 2 and 4 years old, just lying limp. This was a sick kid, and just with this horrible racking cough.” (…) Attorneys for the Obama administration have argued in court, like the Bush administration previously, that the protections guaranteed by the Flores settlement do not apply to children in family detention. “The Flores settlement comes into play with unaccompanied minors,” a lawyer for the Department of Homeland Security named Karen Donoso Stevens insisted to a judge on Aug. 4. “That argument is moot here, because the juvenile is detained — is accompanied and detained — with his mother.” Federal judges have consistently rejected this position. Just as the judge reviewing family detention in 2007 called the denial of Flores protections “inexplicable,” the judge presiding over the Aug. 4 hearing issued a ruling in September that Homeland Security officials in Artesia must honor the Flores Settlement Agreement. “The language of the F.S.A. is unambiguous,” Judge Roxanne Hladylowycz wrote. “The F.S.A. was designed to create a nationwide policy for the detention of all minors, not only those who are unaccompanied.” Olavarria said she was not aware of that ruling and would not comment on whether the Department of Homeland Security believes that the Flores ruling applies to children in family detention today. (…) As the pro bono project in Artesia continued into fall, its attorneys continued to win in court. By mid-November, more than 400 of the detained women and children were free on bond. Then on Nov. 20, the administration suddenly announced plans to transfer the Artesia detainees to the ICE detention camp in Karnes, Tex., where they would fall under a new immigration court district with a new slate of judges. That announcement came at the very moment the president was delivering a live address on the new protections available to established immigrant families. In an email to notify Artesia volunteers about the transfer, an organizer for AILA named Stephen Manning wrote, “The disconnect from the compassionate-ish words of the president and his crushing policies toward these refugees is shocking.” Brown was listening to the speech in her car, while driving to Denver for a rare weekend at home, when her cellphone buzzed with the news that 20 of her clients would be transferred to Texas the next morning. Many of them were close to a bond release; in San Antonio, they might be detained for weeks or months longer. Brown pulled her car to the side of the highway and spent three hours arguing to delay the transfer. Over the next two weeks, officials moved forward with the plan. By mid-December, most of the Artesia detainees were in Karnes (…) One of McPhaul’s colleagues, Judge Gary Burkholder, was averaging a 91.6 percent denial rate for the asylum claims. Some Karnes detainees had been in the facility for nearly six months and could remain there another six. (…) “I agree,” Sischo said. “We should not be spending resources on detaining these families. They should be released. But people don’t understand the law. They think they should be deported because they’re ‘illegals.’ So they’re missing a very big part of the story, which is that they aren’t breaking the law. They’re trying to go through the process that’s laid out in our laws.” Wil S. Hylton (NYT magazine, 2015)
It was the kind of story destined to take a dark turn through the conservative news media and grab President Trump’s attention: A vast horde of migrants was making its way through Mexico toward the United States, and no one was stopping them. “Mysterious group deploys ‘caravan’ of illegal aliens headed for U.S. border,” warned Frontpage Mag, a site run by David Horowitz, a conservative commentator. The Gateway Pundit, a website that was most recently in the news for spreading conspiracies about the school shooting in Parkland, Fla., suggested the real reason the migrants were trying to enter the United States was to collect social welfare benefits. And as the president often does when immigration is at issue, he saw a reason for Americans to be afraid. “Getting more dangerous. ‘Caravans’ coming,” a Twitter post from Mr. Trump read. The story of “the caravan” followed an arc similar to many events — whether real, embellished or entirely imagined — involving refugees and migrants that have roused intense suspicion and outrage on the right. The coverage tends to play on the fears that hiding among mass groups of immigrants are many criminals, vectors of disease and agents of terror. And often the president, who announced his candidacy by blaming Mexico for sending rapists and drug dealers into the United States, acts as an accelerant to the hysteria. The sensationalization of this story and others like it seems to serve a common purpose for Mr. Trump and other immigration hard-liners: to highlight the twin dangers of freely roving migrants — especially those from Muslim countries — and lax immigration laws that grant them easy entry into Western nations. The narrative on the right this week, for example, mostly omitted that many people in the caravan planned to resettle in Mexico, not the United States. And it ignored how many of those who did intend to come here would probably go through the legal process of requesting asylum at a border checkpoint — something miles of new wall and battalions of additional border patrol would not have stopped. (…) The story of the caravan has been similarly exaggerated. And the emotional outpouring from the right has been raw — that was the case on Fox this week when the TV host Tucker Carlson shouted “You hate America!” at an immigrants rights activist after he defended the people marching through Mexico. The facts of the caravan are not as straightforward as Mr. Trump or many conservative pundits have portrayed them. The story initially gained widespread attention after BuzzFeed News reported last week that more than 1,000 Central American migrants, mostly from Honduras, were making their way north toward the United States border. Yet the BuzzFeed article and other coverage pointed out that many in the group were planning to stay in Mexico. That did not stop Mr. Trump from expressing dismay on Tuesday with a situation “where you have thousands of people that decide to just walk into our country, and we don’t have any laws that can protect it.” The use of disinformation in immigration debates is hardly unique to the United States. Misleading crime statistics, speculation about sinister plots to undermine national sovereignty and Russian propaganda have all played a role in stirring up anti-immigrant sentiment in places like Britain, Germany and Hungary. Some of the more fantastical theories have involved a socialist conspiracy to import left-leaning voters and a scheme by the Hungarian-born Jewish philanthropist George Soros to create a borderless Europe. NYT
With the help of a humanitarian group called “Pueblo Sin Fronteras” (people without borders), the 1,000 plus migrants will reach the U.S. border with a list of demands to several governments in Central America, the United States, and Mexico. Here’s what they demanded of Mexico and the United States in a Facebook post:  -That they respect our rights as refugees and our right to dignified work to be able to support our families -That they open the borders to us because we are as much citizens as the people of the countries where we are and/or travel -That deportations, which destroy families, come to an end -No more abuses against us as migrants -Dignity and justice -That the US government not end TPS for those who need it -That the US government stop massive funding for the Mexican government to detain Central American migrants and refugees and to deport them -That these governments respect our rights under international law, including the right to free expression -That the conventions on refugee rights not be empty rhetoric. The Blaze
La photographie du 12 juin de la petite Hondurienne de 2 ans est devenue le symbole le plus visible du débat sur l’immigration actuellement en cours aux Etats-Unis et il y a une raison pour cela. Dans le cadre de la politique appliquée par l’administration, avant son revirement de cette semaine, ceux qui traversaient la frontière illégalement étaient l’objet de poursuites criminelles, qui entraînaient à leur tour la séparation des enfants et des parents. Notre couverture et notre reportage saisissent les enjeux de ce moment. Edward Felsenthal (rédacteur en chef de Time)
La version originale de cet article a fait une fausse affirmation quant au sort de la petite fille après la photographie. Elle n’a pas été emmenée en larmes par les patrouilles frontalières ; sa mère l’a récupérée et les deux ont été interpellées ensemble. Time
Cette enfant n’a pas été séparée de ses parents. Sa photo reste un symbole. L’Obs
De nombreuses photos et vidéos circulent sur internet depuis que Donald Trump a mis en place sa politique de tolérance zéro face à l’immigration illégale, ce qui a mené plus de 2.300 enfants à être séparés de leurs parents à la frontière entre Etats-Unis et Mexique. Mais beaucoup d’entre elles ne correspondent pas à la réalité. Vendredi, après la publication d’un décret du président américain marquant son revirement vis-à-vis de cette politique, le doute demeurait sur le temps que mettront ces mineurs à retrouver leurs familles. (…) Au moins trois images, largement partagées sur les réseaux sociaux ces derniers jours, illustrent des situations qui ne sont pas celles vécues par les 2.342 enfants détenus en raison de leur statut migratoire irrégulier. La première montre une fillette hondurienne, Yanela Varela, en larmes. Elle est vite devenue sur Twitter ou Facebook un symbole de la douleur provoquée par la séparation des familles. (…) La photo a été prise le 12 juin dans la ville de McAllen, au Texas, par John Moore, un photographe qui a obtenu le prix Pulitzer et travaille pour l’agence Getty Images. Time Magazine en a fait sa Une, mettant face à face, dans un photomontage sur fond rouge, la petite fille apeurée et un Donald Trump faisant presque trois fois sa taille et la toisant avec cette simple légende: « Bienvenue en Amérique ». Un article en ligne publié par Time et portant sur cette photo affirmait initialement que la petite fille avait été séparée de sa mère. Mais l’article a ensuite été corrigé, la nouvelle version déclarant: « La petite fille n’a pas été emmenée en larmes par des agents de la police frontalière des Etats-Unis, sa mère est venue la chercher et elles ont été emmenées ensemble ». Time a néanmoins utilisé la photo de la fillette pour sa spectaculaire couverture. Mais au Honduras, la responsable de la Direction de protection des migrants au ministère des Affaires étrangères, Lisa Medrano, a donné à l’AFP une toute autre version: « La fillette, qui va avoir deux ans, n’a pas été séparée » de ses parents. Le père de l’enfant, Denis Varela, a confirmé au Washington Post que sa femme Sandra Sanchez, 32 ans, n’avait pas été séparée de Yanela et que les deux étaient actuellement retenues dans un centre pour migrants de McAllen (Texas). Attaqué pour sa couverture, qui a été largement jugée trompeuse, y compris par la Maison Blanche, Time a déclaré qu’il maintenait sa décision de la publier. (…) Un autre cliché montre une vingtaine d’enfants derrière une grille, certains d’entre eux tentant d’y grimper. Il circule depuis des jours comme une supposée photo de centres de détention pour mineurs à la frontière mexicaine. Mais son auteur, Abed Al Ashlamoun, photographe de l’agence EPA, a pris cette image en août 2010 et elle représente des enfants palestiniens attendant la distribution de nourriture pendant le ramadan à Hébron, en Cisjordanie. Enfin, une troisième image est celle d’un enfant en train de pleurer dans ce qui semble être une cage, et qui remporte un grand succès sur Twitter, où elle a été partagée au moins 25.000 fois sur le compte @joseiswriting. Encore une fois, il s’agit d’un trompe-l’oeil: il s’agit d’un extrait d’une photo qui mettait en scène des arrestations d’enfants lors d’une manifestation contre la politique migratoire américaine et publiée le 11 juin dernier sur le compte Facebook Brown Berets de Cemanahuac. La Croix
Au moins 150 migrants centraméricains sont arrivés à Tijuana au Mexique, à la frontière avec les États-Unis. Ils sont décidés à demander l’asile à Washington. Plusieurs centaines de migrants originaires d’Amérique centrale se sont rassemblés dimanche 30 avril à la frontière mexico-américaine au terme d’un mois de traversée du Mexique. Nombre d’entre eux ont décidé de se présenter aux autorités américaines pour déposer des demandes d’asile et devraient être placés en centres de rétention. « Nous espérons que le gouvernement des États-Unis nous ouvrira les portes », a déclaré Reyna Isabel Rodríguez, 52 ans, venu du Salvador avec ses deux petits-enfants. L’ONG Peuple Sans Frontières organise ce type de caravane depuis 2010 pour dénoncer le sort de celles et ceux qui traversent le Mexique en proie à de nombreux dangers, entre des cartels de la drogue qui les kidnappent ou les tuent, et des autorités qui les rançonnent. « Nous voulons dire au président des États-Unis que nous ne sommes pas des criminels, nous ne sommes pas des terroristes, qu’il nous donne la chance de vivre sans peur. Je sais que Dieu va toucher son cœur », a déclaré l’une des organisatrices de la caravane, Irineo Mujica. L’ONG, composée de volontaires, permet notamment aux migrants de rester groupés – lors d’un périple qui se fait à pied, en bus ou en train – afin de se prémunir de tous les dangers qui jalonnent leur chemin. En espagnol, ces caravanes sont d’ailleurs appelées « Via Crucis Migrantes » ou le « Chemin de croix des migrants », en référence aux processions catholiques, particulièrement appréciées en Amérique du Sud, qui mettent en scène la Passion du Christ, ou les derniers événements qui ont précédé et accompagné la mort de Jésus de Nazareth. Cette année, le groupe est parti le 25 mars de Tapachula, à la frontière du Guatemala, avec un groupe de près de 1 200 personnes, à 80 % originaires du Honduras, les autres venant du Guatemala, du Salvador et du Nicaragua, selon Rodrigo Abeja. Dans le groupe, près de 300 enfants âgés de 1 mois à 11 ans, une vingtaine de jeunes homosexuels et environ 400 femmes. Certains se sont ensuite dispersés, préférant rester au Mexique, d’autres choisissant de voyager par leurs propres moyens. En avril, les images de la caravane de migrants se dirigeant vers les États-Unis avaient suscité la colère de Donald Trump et une forte tension entre Washington et Mexico. Le président américain, dont l’un des principaux thèmes de campagne était la construction d’un mur à la frontière avec le Mexique pour lutter contre l’immigration clandestine, avait ordonné le déploiement sur la frontière de troupes de la Garde nationale. Il avait aussi soumis la conclusion d’un nouvel accord de libre-échange en Amérique du Nord à un renforcement des contrôles migratoires par le Mexique, une condition rejetée par le président mexicain Enrique Pena Nieto. France 24 
Il faut noter que les migrants qui veulent demander l’asile se rendent facilement aux agents de patrouille aux frontières. Ce ne sont pas des migrants sans papiers classiques, ils viennent avec autant de documents que possible pour obtenir l’asile politique. Dans ce groupe se trouvaient une vingtaine de femmes et d’enfants. La plupart venaient du Honduras.  (…) J’avais remarqué une mère qui tenait un enfant. Elle m’a dit que sa fille et elle voyageaient depuis un mois, au départ du Honduras. Elle m’a dit que sa fille avait 2 ans, et j’ai pu voir dans ses yeux qu’elle était sur ses gardes, exténuée et qu’elle avait probablement vécu un voyage très difficile. C’est l’une des dernières familles à avoir été embarquée dans le véhicule. Un des officiers a demandé à la mère de déposer son enfant à terre pendant qu’elle était fouillée. Juste à ce moment-là, la petite fille a commencé à pleurer, très fort. J’ai trois enfants moi-même, dont un tout petit, et c’était très difficile à voir, mais j’avais une fenêtre de tir très réduite pour photographier la scène. Dès que la fouille s’est terminée, elle a pu reprendre son enfant dans ses bras et ses pleurs se sont éteints. Moi, j’ai dû m’arrêter, reprendre mes esprits et respirer profondément. J’avais déjà photographié des scènes comme ça à de nombreuses reprises. Mais celle-ci était unique, d’une part à cause des pleurs de cette enfant, mais aussi parce que cette fois, je savais qu’à la prochaine étape de leur voyage, dans ce centre de rétention, elles allaient être séparées. Je doute que ces familles aient eu la moindre idée de ce qui allait leur arriver. Tous voyageaient depuis des semaines, ils ne regardaient pas la télévision et n’avaient aucun moyen d’être au courant de la nouvelle mesure de tolérance zéro et de séparation des familles mise en place par Trump. (…) Cela fait dix ans que je photographie l’immigration à la frontière américaine, toujours avec l’objectif d’humaniser des histoires complexes. Souvent, on parle de l’immigration avec des statistiques, arides et froides. Et je crois que la seule manière que les personnes dans ce pays trouvent des solutions humaines est qu’elles voient les gens comme des êtres humains. Je n’avais jamais imaginé que j’allais un jour mettre un visage sur une politique de séparation des familles, mais c’est le cas aujourd’hui. John Moore
Pourquoi aurait-elle fait subir ça à notre petite fille ? (….) Je pense que c’était irresponsable de sa part de partir avec le bébé dans les bras parce qu’on ne sait pas ce qui aurait pu arriver. Denis Hernandez
Interrogé par le Daily Mail, Denis Varela a indiqué que sa femme voulait expérimenter le rêve américain et trouver un travail au pays de l’Oncle Sam, mais qu’il était opposé à l’idée qu’elle parte avec sa fille : « Elle est partie sans prévenir. Je n’ai pas pu dire « Au revoir » à ma fille et maintenant la seule chose que je peux faire, c’est attendre. » Le couple a aussi trois autres enfants, un fils de 14 ans, et deux filles de 11 et 6 ans. « Les enfants comprennent ce qu’il se passe. Ils sont un peu inquiets mais j’essaye de ne pas trop aborder le sujet. Ils savent que leur mère et leur sœur sont en sécurité. » Il a ajouté qu’il espère que « les droits de sa femme et de sa fille sont respectés, parce qu’elles sont des reines […] Nous avons tous des droits. » Ouest France
Protecting children at the border is complicated because there have, indeed, been instances of fraud. Tens of thousands of migrants arrive there every year, and those with children in tow are often released into the United States more quickly than adults who come alone, because of restrictions on the amount of time that minors can be held in custody. Some migrants have admitted they brought their children not only to remove them from danger in such places as Central America and Africa, but because they believed it would cause the authorities to release them from custody sooner. Others have admitted to posing falsely with children who are not their own, and Border Patrol officials say that such instances of fraud are increasing. (…) [Jessica M. Vaughan, the director of policy studies for the Center for Immigration Studies] said that some migrants were using children as “human shields” in order to get out of immigration custody faster. “It makes no sense at all for the government to just accept these attempts at fraud,” Ms. Vaughan said. “If it appears that the child is being used in this way, it is in the best interest of the child to be kept separately from the parent, for the parent to be prosecuted, because it’s a crime and it’s one that has to be deterred and prosecuted.” NYT
Over the weekend, you may have seen a horrifying story: Almost 1,500 migrant children were missing, and feared to be in the hands of human traffickers. The Trump administration lost track of the children, the story went, after separating them from their parents at the border. The news spread across liberal social media — with the hashtag #Wherearethechildren trending on Twitter — as people demanded immediate action. But it wasn’t true, or at least not the way that many thought. The narrative had combined parts of two real events and wound up with a horror story that was at least partly a myth. The fact that so many Americans readily believed this myth offers a lesson in how partisan polarization colors people’s views on a gut emotional level without many even realizing it. As other articles have explained, the missing children and the Trump administration’s separation of families who are apprehended at the border are two different matters. (…) These “missing” children had actually come to the United States without their parents, been picked up by the Border Patrol and then released to the custody of a parent or guardian. Many probably are not really missing. The figure represents the number of children whose households didn’t answer the phone when the Department of Health and Human Services called to check on them. The unanswered phone calls may warrant further welfare checks, but are not themselves a sign that something nefarious has happened. The Obama administration also detained immigrant families and children, as did other recent administrations. This past weekend, some social media users circulated a photo they said showed children detained as a result of President Trump’s policies, but the image was actually from 2014. (…) Long-running social science surveys have found that since the 1980s, Republicans’ opinions of Democrats and Democrats’ opinions of Republicans have been increasingly negative. At the same time, as Lilliana Mason, a political scientist at the University of Maryland, writes in a new book, partisan identity has become an umbrella for other important identities, including those involving race, religion, geography and even educational background. It has become a tribal identity itself, not merely a matter of policy preferences. So it’s not that liberals didn’t care about immigrant children until Mr. Trump became president, or that they’re only pretending to care now so as to score political points. Rather, with the Trump administration’s making opposition to immigrants a signature issue, the topic has become salient to partisan conflict in a way it wasn’t before. Mr. Trump’s treatment of immigrant families and children, when refracted through the lens of partisan bias, affirms liberals’ perception of being engaged in a broader moral struggle with the right, making it feel like an urgent threat. Mr. Obama’s detaining of immigrant children, by contrast, felt like a matter of abstract moral concern. Identity polarization means “you want to show that you’re a good member of your tribe,” Sean Westwood, a political scientist at Dartmouth College who studies partisan polarization, said in an interview early last year. “You want to show others that Republicans are bad or Democrats are bad, and your tribe is good.” Sharing stories on social media “provides a unique opportunity to publicly declare to the world what your beliefs are and how willing you are to denigrate the opposition and reinforce your own political candidates,” he said. Accurate news can serve that purpose. But fake news has an advantage. It can perfectly capture one side’s villainous archetypes of the other, without regard for pesky facts that might not fit the story line. The narrative that President Trump’s team lost hundreds of children after tearing them away from their parents combines some of the main liberal critiques of the administration: that it is racist, that it is authoritarian and that it is incompetent. The administration’s very real policy of separating families already plays to the first two archetypes. By adding in the missing children, the story manages to incorporate an incompetence angle as well. NYT
Nous ne voulons pas séparer les familles, mais nous ne voulons pas que des familles viennent illégalement. Si vous faites passer un enfant, nous vous poursuivrons. Et cet enfant sera séparé de vous, comme la loi le requiert. Jeff Sessions
Le dilemme est si vous êtes mou, ce que certaines personnes aimeraient que vous soyez, si vous êtes vraiment mou, pathétiquement mou… le pays va être envahi par des millions de gens. Et si vous êtes ferme, vous n’avez pas de coeur. C’est un dilemme difficile. Peut-être que je préfère être ferme, mais c’est un dilemme difficile. Donald Trump
Time has not responded to a request for comment from The Post, but in a statement sent to media outlets, the magazine said it’s standing by its cover. Washington Post
La photographie du 12 juin de la petite Hondurienne de 2 ans est devenue le symbole le plus visible du débat sur l’immigration en cours aux États-Unis et il y a une raison pour cela. Dans le cadre de la politique appliquée par l’administration, avant son revirement de cette semaine, ceux qui traversaient la frontière illégalement étaient l’objet de poursuites criminelles, qui entraînaient à leur tour la séparation des enfants et des parents. Notre couverture et notre reportage saisissent les enjeux de ce moment. Edward Felsenthal (rédacteur en chef de Time).
The Time cover is an illustration that interprets a wider issue being reported on within the magazine. The photograph I took is a straightforward and an honest image; it shows a brief moment in time of a distressed little girl, whose mother is being searched as they are both taken into custody. I believe this image has raised awareness of the zero tolerance policy of the current administration. Having covered immigration for Getty Images for 10 years, this photograph for me is part of a much larger story. John Moore
Obviously this child never met the president, it’s not misleading at all in that sense. I think that the power of it is in the juxtaposition of the two figures, of the child who quickly came to represent all of the children that we’re talking about, and the president who was making the decisions about their fate. Nancy Gibbs (former editor of Time)
It was well within the parameters of editorial license. This is a caustic, sharp-edged cover. But it’s a caustic, sharp-edged cover about an issue that is deeply emotional that has divided America. Moore’s photos are « iconic » and will be remembered alongside historic images of Emmett Till and the photo of a naked little girl running from a Naplam attack in Vietnam. Bruce Shapiro (Columbia University)
Il existe aux Etats-Unis un grave problème d’immigration illégale. Trump a commencé à prendre des décisions pour le régler. Les entrées clandestines dans le pays par la frontière Sud ont diminué de 70 pour cent. Elles sont encore trop nombreuses. Les immigrants illégaux présents dans le pays ne sont pas tous criminels, mais ils représentent une proportion importante des criminels incarcérés et des membres de gangs violents impliqués, entre autres, dans le trafic de drogue. Jeff Sessions, ministre de la justice inefficace dans d’autres secteurs, est très efficace dans ce secteur. Les Démocrates veulent que l’immigration illégale se poursuive, et s’intensifie, car ils ont besoin d’un électorat constitué d’illégaux fraîchement légalisés pour maintenir à flot la coalition électorale sur laquelle ils s’appuient et garder des chances de victoire ultérieure (minorités ethniques, femmes célibataires, étudiants, professeurs). La diminution de l’immigration clandestine leur pose problème. Les actions de la police de l’immigration (ICE; Immigration Control Enforcement) suscitent leur hostilité, d’où l’existence de villes sanctuaires démocrates et, en Californie, d’un Etat sanctuaire(démocrate, bien sûr). Ce qui se passe depuis quelques jours à la frontière Sud du pays est un coup monté auquel participent le parti démocrate, les grands médias américains, des organisations gauchistes, et le but est de faire pression sur Trump en diabolisant son action. La plupart des photos utilisées datent des années Obama, au cours desquelles le traitement des enfants entrant clandestinement dans le pays était exactement similaire à ce qu’il est aujourd’hui, sans qu’à l’époque les Démocrates disent un seul mot. Les enfants qui pleurent sur des vidéos ont été préparés à être filmés à des fins de propagande et ont appris à dire “daddy”, “mummy”. Le but est effectivement de faire céder Trump. Quelques Républicains à veste réversible ont joint leur voix au chœur. Trump, comme il sait le faire, a agi pour désamorcer le coup monté. On lui reproche de faire ce qui se fait depuis des années (séparer les enfants de leurs parents dès lors que les parents doivent être incarcérés) ? Il vient de décider que les enfants ne seront plus séparés des parents, et qu’ils seront placés ensemble dans des lieux de rétention.  Cela signifie-t-il un recul ? Non. La lutte contre l’immigration clandestine va se poursuivre selon exactement la même ligne. Les parents qui ont violé la loi seront traités comme ils l’étaient auparavant. Les enfants seront-ils dans de meilleures conditions ? Non. Ils ne seront pas dans des conditions plus mauvaises non plus. Décrire les lieux où ils étaient placés jusque là comme des camps de concentration est une honte et une insulte à ceux qui ont été placés dans de réels camps de concentration (certains Démocrates un peu plus répugnants que d’autres sont allés jusqu’à faire des comparaisons avec Auschwitz !) : les enfants sont placés dans ce qui est comparable à des auberges pour colonies de vacances. Un enfant clandestin coûte au contribuable américain à ce jour 35.000 dollars en moyenne annuelle. Désamorcer le coup monté ne réglera pas le problème d’ensemble. Des femmes viennent accoucher aux Etats-Unis pour que le bébé ait la nationalité américaine et puisse demander deux décennies plus tard un rapprochement de famille. Des gens font passer leurs enfants par des passeurs en espérant que l’enfant sera régularisé et pourra lui aussi demander un rapprochement de famille. Des parents paient leur passage aux Etats Unis en transportant de la drogue et doivent être jugés pour cela (le tarif des passeurs si on veut passer sans drogue est  de 10.000 dollars par personne). S’ils sont envoyés en prison, ils n’y seront pas envoyés avec leurs enfants.  Quand des trafiquants de drogue sont envoyés en prison, aux Etats-Unis ou ailleurs, ils ne vont pas en prison en famille, et si quelqu’un suggérait que leur famille devait les suivre en prison, parce que ce serait plus “humain”, les Démocrates seraient les premiers à hurler. Les Etats-Unis, comme tout pays développé, ne peuvent laisser entrer tous ceux qui veulent entrer en laissant leurs frontières ouvertes. Un pays a le droit de gérer l’immigration comme il l’entend et comme l’entend sa population, et il le doit, s’il ne veut pas être submergé par une population qui ne s’intègre pas et peut le faire glisser vers le chaos. Les pays européens sont confrontés au même problème que les Etats-Unis, d’une manière plus aiguë puisqu’en Europe s’ajoute le paramètre “islam”. La haine de la civilisation occidentale imprègne la gauche européenne, qui veut la dissolution des peuples européens. Une même haine imprègne la gauche américaine, qui veut la dissolution du peuple américain. Les grandes villes de l’Etat sanctuaire de Californie sont déjà méconnaissables, submergées par des sans abris étrangers (pas un seul pont de Los Angeles qui n’abrite désormais un petit bidonville, et un quart du centre ville est une véritable cour des miracles, à San Francisco ce n’est pas mieux). Il n’est pas du tout certain que le coup monte servira les Démocrates lors des élections de mi mandat. Nombre d’Américains ne veulent pas la dissolution du peuple américain. Guy Millière
Sur le plateau de la NBCNews, l’ancien président du Comité national du parti Républicain, Michael Steele, vient de comparer les centres dans lesquels sont accueillis les enfants de clandestins aux Etats-Unis à des camps de concentration. Il s’adresse alors aux Américains : « Demain, ce pourrait être vos enfants ». La scène résume à elle seule la folie qui s’est emparée de la sphère politico-médiatique après que Donald Trump a ordonné aux autorités gardant la frontière mexicaine d’appliquer la loi et de séparer les parents de leurs enfants entrés illégalement aux Etats-Unis. Passons sur la comparaison. Aussi indécente que manipulatrice : ces enfants ne sont pas enfermés en attendant la mort. Quant à la mise en garde, elle est grotesque. Aucun Américain ne se verra subitement séparé de ses enfants. A moins d’avoir commis un crime ou un délit puni de prison. Quand un citoyen lambda est condamné à une peine de prison, personne ne s’offusque jamais de cette séparation … Jusqu’à ce que cela touche des clandestins. Leur particularité étant de n’avoir aucun logement dans le pays dont ils viennent de violer la frontière, leurs enfants sont donc pris en charge dans des camps, en attendant que la situation des adultes soit examinée. Aux frais des Américains. (…) Reste que les parents, prévenus de la loi que nul n’est censé ignorer, sont les premiers responsables du sort qui menace leurs enfants, en choisissant de la violer. Ce sont eux qui font payer leur délit à leur propre progéniture. Les clandestins sont des adultes tout aussi responsables que n’importe quel autre adulte : leur retirer leur capacité de décision, leur liberté et donc leur responsabilité n’est pas exactement les respecter. Mais (…) remontons à 2014, époque bénie du président Barack Obama. Cette année-là, 47.017 mineurs sont appréhendés, alors qu’ils traversent la frontière… seuls. Des enfants, envoyés par leurs parents qui n’ont apparemment pas eu peur de s’en séparer pour leur faire prendre des risques inconsidérés. Comment est-ce possible ? L’administration américaine d’alors avait affirmé que les étrangers envoyaient leurs enfants seuls, persuadés qu’ils seraient ainsi mieux traités que des adultes. Le New York Times avait donné raison à l’administration : « alors que l’administration Obama a évolué vers une attitude plus agressive d’expulsion des adultes, elle a, dans les faits, expulsé beaucoup moins d’enfants que par le passé. » Les clandestins le savent, tout comme ils connaissent aujourd’hui les risques qui pèsent sur leurs propres enfants. On apprend également qu’à l’époque, les enfants mexicains sont directement reconduits de l’autre côté de la frontière et que les autres sont « pris en charge par le département de la Santé et des Services humanitaires qui les place dans des centres temporaires en attendant que leur processus d’expulsion soit lancé. » En 2013, 80 centres accueillaient 25 000 enfants non accompagnés. Et ce, dans les mêmes conditions aujourd’hui dénoncées. Si similaires d’ailleurs que certains ont voulu critiquer la politique migratoire de Donald Trump en usant de photos datant de… 2014 ! Rien n’a changé. A un détail près. Les enfants dont on parle en ce mois de juin 2018 sont parfois accompagnés d’adultes. Comme sous l’administration Obama, les enfants sont séparés de ces adultes lorsqu’il y a un doute sur le lien réel de parenté, en cas de suspicion de trafic de mineurs ou par manque de place dans les centres de rétention pour les familles. Restent les enfants effectivement accompagnés de leurs parents et malgré tout séparés de ces derniers qui partent en prison. Chaque mois, 50.000 clandestins entrent aux Etats-Unis, parmi lesquels 15% de familles. Une fois arrêtés, les clandestins sont pénalement poursuivis avant toute demande d’asile. (…) Mais il a suffi de quelques images, publiées en même temps que la sortie du très attendu rapport sur la possible partialité du FBI lors des dernières élections présidentielles américaines, pour que l’opinion politico-médiatique hurle au scandale. Jusqu’à la première dame du pays, Mélania Trump, qui a confié « détester » voir les clandestins séparés de leurs enfants. Le Président lui-même a fini par douter publiquement : «Le dilemme est si vous êtes mou, ce que certaines personnes aimeraient que vous soyez, si vous êtes vraiment mou, pathétiquement mou… le pays va être envahi par des millions de gens. Et si vous êtes ferme, vous n’avez pas de coeur. C’est un dilemme difficile. Peut-être que je préfère être ferme, mais c’est un dilemme difficile.» Donald Trump a subi l’indignation générale (à moins d’en profiter), au point de montrer au monde que même lui avait du cœur en annonçant la signature d’un décret mettant fin à cette séparation forcée. Tout le monde s’est félicité du résultat de la mobilisation : enfin, les enfants vont pouvoir rejoindre leurs parents en prison ! Quelle victoire… Charlotte d’Ornellas
Cette administration a installé des camps de concentration à la frontière sud des États-Unis pour les immigrés, où ils sont brutalisés dans des conditions inhumaines et où ils meurent. Il ne s’agit pas d’une exagération. C’est la conclusion de l’analyse d’experts. Alexandria Ocasio-Cortez (18.06.2019)
Ils regardent avec horreur les enfants arrachés à leur famille et jetés dans des cages. Michelle Obama (2020)
Cette administration a arraché des bébés des bras de leur mère, et il semble que ces parents aient été, dans de nombreux cas, expulsés sans leurs enfants et n’ont pas été retrouvés. C’est un scandale, un échec moral et une tache sur nos valeurs nationales. Joe Biden (2020)

Attention: une manipulation peut en cacher beaucoup d’autres !

Au lendemain de la révélation que la petite Hondurienne de deux ans dont les larmes avaient fait le tour du monde comme symbole de la séparation des familles de migrants aux Etats-Unis …

N’avait en fait jamais été séparée de sa mère, comme a bien dû le reconnaitre – problème de « mauvaise formulation », s’il vous plait  ! – le célèbre « Time magazine » lui-même qui en avait fait sa couverture

Ayant même, selon les dires du père resté seul avec leurs trois autres enfants, été emmenée à son insu par sa mère après une première tentative il y a cinq ans non de fuir la violence de son Honduras natal comme il avait été dit mais de « réaliser son rêve américain »…

Et sans compter la fausse attribution à l’Administration Trump de photos d’enfants détenus datant de 2014 et donc, comme d’ailleurs la pratique elle-même (mesure de protection des enfants – faut-il le rappeler ? – que, sauf en Corée du nord, l’on n’emprisonne normalement pas avec leur parents délinquants), de l’Administration Obama qui l’avait précédée …

Comment ne pas repenser …

Au-delà de la véritable situation de chaos, y compris par le simple effet de leur nombre dans les centres de rétention, que fuient et subissent depuis au moins dix ans nombre de demandeurs d’asile …

Des enfants boucliers humains du Hamas au petit Mohammed ou au petit Aylan ou même tout dernièrement à la petite Leila de Gaza …

A non seulement, dévoyant et détournant ce singulier souci des plus faibles qui fait la singularité de l’Occident judéo-chrétien, l’irresponsabilité voire de l‘intention clairement criminelle de tous ces parents, appuyés par militants et ONG sansfrontieristes, qui exploitent ainsi la misère de leurs enfants …

Mais aussi à la lourde responsabilité de médias qui, entre deux « mauvaises formulations » ou manipulations, leur servent de caisse de résonance ou même les encouragent …

Et qui aujourd’hui n’ont que le mot « fake news » à la bouche quand il s’agit de qualifier les dires du président Trump ou des rares médias qui le défendent encore ?

Charlotte d’Ornellas

Valeurs actuelles

21 juin 2018

Immigration. Pendant plusieurs jours, les médias du monde entier ont fait tourner en boucle des images d’enfants clandestins séparés de leurs parents à la frontière mexicano-américaine. Au point d’empêcher toute possibilité de réflexion.

Sur le plateau de la NBCNews, l’ancien président du Comité national du parti Républicain, Michael Steele, vient de comparer les centres dans lesquels sont accueillis les enfants de clandestins aux Etats-Unis à des camps de concentration. Il s’adresse alors aux Américains : « Demain, ce pourrait être vos enfants ».

La scène résume à elle seule la folie qui s’est emparée de la sphère politico-médiatique après que Donald Trump a ordonné aux autorités gardant la frontière mexicaine d’appliquer la loi et de séparer les parents de leurs enfants entrés illégalement aux Etats-Unis. Passons sur la comparaison. Aussi indécente que manipulatrice : ces enfants ne sont pas enfermés en attendant la mort. Quant à la mise en garde, elle est grotesque. Aucun américain ne se verra subitement séparé de ses enfants. A moins d’avoir commis un crime ou un délit puni de prison.

Quand un citoyen lambda est condamné à une peine de prison, personne ne s’offusque jamais de cette séparation … Jusqu’à ce que cela touche des clandestins. Leur particularité étant de n’avoir aucun logement dans le pays dont ils viennent de violer la frontière, leurs enfants sont donc pris en charge dans des camps, en attendant que la situation des adultes soit examinée. Aux frais des Américains.

Parce qu’un rappel n’est pas inutile dans le débat : franchir illégalement la frontière d’un pays est une violation de la loi. Un délit, puni d’emprisonnement aux Etats-Unis. Avec sa raison et non ses bons sentiments irrationnels, l’homme politique interrogé aurait donc pu être plus juste : si vous commettez un crime ou un délit passible de prison, vous aussi pourriez être séparés de vos enfants.

Reste que les parents, prévenus de la loi que nul n’est censé ignorer, sont les premiers responsables du sort qui menace leurs enfants, en choisissant de la violer. Ce sont eux qui font payer leur délit à leur propre progéniture. Les clandestins sont des adultes tout aussi responsables que n’importe quel autre adulte : leur retirer leur capacité de décision, leur liberté et donc leur responsabilité n’est pas exactement les respecter.

Certains ont voulu critiquer la politique migratoire de Donald Trump en usant de photos datant de… 2014

Mais penchons-nous plus précisément sur ce qui se passe à la frontière mexico-américaine. Et plutôt que de regarder la situation actuelle, qui ne saurait être analysée de manière raisonnable maintenant que Trump préside les Etats-Unis, remontons à 2014, époque bénie du président Barack Obama. Cette année-là, 47.017 mineurs sont appréhendés, alors qu’ils traversent la frontière… seuls.

Des enfants, envoyés par leurs parents qui n’ont apparemment pas eu peur de s’en séparer pour leur faire prendre des risques inconsidérés. Comment est-ce possible ? L’administration américaine d’alors avait affirmé que les étrangers envoyaient leurs enfants seuls, persuadés qu’ils seraient ainsi mieux traités que des adultes. Le New York Times avait donné raison à l’administration : « alors que l’administration Obama a évolué vers une attitude plus agressive d’expulsion des adultes, elle a, dans les faits, expulsé beaucoup moins d’enfants que par le passé. » 

Les clandestins le savent, tout comme ils connaissent aujourd’hui les risques qui pèsent sur leurs propres enfants. On apprend également qu’à l’époque, les enfants mexicains sont directement reconduits de l’autre côté de la frontière et que les autres sont « pris en charge par le département de la Santé et des Services humanitaires qui les place dans des centres temporaires en attendant que leur processus d’expulsion soit lancé. » En 2013, 80 centres accueillaient 25 000 enfants non accompagnés. Et ce, dans les mêmes conditions aujourd’hui dénoncées. Si similaires d’ailleurs que certains ont voulu critiquer la politique migratoire de Donald Trump en usant de photos datant de… 2014 !

Rien n’a changé. A un détail près. Les enfants dont on parle en ce mois de juin 2018 sont parfois accompagnés d’adultes. Comme sous l’administration Obama, les enfants sont séparés de ces adultes lorsqu’il y a un doute sur le lien réel de parenté, en cas de suspicion de trafic de mineurs ou par manque de place dans les centres de rétention pour les familles.

Restent les enfants effectivement accompagnés de leurs parents et malgré tout séparés de ces derniers qui partent en prison. Chaque mois, 50.000 clandestins entrent aux Etats-Unis, parmi lesquels 15% de familles. Une fois arrêtés, les clandestins sont pénalement poursuivis avant toute demande d’asile. Or Trump a été élu pour une tolérance zéro : la loi est donc strictement appliquée. Cette même loi américaine ne permet pas que les enfants puissent suivre leurs parents lorsque ces derniers sont poursuivis pénalement. La séparation était donc une conséquence logique, même très pénible, du choix des Américains.

«Le dilemme est si vous êtes mou, le pays va être envahi par des millions de gens. Et si vous êtes ferme, vous n’avez pas de coeur» 

C’est d’ailleurs ce qu’a immédiatement répondu le ministre américain de la justice Jeff Session : « Nous ne voulons pas séparer les familles, mais nous ne voulons pas que des familles viennent illégalement. Si vous faites passer un enfant, nous vous poursuivrons. Et cet enfant sera séparé de vous, comme la loi le requiert ». 

Mais il a suffi de quelques images, publiées en même temps que la sortie du très attendu rapport sur la possible partialité du FBI lors des dernières élections présidentielles américaines, pour que l’opinion politico-médiatique hurle au scandale. Jusqu’à la première dame du pays, Mélania Trump, qui a confié « détester » voir les clandestins séparés de leurs enfants.
Le Président lui-même a fini  par douter publiquement : «Le dilemme est si vous êtes mou, ce que certaines personnes aimeraient que vous soyez, si vous êtes vraiment mou, pathétiquement mou… le pays va être envahi par des millions de gens. Et si vous êtes ferme, vous n’avez pas de coeur. C’est un dilemme difficile. Peut-être que je préfère être ferme, mais c’est un dilemme difficile.»

Donald Trump a subi l’indignation générale (à moins d’en profiter), au point de montrer au monde que même lui avait du cœur en annonçant la signature d’un décret mettant fin à cette séparation forcée. Tout le monde s’est félicité du résultat de la mobilisation : enfin, les enfants vont pouvoir rejoindre leurs parents en prison ! Quelle victoire… Mais Donald Trump a insisté sur sa détermination à stopper l’immigration illégale en même temps, appelant de ses vœux un vote du Congrès pour « changer les lois ». Depuis son accession à la présidence, notamment due à un discours extrêmement ferme sur l’immigration, Donald Trump est empêché par les démocrates, comme par son administration : ils bloquent son projet de mur à la frontière, l’immigration fondée sur le mérite ainsi que tous les ajustements proposés pour les forces de l’ordre.

La situation finit par le servir, et il ne pouvait l’ignorer : il vient de faire une concession, il appelle maintenant le Congrès à voter contre les « anciennes lois horribles » en adoptant la sienne. Nul ne connaît la suite. Mais pour Donald Trump, le défi est immense. S’il n’a pas été élu sur la seule promesse d’une tolérance zéro vis-à-vis de l’immigration illégale, le sujet reste l’une des préoccupations majeures de ses électeurs.

Voir aussi:

Yanela, symbole des enfants séparés dans « Time magazine »… tout n’était pas tout à fait vrai

DÉCRYPTAGE – Son visage, en larmes, s’affiche en une du célèbre « Time Magazine » face au président Donald Trump dans un photomontage saisissant. Symbole de la politique migratoire qui a éloigné des milliers d’enfants de leurs parents, la petite Yanela Hernandez n’aurait en réalité jamais été séparée de sa mère. Le sort de la maman et de la fille, originaires du Honduras, reste néanmoins inconnu. Explications.

C’est une image qui a fait le tour du monde en quelques heures. Pour illustrer sa dernière Une, consacrée à la polémique autour de la politique migratoire de Donald Trump, le célèbre « Time Magazine » a réalisé un photomontage sur fond rouge qui met en scène une fillette en pleurs, sous les yeux du président, un sourire en coin. Le titre ? « Welcome to America » (Bienvenue en Amérique).

Sur le site de l’hebdomadaire, le photographe de l’agence Getty John Moore expliquait mercredi les coulisses du cliché, pris le 11 juin dernier à la frontière entre le Texas et le Mexique. Il a été réalisé au moment où les policiers étaient en train de fouiller la mère de la petite fille, âgée de 2 ans. « Dès qu’ils ont eu terminé, elles ont été mises dans un camion (…) Tout ce que je voulais, c’est la prendre avec moi. Mais je ne pouvais pas. »

Le photographe laisse également entendre que la mère et l’enfant, originaires du Honduras, ont pu être séparées par la suite, comme l’ont été au moins 23.000 enfants sans papiers depuis avril dernier, dans le cadre de politique de tolérance zéro menée par l’administration en matière migratoire. Face au tollé international, le président américain a annoncé mettre fin à ces séparations, expliquant également avoir été influencé par son épouse Melania.

Quid de la petite fille en une de « Time » ? Depuis la parution du magazine, de nombreux internautes ont relayé un appel pour aider à la retrouver, soutenus par de nombreuses personnalités comme les écrivains Don Winslow et Stephen King. Interrogé mercredi par le site américain Buzzfeed, un porte-parole de la police des frontière affirmait toutefois que mère et fille n’avait pas été séparées, sans donner plus de précision.

C’est finalement le père de la fillette qui a donné de ses nouvelles, ce vendredi. Dans un entretien téléphonique accordé au Daily Mail depuis le Honduras, Denis Javier Valera Hernandez, 32 ans, révèle que l’enfant s’appelle Yanela et qu’elle n’aurait pas été séparée de sa mère, Sandra. « Vous imaginez ce que j’ai ressenti lorsque j’ai vu la photo de ma fille. J’en ai eu le coeur brisé. C’est difficile pour un père de voir ça. Mais je sais maintenant qu’elles sont hors de danger. Elles sont plus en sécurité que lorsqu’elles ont fait le voyage vers la frontière. »

Denis Hernandez explique que sa femme et sa fille ont quitté leur pays en bateau, le 3 juin dernier, depuis le port de Puerto Cortes, sans le prévenir, afin de rejoindre des membres de sa famille déjà installés aux Etats-Unis. Pour effectuer le voyage, la mère aurait payé 6.000 dollars à un passeur. Depuis leur arrestation, Il affirme qu’elles sont détenues ensemble dans la ville frontalière de McAllen, au Texas, dans l’attente de l’examen d’un dossier de demande d’asile que la mère a déposé. S’il est refusé, elles seront contraintes de rentrer au Honduras.

« J’attends de voir ce qui va leur arriver »,  réagit le père dans un autre entretien accordé à l’agence de Reuters, qui a eu confirmation des faits par Nelly Jerez, la ministre des Affaires étrangères du Honduras. Ni les autorités américaines, ni « Time Magazine », n’ont commenté ces informations pour le moment. Et certains internautes continuent de les mettre en doute, tant que Yanela et sa mère n’auront pas été filmées par les caméras de télévision…

Quoi qu’il en soit, cet imbroglio vient mettre en lumière la difficulté de réunir les familles, dans la foulée de la décision  spectaculaire de la Maison Blanche. D’après Jodi Goodwin, avocate spécialisée dans l’immigration au Texas,  l’organisme ayant pris en charge les enfants ne dispose pas d’un système pour se synchroniser avec les autorités migratoires qui détiennent les parents et assurer ainsi une fluidité des informations.

« Lorsque je parle avec les parents, ils ont le regard fixé dans le vide parce qu’ils ne peuvent tout simplement pas comprendre, ils ne peuvent accepter, ils ne peuvent croire qu’ils ignorent où se trouvent leurs enfants et que le gouvernement américain les leur a retirés », a-t-elle expliqué à l’AFP. Un discours partagé dans les médias par de nombreuses ONG pour qui le revirement de Donald Trump n’est qu’une étape.

Rappelons que le décret, signé par le président américain devant les caméras, stipule que des poursuites pénales continueront à être engagées contre ceux qui traversent la frontière illégalement. Mais que parents et enfants seront détenus ensemble dans l’attente de l’examen de leur dossier. La petite Yanela et sa mère bénéficieront-elles de la clémence de la Maison Blanche ?

Voir de même:

La fillette en larmes sur la couverture du « Time » n’avait pas été séparée de sa mère
La petite fille éplorée lors de l’arrestation de sa mère hondurienne à la frontière n’a pas été séparée d’elle.
Delphine Bernard-Bruls
Le Monde
22.06.2018

Sur sa dernière couverture, le magazine américain Time a réutilisé une photographie déjà célèbre montrant une fillette en larmes alors que sa mère est arrêtée par la police à la frontière entre les Etats-Unis et le Mexique. Placée face au président américain, Donald Trump, et à l’expression « Bienvenue en Amérique », la photo devait illustrer la politique migratoire de « tolérance zéro » qui a mené à plus de 2 000 séparations entre parents et enfants clandestins. Sauf que, contrairement à ce que de nombreux observateurs ont laissé penser, la mère et la fille n’ont pas été séparées à leur arrivée à McAllen, au Texas.

Le photographe de Getty Images, John Moore, savait que la fillette au gilet rose et sa mère arrivaient du Honduras, rien de plus. S’il ignorait que son cliché illustrerait le mouvement d’indignation contre la politique migratoire de M. Trump – contre laquelle ce dernier a finalement signé un décret le 20 juin – il ne savait pas plus que mère et fille n’avaient pas été séparées mais internées ensemble. Dans le Time, M. Moore a expliqué avoir photographié la mère et la fille dans la nuit du 12 au 13 juin alors qu’elles achevaient un mois de marche en direction des Etats-Unis.
Mise à jour tardive

Interrogé sur CNN, le photographe a souligné en début de semaine ne pas avoir été témoin d’une quelconque séparation, mais a rapporté que mère et fille « ont été envoyées vers un centre où elles ont peut-être été séparées », comme quelque 2 000 familles au cours de ces deux derniers mois. Le Time a lui-même fait l’erreur : après avoir d’abord affirmé le 19 juin que mère et fille avaient été séparées, le magazine a ajouté une mise à jour au bas de son article.

« La version originale de cet article a fait une fausse affirmation quant au sort de la petite fille après la photographie. Elle n’a pas été emmenée en larmes par les patrouilles frontalières ; sa mère l’a récupérée et les deux ont été interpellées ensemble. »

A des milliers de kilomètres de là, au Honduras, Denis Javier Varela Hernandez a reconnu la bambine en larmes figurant sur la photo devenue virale, et assuré qu’il s’agissait de sa fille, qu’il n’avait pas vue depuis plusieurs semaines. Il a d’abord affirmé cela, mardi sur la chaîne de télévision hispanophone Univision : « Cette photo… dès que je l’ai vue j’ai su que c’était ma fille. » Il a répété cette affirmation au quotidien britannique Daily Mail, précisant que sa compagne ne l’avait pas mis au courant de ses projets de migration vers les Etats-Unis. Sans nouvelles d’elle depuis son départ, il a appris la semaine dernière qu’elle avait été interpellée à son arrivée au Texas, mais internée avec sa fille.

D’autres sources sont venues corroborer les propos du père, resté au Honduras : « La mère et la fille n’ont pas été séparées », a déclaré une porte-parole des autorités douanières et frontalières au Daily Beast. Côté hondurien, la ministre adjointe des relations internationales, Nelly Jerez, a confirmé le récit du père auprès de l’agence de presse Reuters. Optimiste, ce dernier a estimé que « si elles sont déportées, ça ne fait rien, tant qu’ils ne laissent pas l’enfant sans sa mère ».

Voir de plus:

Que devient la fillette qui a ému l’Amérique ?

Valentin Davodeau

Ouest France

22 juin 2018

La photo de cette enfant de 2 ans en pleurs, arrêtée à la frontière entre le Mexique et les États-Unis avec sa mère, avait fait le tour des médias américains et internationaux. Selon le père de la fillette, elles seraient toutes les deux détenues actuellement dans un centre au Texas.

« Elles sont détenues dans un établissement du Texas mais elles vont bien », a déclaré Denis Javier Varela Hernandez, père de la petite Yanela, 2 ans, et mari de Sandra Sanchez, 32 ans. Interrogé par différents médias, cet homme de 32 ans vivant à Puerto Cortes au Honduras dit avoir reconnu sa fille sur cette photo qui a fait le tour du monde. « Mon cœur était en miette quand j’ai vu ma petite fille sur cette image », a-t-il expliqué à Univision,

La mère et sa fille n’ont pas été séparées

Denis Varela a précisé que sa femme et sa fille n’ont pas été séparées quand elles ont été interceptées le 12 juin par la patrouille des frontières, à proximité de la ville d’Hidalgo, au Texas. Depuis le 5 mai, plus de 2 300 enfants ont été écartés de leurs parents alors que ces familles tentaient de passer la frontière entre le Mexique et les États-Unis.

Yanela et sa mère se trouveraient actuellement dans un centre de rétention à Dilley, au sud du « Lone Star State ». Parties du Honduras le 3 juin, Sandra Sanchez et Yanela ont parcouru près de 2 900 kilomètres pour arriver jusqu’aux États-Unis.

Le rêve américain

Interrogé par le Daily Mail, Denis Varela a indiqué que sa femme voulait expérimenter le rêve américain et trouver un travail au pays de l’Oncle Sam, mais qu’il était opposé à l’idée qu’elle parte avec sa fille : « Elle est partie sans prévenir. Je n’ai pas pu dire « Au revoir » à ma fille et maintenant la seule chose que je peux faire, c’est attendre. »

Le couple a aussi trois autres enfants, un fils de 14 ans, et deux filles de 11 et 6 ans. « Les enfants comprennent ce qu’il se passe. Ils sont un peu inquiets mais j’essaye de ne pas trop aborder le sujet. Ils savent que leur mère et leur sœur sont en sécurité. » Il a ajouté qu’il espère que « les droits de sa femme et de sa fille sont respectés, parce qu’elles sont des reines […] Nous avons tous des droits. »

Voir encore:

Cette photo bouleverse le monde entier et illustre les effets de la politique de « tolérance zéro » revendiquée par Donald Trump sur la politique de séparation des familles pour lutter contre l’immigration illégale.

Une petite fille en pleurs, vêtue d’un tee-shirt rose et de chaussures assorties. Du haut de ses 2 ans, elle regarde avec effroi un garde-frontière qui vient d’arrêter sa mère, une immigrée hondurienne qui tentait de passer la frontière entre les États-Unis et le Mexique. La photo a été prise le 12 juin et a, depuis, fait le tour du monde. Elle donne un visage aux 2 000 enfants séparés de leurs parents depuis que l’administration de Donald Trump a abruptement décrété début mai une politique de « tolérance zéro », sous la houlette de l’ultraconservateur ministre de la Justice, Jeff Sessions.

L’auteur de cette image, John Moore, s’efforce depuis dix ans d’illustrer l’immigration et ses souffrances. Mais cette photo restera unique à ses yeux. Ce correspondant spécial de Getty Images, titulaire du prix Pulitzer et auteur du livre de photos Undocumented (« Clandestin » en français), répond aux questions de franceinfo et nous raconte l’émotion de cette scène.

Franceinfo : Dans quelles circonstances avez-vous photographié cette famille ? 

John Moore : J’étais à McAllen, dans la vallée du Rio Grande, dans le sud du Texas, près de la frontière avec le Mexique. Je suivais les patrouilles aux frontières pendant leurs opérations. Cette nuit-là, un groupe de migrants a atteint les États-Unis. Ils ont été arrêtés et réunis au bord d’une route en terre par les patrouilles. Il faut noter que les migrants qui veulent demander l’asile se rendent facilement aux agents de patrouille aux frontières. Ce ne sont pas des migrants sans papiers classiques, ils viennent avec autant de documents que possible pour obtenir l’asile politique. Dans ce groupe se trouvaient une vingtaine de femmes et d’enfants. La plupart venaient du Honduras. Tous ces migrants ont dû se débarrasser de leurs effets personnels, ils ont dû se défaire de leurs sacs, de leurs bijoux et même des lacets de leurs chaussures. Il ne leur restait plus que leurs vêtements. Ils ont ensuite été fouillés avant d’être embarqués dans un van qui allait les emmener dans un centre de rétention.

Pourquoi la petite fille pleure-t-elle sur votre photo ? 

J’avais remarqué une mère qui tenait un enfant. Elle m’a dit que sa fille et elle voyageaient depuis un mois, au départ du Honduras. Elle m’a dit que sa fille avait 2 ans, et j’ai pu voir dans ses yeux qu’elle était sur ses gardes, exténuée et qu’elle avait probablement vécu un voyage très difficile. C’est l’une des dernières familles à avoir été embarquée dans le véhicule. Un des officiers a demandé à la mère de déposer son enfant à terre pendant qu’elle était fouillée.

Juste à ce moment-là, la petite fille a commencé à pleurer, très fort. J’ai trois enfants moi-même, dont un tout petit, et c’était très difficile à voir, mais j’avais une fenêtre de tir très réduite pour photographier la scène. Dès que la fouille s’est terminée, elle a pu reprendre son enfant dans ses bras et ses pleurs se sont éteints. Moi, j’ai dû m’arrêter, reprendre mes esprits et respirer profondément.

Comment avez-vous vécu la scène ? 

J’avais déjà photographié des scènes comme ça à de nombreuses reprises. Mais celle-ci était unique, d’une part à cause des pleurs de cette enfant, mais aussi parce que cette fois, je savais qu’à la prochaine étape de leur voyage, dans ce centre de rétention, elles allaient être séparées. Je doute que ces familles aient eu la moindre idée de ce qui allait leur arriver. Tous voyageaient depuis des semaines, ils ne regardaient pas la télévision et n’avaient aucun moyen d’être au courant de la nouvelle mesure de tolérance zéro et de séparation des familles mise en place par Trump.

Même maintenant, quand je regarde ces photos, cela m’attriste toujours, alors que je les ai maintenant vues de nombreuses fois. Cela fait dix ans que je photographie l’immigration à la frontière américaine, toujours avec l’objectif d’humaniser des histoires complexes. Souvent, on parle de l’immigration avec des statistiques, arides et froides. Et je crois que la seule manière que les personnes dans ce pays trouvent des solutions humaines est qu’elles voient les gens comme des êtres humains. Je n’avais jamais imaginé que j’allais un jour mettre un visage sur une politique de séparation des familles, mais c’est le cas aujourd’hui.

Je suis actuellement de retour chez moi, dans le Connecticut. Je suis très heureux d’être à la maison, avec mes enfants, pendant un moment. Ma dernière semaine de reportage m’a rappelé que nous ne pouvons jamais prendre la présence de nos êtres aimés pour acquise.

Voir aussi:

The crying Honduran girl on the cover of Time was not separated from her mother

The widely shared photo of the little girl crying as a U.S. Border Patrol agent patted down her mother became a symbol of the families pulled apart by the Trump administration’s “zero tolerance” policy at the border, even landing on the new cover of Time magazine.

But the girl’s father told The Washington Post on Thursday night that his child and her mother were not separated, and a U.S. Customs and Border Protection spokesman confirmed that the family was not separated while in the agency’s custody. In an interview with CBS News, Border Patrol agent Carlos Ruiz, who was among the first to encounter the mother and her daughter at the border in Texas, said the image had been used to symbolize a policy but “that was not the case in this picture.”

Ruiz, who was not available for an interview Friday, said agents asked the mother, Sandra Sanchez, to put down her daughter, nearly 2-year-old Yanela, so they could search her. Agents patted down the mother for less than two minutes, and she immediately picked up her daughter, who then stopped crying.

“I personally went up to the mother and asked her, ‘Are you doing okay? Is the kid okay?’ and she said, ‘Yes. She’s tired and thirsty. It’s 11 o’clock at night,” Ruiz told CBS News.

The revelation has prompted a round of media criticism from the White House and other conservatives.

“It’s shameful that dems and the media exploited this photo of a little girl to push their agenda,” White House spokeswoman Sarah Huckabee Sanders tweeted Friday. “She was not separated from her mom. The separation here is from the facts.”

The heart-wrenching image, captured by award-winning Getty Images photographer John Moore, was spread across the front pages of international newspapers. It was used to promote a Facebook fundraiser that has collected more than $18 million to help reunite separated families.

And on Thursday, hours before the little girl’s father spoke out, Time magazine released its July 2 cover using the child’s image — without the mother — in a photo illustration that shows her looking up at President Trump, who is seen towering above her.

“Welcome to America,” the cover reads.

Time has not responded to a request for comment from The Post, but in a statement sent to media outlets, the magazine said it’s standing by its cover.

Time also has added a correction to an online article and gallery that ran Tuesday, before the cover was released: “The original version of this story misstated what happened to the girl in the photo after she [was] taken from the scene. The girl was not carried away screaming by U.S. Border Patrol agents; her mother picked her up and the two were taken away together.”

Moore, the photographer, told The Post in an email that Time corrected the story after he made a request minutes after it was published. He said that the picture “is a straightforward and honest image” showing a “distressed little girl” whose mother was being searched by border officials.

“I believe this image has raised awareness to the zero-tolerance policy of this administration. Having covered immigration for Getty Images for 10 years, this photograph for me is part of a much larger story,” Moore said, adding later: “The image showed a moment in time at the border, but the emotion in the little girl’s distress has ignited a response. As a photojournalist, my job is to inform and report what is happening, but I also think it is important to humanize an issue that is often reported in statistics.”

Moore told The Post’s Avi Selk that he ran into the mother and toddler in McAllen, Tex., on the night of June 12. He knew only that they were from Honduras and had been on the road for about a month. “I can only imagine what dangers she’d passed through, alone with the girl,” he said.

Moore photographed the girl crying as the border agent patted down the mother.

Moore said the woman picked up her daughter, they walked into the van, and the van drove away. When he took the picture, he said he did not know whether the mother and her daughter would be separated, “but it was a very real possibility,” given the slew of family separations carried out by the Trump administration.

He said he’s glad that although the two were detained, “they are together.”

In Honduras, Denis Javier Varela Hernandez recognized his daughter in the photo and also feared that she was separated from her mother, he told The Post.

But he said he learned this week that his 32-year-old wife and daughter were, in fact, detained together at a facility in McAllen. Honduran Deputy Foreign Minister Nelly Jerez confirmed Varela’s account to Reuters.

An Immigration and Customs Enforcement spokesman said in a statement to The Post that Sanchez was arrested by the U.S. Border Patrol near Hidalgo, Tex., on June 12 while traveling with a family member. She was transferred to ICE custody on June 17 and is being housed at the South Texas Family Residential Center in Dilley, Tex., according to ICE.

ICE said Sanchez was previously deported to Honduras in July 2013.

Sanchez and her daughter left for the United States from Puerto Cortes, north of the Honduran capital of Tegucigalpa, on June 3, Varela said. Sanchez had told her husband that she hoped to go to the United States to seek a better life for her children, away from the dangers of their home country. But she left without telling him that she was taking their youngest daughter with her. Varela, who has three other children with Sanchez, feared for the little girl’s safety, he said. Yanela is turning 2 years old in July.

After Sanchez left, Varela had no way to contact her or learn of her whereabouts. Then, on the news, he saw the photo of the girl in the pink shirt.

“The first second I saw it, I knew it was my daughter,” Varela told The Post. “Immediately, I recognized her.”

He heard that U.S. officials were separating families at the border, before Trump reversed the policy Wednesday. Varela felt helpless and distressed “imagining my daughter in that situation,” he said.

This week, Varela received a phone call from an official with Honduras’s foreign ministry, letting him know his wife and daughter were detained together. While he doesn’t know anything about the conditions of the facility or what is next for Sanchez and Yanela, he was relieved to hear they were in the same place.

As news emerged late Thursday that the mother and child were not separated, conservative media jumped on the story, portraying it as evidence of “fake news” surrounding the Trump administration’s immigration policies.

It was the most prominent story on the home page of the conservative news outlet Breitbart, which called it a “fake news photo.” Infowars, owned by conspiracy theorist Alex Jones, singled out Time and CNN for using the “completely misleading” image to push “open border propaganda.”

Donald Trump Jr. has been talking about the photo on Twitter on Friday.

“No one is shocked anymore. There is a no low they won’t go to for their narrative,” the president’s eldest son tweeted.

Varela pushed back against the portrayals of his daughter’s story, saying it should not cast doubt on the “human-rights violations” taking place at the border.

“This is the case for my daughter, but it is not the case for 2,000 children that were separated from their parents,” Varela said.

At least 2,500 migrant children have been separated from their parents at the border since May 5.

Varela said he felt “proud” that his daughter has “represented the subject of immigration” and helped propel changes in policy. But he asked that Trump “put his hand on his heart.”

He hopes that U.S. officials will grant asylum to his wife and daughter, he said.

Asked whether he would also like to come to the United States, he said, “Of course, someday.”

Voir de même:

EXCLUSIVE: ‘They’re together and safe’: Father of Honduran two-year-old who became the face of family separation crisis reveals daughter was never separated from her mother, but the image of her in tears at U.S. border control ‘broke his heart’

  • Denis Javier Varela Hernandez spoke out about the status of his wife Sandra, 32, and daughter, Yanela, 2
  • Yanela became the face of the immigration crisis after a Getty photographer snapped a photo of her in tears
  • Speaking to DailyMail.com Hernandez said he has still not been in direct contact with his wife Sandra because he does not have a way of communicating
  • Denis said a Honduran official in the US told him that his wife and daughter are together and are doing ‘fine’
  • Sandra was part of a group that were caught by Border Patrol agents after making their way across the Rio Grande river on a raft
  • She set out on her journey from Puerto Cortes, Honduras to the U.S. at 6am on June 3 and allegedly paid $6,000 for a coyote
  • Hernandez  said he did not support his wife’s decision to make the journey with their young daughter in her arms and never got to properly say goodbye

The father of the Honduran girl who became the face of the family separation crisis has revealed that he still has not been in touch with his wife or daughter but was happy to learn they are safe.

Denis Javier Varela Hernandez, 32, said that he had not heard from his wife Sandra, 32, who was with his two-year-old daughter Yanela Denise, for nearly three weeks until he saw the image of them being apprehended in Texas.

In an exclusive interview with DailyMail.com, Hernandez, who lives in Puerto Cortes, Honduras, says that he was told on Wednesday by a Honduran official in the US that his wife and child are being detained at a family residential center in Texas but are together and are doing ‘fine.’

‘You can imagine how I felt when I saw that photo of my daughter. It broke my heart. It’s difficult as a father to see that, but I know now that they are not in danger. They are safer now than when they were making that journey to the border,’ he said.

A spokeswoman for Immigration and Customs Enforcement (ICE) has told DailyMail.com that Sandra had been previously been deported from the US in 2013.

The spokeswoman said that she was ‘encountered by immigration officials in Hebbronville, Texas’ in and sent back to Honduras 15 days later under ‘expedited removal.’

Sandra current immigration proceedings are ‘ongoing’ and she is being housed at a family detention center in Texas.

Denis said that his wife had previously mentioned her wish to go to the United States for a ‘better future’ but did not tell him nor any of their family members that she was planning to make the trek.

‘I didn’t support it. I asked her, why? Why would she want to put our little girl through that? But it was her decision at the end of the day.’

He said that Sandra had always wanted to experience ‘the American dream’ and hoped to find a good job in the States.

Denis, who works as a captain at a port on the coast of Puerto Cortes, explained that things back home were fine but not great, and that his wife was seeking political asylum.

He said that Sandra set out on the 1,800-mile journey with the baby girl on June 3, at 6am, and he has not heard from her since.

‘I never got the chance to say goodbye to my daughter and now all I can do is wait’, he said, adding that he hopes they are either granted political asylum or are sent back home.

‘I don’t have any resentment for my wife, but I do think it was irresponsible of her to take the baby with her in her arms because we don’t know what could happen.’

The couple has three other children, son Wesly, 14, and daughters Cindy, 11, and Brianna, six.

‘The kids see what’s happening. They’re a little worried but I don’t try to bring it up that much. They know their mother and sister are safe now.’

Denis said that he believes the journey across the border is only worth it to some degree, and admits that it’s not something he would ever consider.

He said he heard from friends that his wife paid $6,000 for a coyote – a term for someone who smuggles people across the border.

‘I wouldn’t risk my life for it. It’s hard to find a good job here and that’s why many people choose to leave. But I thank God that I have a good job here. And I would never risk my life making that journey.’

The heart-breaking photo was taken by Getty photographer John Moore close to midnight on the night of June 12 near McAllen, Texas, as the row over Donald Trump’s separation of migrant parents and children escalated.

Denis said that he hopes to use the photo and his family’s situation to help him reunite with his daughter.

‘I don’t want money, what I want is someone to tell me that my daughter is going to be OK.’

When asked about his views on Trump’s border policy, Denis said: ‘I’ve never seen it in a positive light the way others do. It violates human rights and children’s rights. Separating children from their parents is just wrong. They are suffering and are traumatized.

‘The laws need to be modified and we need to have a conversation. It’s just not right.

‘[Illegal] Immigration and drug smuggling across the United States border is never gonna stop. They can build a wall and it’s never going to stop,’ he said.

Sandra was part of a group that were caught by Border Patrol agents after making their way across the Rio Grande river on a raft.

Moore’s photo showed Yanela crying on a dirt track as her mother is patted down by a Border Patrol agent.

For many the photo summed up the cruelty of Trump’s ‘zero tolerance’ policy towards migrants which has caused 2,300 children to be separated from their mothers and fathers.

A photo of Yanela was used on the front cover of TIME magazine to show the devastating effect of the policy, which was brought in in April.

But actually Yanela remained with her mother after she arrived in the US after making the perilous 1,800 mile journey North through Central America and Mexico,

TIME magazine later issued a clarification saying that the original version of its story accompanying the cover was wrong because Yanela ‘was not carried away screaming by Border Patrol Agents’.

TIME’s editor in chief Edward Felsenthal said in a statement that it stood behind the wider point which is that Yanela was ‘the most visible symbol of the ongoing immigration debate’

Among those who have Tweeted DailyMail.com’s story have been White House press secretary Sarah Huckabee Sanders.

She wrote: ‘It’s shameful that dems and the media exploited this photo of a little girl to push their agenda. She was not separated from her mom. The separation here is from the facts’.

Moore, who has worked on the border with Mexico for years and has won a Pulitzer for his photography, has said the the image of Yanela was the last one he took that night.

Speaking to People magazine he said that the girl’s mother was the last to be searched and a female agent asked her to put Yanela down so she could pat her down

Moore said: ‘The mother hesitated and then set down the little girl and the child immediately started crying.

‘As a father, it was very emotional for me just to hear those cries. When I saw this little girl break down in tears I wanted to comfort this child.

‘But as a photojournalist we sometimes have to keep photographing when things are hard. And tell a story that people would never see.’

Moore crouched 6ft from the girl as she looked up at her mother and took seven shots, Yanela’s mother’s hands spread out on the Border Patrol truck.

The image was a major factor in pressuring Trump to do a U-turn on his immigration policy and sign an executive order allowing families to stay together.

The President said that he wanted to look strong but admitted that the ‘zero tolerance’ policy made him look like he had ‘no heart’.

Trump’s climb down came after worldwide outrage including British Prime Minister Theresa May who called his policy ‘deeply disturbing’ while Pope Francis said it was ‘immoral’.

The climb down was a rare one from Trump, who almost never apologizes and rarely backs down.

But he had not choice when his policy created a wall of opposition between him and others, including his own wife Melania, Democrats, Republicans, every living former First Lady, Amnesty International and the United Nations.

Voir encore:

‘All I Wanted to Do Was Pick Her Up.’ How a Photographer at the U.S.-Mexico Border Made an Image America Could Not Ignore

« This one was tough for me. As soon as it was over, they were put into a van. I had to stop and take deep breaths, » Getty photographer John Moore said
June 19, 2018

John Moore has been photographing immigrants and the hardship and heartbreak of crossing the U.S.-Mexico border for years — but this time, he said, something is different.

The Pulitzer Prize-winning photographer for Getty Images said the Trump administration’s policy of separating children from their parents — part of its “zero tolerance” stance toward people who illegally cross into the U.S. — has changed everything about enforcement at the U.S.-Mexico border and resulted in a level of despair for immigrants that Americans can no longer ignore.

“It’s a very different scene now,” he said. “I’m almost positive these families last week had no idea they’d be separated from their children.”

Moore’s image last week of a 2-year-old Honduran girl crying as a U.S. Border Patrol agent patted down her mother has become a symbol of the human cost — and many critics say cruelty — of President Donald Trump’s hard line on immigration. The crying girl has become the face of the family separation policy, which has been criticized by Democrats and Republicans alike.

“When the officer told the mother to put her child down for the body search, I could see this look in the little girl’s eyes,” Moore told TIME. “As soon as her feet touched the ground she began to scream.”

Moore said the girl’s mother had a weariness in her eyes as she was stopped by Border Patrol agents. The father of three said his years of experience did not inoculate him from feeling intense emotions as he watched agents allowed the mother to pick up her child and loaded them both into a van. But, he said, he knew he had to keep photographing the scene.

“This one was tough for me. As soon as it was over, they were put into a van. I had to stop and take deep breaths,” he said. “All I wanted to do was pick her up. But I couldn’t.”

More than 2,000 children have been taken away from their parents since April, when Attorney General Jeff Sessions announced at “zero tolerance” policy that refers all cases of illegal entry at the border for prosecution. The Trump administration has said Border Patrol agents separate children from parents because children cannot be locked up for the crimes of their mothers and fathers.

A Honduran mother holds her two-year-old as U.S. Border Patrol as agents review their papers near the U.S.-Mexico border in McAllen, Texas on June 12, 2018. The asylum seekers had rafted across the Rio Grande from Mexico and were detained by U.S. Border Patrol agents before being sent to a processing center for possible separation.
John Moore—Getty Images
A U.S. Border Patrol spotlight shines on a terrified mother and son from Honduras as they are found in the dark near the U.S.-Mexico border in McAllen, Texas on June 12, 2018.
A U.S. Border Patrol spotlight shines on a terrified mother and son from Honduras as they are found in the dark near the U.S.-Mexico border in McAllen, Texas on June 12, 2018.
John Moore—Getty Images
U.S. Border Patrol agents detain a group of Central American asylum seekers near the U.S.-Mexico border in McAllen, Texas on June 12, 2018.
U.S. Border Patrol agents detain a group of Central American asylum seekers near the U.S.-Mexico border in McAllen, Texas on June 12, 2018.
John Moore—Getty Images

Moore has followed immigrant families and enforcement efforts since 2014 and recently published a book of some of his most stirring photographs, Undocumented: Immigration and the Militarization of the United States-Mexico Border. He said despite the tough new policy, immigrants are not likely to lose the determination that drives them to make the dangerous journey to the United States.

“It’s been very easy for Americans to ignore over the years the desperation that people have to have a better life,” Moore said. “They often leave with their children with their shirts on their backs.”

A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Tex. on Sept. 8, 2014.
A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Tex. on Sept. 8, 2014.
John Moore—Getty Images

Footage released Monday of a detention facility where families arrested at the border and children taken from their parents are held echo a photo Moore took in 2014 of a Honduran child watching Casper in the same facility, alone except for a guard keeping watch. That photo, taken at the same detention center in McCallen, Texas where children are now being grouped inside cages, has stayed with Moore over the years.

While he is not sure if that boy was an unaccompanied minor or what happened to him, he said many of the other children at the facility were without their parents. “That picture is still haunting for me.”

Most of the photos below come from Moore’s 2018 book, published by powerHouse Books.

Families attend a memorial service for two boys who were kidnapped and killed in San Juan Sacatepequez, Guatemala on Feb. 14, 2017. More than 2,000 people walked in a funeral procession for Oscar Armando Top Cotzajay, 11, and Carlos Daniel Xiqin, 10 who were abducted walking to school Friday morning when they were abducted.
Families attend a memorial service for two boys who were kidnapped and killed in San Juan Sacatepequez, Guatemala on Feb. 14, 2017. More than 2,000 people walked in a funeral procession for Oscar Armando Top Cotzajay, 11, and Carlos Daniel Xiqin, 10 who were abducted walking to school Friday morning when they were abducted.
John Moore—Getty Images
Sonia Morales massages the back of her son Jose Issac Morales, 11, at the door of their one-room home in San Pedro Sula, Honduras on Aug. 20, 2017. The mother of three said that her son's spinal deformation began at age four, but has never been able to afford the $6,000 surgery to correct his spinal condition. The boy's father, Issac Morales, 30, said he tried to immigrate to the U.S. in 2016 to work and send money home but was picked up by U.S. Border Patrol officers in the Arizona desert and deported back to Honduras.
Sonia Morales massages the back of her son Jose Issac Morales, 11, at the door of their one-room home in San Pedro Sula, Honduras on Aug. 20, 2017. The mother of three said that her son’s spinal deformation began at age four, but has never been able to afford the $6,000 surgery to correct his spinal condition. The boy’s father, Issac Morales, 30, said he tried to immigrate to the U.S. in 2016 to work and send money home but was picked up by U.S. Border Patrol officers in the Arizona desert and deported back to Honduras.
John Moore—Getty Images
An Indigenous family walks from Guatemala into Mexico after illegally crossing the border at the Suchiate River in Talisman, Mexico on Aug. 1, 2013.
An Indigenous family walks from Guatemala into Mexico after illegally crossing the border at the Suchiate River in Talisman, Mexico on Aug. 1, 2013.
John Moore—Getty Images
Undocumented immigrant families walk before being taken into custody by Border Patrol agents near McAllen, Texas on July 21, 2014.
Undocumented immigrant families walk before being taken into custody by Border Patrol agents near McAllen, Texas on July 21, 2014.
John Moore—Getty Images
Families of Central American immigrants, including Lorena Arriaga, 27, and her son Jason Ramirez, 7, from El Salvador, turn themselves in to U.S. Border Patrol agents after crossing the Rio Grande River from Mexico to Mission, Texas on Sept. 8, 2014.
Families of Central American immigrants, including Lorena Arriaga, 27, and her son Jason Ramirez, 7, from El Salvador, turn themselves in to U.S. Border Patrol agents after crossing the Rio Grande River from Mexico to Mission, Texas on Sept. 8, 2014.
John Moore—Getty Images
Immigrants from Central America wait to be taken into custody by U.S. Border Patrol agents in Roma, Texas on August 17, 2016.
Immigrants from Central America wait to be taken into custody by U.S. Border Patrol agents in Roma, Texas on August 17, 2016.
John Moore—Getty Images
U.S. Border Patrol agents take undocumented immigrants into custody after capturing them after they crossed Rio Grande from Mexico into Texas near Sullivan City, Texas on Aug. 18, 2016.
U.S. Border Patrol agents take undocumented immigrants into custody after capturing them after they crossed Rio Grande from Mexico into Texas near Sullivan City, Texas on Aug. 18, 2016.
John Moore—Getty Images
Undocumented immigrants are led after being caught and handcuffed by Border Patrol agents near the U.S.-Mexico border in Weslaco, Texas on April 13, 2016.
Undocumented immigrants are led after being caught and handcuffed by Border Patrol agents near the U.S.-Mexico border in Weslaco, Texas on April 13, 2016.
John Moore—Getty Images
Women and children sit in a holding cell at a U.S. Border Patrol processing center after being detained by agents near the U.S.-Mexico border near McAllen, Texas on Sept. 8, 2014.
Women and children sit in a holding cell at a U.S. Border Patrol processing center after being detained by agents near the U.S.-Mexico border near McAllen, Texas on Sept. 8, 2014.
John Moore—Getty Images
Women and children wait in a holding cell at a U.S. Border Patrol processing center after being detained by agents near the U.S.-Mexico border near McAllen, Texas on Sept. 8, 2014.
Women and children wait in a holding cell at a U.S. Border Patrol processing center after being detained by agents near the U.S.-Mexico border near McAllen, Texas on Sept. 8, 2014.
John Moore—Getty Images
A girl from Central America rests on thermal blankets at a detention facility run by the U.S. Border Patro in McAllen, Texasl on Sept. 8, 2014.
A girl from Central America rests on thermal blankets at a detention facility run by the U.S. Border Patro in McAllen, Texasl on Sept. 8, 2014.
John Moore—Getty Images
Donated clothing await immigrants at the Catholic Sacred Heart Church Immigrant Respite Center from McAllen, Texas on Aug. 15, 2016.
Donated clothing await immigrants at the Catholic Sacred Heart Church Immigrant Respite Center from McAllen, Texas on Aug. 15, 2016.
John Moore—Getty Images
A detained Mexican immigrant (L) visits with his wife and children at the U.S. Immigration and Customs Enforcement (ICE) detention facility in Florence, Ariz on July 30, 2010.
A detained Mexican immigrant (L) visits with his wife and children at the U.S. Immigration and Customs Enforcement (ICE) detention facility in Florence, Ariz on July 30, 2010.
John Moore—Getty Images
Immigrants from Central America await transport from the U.S. Border Patrol in Roma, Texas on Aug. 17, 2016.
Immigrants from Central America await transport from the U.S. Border Patrol in Roma, Texas on Aug. 17, 2016.
John Moore—Getty Images
Central American immigrant families depart ICE custody, pending future immigration court hearings in McAllen, Texas on June 11, 2018.
Central American immigrant families depart ICE custody, pending future immigration court hearings in McAllen, Texas on June 11, 2018.
John Moore—Getty Images

Correction (Posted June 19): The original version of this story misstated what happened to the girl in the photo after she was taken from the scene. The girl was not carried away screaming by U.S. Border Patrol agents; her mother picked her up and the two were taken away together.

Voir par ailleurs:

Smuggler abandons 6-year-old in blazing desert heat

– A 6-year-old Costa Rican boy was rescued by U.S. Border Patrol agents after he was abandoned on a border road in Arizona on Tuesday evening.

The agents discovered the boy just north of the border west of Lukeville in temperatures over 100 degrees.

The child claimed that he was dropped off by « his uncle » and that Border Patrol would pick him up. Agents say the boy said he was on his way to see his mother in the U.S.

They say that the child was found in good condition.  He was taken to Tucson to be checked out and processed.  It was unclear what would happen to him next.

The Border Patrol says the incident highlights the dangers faced by migrants at the hands of smugglers. Children in particular are extremely vulnerable, not only to exploitation, but also to the elements in the environment.

They added that Arizona’s desert « is a merciless environment for those unprepared for its remote, harsh terrain and unpredictable weather. »

Voir aussi:

Guy Millière
Dreuz
21 juin 2018

Les titres des journaux européens et de bon nombre de journaux américains ces derniers jours prêtent à sourire une fois de plus. Trump, dit-on, aurait “reculé” en matière d’immigration.

Ceux qui disent cela ajoutent qu’il se conduit de manière infâme vis-à-vis des enfants à la frontière Sud des Etats-Unis. Des photos sont fournies à l’appui, montrant des enfants dans des lieux décrits comme des “camps de concentration”. Des vidéos ont été montrées où on voit des enfants pleurer de manière déchirante en appelant leurs parents, dont un agent de l’immigration vient de les séparer, et ils utilisent des mots anglais (ce qui est normal puisqu’ils viennent de pays où on parle espagnol et puisqu’ils ne parlent pas un mot d’anglais).

Ceux qui disent cela ajoutent aussi que “sous une large pression”, Trump vient de signer un executive order permettant d’éviter que les enfants soient séparés de leur famille et a donc dû se conduire de manière un peu moins infâme.

Ceux qui disent cela ne disent pas un seul mot de ce qui est en train de se passer par ailleurs aux Etats-Unis. L’Etat profond anti-Trump est en train de s’effondrer. Il résiste, certes, mais il est désormais très mal en point, comme c’était prévisible.

Disons ici ce qui doit l’être, car ce ne sera pas fait ailleurs, j’en suis, hélas, certain.

1. Il existe aux Etats-Unis un grave problème d’immigration illégale. Trump a commencé à prendre des décisions pour le régler. Les entrées clandestines dans le pays par la frontière Sud ont diminué de 70 pour cent. Elles sont encore trop nombreuses. Les immigrants illégaux présents dans le pays ne sont pas tous criminels, mais ils représentent une proportion importante des criminels incarcérés et des membres de gangs violents impliqués, entre autres, dans le trafic de drogue. Jeff Sessions, ministre de la justice inefficace dans d’autres secteurs, est très efficace dans ce secteur.

2. Les Démocrates veulent que l’immigration illégale se poursuive, et s’intensifie, car ils ont besoin d’un électorat constitué d’illégaux fraîchement légalisés pour maintenir à flot la coalition électorale sur laquelle ils s’appuient et garder des chances de victoire ultérieure (minorités ethniques, femmes célibataires, étudiants, professeurs). La diminution de l’immigration clandestine leur pose problème. Les actions de la police de l’immigration (ICE; Immigration Control Enforcement) suscitent leur hostilité, d’où l’existence de villes sanctuaires démocrates et, en Californie, d’un Etat sanctuaire(démocrate, bien sûr).

3. Ce qui se passe depuis quelques jours à la frontière Sud du pays est un coup monté auquel participent le parti démocrate, les grands médias américains, des organisations gauchistes, et le but est de faire pression sur Trump en diabolisant son action. La plupart des photos utilisées datent des années Obama, au cours desquelles le traitement des enfants entrant clandestinement dans le pays était exactement similaire à ce qu’il est aujourd’hui, sans qu’à l’époque les Démocrates disent un seul mot. Les enfants qui pleurent sur des vidéos ont été préparés à être filmés à des fins de propagande et ont appris à dire “daddy”, “mummy”. Le but est effectivement de faire céder Trump. Quelques Républicains à veste réversible ont joint leur voix au chœur.

4. Trump, comme il sait le faire, a agi pour désamorcer le coup monté. On lui reproche de faire ce qui se fait depuis des années (séparer les enfants de leurs parents dès lors que les parents doivent être incarcérés) ? Il vient de décider que les enfants ne seront plus séparés des parents, et qu’ils seront placés ensemble dans des lieux de rétention.  Cela signifie-t-il un recul ? Non. La lutte contre l’immigration clandestine va se poursuivre selon exactement la même ligne. Les parents qui ont violé la loi seront traités comme ils l’étaient auparavant. Les enfants seront-ils dans de meilleures conditions ? Non. Ils ne seront pas dans des conditions plus mauvaises non plus. Décrire les lieux où ils étaient placés jusque là comme des camps de concentration est une honte et une insulte à ceux qui ont été placés dans de réels camps de concentration (certains Démocrates un peu plus répugnants que d’autres sont allés jusqu’à faire des comparaisons avec Auschwitz !) : les enfants sont placés dans ce qui est comparable à des auberges pour colonies de vacances. Un enfant clandestin coûte au contribuable américain à ce jour 35.000 dollars en moyenne annuelle.

5. Désamorcer le coup monté ne réglera pas le problème d’ensemble. Des femmes viennent accoucher aux Etats-Unis pour que le bébé ait la nationalité américaine et puisse demander deux décennies plus tard un rapprochement de famille. Des gens font passer leurs enfants par des passeurs en espérant que l’enfant sera régularisé et pourra lui aussi demander un rapprochement de famille. Des parents paient leur passage aux Etats Unis en transportant de la drogue et doivent être jugés pour cela (le tarif des passeurs si on veut passer sans drogue est  de 10.000 dollars par personne). S’ils sont envoyés en prison, ils n’y seront pas envoyés avec leurs enfants.  Quand des trafiquants de drogue sont envoyés en prison, aux Etats-Unis ou ailleurs, ils ne vont pas en prison en famille, et si quelqu’un suggérait que leur famille devait les suivre en prison, parce que ce serait plus “humain”, les Démocrates seraient les premiers à hurler.

6. Les Etats-Unis, comme tout pays développé, ne peuvent laisser entrer tous ceux qui veulent entrer en laissant leurs frontières ouvertes. Un pays a le droit de gérer l’immigration comme il l’entend et comme l’entend sa population, et il le doit, s’il ne veut pas être submergé par une population qui ne s’intègre pas et peut le faire glisser vers le chaos. Les pays européens sont confrontés au même problème que les Etats-Unis, d’une manière plus aiguë puisqu’en Europe s’ajoute le paramètre “islam”. La haine de la civilisation occidentale imprègne la gauche européenne, qui veut la dissolution des peuples européens. Une même haine imprègne la gauche américaine, qui veut la dissolution du peuple américain. Les grandes villes de l’Etat sanctuaire de Californie sont déjà méconnaissables, submergées par des sans abris étrangers (pas un seul pont de Los Angeles qui n’abrite désormais un petit bidonville, et un quart du centre ville est une véritable cour des miracles, à San Francisco ce n’est pas mieux). Il n’est pas du tout certain que le coup monte servira les Démocrates lors des élections de mi mandat. Nombre d’Américains ne veulent pas la dissolution du peuple américain.

7. Le coup monté m’est pas arrive par hasard, à ce moment précisément. Le rapport de l’inspecteur général Michael Horowitz, même s’il est édulcoré, contient des éléments accablants pour James Comey, John Mc Cabe, l’enquêteur appelé Peter Strzoc. Le Congres procède à des auditions très révélatrices. Ce n’est que le début. L’Etat profond anti-Trump est en train de s’effondrer, disais-je. La monstruosité totalitaire que fut l’administration Obama finissante et le caractère criminel des activités d’Hillary Clinton commencent tout juste à être mis au jour. Des peines de prison suivront. L’équipe sinistre conduite par Robert Mueller avance dans le vide : tout ce qui lui sert de prétexte se révèle être une gigantesque imposture. La complicité des grands médias américains et mondiaux ne pourra pas être cachée indéfiniment. Un écran de fumée devait monter dans l’atmosphère pour détourner l’attention et éviter qu’on parle de l’effondrement de l’Etat profond. Le coup monte a servi d’écran de fumée. Que nul ne soit dupe. La révolution Trump ne fait que commencer.

Voir de plus:

Selon les déclarations d’un homme présenté comme le cousin de l’enfant, rendues publiques par Israël, les parents de la fillette morte mi-mai auraient touché 8.000 shekels (1.800 euros).

La justice israélienne a dit disposer d’une déposition selon laquelle la famille d’un bébé palestinien mort dans des circonstances contestées dans la bande de Gaza avait été payée par le Hamas pour accuser Israël, ce que les parents ont nié.

Vif émoi après la mort de l’enfant. Leïla al-Ghandour, âgée de huit mois, est morte mi-mai alors que l’enclave palestinienne était depuis des semaines le théâtre d’une mobilisation massive et d’affrontements entre Palestiniens et soldats israéliens le long de la frontière avec Gaza. Son décès a suscité un vif émoi. Sa famille accuse l’armée israélienne d’avoir provoqué sa mort en employant des lacrymogènes contre les protestataires, parmi lesquels se trouvait la fillette.

La fillette souffrait-elle d’un problème cardiaque ? L’armée israélienne, se fondant sur les informations d’un médecin palestinien resté anonyme mais qui selon elle connaissait l’enfant et sa famille, dit que l’enfant souffrait d’un problème cardiaque. Le ministère israélien de la Justice a rendu public jeudi l’acte d’inculpation d’un Gazaoui de 20 ans, présenté comme le cousin de la fillette. Selon le ministère, il a déclaré au cours de ses interrogatoires par les forces israéliennes que les parents de Leila avaient touché 8.000 shekels (1.800 euros) de la part de Yahya Sinouar, le chef du Hamas dans la bande de Gaza, pour dire que leur fille était morte des inhalations de gaz.

Une « fabrication » du Hamas dénoncée par Israël. Les parents ont nié ces déclarations, réaffirmé que leur fille était bien morte des inhalations, et ont contesté qu’elle était malade. Selon la famille, Leïla al-Ghandour avait été emmenée près de la frontière par un oncle âgé de 11 ans et avait été prise dans les tirs de lacrymogènes. L’armée israélienne, en butte aux accusations d’usage disproportionné de la force, a dénoncé ce cas comme une « fabrication » de la part du Hamas, le mouvement islamiste qui dirige la bande de Gaza et contrôle les autorités sanitaires, et auquel Israël a livré trois guerres depuis 2008.

Voir également:

Valeurs actuelles

19 juin 2018

Fake News. Donald Trump aurait donc menti en affirmant que la criminalité augmentait en Allemagne, en raison de l’entrée dans le pays de 1,1 million de clandestins en 2015. Pas si simple…

Nouveau tweet, nouvelle agitation médiatique. Les commentateurs n’ont pas tardé à s’armer de leur indéboulonnable mépris pour le président des États-Unis pour dénoncer un « mensonge », au lieu d’user d’une saine distance permettant de décrypter sereinement l’affirmation de Donald Trump.

« Le peuple allemand se rebelle contre ses gouvernants alors que l’immigration secoue une coalition déjà fragile », a donc entamé le président des États-Unis dans un tweet publié le 18 juin, alors que le gouvernement allemand se déchirait sur fond de crise migratoire. Propos factuel si l’on en croit un récent sondage allemand qui révèle que 90% des allemands désirent plus d’expulsions des personnes déboutées du droit d’asile.

Le chiffre ne laisse aucune place au doute : la population allemande penche du côté du ministre de l’Intérieur qui s’applique, depuis quelques jours, à contraindre Angela Merkel à la fermeté.

Et Donald Trump de poursuivre avec la phrase qui occupe nombre de journalistes depuis sa publication : « la criminalité augmente en Allemagne. Une grosse erreur a été commise partout en Europe : laisser rentrer des millions de personnes qui ont fortement et violemment changé sa culture. » Que n’avait-il pas dit. Les articles se sont immédiatement multipliés pour dénoncer « le mensonge » du président américain.

Pourquoi ? Parce que les autorités allemandes se sont félicitées d’une baisse des agressions violentes en 2017. C’est vrai, elles ont chuté de 5,1% par rapport à 2016.

Est-il possible, cependant, de feindre à ce point l’incompréhension ? Car les détracteurs zélés du président omettent de préciser que la criminalité a bien augmenté en Allemagne à la suite de cette vague migratoire exceptionnelle : 10% de crimes violents en plus, sur les années 2015 et 2016. L’étude réalisée par le gouvernement allemand et publiée en janvier dernier concluait même que 90% de cette augmentation était due aux jeunes hommes clandestins fraîchement accueillis, âgés de 14 à 30 ans.

En 2016, les étrangers étaient 3,5 fois plus impliqués dans des crimes que les Allemands, les clandestins 7 fois plus

L’augmentation de la criminalité fut donc indiscutablement liée à l’accueil de 1,1 millions de clandestins pendant l’année 2015. C’est évidement ce qu’entend démontrer Donald Trump.

Et ce n’est pas tout. Les chiffres du ministère allemand de l’Intérieur pour 2016 révèlent également une implication des étrangers et des clandestins supérieure à celle des Allemands dans le domaine de la criminalité. Et en hausse. La proportion d’étrangers parmi les personnes suspectées d’actes criminels était de 28,7% en 2014, elle est passée à 40,4% en 2016, avant de chuter à 35% en 2017 (ce qui reste plus important qu’en 2014).

En 2016, les étrangers étaient 3,5 fois plus impliqués dans des crimes que les Allemands, les clandestins 7 fois plus. Des chiffres encore plus élevés dans le domaine des crimes violents (5 fois plus élevés chez les étrangers, 15 fois chez les clandestins) ou dans celui des viols en réunion (10 fois plus chez les étrangers, 42 fois chez les clandestins !).

Factuellement, la criminalité n’augmente pas aujourd’hui en Allemagne. Mais l’exceptionnelle vague migratoire voulue par Angela Merkel en 2015 a bien eu pour conséquence l’augmentation de la criminalité en Allemagne. Les Allemands, eux, semblent l’avoir très bien compris.

Voir par ailleurs:

La caravane des migrants a atteint la frontière avec la Californie

 FRANCE 24

30/04/2018

Au moins 150 migrants centraméricains sont arrivés à Tijuana au Mexique, à la frontière avec les États-Unis. Ils sont décidés à demander l’asile à Washington.

Plusieurs centaines de migrants originaires d’Amérique centrale se sont rassemblés dimanche 30 avril à la frontière mexico-américaine au terme d’un mois de traversée du Mexique.

Nombre d’entre eux ont décidé de se présenter aux autorités américaines pour déposer des demandes d’asile et devraient être placés en centres de rétention. « Nous espérons que le gouvernement des États-Unis nous ouvrira les portes », a déclaré Reyna Isabel Rodríguez, 52 ans, venu du Salvador avec ses deux petits-enfants.

« Nous ne sommes pas des criminels »

L’ONG Peuple Sans Frontières organise ce type de caravane depuis 2010 pour dénoncer le sort de celles et ceux qui traversent le Mexique en proie à de nombreux dangers, entre des cartels de la drogue qui les kidnappent ou les tuent, et des autorités qui les rançonnent. « Nous voulons dire au président des États-Unis que nous ne sommes pas des criminels, nous ne sommes pas des terroristes, qu’il nous donne la chance de vivre sans peur. Je sais que Dieu va toucher son cœur », a déclaré l’une des organisatrices de la caravane, Irineo Mujica.

L’ONG, composée de volontaires, permet notamment aux migrants de rester groupés – lors d’un périple qui se fait à pied, en bus ou en train – afin de se prémunir de tous les dangers qui jalonnent leur chemin. En espagnol, ces caravanes sont d’ailleurs appelées « Via Crucis Migrantes » ou le « Chemin de croix des migrants », en référence aux processions catholiques, particulièrement appréciées en Amérique du Sud, qui mettent en scène la Passion du Christ, ou les derniers événements qui ont précédé et accompagné la mort de Jésus de Nazareth.

Cette année, le groupe est parti le 25 mars de Tapachula, à la frontière du Guatemala, avec un groupe de près de 1 200 personnes, à 80 % originaires du Honduras, les autres venant du Guatemala, du Salvador et du Nicaragua, selon Rodrigo Abeja. Dans le groupe, près de 300 enfants âgés de 1 mois à 11 ans, une vingtaine de jeunes homosexuels et environ 400 femmes. Certains se sont ensuite dispersés, préférant rester au Mexique, d’autres choisissant de voyager par leurs propres moyens.

La colère de Donald Trump

En avril, les images de la caravane de migrants se dirigeant vers les États-Unis avaient suscité la colère de Donald Trump et une forte tension entre Washington et Mexico. Le président américain, dont l’un des principaux thèmes de campagne était la construction d’un mur à la frontière avec le Mexique pour lutter contre l’immigration clandestine, avait ordonné le déploiement sur la frontière de troupes de la Garde nationale.

Il avait aussi soumis la conclusion d’un nouvel accord de libre-échange en Amérique du Nord à un renforcement des contrôles migratoires par le Mexique, une condition rejetée par le président mexicain Enrique Pena Nieto.

Avec AFP et Reuters

Voir aussi:

WASHINGTON — It was the kind of story destined to take a dark turn through the conservative news media and grab President Trump’s attention: A vast horde of migrants was making its way through Mexico toward the United States, and no one was stopping them.

“Mysterious group deploys ‘caravan’ of illegal aliens headed for U.S. border,” warned Frontpage Mag, a site run by David Horowitz, a conservative commentator.

The Gateway Pundit, a website that was most recently in the news for spreading conspiracies about the school shooting in Parkland, Fla., suggested the real reason the migrants were trying to enter the United States was to collect social welfare benefits.

And as the president often does when immigration is at issue, he saw a reason for Americans to be afraid. “Getting more dangerous. ‘Caravans’ coming,” a Twitter post from Mr. Trump read.

The story of “the caravan” followed an arc similar to many events — whether real, embellished or entirely imagined — involving refugees and migrants that have roused intense suspicion and outrage on the right. The coverage tends to play on the fears that hiding among mass groups of immigrants are many criminals, vectors of disease and agents of terror. And often the president, who announced his candidacy by blaming Mexico for sending rapists and drug dealers into the United States, acts as an accelerant to the hysteria.

The sensationalization of this story and others like it seems to serve a common purpose for Mr. Trump and other immigration hard-liners: to highlight the twin dangers of freely roving migrants — especially those from Muslim countries — and lax immigration laws that grant them easy entry into Western nations.

The narrative on the right this week, for example, mostly omitted that many people in the caravan planned to resettle in Mexico, not the United States. And it ignored how many of those who did intend to come here would probably go through the legal process of requesting asylum at a border checkpoint — something miles of new wall and battalions of additional border patrol would not have stopped.

“They end up in schools on Long Island, some of which are MS-13!” declared Brian Kilmeade on the president’s preferred morning news program, “Fox & Friends,” referring to the predominantly Central American gang.

The coverage became so distorted that it prompted a reporter for Breitbart News who covers border migration, Brandon Darby, to push back. “I’m seeing a lot of right media cover this as ‘people coming illegally’ or as ‘illegal aliens.’ That is incorrect,” he wrote on Twitter. “They are coming to a port of entry and requesting refugee status. That is legal.”

In an interview, Mr. Darby said it was regrettable that the relatively routine occurrence of migrant caravans — which organizers rely on as a safety-in-numbers precaution against the violence that can happen along the trek — was being politicized. “The caravan isn’t something that’s a unique event,” he said. “And I think people are looking at it wrong. If you’re upset at the situation, it’s easier to be mad at the migrant than it is to be mad at the political leaders on both sides who won’t change the laws.”

As tends to be the case in these stories, the humanitarian aspects get glossed over as migrants are collapsed into one maligned category: hostile foreign invaders.

In November, Mr. Trump touched off an international furor when he posted a series of videos on Twitter that purported to show the effects of mass Muslim migration in Europe. Initially circulated by a fringe ultranationalist in Britain who has railed against Islam, the videos included titles like “Muslim migrant beats up Dutch boy on crutches!” “Muslim Destroys a Statue of Virgin Mary!” and “Islamist mob pushes teenage boy off roof and beats him to death!”

The assailant in one video the president shared, however, was not a “Muslim migrant.” And the other two videos depicted four-year-old events with no explanation.

These items tend to metastasize irrespective of the facts, but contain powerful visual elements to which Mr. Trump is known to viscerally respond.

Last February, Mr. Trump insinuated that some kind of terror-related episode involving Muslim immigrants had taken place in Sweden. “Who would believe this? Sweden,” he said at a rally in Florida, leaving Swedes and Americans baffled because nothing out of the ordinary had happened at all. “They took in large numbers. They’re having problems like they never thought possible.”

Like the caravan story, which apparently came to Mr. Trump’s attention as he watched “Fox & Friends,” the president was referring to something he had seen on cable news. And he later had to clarify that he was referring to a Fox News segment on issues Sweden was having with migrants generally, not any particular event.

The conservative National Review later called the piece in question “sensationalistic” and pointed out that a lack of government data made it virtually impossible to determine whether crime rates in the country were related to immigration.

When the president himself has not spread stories about immigration that were either misleading or turned out to be false, his White House aides have. Last year, the White House joined a pile-on by the conservative news media after it called attention to the account of a high school student in Montgomery County, Md., who said she was raped at school by two classmates, one of whom is an undocumented immigrant. The case became a national rallying cry on the right against permissive border policies and so-called sanctuary cities that treat undocumented immigrants more leniently. Fox News broadcast live outside the high school for days.

Prosecutors later dropped the charges after they said the evidence did not substantiate the girl’s claims.

The story of the caravan has been similarly exaggerated. And the emotional outpouring from the right has been raw — that was the case on Fox this week when the TV host Tucker Carlson shouted “You hate America!” at an immigrants rights activist after he defended the people marching through Mexico.

The facts of the caravan are not as straightforward as Mr. Trump or many conservative pundits have portrayed them. The story initially gained widespread attention after BuzzFeed News reported last week that more than 1,000 Central American migrants, mostly from Honduras, were making their way north toward the United States border. Yet the BuzzFeed article and other coverage pointed out that many in the group were planning to stay in Mexico.

That did not stop Mr. Trump from expressing dismay on Tuesday with a situation “where you have thousands of people that decide to just walk into our country, and we don’t have any laws that can protect it.”

The use of disinformation in immigration debates is hardly unique to the United States. Misleading crime statistics, speculation about sinister plots to undermine national sovereignty and Russian propaganda have all played a role in stirring up anti-immigrant sentiment in places like Britain, Germany and Hungary. Some of the more fantastical theories have involved a socialist conspiracy to import left-leaning voters and a scheme by the Hungarian-born Jewish philanthropist George Soros to create a borderless Europe.

Anyone watching Fox News this week would have heard about similar forces at work inside “the caravan.”

“This was an organized plan and deliberate attack on the sovereignty of the United States by a special interest group,” said David Ward, whom the network identified as a former agent for Immigration and Customs Enforcement. “They rallied a bunch of foreign nationals to come north into the United States to test our resolve.”

Voir aussi:

Humanitarian group that organized migrant ‘caravan’ headed to US issues list of demands for refugees

One thousand Central American migrants are headed to the United States border. Adolfo Flores, a BuzzFeed News reporter, has been traveling with the group of migrants and wrote that “no one in Mexico dares to stop them.” President Donald Trump reacted to the report and called off all negotiations with Democrats over the Deferred Action for Childhood Arrivals program (DACA) if the migrants arrive.

With the help of a humanitarian group called “Pueblo Sin Fronteras” (people without borders), the 1,000 plus migrants will reach the U.S. border with a list of demands to several governments in Central America, the United States, and Mexico.

Here’s what they demanded of Mexico and the United States in a Facebook post: 

-That they respect our rights as refugees and our right to dignified work to be able to support our families
-That they open the borders to us because we are as much citizens as the people of the countries where we are and/or travel
-That deportations, which destroy families, come to an end
-No more abuses against us as migrants
-Dignity and justice
-That the US government not end TPS for those who need it
-That the US government stop massive funding for the Mexican government to detain Central American migrants and refugees and to deport them
-That these governments respect our rights under international law, including the right to free expression
-That the conventions on refugee rights not be empty rhetoric

“The border is stained red!”
“Because there they kill the working class!”
“Why do they kill us? Why do they murder us…”
“If we are the hope of Latin America?”

Sincerely,

2018 Refugee Caravan “Migrantes en la Lucha”
Pueblo Sin Fronteras

Voir enfin:

American Nightmare
The shame of America’s refugee camps
Wil S. Hylton
The NYT magazine
February 2015

CHRISTINA BROWN pulled into the refugee camp after an eight-hour drive across the desert. It was late July of last year, and Brown was a 30-year-old immigration lawyer. She had spent a few years after college working on political campaigns, but her law degree was barely a year old, and she had only two clients in her private practice in Denver. When other lawyers told her that the federal government was opening a massive detention center for immigrants in southeastern New Mexico, where hundreds of women and children would be housed in metal trailers surrounded by barbed wire, Brown decided to volunteer legal services to the detainees. She wasn’t sure exactly what rights they might have, but she wanted to make sure they got them. She packed enough clothes to last a week, stopped by Target to pick up coloring books and toys and started driving south.Brown spent the night at a motel, then drove to the detention camp in the morning. She stood in the wind-swept parking lot with the other lawyers, overlooking the barren plains of the eastern plateau. After a few minutes, a transport van emerged from the facility to pick them up. It swung to a stop in the parking lot, and the attorneys filed on. They sat on the cold metal benches and stared through the caged windows as the bus rolled back into the compound and across the bleak brown landscape. It came to a stop by a small trailer, and the lawyers shuffled out.As they opened the door to the trailer, Brown felt a blast of cold air. The front room was empty except for two small desks arranged near the center. A door in the back opened to reveal dozens of young women and children huddled together. Many were gaunt and malnourished, with dark circles under their eyes. “The kids were really sick,” Brown told me later. “A lot of the moms were holding them in their arms, even the older kids — holding them like babies, and they’re screaming and crying, and some of them are lying there listlessly.”Brown took a seat at a desk, and a guard brought a woman to meet her. Brown asked the woman in Spanish how she ended up in detention. The woman explained that she had to escape from her home in El Salvador when gangs targeted her family. “Her husband had just been murdered, and she and her kids found his body,” Brown recalls. “After he was murdered, the gang started coming after her and threatening to kill her.” Brown agreed to help the woman apply for political asylum in the United States, explaining that it might be possible to pay a small bond and then live with friends or relatives while she waited for an asylum hearing. When the woman returned to the back room, Brown met with another, who was fleeing gangs in Guatemala. Then she met another young woman, who fled violence in Honduras. “They were all just breaking down,” Brown said. “They were telling us that they were afraid to go home. They were crying, saying they were scared for themselves and their children. It was a constant refrain: ‘I’ll die if I go back.’ ”As Brown emerged from the trailer that evening, she already knew it would be difficult to leave at the end of the week. The women she met were just a fraction of those inside the camp, and the government was making plans to open a second facility of nearly the same size in Karnes County, Tex., near San Antonio. “I remember thinking to myself that this was an impossible situation,” she said. “I was overwhelmed and sad and angry. I think the anger is what kept me going.”***OVER THE PAST six years, President Obama has tried to make children the centerpiece of his efforts to put a gentler face on U.S. immigration policy. Even as his administration has deported a record number of unauthorized immigrants, surpassing two million deportations last year, it has pushed for greater leniency toward undocumented children. After trying and failing to pass the Dream Act legislation, which would offer a path to permanent residency for immigrants who arrived before the age of 16, the president announced an executive action in 2012 to block their deportation. Last November, Obama added another executive action to extend similar protections to undocumented parents. “We’re going to keep focusing enforcement resources on actual threats to our security,” he said in a speech on Nov. 20. “Felons, not families. Criminals, not children. Gang members, not a mom who’s working hard to provide for her kids.” But the president’s new policies apply only to immigrants who have been in the United States for more than five years; they do nothing to address the emerging crisis on the border today.Since the economic collapse of 2008, the number of undocumented immigrants coming from Mexico has plunged, while a surge of violence in Central America has brought a wave of migrants from Honduras, El Salvador and Guatemala. According to recent statistics from the Department of Homeland Security, the number of refugees fleeing Central America has doubled in the past year alone — with more than 61,000 “family units” crossing the U.S. border, as well as 51,000 unaccompanied children. For the first time, more people are coming to the United States from those countries than from Mexico, and they are coming not just for opportunity but for survival.The explosion of violence in Central America is often described in the language of war, cartels, extortion and gangs, but none of these capture the chaos overwhelming the region. Four of the five highest murder rates in the world are in Central American nations. The collapse of these countries is among the greatest humanitarian disasters of our time. While criminal organizations like the 18th Street Gang and Mara Salvatrucha exist as street gangs in the United States, in large parts of Honduras, Guatemala and El Salvador they are so powerful and pervasive that they have supplanted the government altogether. People who run afoul of these gangs — which routinely demand money on threat of death and sometimes kidnap young boys to serve as soldiers and young girls as sexual slaves — may have no recourse to the law and no better option than to flee.The American immigration system defines a special pathway for refugees. To qualify, most applicants must present themselves to federal authorities, pass a “credible fear interview” to demonstrate a possible basis for asylum and proceed through a “merits hearing” before an immigration judge. Traditionally, those who have completed the first two stages are permitted to live with family and friends in the United States while they await their final hearing, which can be months or years later. If authorities believe an applicant may not appear for that court date, they can require a bond payment as guarantee or place the refugee in a monitoring system that may include a tracking bracelet. In the most extreme cases, a judge may deny bond and keep the refugee in a detention facility until the merits hearing.The rules are somewhat different when children are involved. Under the terms of a 1997 settlement in the case of Flores v. Meese, children who enter the country without their parents must be granted a “general policy favoring release” to the custody of relatives or a foster program. When there is cause to detain a child, he or she must be housed in the least restrictive environment possible, kept away from unrelated adults and provided access to medical care, exercise and adequate education. Whether these protections apply to children traveling with their parents has been a matter of dispute. The Flores settlement refers to “all minors who are detained” by the Immigration and Naturalization Service and its “agents, employees, contractors and/or successors in office.” When the I.N.S. dissolved into the Department of Homeland Security in 2003, its detention program shifted to the U.S. Immigration and Customs Enforcement agency. Federal judges have ruled that ICE is required to honor the Flores protections for all children in its custody.Even so, in 2005, the administration of George W. Bush decided to deny the Flores protections to refugee children traveling with their parents. Instead of a “general policy favoring release,” the administration began to incarcerate hundreds of those families for months at a time. To house them, officials opened the T. Don Hutto Family Detention Center near Austin, Tex. Within a year, the administration faced a lawsuit over the facility’s conditions. Legal filings describe young children forced to wear prison jumpsuits, to live in dormitory housing, to use toilets exposed to public view and to sleep with the lights on, even while being denied access to appropriate schooling. In a pretrial hearing, a federal judge in Texas blasted the administration for denying these children the protections of the Flores settlement. “The court finds it inexplicable that defendants have spent untold amounts of time, effort and taxpayer dollars to establish the Hutto family-detention program, knowing all the while that Flores is still in effect,” the judge wrote. The Bush administration settled the suit with a promise to improve the conditions at Hutto but continued to deny that children in family detention were entitled to the Flores protections.In 2009, the Obama administration reversed course, abolishing family detention at Hutto and leaving only a small facility in Pennsylvania to house refugee families in exceptional circumstances. For all other refugee families, the administration returned to a policy of release to await trial. Studies have shown that nearly all detainees who are released from custody with some form of monitoring will appear for their court date. But when the number of refugees from Central America spiked last summer, the administration abruptly announced plans to resume family detention.From the beginning, officials were clear that the purpose of the new facility in Artesia was not so much to review asylum petitions as to process deportation orders. “We have already added resources to expedite the removal, without a hearing before an immigration judge, of adults who come from these three countries without children,” the secretary of Homeland Security, Jeh Johnson, told a Senate committee in July. “Then there are adults who brought their children with them. Again, our message to this group is simple: We will send you back.” Elected officials in Artesia say that Johnson made a similar pledge during a visit to the detention camp in July. “He said, ‘As soon as we get them, we’ll ship them back,’ ” a city councilor from Artesia named Jose Luis Aguilar recalled. The mayor of the city, Phillip Burch, added, “His comment to us was that this would be a ‘rapid deportation process.’ Those were his exact words.”***DURING THE FIRST five weeks that the Artesia facility was open, officials deported more than 200 refugees to Central America. But as word of the detention camp began to spread, volunteers like Christina Brown trickled into town. Their goal was to stop the deportations, schedule asylum hearings for the detainees and, whenever possible, release the women and children on bond. Many of the lawyers who came to Artesia were young mothers, and they saw in the detained children a resemblance to their own. By last fall, roughly 200 volunteers were rotating through town in shifts: renting rooms in local motels, working 12-hour days to interview detainees and file asylum paperwork, then staying awake into the night to consult one another. Some volunteers returned to Artesia multiple times. A few spent more than a month there. Brown never moved back to Denver. She rented a little yellow house by the detention facility, took up office space in a local church and, with help from a nonprofit group called the American Immigration Lawyers Association, or AILA, she began to organize the volunteers pouring in.As Brown got to know detainees in Artesia, grim patterns emerged from their stories. One was the constant threat of gangs in their lives; another was the prevalence of sexual violence. A detainee in Artesia named Sofia explained that a gang murdered her brother, shot her husband and then kidnapped and raped her 14-year-old stepdaughter. A Guatemalan woman named Kira said that she fled when a gang targeted her family over their involvement in a nonviolence movement at church; when Kira’s husband went into hiding, the gang subjected her to repeated sexual assaults and threatened to cut her unborn baby from her womb. An inmate named Marisol said she crossed the U.S. border in June after a gang in Honduras murdered the father of her 3-year-old twins, then turned its attention to her.Less than a week after her arrival in Artesia, Brown represented the young Salvadoran mother she met on her first day. It was a preliminary hearing to see whether the woman met the basic preconditions for asylum. A frequent consideration in the refugee process is whether an applicant is being targeted as a member of a “particular social group.” Judges have interpreted the phrase to include a refugee’s victimhood on the basis of sex or sexual orientation. At the hearing, Brown planned to invoke the pervasiveness of gang violence and sexual assault, but she says the immigration judge refused to let her speak.“I wasn’t allowed to play any role,” Brown said. Speaking to the judge, her client described her husband’s murder and the threats she faced from gangs. “She testified very well,” Brown said. But when the judge asked whether she felt targeted as a member of a “social group,” the woman said no. “Because that is a legal term of art,” Brown said. “She had no idea what the heck it means.” Brown tried to interject, but the judge wouldn’t allow it. He denied the woman’s request for an asylum hearing and slated her for deportation. Afterward, Brown said, “I went behind one of the cubicles, and I started sobbing uncontrollably.”Detainees who passed their initial hearings often found themselves stranded in Artesia without bond. Lawyers for Homeland Security have adopted a policy they call “no bond or high bond” for the women and children in detention. In court filings, they insist that prolonged detention is necessary to “further screen the detainees and have a better chance of identifying any that present threats to our public safety and national security.” Allowing these young mothers and children to be free on bond, they claim, “would have indirect yet significant adverse national-security consequences.”

As the months ticked by in Artesia, many detainees began to wonder if they would ever be free again. “I arrived on July 5 and turned myself in at 2 a.m.,” a 28-year-old mother of two named Ana recalled. In Honduras, Ana ran a small business selling trinkets and served on the P.T.A. of her daughter’s school. “I lived well,” she said — until the gangs began to pound on her door, demanding extortion payments. Within days, they had escalated their threats, approaching Ana brazenly on the street. “One day, coming home from my daughter’s school, they walked up to me and put a gun to my head,” she said. “They told me that if I didn’t give them the money in less than 24 hours, they would kill me.” Ana had already seen friends raped and murdered by the gang, so she packed her belongings that night and began the 1,800-mile journey to the U.S. border with her 7-year-old daughter. Four weeks later, in McAllen, Tex., they surrendered as refugees.

Ana and her daughter entered Artesia in mid-July. In October they were still there. Ana’s daughter was sick and losing weight rapidly under the strain of incarceration. Their lawyer, a leader in Chicago’s Mormon Church named Rebecca van Uitert, said that Ana’s daughter became so weak and emaciated that doctors threatened drastic measures. “They were like, ‘You’ve got to force her to eat, and if you don’t, we’re going to put a PICC line in her and force-feed her,’ ” van Uitert said. Ana said that when her daughter heard the doctor say this, “She started to cry and cry.”

In October, as van Uitert presented Ana’s case to an immigration judge, the lawyer broke down in the courtroom. “I’m starting to make these arguments before the judge, and I just couldn’t,” she said. “I sounded like a barking seal, just sucking and gasping, and because I was crying, a lot of people started crying. The attorney next to me was crying, Ana was crying, her little girl started crying. I looked over at the bailiff, who actually ended up being my friend when I went back another time. He had tears in his eyes.” The judge granted Ana’s release on bond; she is currently waiting for an asylum hearing in North Carolina.

Many of the volunteers in Artesia tell similar stories about the misery of life in the facility. “I thought I was pretty tough,” said Allegra Love, who spent the previous summer working on the border between Mexico and Guatemala. “I mean, I had seen kids in all manner of suffering, but this was a really different thing. It’s a jail, and the women and children are being led around by guards. There’s this look that the kids have in their eyes. This lackadaisical look. They’re just sitting there, staring off, and they’re wasting away. That was what shocked me most.”

The detainees reported sleeping eight to a room, in violation of the Flores settlement, with little exercise or stimulation for the children. Many were under the age of 6 and had been raised on a diet of tortillas, rice and chicken bits. In Artesia, the institutional cafeteria foods were as unfamiliar as the penal atmosphere, and to their parents’ horror, many of the children refused to eat. “Gaunt kids, moms crying, they’re losing hair, up all night,” an attorney named Maria Andrade recalled. Another, Lisa Johnson-Firth, said: “I saw children who were malnourished and were not adapting. One 7-year-old just lay in his mother’s arms while she bottle-fed him.” Mary O’Leary, who made three trips to Artesia last fall, said: “I was trying to talk to one client about her case, and just a few feet away at another table there was this lady with a toddler between 2 and 4 years old, just lying limp. This was a sick kid, and just with this horrible racking cough.”

***

IN EARLY AUGUST, a paralegal from Oregon named Vanessa Sischo arrived at the camp. Raised in a small town near Mount Hood, Sischo did not realize until high school that her parents brought her into the United States from Mexico as an infant without documentation. She gained protection from deportation under the president’s Deferred Action for Childhood Arrivals program in 2012. When Sischo learned that children arriving from Central America were being incarcerated in Artesia, she volunteered immediately. She arrived a week after Christina Brown, and like Brown, she stayed. After about a month, AILA and another nonprofit, the American Immigration Council, hired Brown as the pro bono project’s lead attorney. Brown recommended Sischo for the job of project coordinator. The two women began rooming together in the small yellow house near Main Street.

Brown and Sischo make an unlikely pair. Brown, who has a sturdy build and dark brown hair, has an inborn skepticism and a piercing wit. Sischo is six years younger and preternaturally easygoing. Until she discovered her own immigration background, she had little interest in political affairs and spent much of her time in Oregon as a competitive snowboarder. For both, Artesia was a jarring shift from life at home. As they sat together one evening in December, they described a typical week. “The new volunteers come in on Sunday, go through orientation, and by Wednesday night, everyone is crying,” Brown said. “A lot of the attorneys come in and say: ‘I’ve been doing this for 20 years. I’ve seen all of this before. I’ll be fine.’ ”

“I remember the first time I went in,” Sischo said. “I just stopped, and all I could hear was a symphony of coughing and sneezing and crying and wailing.”

“Kids vomiting all over the place,” Brown said.

“There was a big outbreak of fevers,” Sischo said. “It sent an infant into convulsions.”

“Pneumonia, scabies, lice,” Brown said.

Officials for ICE say these accounts are exaggerated. But they declined multiple requests to visit the Artesia facility and took weeks to answer questions about its facilities. Brown, who oversaw more than 500 detainee cases as lead attorney, was also unable to gain access to the camp’s housing, dining, medical and educational facilities. “I requested three times to be taken on a tour,” she said. “I sent it through the appropriate channels. No one ever responded, to date, to my request.”

Visitors who did gain access to the facility have raised troubling questions about the ethics — and legality — of how it handled children. The Flores settlement requires the government to provide regular schooling for juveniles in detention, but the mayor of Artesia, Phillip Burch, said that on several visits to the compound, the classrooms were always empty. “I was told that children were attending classes,” he recalled. “Did I personally witness it? No. And none of the tours that I made did I see the children actually in class.” Members of the New Mexico Faith Coalition for Immigrant Justice, who toured the facility in October, say that officials also showed them the empty school. When one member asked why the building was empty, an ICE official replied that school was temporarily closed. Detainees have consistently told their lawyers that the school was never reliably open. They recall a few weeks in October when classes were in session for an hour or two per day, then several weeks of closure through November, followed by another brief period of classes in December.

In response to questions about the school, ICE officials would say only that “regular school instruction began Oct. 13, 2014, and ended Dec. 17.” Asked whether the school was open consistently, and for how many hours, ICE officials declined to respond. The senior counselor for immigration issues at the Department of Homeland Security, Esther Olavarria, said that she was aware “there were challenges” at the Artesia school, but couldn’t say exactly when it was open or for how long. Olavarria has a distinguished record as advocate for refugees and previously served as a top immigration adviser for Senator Edward M. Kennedy. She said that she was under the impression that attorneys in Artesia were granted access to the facility, and she could not explain why Brown was not. She also believed that the meal service in Artesia was adapted to reflect the dietary norms of Central America and that medical care was adequate and available. After hearing what detainees, attorneys, faith advocates and elected officials described in Artesia, Olavarria promised to look into these issues and provide further documentation. Despite several attempts to elicit that documentation, she provided none. In a statement, the Department of Homeland Security said: “The regular school instruction began Oct. 13, 2014, but was suspended shortly thereafter in order to ensure appropriate vetting of all teachers.” Officials say that school resumed on Oct. 24 and continued through Dec. 17.

Attorneys for the Obama administration have argued in court, like the Bush administration previously, that the protections guaranteed by the Flores settlement do not apply to children in family detention. “The Flores settlement comes into play with unaccompanied minors,” a lawyer for the Department of Homeland Security named Karen Donoso Stevens insisted to a judge on Aug. 4. “That argument is moot here, because the juvenile is detained — is accompanied and detained — with his mother.”

Federal judges have consistently rejected this position. Just as the judge reviewing family detention in 2007 called the denial of Flores protections “inexplicable,” the judge presiding over the Aug. 4 hearing issued a ruling in September that Homeland Security officials in Artesia must honor the Flores Settlement Agreement. “The language of the F.S.A. is unambiguous,” Judge Roxanne Hladylowycz wrote. “The F.S.A. was designed to create a nationwide policy for the detention of all minors, not only those who are unaccompanied.” Olavarria said she was not aware of that ruling and would not comment on whether the Department of Homeland Security believes that the Flores ruling applies to children in family detention today.

***

AS THE PRO BONO project in Artesia continued into fall, its attorneys continued to win in court. By mid-November, more than 400 of the detained women and children were free on bond. Then on Nov. 20, the administration suddenly announced plans to transfer the Artesia detainees to the ICE detention camp in Karnes, Tex., where they would fall under a new immigration court district with a new slate of judges.

That announcement came at the very moment the president was delivering a live address on the new protections available to established immigrant families. In an email to notify Artesia volunteers about the transfer, an organizer for AILA named Stephen Manning wrote, “The disconnect from the compassionate-ish words of the president and his crushing policies toward these refugees is shocking.” Brown was listening to the speech in her car, while driving to Denver for a rare weekend at home, when her cellphone buzzed with the news that 20 of her clients would be transferred to Texas the next morning. Many of them were close to a bond release; in San Antonio, they might be detained for weeks or months longer. Brown pulled her car to the side of the highway and spent three hours arguing to delay the transfer. Over the next two weeks, officials moved forward with the plan.

By mid-December, most of the Artesia detainees were in Karnes, and Brown and Sischo were scrambling to pack the contents of their home and office. On the afternoon of Dec. 16, they threw their final bags into a U-Haul, its cargo area crammed with laundry baskets, suitcases, file boxes and hiking backpacks, all wedged precariously in place, then set out for the eight-hour drive across the desert to central Texas.

The next morning, a law professor named Barbara Hines was also speeding into San Antonio. Hines is a wiry woman in her 60s with a burst of black curls and an aspect of bristling intensity. In the battle over refugee detention, she is something of a seminal figure for advocates like Brown and Sischo. As co-director of the Immigration Law Clinic at the University of Texas, Hines helped lead the 2007 lawsuit against the Hutto facility, which brought about its closure in 2009 and the abolition of widespread family detention until last summer. When the Obama administration announced plans to resume the practice in Artesia, Hines was outraged; when officials opened the second facility in Karnes, just two hours from her home in Austin, Hines began to organize a pro bono project of her own. Although she’d never met Brown or Sischo, she had been running a parallel operation for months. Now that they were in Texas, Hines was eager to meet them.

But first, she had a client to represent. Hines pulled into a parking lot behind the immigration court in downtown San Antonio and rushed inside, up a clattering elevator to the third floor and down a long hallway to a cramped courtroom. At the front, behind a vast wooden desk, sat Judge Glenn McPhaul, a tidy man with slicked hair and a pencil mustache. He presided from an elevated platform, with a clerk to his right, an interpreter to his left, and a large television monitor in the corner. On screen was the pale and grainy image of a dozen exhausted Central American women.

These were just a few of the Karnes detainees, linked by video feed to the courtroom. Another 500 women and children were in the compound with them. There was no legal distinction between their cases and those of the women in Artesia; they had simply been sent to a different facility, weeks or months earlier. Each of them, like the women in Artesia, had already been through the early stages of the asylum process — presenting herself to immigration authorities, asking for refugee status and passing the “credible-fear interview” to confirm a basis for her claim. But the odds of release in Karnes were worse. One of McPhaul’s colleagues, Judge Gary Burkholder, was averaging a 91.6 percent denial rate for the asylum claims. Some Karnes detainees had been in the facility for nearly six months and could remain there another six.

***

THE SITTING AREA of the courtroom was nearly empty, save for half a dozen attorneys. Many of the volunteers at Karnes are friends and former students of Hines, who has been drafting every licensed lawyer she can find. As she slid down the long bench to a seat, she nodded to some of the attorneys in the room and stopped to whisper with another. Then she spent a few minutes fidgeting with her phone until the clerk called her client’s name, and Hines sprang forward, slipping past the bar rail to a table facing the judge. On the television screen, her client, Juana, was stepping toward the camera at Karnes. She was a young woman with a narrow face and deep eyes. Her hair was pulled back to reveal high cheekbones and a somber expression.

McPhaul asked the stenographer to begin transcription, then he commenced with the ritualized exchange of detention proceedings, recording the names of the attorneys, the detainee and everyone on the bench. He noted the introduction of a series of legal documents and confirmed that Juana was still happy to be represented by Hines. There was a stream of legal jargon and a few perfunctory remarks about the status of the case, all of it in clipped judicial vernacular and a flat, indifferent tone. Then McPhaul set a date for the next hearing, at which Hines could begin to present an argument for Juana’s release on bond.

For now, Juana’s turn was over; the whole affair took less than 10 minutes, without any meaningful discussion of her case or its merits. As Hines stepped out of the courtroom, Juana was turning away from the camera to return to her children in Karnes. It was impossible to say how much of the hearing she understood, since none of the proceedings were translated into Spanish. The courtroom interpreter was there only to translate the judge’s questions and the detainees’ responses; everything else was said exclusively in English, including the outcome. For all that Juana knew, she might have been granted reprieve or confined for another six months.

Over the next two hours, the scene would repeat a dozen times. Each time McPhaul called a name, a new lawyer would step forward, taking a seat before the bench and proceeding through the verbal Kabuki. In a few cases, McPhaul offered the detainee the opportunity to post bond — usually around $3,000. But the courtroom interpreter was not allowed to convey this news to the detainee, either. If the pro bono attorney spoke Spanish fluently, there might be a few minutes at the end of the session to explain what happened. If not, the detainee would return to custody and might not discover that she had been granted bond until, or unless, someone paid it.

These, of course, were the lucky women with an attorney to represent them at all. Although the families in Artesia and Karnes have been detained in an environment that closely resembles incarceration, there is no requirement in American law to provide them with the sort of legal representation afforded to other defendants. Unlike the Artesia project, where the involvement of AILA brought in hundreds of volunteers from across the country, Hines could scrape together only so many friends and compatriots to lend their time. She formed a partnership with the Refugee and Immigrant Center for Education and Legal Services, or Raices, in San Antonio, and the law firm Akin Gump assigned a young lawyer named Lauren Connell to help organize the Karnes project. But there still weren’t enough lawyers to represent the detainees, and Hines and Connell were forced to evaluate which cases were most likely to win. The remaining refugees would proceed to court alone. They would understand little of what happened, and most would be deported.

It was difficult for Hines to think about what might happen to those women next. The refugees who are returned to Central America can be subject to even greater harassment by gangs for having fled. Hector Hernandez, a morgue operator in Honduras, has said that children who come back from U.S. detention “return just to die.” Jose Luis Aguilar, the city councilor for Artesia, recalled a group deportation on the day in July when Secretary Jeh Johnson visited the facility. “He came in the morning, and that same night, they took 79 people and shipped them to El Salvador on the ICE plane,” Aguilar said. “We got reports later that 10 kids had been killed. The church group confirmed that with four of the mortuaries where they went.”

***

HINES WAS HOPING the attorneys from Artesia would help represent the women in Karnes, but she had no idea whether they would be willing to do so. This was her agenda for the first meeting with Christina Brown, which took place that afternoon in a sunlit conference room in the downtown offices of Akin Gump. Hines sat at the head of a long table, with Lauren Connell to her left and an attorney from Raices named Steven Walden to her right. After a few minutes, Brown appeared in the doorway. She was wearing the same green T-shirt and black leggings she had been wearing the day before in Artesia, and she smiled sheepishly, offering a handshake to Hines.

“I’m really sorry,” Brown said with a small laugh. “I want to let you know that I believe very strongly in first impressions — but I am living out of a U-Haul right now.”

Hines smiled sympathetically as they sat down. “So,” she said. “What are you all going to do here?”

Brown paused. “Well, we know we’re going to be continuing our cases,” she said.

“Mmm-hmm,” Hines said.

“And I’m working on cleaning up our spreadsheet and figuring out who’s here,” Brown said. “Many of our clients who were transferred here had already been granted bond.”

“Wait,” Connell said. “They transferred them here to have them bond out?”

Brown sighed. “Yes,” she said.

“That’s ridiculous,” Connell said.

“We’ve had numerous fights on this issue,” Brown said. “We’ve had family members go to pay, and they can’t because the client is already in transit to Karnes.”

Hines shook her head in disbelief.

“It’s been kind of a nightmare,” Brown said.

“Do you have people who have been detained more than 90 days?” Hines asked.

“Every one we’re going forward with on merits has been detained more than 90 days,” Brown said. “So I want to see how you all are moving forward, so I can see what resources are here for Artesia clients.”

Hines laughed. “We can barely staff our cases,” she said. “My hope was that people who were at Artesia, after they’re finished your cases, are going to help with ours.”

“If she says that enough, maybe it will come true,” Connell said.

Brown shook her head. “At the moment, I can commit to nothing,” she said. “Right now, I’m the only attorney, and there’s no guarantee that other volunteers are coming.”

Hines and Connell exchanged a look. Even if the Artesia lawyers could double or triple their workload, the number of detainees would soon overwhelm them. The day before, officials in Karnes had approved a plan to expand the detention facility from about 500 beds to roughly 1,100. At the same time, two hours west of Karnes, in the little town of Dilley, the Department of Homeland Security was about to open another refugee camp for women and children. It would be the largest detention facility in the country, with up to 2,400 beds. If Hines and Brown had trouble finding lawyers to represent a few hundred women and children, there was little chance of generating support for more than 3,000.

***

AFTER THE MEETING, Brown returned to her motel and spent the afternoon searching for an apartment, but the options were limited, and by late afternoon, she and Sischo still had nowhere to live. They decided to spend their first evening in Texas at a vegetarian restaurant downtown. As they settled into a booth at the back of the cafe, they talked about the situation they’d left behind in Artesia, where much of the town opposed the detention facility and the lawyers with equal measure. Town-hall meetings in Artesia became so heated that city officials asked the police to stand guard.

“For people there, it’s a resource issue,” Brown said. “They blame the immigrant community for coming in and being jailed, and for us having to educate their children, when they would like more resources put into their own schools.”

Sischo nodded. “That’s what a guy at the electronics store said: ‘Oh, you’re helping the illegals?’ That’s how they view it. I remember a sign that a protester was holding that was like, ‘What about our children?’ ”

“It’s a legitimate question,” Brown said. “They don’t have a lot of resources in that town, and they should have more.”

“I agree,” Sischo said. “We should not be spending resources on detaining these families. They should be released. But people don’t understand the law. They think they should be deported because they’re ‘illegals.’ So they’re missing a very big part of the story, which is that they aren’t breaking the law. They’re trying to go through the process that’s laid out in our laws.”

For Sischo, seeing the families struggle — families much like her own — was almost more than she could stand. On visits to her parents in Oregon, she struggled to maintain composure. “Every time I’ve gone home, I’ve just cried pretty much nonstop,” she said. “It’s grief and anger and hopelessness and confusion as to how this could happen and whether we’re making a difference.”

For Brown, by contrast, the same experiences seemed to have amplified her energy and commitment. “I haven’t had time to go home and cry yet,” she said. “Maybe I’ll get a job at Dilley, because then I won’t have to process anything!” Brown laughed, but she acknowledged that some part of her was ready to commit to the nomadic life of a legal activist, parachuting into crises for a few months at a time. “That appeals to me,” she said. “It’s nice to be where people need you.”

As dinner came to an end, Brown and Sischo stepped outside into the night. They had parked the U-Haul in a nearby lot, and it had just been towed.

***

IN THE COMING YEAR, most of the families who are currently in detention will wend their way through the refugee system. Some will be released on bond to await their asylum hearing; others will remain in custody until their hearings are complete. Those without an attorney will most likely fail to articulate a reason for their claim in the appropriate jargon of the immigration courts and will be deported to face whatever horror they hoped to flee. Of the 15 families who have been shepherded through the process by the volunteer lawyers so far, 14 have received asylum — “Which should be all you need to know about the validity of their claims,” Brown said.

By late spring, the construction of the new facility at Dilley should be complete. It already represents a drastic departure from the refugee camp in Artesia. Managed by the Corrections Corporation of America, the largest private prison company in the country, the South Texas Family Residential Center has its own promotional website with promissory images of the spacious classrooms, libraries, play areas and lounges that will eventually be available to refugees in long-term detention. Architectural drawings for the site show eight distinct neighborhoods on the campus, with dormitory housing, outdoor pavilions, a chapel and several playgrounds. How much of this will ultimately materialize remains to be seen. Last week, C.C.A. listed job openings for child care workers, library aides and mailroom clerks at the site.

Esther Olavarria, the senior counselor for immigration issues at the Department of Homeland Security, acknowledged that there had been shortcomings in Artesia but described the Dilley facility as a correction. “We stood up Artesia very, very quickly and did the best that we could under the circumstances,” Olavarria said. “As concerns were brought to our attention by advocates, we worked with them to try to address the concerns as quickly as possible.”

Many advocates have expressed concerns about the Dilley facility as well. Its management company, C.C.A., is the same firm that ran the Hutto detention center, and it has been at the center of other significant controversies in recent years. In 2006, federal investigators reported that conditions at a C.C.A. immigration jail in Eloy, Ariz., were so lacking that “detainee welfare is in jeopardy.” Last March, the F.B.I. started an investigation of C.C.A. over a facility the company ran in Idaho, known by inmates as the “Gladiator School” because of unchecked fighting; in 2010, a video surfaced of guards watching one inmate beat another into a coma. Two years ago, C.C.A. executives admitted that employees falsified 4,800 hours of business records. The state has now taken control of the facility.

The management contract at Dilley was also created with unusual terms. In their hurry to open the new facility, officials for the Obama administration bypassed normal bidding procedures and established Dilley under an existing contract for the troubled C.C.A. jail in Eloy. Although the Dilley camp is nearly 1,000 miles away from Eloy, all federal funding for the new camp in Texas will flow through the small town in Arizona, which will keep $438,000 of the annual operating budget as compensation. Eloy city officials say they do not expect to monitor, or even visit, the Dilley facility.

Any new refugees who surrender this spring may spend more than a year in Dilley before their asylum hearings can be scheduled. Olavarria said that officials hope the process will move more quickly, but it will depend on the immigration courts in San Antonio, which fall under the Department of Justice. “From what I’ve heard from the Justice Department, generally it’s not taking 18 months,” Olavarria said. “We’re hearing that cases are being completed in a shorter time. But it’s a case-by-case situation that depends on the complexity, it depends on continuances that are provided to seek counsel, to prepare for cases, all those kinds of things.” The cost to house each detainee at Dilley is about $108,000 per year. A study funded by the Immigration and Naturalization Service, of more than 500 detainees between 1997 and 2000, found that 93 percent will appear in court when placed in a monitoring program. The savings of such a program for the 2,400 detainees at Dilley would be about $250 million per year.

Officials from the Department of Homeland Security say the facilities in Karnes and Dilley are still insufficient to house the detainees they expect to process in the coming year. “Last year, we saw 60,000 families come in,” Olavarria said. “We’re hoping we don’t see those kinds of numbers this year, but even if we see half, those two facilities would hold a fraction of those numbers.” Olavarria said the department was not yet considering additional facilities. “We are in the middle of a battle with the Congress on our funding, so there’s very little discussion about long-term planning,” she said.

For now, the Artesia facility is closed, its bunk beds and hallways empty. Brown and Sischo remain in Texas; they rescued their U-Haul from an impound lot and found an apartment soon thereafter. That same week, an email from the mayor of Artesia, Phillip Burch, was circulating among city residents. “The pro bono attorneys have left our community,” he wrote. “Hopefully not to return.”


Wil S. Hylton is a contributing writer at The New York Times Magazine and the author of Vanished. His complete archive is available on Longform.

Voir par ailleurs:

Les fausses images d’enfants séparés de leurs parents à la frontière USA-Mexique
La Croix
23/06/2018

De nombreuses photos et vidéos circulent sur internet depuis que Donald Trump a mis en place sa politique de tolérance zéro face à l’immigration illégale, ce qui a mené plus de 2.300 enfants à être séparés de leurs parents à la frontière entre Etats-Unis et Mexique.

Mais beaucoup d’entre elles ne correspondent pas à la réalité.

Vendredi, après la publication d’un décret du président américain marquant son revirement vis-à-vis de cette politique, le doute demeurait sur le temps que mettront ces mineurs à retrouver leurs familles.

Que vérifie-t-on et que sait-on?

Au moins trois images, largement partagées sur les réseaux sociaux ces derniers jours, illustrent des situations qui ne sont pas celles vécues par les 2.342 enfants détenus en raison de leur statut migratoire irrégulier.

La première montre une fillette hondurienne, Yanela Varela, en larmes. Elle est vite devenue sur Twitter ou Facebook un symbole de la douleur provoquée par la séparation des familles.

Cette image a même contribué à déclencher des donations d’un total de plus de 18 millions de dollars à une association texane d’aide aux migrants appelée RAICES.

La photo a été prise le 12 juin dans la ville de McAllen, au Texas, par John Moore, un photographe qui a obtenu le prix Pulitzer et travaille pour l’agence Getty Images.

Time Magazine en a fait sa Une, mettant face à face, dans un photomontage sur fond rouge, la petite fille apeurée et un Donald Trump faisant presque trois fois sa taille et la toisant avec cette simple légende: « Bienvenue en Amérique ».

Un article en ligne publié par Time et portant sur cette photo affirmait initialement que la petite fille avait été séparée de sa mère. Mais l’article a ensuite été corrigé, la nouvelle version déclarant: « La petite fille n’a pas été emmenée en larmes par des agents de la police frontalière des Etats-Unis, sa mère est venue la chercher et elles ont été emmenées ensemble ».

Time a néanmoins utilisé la photo de la fillette pour sa spectaculaire couverture.

Mais au Honduras, la responsable de la Direction de protection des migrants au ministère des Affaires étrangères, Lisa Medrano, a donné à l’AFP une toute autre version: « La fillette, qui va avoir deux ans, n’a pas été séparée » de ses parents.

Le père de l’enfant, Denis Varela, a confirmé au Washington Post que sa femme Sandra Sanchez, 32 ans, n’avait pas été séparée de Yanela et que les deux étaient actuellement retenues dans un centre pour migrants de McAllen (Texas).

Attaqué pour sa couverture, qui a été largement jugée trompeuse, y compris par la Maison Blanche, Time a déclaré qu’il maintenait sa décision de la publier.

« La photographie du 12 juin de la petite Hondurienne de 2 ans est devenue le symbole le plus visible du débat sur l’immigration actuellement en cours aux Etats-Unis et il y a une raison pour cela », a affirmé dans un communiqué aux médias américains le rédacteur en chef de Time, Edward Felsenthal.

« Dans le cadre de la politique appliquée par l’administration, avant son revirement de cette semaine, ceux qui traversaient la frontière illégalement étaient l’objet de poursuites criminelles, qui entraînaient à leur tour la séparation des enfants et des parents. Notre couverture et notre reportage saisissent les enjeux de ce moment », argumente M. Felsenthal dans son communiqué.

Un autre cliché montre une vingtaine d’enfants derrière une grille, certains d’entre eux tentant d’y grimper. Il circule depuis des jours comme une supposée photo de centres de détention pour mineurs à la frontière mexicaine.

Mais son auteur, Abed Al Ashlamoun, photographe de l’agence EPA, a pris cette image en août 2010 et elle représente des enfants palestiniens attendant la distribution de nourriture pendant le ramadan à Hébron, en Cisjordanie.

Enfin, une troisième image est celle d’un enfant en train de pleurer dans ce qui semble être une cage, et qui remporte un grand succès sur Twitter, où elle a été partagée au moins 25.000 fois sur le compte @joseiswriting.

Encore une fois, il s’agit d’un trompe-l’oeil: il s’agit d’un extrait d’une photo qui mettait en scène des arrestations d’enfants lors d’une manifestation contre la politique migratoire américaine et publiée le 11 juin dernier sur le compte Facebook Brown Berets de Cemanahuac.

Que peut-on conclure?

Les trois photographies mentionnées et amplement partagées sur internet ont été sorties de leur contexte et détournées, et ne peuvent servir de preuves des conditions de vie dans les centres de détention de mineurs clandestins.

Voir enfin:

Cette enfant n’a pas été séparée de ses parents. Sa photo reste un symbole

Cette fillette en pleurs a fait la couverture du « Time », où elle illustre la dureté de la politique de Trump en matière d’immigration.

Plus de 2.300 enfants ont été séparés de leurs parents à la frontière entre les Etats-Unis et le Mexique, en raison de la politique de tolérance zéro de Donald Trump face à l’immigration illégale.  Une politique largement critiquée à travers le monde, et que le président américain a fini par infléchir par décret vendredi : les enfants ne seront plus séparés de leurs parents mais… placés dans des centres de rétention avec eux.

De nombreuses photos et vidéos circulent sur internet pour illustrer cette politique.

La plus célèbre d’entre elles montre une fillette hondurienne, Yanela Varela, en larmes. Elle a été prise le 12 juin dans la ville de McAllen, au Texas, par John Moore, un photographe qui a obtenu le prix Pulitzer et travaille pour l’agence Getty Images.

Le magazine « Time » en a fait sa couverture, mettant face à face, dans un photomontage sur fond rouge, la petite fille apeurée et un Donald Trump faisant presque trois fois sa taille et la toisant avec cette simple légende : « Bienvenue en Amérique ».

La fillette et sa mère n’ont pas été séparées

Un article en ligne publié par Time et portant sur cette photo affirmait initialement que la petite fille avait été séparée de sa mère. Mais l’article a rapidement été corrigé, la nouvelle version déclarant :

« La petite fille n’a pas été emmenée en larmes par des agents de la police frontalière des Etats-Unis, sa mère est venue la chercher et elles ont été emmenées ensemble. »« La fillette, qui va avoir deux ans, n’a pas été séparée » de ses parents, a aussi fait savoir à l’AFP la responsable de la Direction de protection des migrants au ministère des Affaires étrangères du Honduras.

Confirmation également du père de l’enfant, Denis Varela, qui a dit au « Washington Post » que sa femme Sandra Sanchez, 32 ans, n’avait pas été séparée de Yanela et que les deux étaient actuellement retenues dans un centre pour migrants de McAllen, au Texas.

Le camp Trump s’est rapidement saisi de l’affaire pour crier à la fausse nouvelle.

« Il est honteux de la part des démocrates et des médias d’exploiter la photo de cette petite fille pour faire avancer leurs idées », a tweeté vendredi Sarah Sanders, la porte-parole de la Maison-Blanche.

« Le ‘Time’ a dépassé les bornes. Ils se sont séparés de la vérité », a aussi réagi Ari Fleischer, ancien porte-parole de George W. Bush.

Le « Time » maintient

Critiqué, le magazine « Time » a toutefois défendu sa position. Dans un communiqué aux médias américains, le rédacteur en chef du magazine, Edward Felsenthal, explique :

« La photographie du 12 juin de la petite Hondurienne de 2 ans est devenue le symbole le plus visible du débat sur l’immigration actuellement en cours aux Etats-Unis et il y a une raison pour cela. »Il poursuit :

« Dans le cadre de la politique appliquée par l’administration, avant son revirement de cette semaine, ceux qui traversaient la frontière illégalement étaient l’objet de poursuites criminelles, qui entraînaient à leur tour la séparation des enfants et des parents. Notre couverture et notre reportage saisissent les enjeux de ce moment. »

Le père « fier » de sa fille

« Je crois que cette image a éveillé les consciences sur la politique de zéro tolérance de cette administration », commente John Moore, le photographe, auprès du « Washington Post ». Il explique que le « Time » a modifié son article à sa demande, quelques minutes après l’avoir publié, et poursuit :

« Cette image montrait un moment précis à la frontière, mais […] la détresse de la petite fille ont provoqué une réponse. »Au-delà de la prise de conscience, la photo de la petite fille a même contribué à déclencher des donations d’un total de plus de 18 millions de dollars à une association texane d’aide aux migrants appelée RAICES.

Quant au père de la fillette, également interrogé par le « Washington Post », il estime que la photo ne doit pas permettre de douter des « violations des droits humains » en cours à la frontière et se dit « fier » que sa fille « représente la question de l’immigration » et ait conduit à une modification de la politique de Donald Trump.

COMPLEMENT:

Not Every Concentration Camp Is Auschwitz

Why it’s fair to use the controversial phrase in the debate over U.S. immigrant detentions.

Refugees sit and lay on the sidewalk in this historic black-and-white photo.
Poor refugees languish along the sidewalks of the reconcentrados, or concentration camps, of Havana. Hugh L. Scott/Library of Congress/Corbis/VCG via Getty Images

As one of the few journalists permitted to tour the government’s new internment camp, about 40 miles from the southern border, the New York Times correspondent tried to be scrupulously fair. Forcing civilians to live behind barbed wire and armed guards was surely inhumane, and there was little shelter from the blazing summer heat. But on the other hand, the barracks were “clean as a whistle.” Detainees lazed in the grass, played chess, and swam in a makeshift pool. There were even workshops for arts and crafts, where good work could earn an “extra allotment of bread.” True, there had been some clashes in the camp’s first days—and officials, the reporter noted, had not allowed him to visit the disciplinary cells. But all in all, the correspondent noted in his July 1933 article, life at Dachau, the first concentration camp in Nazi Germany, had “settled into the organized routine of any penal institution.”

In the days since U.S. border protection agents released video of immigrants being kept in cages, and the first detained children began arriving behind the barbed-wire fences of a new government camp at Tornillo, Texas, people across the country have been struggling over how to think about what the Trump administration is doing. Some, horrified by the images and a leaked recording of children plaintively crying for the mothers and fathers from whose arms they’d been torn, have drawn comparisons to concentration camps of the past—particularly the most notorious ones of all, those of Nazi Germany in the 1930s and 1940s. For others that comparison is going too far. “Stop already with the Nazi and Hitler analogies. Really. Stop,” conservative writer John Podhoretz tweeted. “What’s happening is its own kind of bad and you court discrediting the seriousness of your complaints about it by overstating things so tastelessly and wrongly.”

This is not just a debate over semantics. How we categorize what is happening on the Southern border has everything to do with how the public and lawmakers will respond. That is why Trump administration officials have spent so much time trying to justify, lie, and shift blame for their new policy. Even Attorney General Jeff Sessions was forced to confront the concentration camp label on Fox News, which he tried incoherently to deflect. It’s obviously true that the Customs and Border Protection camp at Tornillo is no Auschwitz. But in dismissing any such historical comparisons out of hand, people are making the common mistake of reading history backward—looking only at the endpoint of a decadeslong process and ignoring the hard lessons humanity has learned, again and again, about where a policy like the one President Donald Trump and his supporters are now implementing can go. To see what I mean, you have to start at the beginning of the short and brutal history of the concentration camp.

Concentration camps were born out of war—not in Europe, but Latin America. In 1896, the Spanish empire was trying desperately to hold onto one of its last remaining colonies, Cuba. Independence wars had been raging there for three decades, and the fight wasn’t going well for Spain. Cuban revolutionaries, known as mambises, used ambushes, dynamite, and their deep knowledge of Cuba’s mountainous countryside to defeat colonial reinforcements. Believing the mambises’ advantage lay in the support and intelligence they received from rural communities, the island’s Spanish governor, Gen. Valeriano Weyler y Nicolau, declared a new policy he called, euphemistically, reconcentración. Starting on Oct. 21, 1896, all civilians had to move behind the barbed wire of a handful of garrison towns controlled by the Spanish army. Any Cuban found moving freely or transporting food through the countryside was subject to execution. Knowing from the start that controlling the people required controlling information, Weyler also set out to aggressively censor any news critical of what he was doing.

The immediate result was a humanitarian catastrophe. Hundreds of thousands died of disease and hunger. An assistant U.S. attorney, Charles W. Russell, who toured the island in January 1898, told the New York Times he had seen “women and children emaciated to skeletons and begging everywhere about the streets of Havana” and cities where a fifth of the population had died in the previous three months. A previous Spanish governor-general had considered, then decided against, implementing the policy, knowing full well how brutal its effects would be. But Weyler was a hard-liner who saw no difference between mambises and Cuban civilians. He believed it was his duty to starve and demoralize the people into surrender. But the unintended consequences of reconcentración doomed his war effort. Even Cubans who had been ambivalent about independence now resolved to fight to the death, since that seemed to be the only option either way. Worse for Spain, the horrific reports scandalized Cuba’s neighbors in the United States. When the battleship USS Maine exploded in Havana Harbor in February 1898, for reasons that still remain unknown, advocates for U.S. entry into the war only had to remind the public of the concentration camps to convince them the fading European power was capable of any evil.

But Americans would be next to put concentration camps into action. America’s entry into the Spanish-Cuban war mushroomed into a conflict on two continents, in which the United States annexed the Spanish territories of Puerto Rico, Guam, and the Philippines, as well as previously independent Hawaii. (We effectively took over Cuba, too, and established a naval station at Guantánamo Bay, where a century later another infamous prison camp would be built.) U.S. officials were especially pleased with the capture of the Philippines, a resource-rich archipelago and source of new land on China’s doorstep. Filipinos were not as enthusiastic about one imperial overlord replacing another, and in 1899 a new war broke out. As a guerrilla insurgency mounted, Gen. James Franklin Bell ordered Filipinos herded into “protected zones,” where they would be prisoners of the U.S. Army. As in Cuba, violators would be shot. “While Army officers … claimed that the camps were healthy and not overcrowded,” the military historian Brian McAllister Linn has written, the cost in human suffering was “unquestionably high.” Americans were shocked to learn their forces had adopted the tactics of “Butcher Weyler.” An anti-imperialist senator read into the record an anonymous U.S. soldier’s letter describing an American concentration camp in the Philippines as “some suburb of hell.” Such reports helped undermine public support for the war, though the U.S. occupation of the Philippines would continue until after World War II.

Those first experiments helped establish a pattern that concentration camps would follow from then on: punishing civilians through mass detention and keeping them separate from society. Some observers, looking even further back, see foreshadows in other parts of history, including the breaking up of African and black American families during slavery, and the forcible displacement of Native Americans in the conquest of North America. But researchers note key, specific characteristics that set the concentration camp apart from other atrocities. Camps “require the removal of a population from society with all its accompanying rights, relationships, and connections to humanity,” author Andrea Pitzer writes in her 2017 book One Long Night: A Global History of Concentration Camps. “This exclusion is followed by an involuntary assignment to some lesser condition or place, generally detention with other undesirables under armed guard.”

Removal, exclusion, denial of rights, mass detention—those tactics appeared again in the concentration camps Britain used to subdue the Dutch-descended Boers of South Africa in 1900, the imprisonment of “enemy alien” civilians on all sides in World War I, and the Soviet Union’s “corrective labor camps,” better known by the Russian acronym for the agency that administered them: Gulag. The United States used them on its own territory in World War II to imprison its own citizens of Japanese descent. Not yet fully discredited as a term, President Franklin D. Roosevelt himself suggested in a 1936 memo, written five years before the attack on Pearl Harbor that, should Japan strike, the Navy should prepare to put Hawaii residents of Japanese descent into a “concentration camp in the event of trouble.”

Which brings us back, historically speaking, to Nazi Germany. When Adolf Hitler came to power in 1933, he made no secret of his intentions to punish those he viewed as enemies, stamp out “undesirables,” and restore an imagined Teutonic greatness of the past. His government built its first concentration camp at Dachau just over a month after he became chancellor, to house political opponents of the new regime. Hitler knew the histories of Spain, Britain, and the United States. He had experienced the strategies of stripping citizenship from and forcibly imprisoning civilian populations during World War I. As he consolidated power, his staff ramped up pre-emptive arrests of anyone it deemed a target or threat, gaining confidence with every step.

It is important to understand that at the time, no one—not even Nazis—thought of such camps as places for extermination. Concentration campKonzentrationslager in German—was still a euphemism for forcible relocation and imprisonment, not murder. Even Auschwitz wasn’t “Auschwitz” at first—at least not in the sense we mean it today. When the Nazis built what would become their most notorious camp in German-occupied Poland, in 1940, it was used first for criminals, then expanded in anticipation of receiving Soviet prisoners of war. Despite seeming in retrospect to have been masterfully planned, historians believe, Nazi rule was mostly “chaotic and improvisatory,” taking advantage of circumstances as they arose. It was not until 1942, as the Nazi high command decided on a campaign of total genocide against the Jewish people, that camps were redesigned for mass murder. By the end, an initial population of a few thousand prisoners had ballooned to more than 1.3 million who passed through Auschwitz’s iron gates. Most would never return.

After the war, when the scale and horror of the genocide became clear to the world, anything associated with Nazism, including the term concentration camp, became an explosive insult. But as ridiculous as it would be for modern generals not to study tactics the Nazis used, it would be absurd for people today to ignore modern parallels with the most dangerous parts of history just because invoking them risks an imperfect comparison with the Holocaust. It’s an unavoidable fact that one of the major reasons the Nazis were able to kill so many people so easily, once they decided to, was the dehumanization and isolation created by their original concentration camps. Convincing a bureaucracy to massacre civilians is hard. Subjecting legal prisoners to Sonderbehandlung, or “special treatment,” as the killing of 6 million Jews and many others was officially called, was easier. As the philosopher Hannah Arendt, a refugee from the Nazis who spent time imprisoned in a French concentration camp before the German invasion, later observed: “All [concentration camps] have one thing in common: The human masses sealed off in them are treated as if they no longer existed, as if what happened to them were no longer of any interest to anybody, as if they were already dead.”

We are not there yet in this country. But what is happening near the Southern border is an unmistakable step down that road. In a Tuesday tweet defending his new policies, Trump blamed his political enemies, the Democrats, for being “the problem,” and accused them of conspiring with immigrants who want to “pour into and infest our Country.” He has repeatedly accused the people he is now detaining from across Central America, including presumably their children, of being reinforcements for a Salvadoran-American criminal gang. Forget for a second that illegal immigration to the United States has declined consistently since its peak more than a decade ago in 2007, that immigrants commit less crime than native-born Americans, or that most of the Central American children, women, and men imprisoned on the border are fleeing violence and poverty fueled by civil wars in which the United States played a leading role. Trump’s language, using a verb—infest—usually reserved for vermin or disease, is exactly in line with the kind of rhetoric and action that has defined concentration camps since 1896: the denial of rights, isolation, and concentration of undesirables by force.

Some may hope that these revitalized horrors will stay limited to the most vulnerable people—even including families who have risked everything to travel thousands of miles in hopes of reaching safety. But as the path from Spanish reconcentración to the gulags and death camps of the 20th century showed, once it is tolerated by society, a tactic does not tend to stay bottled up for long. Already the Trump administration has signaled its intention to begin stripping U.S. citizenship from those it feels don’t deserve it. Considering how even U.S. citizens deemed enemy combatants have already been treated under George W. Bush and Barack Obama, there is no telling what treatment people formally stripped of their most fundamental rights might expect if these new policies are allowed to continue.

Like with camps of the past, the Trump administration has tried to control the flow of information about what is going on inside the barbed wire. CBS News’ David Begnaud, one of the few allowed to see the cages at Central Processing Station “Ursula” in McAllen, Texas, reported after his visit that his team was not allowed to talk to anyone detained. Not only could the journalist not learn about the detainees’ experiences, but he was not allowed to put names or human faces on anyone being held. When information does get out, officials like Homeland Security Secretary Kirstjen Nielsen are instructing supporters not to believe it—a tactic that, as all authoritarian regimes have proved, often works.

Nonetheless, a clear majority of Americans are opposed to the most hard-line tactics being implemented on the border. Those numbers are likely to grow as stories mount about conditions in the sweltering heat at Tornillo and the baby jails of South Texas. Protests are underway, with nationwide marches planned for June 30. Some in the administration and its supporters are trying to stop the backlash by noting that inhumane deportation and detention practices existed under previous administrations as well—a fact that has been widely covered for years. But everyone builds on what comes before them.

Voir aussi:

An Expert on Concentration Camps Says That’s Exactly What the U.S. Is Running at the Border

« Things can be concentration camps without being Dachau or Auschwitz. »

New Tent Camps Go Up In West Texas For Migrant Children Separated From Parents

Joe RaedleGetty Images

Surely, the United States of America could not operate concentration camps. In the American consciousness, the term is synonymous with the Nazi death machines across the European continent that the Allies began the process of dismantling 75 years ago this month. But while the world-historical horrors of the Holocaust are unmatched, they are only the most extreme and inhuman manifestation of a concentration-camp system—which, according to Andrea Pitzer, author of One Long Night: A Global History of Concentration Camps, has a more global definition. There have been concentration camps in France, South Africa, Cuba, the Soviet Union, and—with Japanese internment—the United States. In fact, she contends we are operating such a system right now in response to a very real spike in arrivals at our southern border.

“We have what I would call a concentration camp system,” Pitzer says, “and the definition of that in my book is, mass detention of civilians without trial.”

Historians use a broader definition of concentration camps, as well.

« What’s required is a little bit of demystification of it, » says Waitman Wade Beorn, a Holocaust and genocide studies historian and a lecturer at the University of Virginia. « Things can be concentration camps without being Dachau or Auschwitz. Concentration camps in general have always been designed—at the most basic level—to separate one group of people from another group. Usually, because the majority group, or the creators of the camp, deem the people they’re putting in it to be dangerous or undesirable in some way. »

« Things can be concentration camps without being Dachau or Auschwitz. »

Not every concentration camp is a death camp—in fact, their primary purpose is rarely extermination, and never in the beginning. Often, much of the death and suffering is a result of insufficient resources, overcrowding, and deteriorating conditions. So far, 24 people have died in the custody of Immigration and Customs Enforcement under the Trump administration, while six children have died in the care of other agencies since September. Systems like these have emerged across the world for well over 100 years, and they’ve been established by putative liberal democracies—as with Britain’s camps in South Africa during the Boer War—as well as authoritarian states like Nazi Germany or the Soviet Union. Camps set up with one aim can be repurposed by new regimes, often with devastating consequences.

History is banging down the door this week with the news the Trump administration will use Fort Sill, an Oklahoma military base that was used to detain Japanese-Americans during World War II, to house 1,400 unaccompanied migrant children captured at the border. Japanese internment certainly constituted a concentration-camp system, and the echoes of the past are growing louder. Of course, the Obama administration temporarily housed migrants at military bases, including Fort Sill, for four months in 2014, built many of the newer facilities to house migrants, and pioneered some of the tactics the Trump administration is now using to try to manage the situation at the border.

Roll call is taken by the army at Japanese internment camp, Tule Lake, CA.

Roll call is taken by the army at a Japanese-American internment camp during World War II in Tule Lake, CA in 1944.

Carl MydansGetty Images

The government of the United States would never call the sprawling network of facilities now in use across many states « concentration camps, » of course. They’re referred to as « federal migrant shelters » or « temporary shelters for unaccompanied minors » or « detainment facilities » or the like. (The initial processing facilities are run by Border Patrol, and the system is primarily administered to by the Department of Homeland Security. Many adults are transferred to ICE, which now detains more than 52,000 people across 200 facilities on any given day—a record high. Unaccompanied minors are transferred to Department of Health and Human Services custody.) But by Pitzer’s measure, the system at the southern border first set up by the Bill Clinton administration, built on by Barack Obama’s government, and brought into extreme and perilous new territory by Donald Trump and his allies does qualify. Two historians who specialize in the area largely agree.


Many of the people housed in these facilities are not « illegal » immigrants. If you present yourself at the border seeking asylum, you have a legal right to a hearing under domestic and international law. They are, in another formulation, refugees—civilian non-combatants who have not committed a crime, and who say they are fleeing violence and persecution. Yet these human beings, who mostly hail from Central America’s Northern Triangle of Honduras, Guatemala, and El Salvador—a region ravaged by gang violence and poverty and corruption and what increasingly appears to be some of the first forced migrations due to climate change—are being detained on what increasingly seems to be an indefinite basis.

Meanwhile, the Trump administration continually seeks new ways to stop people from applying for asylum, and to discourage others from attempting to. The current regime has sought to restrict the asylum criteria to exclude the exact issues, like gang or domestic violence, that these desperate people often cite for why they fled their homes. The administration has sought to introduce application fees and work-permit restraints. They have tried to prohibit migrants from seeking asylum « if they have resided in a country other than their own before coming to the U.S., » which would essentially eliminate anyone who traveled to the border through Mexico. Much of this has been struck down in federal court.

But most prominently, Trump’s Department of Homeland Security has used « metering » at the border, where migrants are forced to wait for days or weeks on the Mexican side—often sleeping in makeshift shelters or fully exposed to the elements—until they are allowed across border checkpoints to make their asylum claims and be processed. That processing system is overwhelmed, and the Obama administration also used metering at various points, but it remains unclear whether the wait times need to be as long as they are. (DHS did not respond to a request for comment.) There are no guarantees on how long migrants will have to wait, and so they’ve increasingly turned to crossing illegally between checkpoints—which constitutes « illegal entry, » a misdemeanor—in order to present themselves for asylum. This criminalizes them, and the Trump administration tried to make illegal entry a disqualifier for asylum claims. The overall effort appears to be to make it as difficult as possible to get a hearing to adjudicate those claims, raising the specter that people can be detained longer or indefinitely.

All this has been achieved through two mechanisms: militarization and dehumanization. In her book, Pitzer describes camps as “a deliberate choice to inject the framework of war into society itself. » These kinds of detention camps are a military endeavor: they are defensible in wartime, when enemy combatants must be detained, often for long periods without trial. They were a hallmark of World War I Europe. But inserting them into civil society, and using them to house civilians, is a materially different proposition. You are revoking the human and civil rights of non-combatants without legal justification.

USA - Immigration Detention Center in Nogales

A migrant family sits inside an Immigration Detention Center in Nogales after they were detained by border patrol agents.

J.Emilio FloresGetty Images

« In the origins of the camps, it’s tied to the idea of martial law, » says Jonathan Hyslop, author of « The Invention of the Concentration Camp: Cuba, Southern Africa and the Philippines, 1896–1907, » and a professor of sociology and anthropology at Colgate University. « I mean, all four of the early instances—Americans in the Philippines, Spanish in Cuba, and British in South Africa, and Germans in Southwest Africa—they’re all essentially overriding any sense of rights of the civilian population. And the idea is that you’re able to suspend normal law because it’s a war situation. »

This pairs well with the rhetoric that Trump deploys to justify the system and his unconstitutional power grabs, like the phony « national emergency »: he describes the influx of asylum-seekers and other migrants as an « invasion, » language his allies are mirroring with increasing extremism. If you’re defending yourself from an invasion, anything is defensible.

That goes hand-in-hand with the strategy of dehumanization. For decades, the right has referred to undocumented immigrants as « illegals, » stripping them of any identity beyond an immigration status. Trump kicked off his formal political career by characterizing Hispanic immigrants as « rapists » and « drug-dealers » and « criminals, » never once sharing, say, the story of a woman who came here with her son fleeing a gang’s threats. It is always MS-13 and strong, scary young men. There’s talk of « animals » and monsters, and suddenly anything is justifiable. In fact, it must be done. Trump’s supporters have noticed. At a recent rally, someone in the crowd screamed out that people arriving at the border should be shot. In response, the president cracked a « joke. »

« It’s important here to look at the language that people are using, » Hyslop says. « As soon as you get people comparing other groups to animals or insects, or using language about advancing hordes, and we’re being overrun and flooded and this sort of thing, it’s creating the sense of this enormous threat. And that makes it much easier to sell to people on the idea we’ve got to do something drastic to control this population which going to destroy us. »

In a grotesque formulation of the chicken-and-the-egg conundrum, housing people in these camps furthers their dehumanization.

« There’s this crystallization that happens, » Pitzer says. « The longer they’re there, the worse conditions get. That’s just a universal of camps. They’re overcrowded. We already know from reports that they don’t have enough beds for the numbers that they have. As you see mental health crises and contagious diseases begin to set in, they’ll work to manage the worst of it. [But] then there will be the ability to tag these people as diseased, even if we created [those conditions]. Then we, by creating the camps, try to turn that population into the false image that we [used] to put them in the camps to start with. Over time, the camps will turn those people into what Trump was already saying they are. »

Spanish Refugees At The Camp In Perthus, France 1939

Spanish Republican refugees are held at a concentration camp in Perthus, France, in 1939. Tens of thousands fled the Spanish civil war and were kept in French camps, which were turned over to the Nazis when France fell a few years later.

Keystone-FranceGetty Images

Make no mistake: the conditions are in decline. When I went down to see the detention facility in McAllen, Texas, last summer at the height of the « zero-tolerance » policy that led inevitably to family separation, Border Patrol agents were by all appearances doing the very best they could with limited resources. That includes the facilities themselves, which at that point were mostly built—by the Clinton administration in the ’90s—to house single adult males who were crossing the border illegally to find work. By that point, Border Patrol was already forced to use them to hold families and other asylum-seekers, and agents told me the situation was untenable. They lacked requisite staff with the training to care for young children, and overcrowding was already an issue.

But according to a report from Trump’s own government—specifically, the inspector general for the Department of Homeland Security—the situation has deteriorated significantly even since then. The facilities are overcrowded, underfunded, and perhaps at a perilous inflection point. It found adult detainees are « being held in ‘standing-room-only conditions’ for days or weeks at a border patrol facility in Texas, » Reuters reports. But it gets worse.

This was at Paso del Norte, a facility near El Paso, which has a stated capacity of 125 detainees. But when DHS inspectors visited, it was holding 900. For a period, Border Patrol tried housing migrants in cage under a nearby bridge. It was ultimately scrapped amid public outcry. When migrants and asylum-seekers are transferred to ICE, things can get worse. Queer and trans migrants face exceptionally harsh treatment, with reports of high levels of physical and sexual abuse, and the use of solitary confinementconsidered torture by many psychologists—is widespread. As a reminder, by DHS’s own assertion, these detainments are civil, not criminal, and are not meant to be punitive in the way of a prison. Many of these people have not even been accused of a crime.

U.S. Customs And Border Protection Agency Holding Detained Migrants Under Bridge In El Paso

Migrants awaiting processing are held in temporary fencing underneath the Paso Del Norte Bridge on March 28, 2019 in El Paso, Texas.

Christ ChavezGetty Images

Again: these are inhuman conditions, and crystalize the dehumanization. So, too, does the Trump administration’s decision, reported by The Washington Post, to cancel classes, recreational programs, and even legal aid for the children held at facilities for unaccompanied minors. Why should these kids get to play soccer or learn English? Why should they get legal assistance? They’re detainees.

The administration is citing « budget pressures » related to what is undoubtedly a dramatic spike in arrivals at the border last month: 144,000 people were detained in May. It remains unclear how much of this is tied to the Trump administration’s border policies, like metering, which have severely slowed the process of declaring oneself for asylum and left people camped on the Mexican border for days or weeks after a thousand-mile trek through Mexico. Or Trump’s recent all-out push to seize money for a border wall and declare « we’re closed, » which some speculate led to a surge of people trying to get over the line before that happened.

It’s also in dispute how many of these people actually need to be detained. Vox‘s Dara Lind suggests releasing migrants from Guatemala or Honduras isn’t straightforward as « many newly arrived asylum seekers aren’t familiar with the US, often speak neither English nor Spanish, and may not have appropriate clothing or funds for bus fare. » But release with ankle bracelets has proven very effective as an alternative to detention: 99 percent of immigrants enrolled in one such program showed up for their court dates, though ICE claims it’s less effective when someone is set to be deported. Those subjected to the bracelets say they are uncomfortable and demeaning, but it’s better than stuffing a detention cell to five-times capacity. Unless, of course, that’s exactly what you want to happen.

« Over time, the camps will turn those people into what Trump was already saying they are. »

« At one point, [the administration] said that they were intentionally trying to split up families and make conditions unpleasant, so the people wouldn’t come to the U.S., » Beorn, from UVA, says. « If you’re doing that, then that’s not a prison. That’s not a holding area or a waiting area. That’s a policy. I would argue, at least in the way that [the camps are] being used now, a significant portion of the mentality is [tied to] who the [detainees] are rather than what they did.

« If these were Canadians flooding across the border, would they be treated in the same manner as the people from Mexico and from Central and South America? If the answer is yes, theoretically, then I would consider these places to be perhaps better described as transit camps or prison camps. But I suspect that’s not how they’d be treated, which then makes it much more about who the people are that you’re detaining, rather than what they did. The Canadian would have crossed the border just as illegally as the Mexican, but my suspicion is, would be treated in a different way. »


It was the revelation about school and soccer cuts that led Pitzer to fire off a tweet thread this week outlining the similarities between the U.S. camp system and those of other countries. The first examples of a concentration camp, in the modern sense, come from Cuba in the 1890s and South Africa during the Second Boer War.

« What those camps had in common with what’s going on today is they involved the wholesale detention of families, separate or together, » Pitzer says. « There was very little in the way of targeted violence. Instead, people died from poor planning, overloaded facilities and unwillingness to reverse policy, even when it became apparent the policy wasn’t working, inability to get medical care to detainees, poor food quality, contagious diseases, showing up in an environment where it became almost impossible to get control of them.

« The point is that you don’t have to intend to kill everybody. When people hear the phrase ‘Oh, there’s concentration camps on the southern border,’ they think, ‘Oh, it’s not Auschwitz.’ Of course, it’s not those things, each camp system is different. But you don’t have to intend to kill everyone to have really bad outcomes. In Cuba, well over 100,000 civilians died in these camps in just a period of a couple years. In Southern Africa during the Boer War, fatalities went into the tens of thousands. And the overwhelming majority of them were children. Fatalities in the camps ended up being more than twice the combat fatalities from the war itself. »

In-custody deaths have not reached their peak of a reported 32 people in 2004, but the current situation seems to be deteriorating. In just the last two weeks, three adults have died. And the Trump administration has not readily reported fatalities to the public. There could be more.

« There’s usually this crisis period that a camp system either survives or doesn’t survive in the first three or four years. If it goes past that length of time, they tend to continue for a really long time. And I think we have entered that crisis period. I don’t yet know if we’re out of it. »

Camps often begin in wartime or a crisis point, and on a relatively small scale. There are then some in positions of power who want to escalate the program for political purposes, but who receive pushback from others in the regime. There’s then a power struggle, and if the escalationists prevail over the other bureaucrats—as they appear to have here, with the supremacy of Stephen Miller over (the reliably pliant but less extreme) Kirstjen Nielsen—the camps will continue and grow. Almost by definition, the conditions will deteriorate, even despite the best intentions of those on the ground.

« It’s a negative trajectory in at least two ways, » Beorn says. « One, I feel like these policies can snowball. We’ve already seen unintended consequences. If we follow the thread of the children, for example, the government wanted to make things more annoying, more painful. So they decided, We’re going to separate the children from the families. But there was no infrastructure in place for that. You already have a scenario where even if you have the best intentions, the infrastructure doesn’t exist to support it. That’s a consequence of policy that hasn’t been thought through. As you see the population begin to massively increase over time, you do start to see conditions diminishing.

« The second piece is that the longer you establish this sort of extralegal, extrajudicial, somewhat-invisible no-man’s land, the more you allow potentially a culture of abuse to develop within that place. Because the people who tend to become more violent, more prejudiced, whatever, have more and more free rein for that to become sort of the accepted behavior. Then, that also becomes a new norm that can spread throughout the system. There is sort of an escalation of individual initiative in violence. As it becomes clear that that is acceptable, then you have a self-fulfilling prophecy or a positive feedback loop that just keeps radicalizing the treatment as the policy itself becomes radicalizing. »

And for a variety of reasons, these facilities are incredibly hard to close. « Unless there’s some really decisive turn away, we’re going to be looking at having these camps for a long time, » Pitzer says. It’s particularly hard to engineer a decisive turn because these facilities are often remote, and hard to protest. They are not top-of-mind for most citizens, with plenty of other issues on the table. When Trump first instituted the Muslim Ban—now considered, in its third iteration, to be Definitely Not a Muslim Ban by the Supreme Court—there were mass demonstrations at U.S. airports because they were readily accessible by concerned citizens. These camps are not so easily reached, and that’s a problem.

« The more authoritarian the regime is, and the more people allow governments to get away with doing this sort of thing politically, the worse the conditions are likely to get, » Hyslop says. « So, a lot of it depends on how much pushback there is. But when you get a totally authoritarian regime like Stalin’s regime in the Soviet Union, there’s no control, or no countervailing force, the state can do what it likes, and certainly things will then tend to break down.

« It’s more of a political question, really. Are people prepared to tolerate the deteriorating conditions? And if public opinion isn’t effective in a liberal democratic situation, things can still get pretty bad. »

Almost regardless, the camps will be difficult to dismantle by their very nature—that extrajudicial « no-man’s land » Beorn mentioned. The prison at Guantanamo Bay is a perfect example. It began in the early 1990s as a refugee camp for people fleeing Haiti and Cuba. The conditions were bad and legally questionable, Pitzer found, and eventually the courts stepped in to grant detainees some rights. In the process, however, they granted the camps tacit legitimacy—they were allowed to continue with the approval of the judiciary.

Suddenly, they were enshrined in the law as a kind of gray area where detainees did not enjoy full human rights. That is actually why it was chosen by the Bush administration to house terror suspects: it was already rubber-stamped as a site for indefinite detention. By the time President Obama came into office with promises to close it, he found the task incredibly difficult, because it had been ingrained in the various institutions and branches of American constitutional government. He could not get rid of it. As courts continue to rule on the border camp system, the same issues are likely to take hold.

Dog, Canidae, Dog breed, Hunting dog, Carnivore, Police dog, Transylvanian hound, Working dog,

Border agents detain a group of migrants.

Getty Images

Another issue is that these camp systems, no matter where they are in the world, tend to fall victim to expanding criteria. The longer they stay open, the more reasons a government finds to put people in them. That’s particularly true if a new regime takes control of an existing system, as the Trump administration did with ours. The mass detention of asylum-seekers—who, again, have legal rights—on this scale is an expansion of the criteria from « illegal » immigrants, who were the main class of detainee in the ’90s and early 2000s. Asylum seekers, particularly unaccompanied minors, began arriving in huge numbers and were detained under the Obama administration. But there has been an escalation, both because of a deteriorating situation in the Northern Triangle and the Trump administration’s attempts to deter any and all migration. There is reason to believe the criteria will continue to expand.

« We have border patrol agents that are sometimes arresting U.S. citizens, » Pitzer says. « That’s still very much a fringe activity. That doesn’t seem to be a dedicated priority right now, but it’s happening often enough. And they’re held, sometimes, for three or four days. Even when there are clear reasons that people should be let go, that they have proof of their identity, you’re seeing these detentions. You do start to worry about people who have legally immigrated and have finished paperwork, and maybe are naturalized. You worry about green-card holders. »

In most cases, these camps are not closed by the executive or the judiciary or even the legislature. It usually requires external intervention. (See: D-Day) That obviously will not be an option when it comes to the most powerful country in the history of the world, a country which, while it would never call them that, and would be loathe to admit it, is now running a system at the southern border that is rapidly coming to resemble the concentration camps that have sprung up all over the world in the last century. Every system is different. They don’t always end in death machines. But they never end well.

« Let’s say there’s 20 hurdles that we have to get over before we get to someplace really, really, really bad, » Pitzer says. « I think we’ve knocked 10 of them down. »

Politics Editor Jack Holmes is the Politics Editor at Esquire, where he writes daily and edits the Politics Blog with Charles P Pierce.

 


Pornographie enfantine: Attention, une perversion peut en cacher une autre ! (Arrested development: How the eternal child misfit or pedophiliac sexual deviant myths finally obscured Lewis Carrol’s life and works)

30 octobre, 2016
This drawing is a self-portrait of Charles Dodgson (Lewis Carroll).151aliceinherbestking-cophetuaA king and a beggar maid *oil on canvas *163 x 123 cm *signed b.l.: E.BLAIR LEIGHTON . 1898hatch_beatrice_lewis_carroll_30-07-1873
olderalicecameron_cupidrejlanderVairumati by Paul GauguinLaissez les petits enfants, et ne les empêchez pas de venir à moi; car le royaume des cieux est pour ceux qui leur ressemblent. Jésus (Matthieu 19: 14
Si quelqu’un scandalisait un de ces petits qui croient en moi, il vaudrait mieux pour lui qu’on suspendît à son cou une meule de moulin et qu’on le jetât au fond de la mer. Jésus (Matthieu 18: 6)
Depuis que l’ordre religieux est ébranlé – comme le christianisme le fut sous la Réforme – les vices ne sont pas seuls à se trouver libérés. Certes les vices sont libérés et ils errent à l’aventure et ils font des ravages. Mais les vertus aussi sont libérées et elles errent, plus farouches encore, et elles font des ravages plus terribles encore. Le monde moderne est envahi des veilles vertus chrétiennes devenues folles. Les vertus sont devenues folles pour avoir été isolées les unes des autres, contraintes à errer chacune en sa solitude.  G.K. Chesterton
Une civilisation est testée sur la manière dont elle traite ses membres les plus faibles. Pearl Buck
N’est-ce pas là, enfant, une ballade du roi et de la mendiante ? Armado (Peines d’amour perdues, IV, 1, Shakespeare)
Her arms across her breast she laid ;
She was more fair than words can say :
Bare-footed came the beggar maid
Before the king Cophetua.
In robe and crown the king stept down,
To meet and greet her on her way ;
“It is no wonder,” said the lords,
“She is more beautiful than day.”
As shines the moon in clouded skies,
She in her poor attire was seen :
One praised her ankles, one her eyes,
One her dark hair and lovesome mien.
So sweet a face, such angel grace,
In all that land had never been :
Cophetua swore a royal oath :
“This beggar maid shall be my queen!”
The Beggar Maid (Alfred Tennyson, 1842)
Selon la légende dont l’origine est inconnue, Cophetua était un roi africain très riche qui avait une absence totale d’attirance sexuelle ou amoureuse pour qui que ce soit. Un jour pourtant, alors qu’il était accoudé à la fenêtre de son palais, il vit passer une jeune mendiante. Ce fut le coup de foudre. Mythologica.fr
Tout art est une révolte contre la morale traditionnelle. Eric Gill (1927)
Il faut peut-être entendre par démocratie les vices de quelques-uns à la portée du plus grand nombre. Henry Becque
Life’s not easy as a Paul Gauguin fan. You are on the defensive too much to be effusive. Gauguin was both a syphilitic paedophile and an artist more important than Van Gogh. See the problem? Foul man, fine artist. Some say our knowledge of the former should change our opinion on the latter. Others, myself among them, think otherwise. The trouble we aesthetes have, though, is that in Gauguin’s case – just like Van Gogh’s – his life was so dramatic it’s hard not to read the biography on to the art. Indeed, much of the power of his most famous works – the Polynesian-babe paintings – derives from our uncomfortable knowledge of the context they were created in. Although rendered innocent and unerotic, these brown-skinned nudes were more than just Gauguin’s models; they were his sex slaves, too. Feminists have justifiably given the Parisian a good hammering down the years. After dumping his wife and five kids, Gauguin upped sticks to Martinique, Brittany, Arles (where he spent nine notorious weeks with van Gogh in 1888), and finally the South Pacific islands of Tahiti and Hiva Oa. He took three native brides – aged 13, 14 and 14, for those keeping score – infecting them and countless other local girls with syphilis. He always maintained there were deep-rooted ideological reasons for his emigration, that he was quitting decadent Paris for a purer life in a fecund South Seas paradise, but one wonders how pure things really were in the hut he christened La Maison du Jouir (“The House of Orgasm”). In short, posterity has Gauguin down as a sinner, and his posthumous punishment is a lack of exposure. The forthcoming retrospective at Tate Modern is the UK’s first major Gauguin show in 50 years. (…) With his patches of strong, undiluted colour, it was but a small step to Matisse – and the rest, as they say, is art history. But how sincere were Gauguin’s claims of taking painting to a higher realm? Many peers distrusted an ex-stockbroker who had turned to art only in his late twenties. “He’s not a seer, he’s a schemer,” one-time mentor Camille Pissarro railed, arguing that Gauguin never really lost his capitalist streak; that with his paintings of sun-soaked islands, Gauguin was just cashing in on the Parisian bourgeoisie’s fondness for all things “other”. As its title, Gauguin: Maker of Myth, suggests, the Tate show will tackle this charge head-on. Far from revealing any deep truth, were Gauguin’s images of the South Pacific really just contrived, faux-exotic picture postcards? The case for the prosecution is strong – take Noa Noa, his journal about life on Tahiti. The occult local legends it relates were actually lifted from a Dutch ethnographer’s accounts of the 1830s. Likewise, his renderings of “Polynesian” statuary were largely inventions, inspired by photographs of South-East Asian art he brought from France. Gauguin had never been a stranger to mythologising, of course. Part of our perception of Van Gogh as a mad, tortured genius stems from Gauguin’s tales of their troubled weeks together in Arles – most notably that of the Dutchman “charging at” him menacingly, “razor in hand”. And Gauguin was a fine self-mythologiser, too. As a self-portrait such as 1889’s Christ in the Garden of Olives exemplifies, he even embraced the role of Christ: martyr for a better type of art that no one else grasped. So, was he a fraud? The romantic in me likes to think not. Besides, moving for good to a hut halfway around the world isn’t really the sort of thing you do lightly. If he was deceiving anyone with his idyllic island pictures, it was most probably himself. To Gauguin’s disbelief, Tahiti wasn’t the “august land” he claimed or had expected – there were too many French missionaries for that. In some paintings, one senses another dark truth surfacing, too: that however hard he tried to “go native”, Gauguin always felt like an outsider, unable to share in the islanders’ profound mysteries. Consider The Ancestors of Tehamana (a portrait of his wife, wearing a high-necked missionary dress). Tehamana sits in front of a frieze that depicts the alien combination of a Buddhist idol, indecipherable glyphs and two evil spirits. She smiles at us, sort of, with all the enigma of a Polynesian Mona Lisa. Beneath the Westernised clothing, and in all but the sexual sense, it seems Gauguin found her impenetrable. His pioneering work with colour and form make the Tate retrospective long overdue. Along with Cézanne, Gauguin must rank as one of the two fathers of modern art, and one hopes he’ll now re-emerge – with characteristic brilliance – from his Dutch sidekick’s shadow. Alastair Smart
Mais il est inutile, à présent, de faire semblant d’être deux ! Alors qu’il reste à peine assez de moi pour faire une seule personne digne de ce nom. Alice
Et la morale de ceci, c’est : Soyez ce que vous voudriez avoir l’air d’être ; ou, pour parler plus simplement : Ne vous imaginez pas être différente de ce qu’il eût pu sembler à autrui que vous fussiez ou eussiez pu être en restant identique à ce que vous fûtes sans jamais paraître autre que vous n’étiez avant d’être devenue ce que vous êtes. La Duchesse
Je marque ce jour d’une pierre blanche. Le résultat de cette activité forcenée, sournoise, embarrassée, c’est cette « collection » superbe de photos. Charles Dogson
Ils disent que les photographes sont, dans le meilleur des cas, une race aveugle. Ils disent que nous ne faisons que regarder le combat de l’ombre et de la lumière dans les plus jolis visages, que nous admirons rarement et n’aimons jamais. C’est une illusion que je brûle de faire éclater en morceaux. Charles Dogson
J’espère que vous m’autoriserez à photographier tout au moins Janet nue ; il paraît absurde d’avoir le moindre scrupule au sujet de la nudité d’une enfant de cet âge. Charles Dogson (Lettre à la mère de trois fillettes)
Here I am, an amateur photographer, with a deep sense of admiration for form, especially the human form, and one who believes it to be the most beautiful thing God has made on this earth. […] Now, your Ethel is beautiful both in face and form ; and is also a perfectly simple-minded child of Nature, who would have no sort of objection to serving as model for a friend she knows as well as she does me. So my humble petition is, that you will bring the 3 girls and that you will allow me to try some grouping of Ethel and Janet […] without any drapery or suggestion of it. I need hardly say that the pictures should be such as you might if you liked frame and hang up in your dining room. On no account would I do a picture which I should be unwilling to show to all the world—or at least the artistic world. If I did not believe I could take such pictures without any lower motive than a pure love of Art, I would not ask it : and if I thought there was any fear of its lessening their beautiful simplicity of character, I would not ask it. Lewis Carroll
I had much rather have all the fairies girls, if you wouldn’t mind. For I confess I do not admire naked boys in pictures. They always seem to me to need clothes : whereas one hardly sees why the lovely forms of girls should ever be covered up ! Lewis Carroll
Ici, on vous met en prison si vous couchez avec une fille de 12 ans alors qu’en Orient, on vous marie avec une gamine de 11 ans. C’est incompréhensible! Klaus Kinski (1977)
De la petite fille, Lewis Carroll s’est fait le servant, elle est l’objet qu’il dessine, elle est l’oreille qu’il veut atteindre, elle est celle à qui il s’adresse véritablement entre nous tous. (…) Il faut dire que le comble du ridicule là dessus est représenté par un psychanalyste, pourtant averti – disons son nom, Schilder1 qui dénonce dans cette œuvre l’incitation à l’agressivité et la pente offerte au refus de la réalité. On ne va pas plus loin dans le contresens sur les effets psychologiques de l’œuvre d’art. (…) on ne lui fait justice, à lui comme à aucun autre, si on ne part pas de l’idée que les prétendues discordances de la personnalité n’ont de portée qu’à y reconnaître la nécessité où elles vont. Il y a bien, comme on nous le dit, Lewis Carroll, le rêveur, le poète, l’amoureux si l’on veut, et Lewis Carroll, le logicien, le professeur de mathématiques. Lewis Carroll est bien divisé, si cela vous chante, mais les deux sont nécessaires à la réalisation de l’œuvre. Le penchant de Lewis Carroll pour la petite fille impubère, ce n’est pas là son génie. Nous autres psychanalystes n’avons pas besoin de nos clients pour savoir où cela échoue à la fin, dans un jardin public. Son enseignement de professeur n’a rien non plus qui casse les manivelles : en pleine époque de renaissance de la logique et d’inauguration de la forme mathématique que depuis elle a prise, Lewis Carroll, quelque amusant que soient ses exercices, reste à la traîne d’Aristote. Mais c’est bien la conjuration des deux positions d’où jaillit cet objet merveilleux, indéchiffré encore, et pour toujours éblouissant : son œuvre. (…) Lewis Carroll je le rappelle était religieux, religieux de la foi la plus naïvement, étroitement paroissiale qui soit, dût ce terme auquel il faut que vous donniez sa couleur la plus crue vous inspirer de la répulsion. (…) Je dis que ceci a sa part dans l’unicité de l’équilibre que réalise l’œuvre. Cette sorte de bonheur auquel elle atteint, tient à cette gouache, l’adjonction de surcroît à nos deux Lewis Carroll, si vous les entendez ainsi, de ce que nous appellerons du nom dont il est béni à l’orée d’une histoire, l’histoire encore en cours, un pauvre d’esprit. Je voudrais dire ce qui m’apparaît la corrélation la plus efficace à situer Lewis Carroll : c’est l’épique de l’ère scientifique. Il n’est pas vain qu’Alice apparaisse en même temps que « L’Origine des Espèces » dont elle est, si l’on peut dire, l’opposition. Registre épique donc, qui sans doute s’exprime comme idylle dans l’idéologie. (…) Pour un psychanalyste, elle est, cette œuvre, un lieu élu à démontrer la véritable nature de la sublimation dans l’œuvre d’art. Lacan
Où l’on voit que, sans beaucoup étendre la portée du signifiant intéressé dans l’expérience, soit en redoublant seulement l’espèce nominale par la seule juxtaposition de deux termes dont le sens complémentaire paraît devoir s’en consolider, la surprise se produit d’une précipitation du sens inattendue : dans l’image de deux portes jumelles qui symbolisent avec l’isoloir offert à l’homme occidental pour satisfaire à ses besoins naturels hors de sa maison, l’impératif qu’il semble partager avec la grande majorité des communautés primitives et qui soumet sa vie publique aux lois de la ségrégation urinaire. Ceci n’est pas seulement pour sidérer par un coup bas le débat nominaliste, mais pour montrer comment le signifiant entre en fait dans le signifié ; à savoir sous une forme qui, pour n’être pas immatérielle, pose la question de sa place dans la réalité. Car à devoir s’approcher des petites plaques émaillées qui le supportent, le regard clignotant d’un myope serait peut-être justifié à questionner si c’est bien là qu’il faut voir le signifiant, dont le signifié dans ce cas recevrait de la double et solennelle procession de la nef supérieure les honneurs derniers.Mais nul exemple construit ne saurait égaler le relief qui se rencontre dans le vécu de la vérité. (…) Un train arrive en gare. Un petit garçon et une petite fille, le frère et la sœur, dans un compartiment sont assis l’un en face de l’autre du côté où la vitre donnant sur l’extérieur laisse se dérouler la vue des bâtiments du quai le long duquel le train stoppe : « Tiens, dit le frère, on est à Dames ! – Imbécile ! répond la sœur, tu ne vois pas qu’on est à Hommes ». Outre en effet que les rails dans cette histoire matérialisent la barre de l’algorithme saussurien sous une forme bien faite pour suggérer que sa résistance puisse être autre que dialectique, il faudrait, c’est bien l’image qui convient, n’avoir pas les yeux en face des trous pour s’y embrouiller sur la place respective du signifiant et du signifié, et ne pas suivre de quel centre rayonnant le premier vient à refléter sa lumière dans la ténèbre des significations inachevées.Car il va porter la Dissension, seulement animale et vouée à l’oubli des brumes naturelles, à la puissance sans mesure, implacable aux familles et harcelante aux Dieux, de la Guerre idéologique. Hommes et Dames seront dès lors pour ces enfants deux patries vers quoi leurs âmes chacune tireront d’une aile divergente, et sur lesquelles il leur sera d’autant plus impossible de pactiser qu’étant en vérité la même, aucun ne saurait céder sur la précellence de l’une sans attenter à la gloire de l’autre. Arrêtons-nous là. On dirait l’histoire de France. Plus humaine, comme de juste, à s’évoquer ici que celle d’Angleterre, vouée à culbuter du Gros au Petit Bout de l’œuf du Doyen Swift.Reste à concevoir quel marchepied et quel couloir l’S du signifiant, visible ici dans les pluriels dont il centre ses accueils au delà de la vitre, doit franchir pour porter ses coudes aux canalisations par où, comme l’air chaud et l’air froid, l’indignation et le mépris viennent à souffler en deçà. Jacques Lacan (L’Instance de la lettre dans l’inconscient ou la raison, 1957) Dans la photo la plus inoubliable et sans doute la plus révélatrice qu’il ait jamais prise, « La Petite mendiante », Alice, debout contre un mur sale, ses jambes et ses pieds nus, nous regarde, les yeux pleins d’une énorme tristesse. Sa robe est déchirée et la pend en lambeaux, sa chair nue comme si elle venait d’être violée. Brassaï
Had I done to Dolly, perhaps, what Frank Lasalle, a fifty-year-old mechanic, had done to eleven-year-old Sally Horner in 1948? Vladimir Nabokov
Ici, on vous met en prison si vous couchez avec une fille de 12 ans alors qu’en Orient, on vous marie avec une gamine de 11 ans. C’est incompréhensible! Klaus Kinski (1977)
There’s only three of us in this business. Nabokov penned it, Balthus painted it, and I photographed it. David Hamilton
Dans la catégorie des personnes classées vulnérables, figurent les mineurs. Cependant, le législateur semble estimer que les enfants ne sont pas suffisamment protégés, notamment dans le cadre des activités à caractère sexuel. C’est ainsi que la protection des mineurs, dans ce sens, a été intensifiée dans ce projet de Code, notamment la pornographie enfantine. Surtout pour ceux qui usent de moyens informatiques. Ce qui fait que, maintenant, celui qui produit, enregistre, offre, met à disposition, diffuse, transmet une image ou une représentation présentant un caractère de pornographie infantile par le biais d’un système informatique, est puni d’un emprisonnement de 5 à 10 ans. Les mêmes peines sont appliquées à toute personne qui possède, en connaissance de cause, une image ou une représentation présentant un caractère de pornographie enfantine dans un système informatique ou dans un moyen quelconque de stockage de données informatiques. Aussi, toute personne qui facilite sciemment à un mineur, l’accès à des images, documents présentant un caractère de pornographie, sera condamnée à une peine comprise entre 5 et 10 ans de prison. Aussi, celui qui propose intentionnellement, par le biais des technologies de l’information et de la communication, une rencontre avec un mineur, dans le but de commettre à son encontre une des infractions comme le viol, la pédophilie ou l’attentat à la pudeur, sera puni des mêmes peines. Et le législateur opte pour la répression en attestant que, lorsque la proposition sexuelle a été suivie d’actes matériels conduisant à ladite rencontre, le juge ne pourra ni prononcer le sursis à l’exécution de la peine, ni appliquer à l’auteur les circonstances atténuantes. IGFM
C’est une décision absurde de la Tate. Je ne serais peut-être pas arrivé à la même conclusion que la Tate, mais finalement, la décision est raisonnable et défendable. Si les photos montrent des jeunes filles qui ont été abusées, il est logique d’avoir un mouvement de recul. Anthony Julius (avocat)
La Tate a pris la bonne décision, parce que, moralement, les modèles sont en droit de ne pas vouloir être exposées. (…) Même en imaginant que ces oeuvres aient été réalisées par quelqu’un qui n’avait rien fait de mal, ces images sont troublantes. Elles montrent des petites filles sexualisées, et rappellent que des pulsions sombres peuvent exister en chacun de nous. Il n’est pas question d’agir sur ces pulsions, mais cela ne veut pas dire qu’elles n’existent pas. Matthew Kieran (philosophe, université de Leeds)
Fallait-il ou non montrer les oeuvres de Graham Ovenden ? Né en 1943, l’artiste britannique s’est fait connaître par ses photographies d’enfants de rue, avant de devenir une figure contestée de la peinture pop art. Le 2 avril, il a été reconnu coupable de pédophilie pour six chefs d’accusation concernant l’indécence envers un mineur et un chef d’accusation concernant la molestation sexuelle de mineur. Quatre femmes, qui avaient posé pour lui enfants, l’accusaient d’avoir abusé d’elles entre 1972 et 1985. Elles ont raconté notamment qu’il leur mettait un foulard sur les yeux pour organiser des « jeux de dégustation » menant à des abus sexuels oraux. (…) Deux jours après la condamnation, la Tate Gallery, qui possédait trente-quatre de ses oeuvres, a décidé de les retirer de la vue du public. Ces photos de jeunes filles plus ou moins dénudées, dans des poses parfois ambiguës – l’une montre clairement le pubis –, n’étaient pas exposées mais elles étaient disponibles sur le site Internet, et elles pouvaient être vues sur rendez-vous. Ce n’est plus le cas. La décision est controversée. Les oeuvres, jugées intéressantes avant le procès, sont-elles soudain différentes ? Ont-elles perdu leur valeur artistique ? (…) Le problème est que les noms des quatre plaignantes n’ont pas été publiés pour des raisons légales : personne ne sait donc si elles figurent sur les photos de la Tate. Le Monde a décidé de ne pas publier, pour cette page, de photos ou de peintures de Graham Ovenden montrant de très jeunes filles nues. Nous risquerions, puisque nous ignorons l’identité des femmes qui ont déposé plainte, de montrer des jeunes filles qui ont été abusé avant ou après les séances de pose avec le photographe. Nous publions en revanche des portraits de Maud Hewes qui, jeune fille, a posé à de nombreuses reprises pour Graham Ovenden : elle a témoigné n’avoir jamais été abusée par l’artiste. Dans certaines de ces images, l’ambiguïté saute aux yeux. Et voilà toute la difficulté : c’est précisément ce qui en fait l’intérêt. (…) Pour le philosophe, ces oeuvres soulèvent des questions intéressantes, si pénibles soient-elles. C’est pour cela qu’il avertit : il ne faut pas détruire le travail de Graham Ovenden ou imposer une censure d’Etat. Dans de nombreuses années, quand les victimes ne seront plus vivantes, il sera de nouveau possible de les exposer, estime-t-il. C’est d’ailleurs le cas de bien des oeuvres. En 1912, Egon Schiele (1890-1918) avait été condamné à vingt et un jours de prison après avoir abusé d’une fillette de 12 ans – la jeune fille avait cependant retiré son accusation pendant le procès. Les toiles du peintre autrichien n’en sont pas moins exposées dans les musées du monde entier. Des corps anguleux et nus, parfois de très jeunes femmes, laissant voir avec précision les organes génitaux. L’artiste britannique Eric Gill (1882-1940), qui a notamment réalisé les bas-reliefs du chemin de croix de la cathédrale catholique de Westminster, à Londres, est également un cas qui laisse songeur. Il a eu des relations incestueuses avec sa soeur, violé ses enfants, et eu des expériences sexuelles avec son chien. Ecstasy, un bas-relief présentant un couple en pleine fornication, est aujourd’hui en possession de la Tate. Connaître les méfaits de l’artiste change-t-il quelque chose à l’appréciation de son oeuvre ? Le Monde
Les photos d’art montrant des enfants nus sont-elles acceptables ? En Australie, c’est devenu un débat national, discuté dans les dîners ou à la tête du gouvernement. S’attaquant au sujet, une revue d’art australienne, Art Monthly Australia, vient de publier, en couverture de son numéro de juillet, la photographie d’une fillette de 6 ans, nue. Mal lui en a pris : la commission australienne de classification va procéder à l’examen de la revue pour déterminer si elle peut être vendue librement. (…) Tout a débuté lorsque fin mai, la police fédérale a mené une perquisition dans une galerie d’art de Sydney, sur le point d’inaugurer une exposition de Bill Henson, un photographe renommé, connu pour ses portraits en noir et blanc. Les policiers emportent alors des épreuves photographiques montrant une adolescente poitrine nue. L’affaire prend rapidement une dimension nationale, lorsque le premier ministre, Kevin Rudd, se dit « absolument révolté » par les images. Tandis que des associations de défense des enfants protestent contre une « exploitation » des adolescents photographiés, de nombreux artistes crient, eux, à la censure. Une lettre, signée des grands noms de la scène artistique australienne, dont l’actrice Cate Blanchett, est même adressée au premier ministre pour lui demander de revenir sur ses déclarations. Il y a quelques jours, la police a finalement annoncé qu’aucune poursuite ne serait engagée à l’encontre de Bill Henson. Mais la publication du dernier numéro d’Art Monthly a ravivé les tensions. Sur le cliché, datant de 2003, la photographe Polixeni Papapetrou a fait poser sa fille, les bras croisés autour d’une jambe, dans une posture qui ne présente a priori rien de provocateur. « Cette photo a fait le tour des expositions à travers le pays depuis cinq ans, sans aucun problème. La réaction des médias et du public pose des questions non pas sur la photo, mais sur l’évolution de la société », soutient le rédacteur en chef du magazine, Maurice O’Riordan. Cette fois encore, le premier ministre travailliste a condamné les images : « Nous parlons de l’innocence de petits enfants ici. (…) Franchement, je ne peux pas supporter ce genre de choses », a affirmé M. Rudd. Dans les médias, parents ou commentateurs s’indignent de nouveau. « Le débat n’est pas le bon : on ferait mieux de se battre pour les enfants vraiment exploités », commente pour sa part James McDougall, directeur du Centre légal australien pour les enfants et les jeunes. Le Monde (2008)
Lewis Carroll was a proper English don at Oxford, and the son of a minister; I don’t think he would have done anything. He was a romantic; he thought that young girls were made in the image of God, that they were perfect. He thought they were absolutely beautiful and they are.’ Polixeni Papapetrou
I think that the picture my mum took of me had nothing to do with being abused and I think nudity can be a part of art.  Olympia Nelson (11)
It’s hard to see what all the fuss is about. AMA’s cover is an obvious reworking of Lewis Carroll’s 1873 photograph of Beatrice Hatch, aged seven (3). Carroll’s photograph also shows a nude girl sitting on a seaweed-covered rock, with white cliffs in the background. The backdrop is hand-painted on glass. Carroll’s photo is taken sideways on, while Olympia is photographed looking directly at the camera, but otherwise the poses are similar. Beatrice Hatch was a daughter of Edwin Hatch, a theologian who was then vice-principal of St Mary Hall, Oxford, and later university reader in Ecclesiastical history. The Hatches allowed Carroll to take a number of nude shots of their young daughters. It’s ironic that, in twenty-first century Australia, similar photos cause a national controversy, with some censorial puritans campaigning for them to be made illegal. The AMA cover is in response to an earlier controversy about childhood and nudity. In May this year, the police raided the Roslyn Oxley9 gallery in Sydney and confiscated photographs of nude teenagers by Bill Henson, only hours before the opening of an exhibition. Henson is a leading Australian photographer, whose work features in collections throughout the country and who has had great acclaim internationally.  Rudd condemned Henson’s photos, too and called them ‘revolting’. He said: ‘I am passionate about children having innocence in their childhood.’ (4) Hetty Johnston, founder of the Australian child protection pressure group Bravehearts, called for Henson and the Roslyn Oxley9 gallery to be prosecuted. After a brief, but intense period of public controversy, during which the Roslyn Oxley9 gallery received firebomb threats, the Sydney authorities decided that there were no grounds to prosecute either Henson or the gallery. However, by then, presumably on a precautionary basis, the Roslyn Oxley9 gallery itself had pulled two of Henson’s photographs from its website, Untitled #8 and Untitled #39. There is nothing offensive about these particular images, and their abrupt removal from public view illustrates the chilling effect of moral panics about art, nudity and the young on artistic freedom and free speech. They lead to more and more shrill protests and to self-censorship in order to avoid controversy. It is remarkable that the gallery had held a similar show of Henson’s work in 2006, which is still available to view on the gallery’s website. This again featured some pictures of nude young models, shot in a moody light, but apparently no one was sufficiently affronted to complain to the authorities on that occasion. Now, Hetty Johnston has said that the nude photographs in the current issue of AMA amount to the ‘sexual exploitation of children’. She has called for new laws to make it illegal to take a photo of a naked child for exhibition, sale or publication. Puritanism is on the march here. And as Oscar Wilde observed: ‘Puritanism is never so offensive and destructive as when it deals with art matters.’ Defending the magazine’s cover, AMA editor Maurice O’Riordan said that he intended to ‘restore some dignity to the debate … and validate nudity and childhood as subjects for art’ (5). A blanket ban on photographs of naked children will not stop child abuse, and the notion that merely photographing a naked child or teenager is tantamount to child abuse is difficult to take seriously. The assumption that any photograph of a naked child is pornographic is simply ridiculous. Article 20.2 of the Council of Europe’s recent Convention on the Protection of Children against Sexual Exploitation and Sexual Abuse (25 October 2007), for example, gives a much more restrictive definition: ‘The term “child pornography” shall mean any material that visually depicts a child engaging in real or simulated sexual explicit conduct or any depiction of a child’s sexual organs for primarily sexual purposes.’ Is Johnston suggesting that parents should not be able to take nude photos of their own children? No one would condone a parent who permitted pornographic pictures to be taken of their child, or allowed them to be put into public circulation, but underlying Johnston’s proposal is a profound mistrust of all adults, as well as the corrosive idea that nudity is inherently corrupting. If all photos of nude children were to be banned, then logically there is no reason why photographs of Donatello’s David should not also be banned, along with Lewis Carroll’s photos of nude children, much of Wilhelm von Gloeden’s oeuvre, and any reproduction of Bronzino’s Allegory of Venus with Cupid, to name but a few. Indeed, applying Johnston’s baleful logic, just about every image in Western medieval and Renaissance art showing the naked infant Jesus, putti or Cupid would similarly need to be banned to protect us from our baser impulses. This new Puritanism would seem to be heading in the direction of a regressive anti-aesthetic, which dictates that any reproduction of the naked human form is unacceptable. Barbara Hewson (barrister, Hardwicke Building, London)
Sous le lit de mes parents, il y avait une boîte qui conte­nait des pho­tos de mes parents ado­les­cents en Grèce et aussi les pho­to­gra­phies de leurs pre­mières années en Aus­tra­lie. Je sor­tais ces pho­tos toutes les semaines pour les étudier. Elles étaient un mys­tère pour moi. Je ne peux pas pré­ci­sé­ment me sou­ve­nir d’une seule image comme la pre­mière mais cette boîte de pho­to­gra­phies fut cer­tai­ne­ment pour moi ma pre­mière ren­contre avec les images. Beau­coup plus tard, quand je voya­geais en Grèce, on m’a donné la seule pho­to­gra­phie sur­vi­vante de mes grands-parents que je n’ai jamais ren­con­trés. Ce n’est pas la pre­mière image dont je me sou­viens mais c’est l’image la plus mémo­rable pour moi. (…) Quand j’ai com­mencé l’école pri­maire, je ne savais pas par­ler anglais. On me demanda de lire un livre d’école inti­tulé « John et Betty ». Ce livre défi­nis­sait les attentes des filles et des gar­çons de l’époque. Comme nous n’avions pas de livres en anglais à la mai­son, j’en ai volé un à l’école mais je fus décou­verte : une lettre fut envoyé à mes parents avec comme résul­tat une punition. (…) J’éprouve beau­coup de rap­pro­che­ments avec les pho­to­graphes et les pra­ti­ciens d’autres arts et la lit­té­ra­ture. Peut-être que ce qui m’en dis­tingue — en dehors de mon passé et de ma per­son­na­lité — est l’opportunité d’avoir pu tra­vailler avec des êtres ins­pi­rés spé­cia­le­ment dans mon enfance. Je pense que j’ai eu un pri­vi­lège unique en ayant accès à leur inno­cence, leur com­pré­hen­sion, leur ima­gi­na­tion, leur intel­li­gence incom­pa­rable et leur naï­veté, leur com­pré­hen­sion natu­relle du sym­bo­lique et leur sens du mer­veilleux. Je me rends compte que tout le monde ne peut aimer la pers­pec­tive fraîche, enchan­tée de ce que les enfants peuvent appor­ter aux adultes quand ils sont trop réflé­chis et conditionnés. (…) Je ne suis pas ouver­te­ment fémi­niste mais ce que je retiens du fémi­nisme est son appré­hen­sion du pou­voir des struc­tures qui fonc­tionnent dans les lignes de démar­ca­tion de la notion de genre – ce que beau­coup de mes pho­to­gra­phies tentent de sub­ver­tir. Un thème per­sis­tant au cours de mon tra­vail est com­ment se tra­vaillent les « changes » à tra­vers les formes et par le jeu de rôle. Par exemple, mes enfants — fémi­nins et mas­cu­lins – ont été bénis habillés de la robe de bap­tême dévo­lues au sexe opposé (« Phan­tom­wise », 2002). J’ai aussi emprunté au fémi­nisme le désir de com­prendre les dyna­miques des filles (« Games of Conse­quence », 2008), le sym­bole phal­lique (« The Ghil­lies », 2013) et plus récem­ment com­ment les femmes, les fleurs et le jar­din ont été réin­ter­pré­tés par les fémi­nistes en tant que décons­truc­tion de la pas­si­vité fémi­nine que sou­ligne toute l’histoire de l’horticulture déco­ra­tive (« Eden », 2016).  Polixeni Papa­pe­trou
Il y a une dizaine d’années, Polixeni Papa­pe­trou a été vic­time d’une stu­pide contro­verse dans son pays. Le pré­texte en était qu’elle pho­to­gra­phiait sa fille (à l’époque âgée de six ans) nue. C’était ne rien com­prendre à ce que Polixeni Papa­pe­trou explore. Prin­ci­pa­le­ment, le thème de la trans­for­ma­tion de l’enfance à l’adolescence, de l’âge adulte à la vieillesse. Son expé­rience de la mala­die l’a ren­due encore plus poreuse à la fra­gi­lité de la vie. La beauté reste l’essence de sa vision des femmes. A sa manière la créa­trice lutte pour leur liberté comme aussi celle de la créa­tion. L’Australienne sait créer un « roman­tisme » très par­ti­cu­lier. Au lyrisme qui dis­sipe l’intelligence, elle pré­fère cette der­nière tout en demeu­rant capable d’offrir des émotions. Elles per­mettent de fran­chir le pas du passé au pré­sent et vers le futur que l’œuvre annonce sub­ti­le­ment au sein de son céré­mo­nial par­ti­cu­lier. Il est intense, dans son écono­mie de moyens l’artiste nour­rit une réelle fée­rie. Il n’existe plus d’un côté le réel et de l’autre sa fic­tion. Ne res­tent que des signes qui se par­tagent entre l’ascèse et la sou­plesse. ils deviennent moins des parures qu’une men­ta­li­sa­tion du réel. Celui-ci change de registre et qua­si­ment de sta­tut en ce qui tient du défi plastique. Le Littéraire.com
Depuis l’affaire Marc Dutroux (1996), la pédophilie est le sujet tabou par excellence. Tout écrivain qui s’avise d’y toucher risque d’être victime d’un lynchage immédiat. Puis-je rappeler, avant de me griller complètement, deux principes de base? 1) Il existe une grande différence entre le fantasme littéraire et le passage à l’acte criminel. 2) On doit pouvoir écrire sur tous les sujets, surtout sur les choses choquantes, ignobles, atroces, sinon à quoi cela sert-il d’écrire? Voulons-nous que les livres ne parlent que de choses légales, propres, gentilles? Si l’on ne peut plus explorer ce qui nous fait peur, autant foutre en l’air la notion même de littérature. Ces deux principes étant posés, il est temps de susciter ma levée de boucliers. À mon avis, l’écriture doit explorer AUSSI ce qui nous excite et nous attire dans le Mal. Par exemple, il faut avoir le courage d’affronter l’idée qu’un enfant est sexy. La société actuelle utilise l’innocence et la pureté de l’enfance pour vendre des millions de produits. Nous vivons dans un monde qui exploite le désir de la beauté juvénile d’un côté pour aussitôt réprimer et dénoncer toute concupiscence adulte de l’autre. Le roman doit-il se laisser brider par cette schizophrénie? La chasse aux sorcières qui vient d’être ranimée par l’affaire Polanski, puis le délire sur Frédéric Mitterrand (annoncé par l’attaque de François Bayrou sur Daniel Cohn-Bendit) oublient ce qui est en vente dans les librairies. Disons les choses clairement : ceux qui s’indignent avec tant de virulence doivent brûler une longue liste d’ouvrages. Messieurs et Mesdames les censeurs, dégainez vos briquets! Vous avez de l’autodafé sur la planche : Le blé en herbe de Colette, Si le grain ne meurt d’André Gide, Lolita de Nabokov, Il entrerait dans la légende de Louis Skorecki, Au secours pardon de votre serviteur, Rose bonbon de Nicolas Jones-Gorlin, Les 120 journées de Sodome du marquis de Sade, Ivre du vin perdu de Gabriel Matzneff, Les amitiés particulières de Roger Peyrefitte, La ville dont le prince est un enfant d’Henry de Montherlant, Il m’aimait de Christophe Tison, Le roi des Aulnes de Michel Tournier, Pour mon plaisir et ma délectation charnelle de Pierre Combescot, Journal d’un innocent de Tony Duvert, Mineure de Yann Queffélec, Les chants de Maldoror de Lautréamont, Microfictions de Régis Jauffret, Moins que zéro de Bret Easton Ellis, Mémoire de mes putains tristes de Gabriel Garcia Marquez, Enfantines de Valéry Larbaud, Histoire de ma vie de Casanova ou même, quoique en version platonique, Mort à Venise de Thomas Mann doivent rapidement être incendiés! Ma liste n’est pas exhaustive. Je remercie les maccarthystes français anti-pédophilie de m’aider à compléter cette liste d’autodafés en envoyant leurs lettres de délation au magazine car je suis sûr que j’en oublie et j’ai hâte de les lire… pour mieux être révolté, bien sûr, et avoir un regard désapprobateur sur ces œuvres! C’est donc le sourcil froncé que j’aimerais terminer sur une citation, insupportablement comique, tirée du Manuel de civilité pour les petites filles à l’usage des maisons d’éducation (1926) de Pierre Louys : « À partir de l’âge de huit ans, il n’est pas convenable qu’une petite fille soit encore pucelle, même si elle suce la pine depuis plusieurs années. » Ah! zut zut, nous voilà bien. Que faire de ce numéro de Lire avec cette phrase dedans? Doit-on aussi le brûler à présent? Frédéric Beigbeder (2009)
Dans la préface de Sylvie et Bruno, publié en 1889, chef-d’œuvre qui témoigne d’une technique entièrement renouvelée par rapport à Alice, Lewis Carroll proclame son désir d’ouvrir une nouvelle voie littéraire. L’audace est grande, pour l’époque, de la construction de deux intrigues, le rêve constamment accolé à la réalité. L’objectif essentiel du narrateur est de franchir le mur de la réalité pour atteindre le royaume du rêve : il voit l’un des personnages de son rêve pénétrer dans la vie réelle. Lewis Carroll crée l’effet de duplication de ses personnages. L’intérêt réside également dans la juxtaposition des deux intrigues. L’originalité de Lewis Carroll ne consiste pas à unifier rêve et réalité mais à reconstituer une unité à partir de la multiplicité initiale. Dans sa préface, ce qu’il nous dit de la construction de son livre : un noyau qui grossit peu à peu, une énorme masse de « litiérature » (litter, ordure) fort peu maniable, un agrégat d’écrits fragmentaires dont rien ne dit qu’ils formeront jamais un tout. Le roman n’est plus cette totalité harmonieuse où s’exprime le souffle de l’inspiration. Le fini romanesque est démystifié d’une façon ironique et pour tout dire sacrilège pour l’époque victorienne. Wikipedia
Il n’a pas envoyé Alice au fond d’un terrier de lapin un après-midi d’été pour le bénéfice d’une future génération de Freudiens mais pour le plaisir de trois petites Victoriennes. Derek Hudson
Karoline Leach, auteur de scénarios pour la télévision (…) renverse une à une les suspicions attachées à la personne de l’écrivain. Elle observe d’abord que Lewis Carroll, loin d’avoir été solitaire, participait très activement à la vie littéraire, photographique et théâtrale de son temps. Que ses amitiés avec les enfants étaient soigneusement inscrites dans le cadre de la famille – il était souvent l’ami des parents – et articulées à ses activités artistiques. Dans ce contexte, elle aborde l’aspect le plus troublant des activités du personnage : ses photos de nus. C’est ici précisément qu’un jugement bien avisé ne saurait faire fi de l’histoire. Leach explique avec patience que dans ces images, qui nous semblent aujourd’hui choquantes, la nudité était perçue comme un symbole spirituel. Par effet, dira-t-on, de l’hypocrisie bourgeoise ? Peut-être. Mais d’une part, poursuit Leach, «les archives des photographes les plus célèbres de l’époque, Oscar Rejlander et Julia Margaret Cameron, regorgent d’images du même genre». D’autre part, ces images ne jouent pas pour Carroll le rôle que l’on croit. En effet, Leach observa que les soi-disant «amies-enfants» de Lewis Carroll étaient parfois des jeunes femmes de vingt ou trente ans – ce qu’aucun «spécialiste» de l’écrivain n’avait relevé jusqu’à elle. Qu’il s’agissait, de surcroît, d’actrices dont Carroll suivait la carrière, encourageait les audaces et recherchait les privautés. Selon son interprétation, l’enfance n’était donc pour Lewis Carroll qu’une couverture destinée à cacher des liaisons aussi scandaleuses pour l’époque, celles qu’il entretenait avec des femmes parfaitement nubiles. On mesure la méprise. Soucieuse de suivre les distorsions de la vérité, Leach montre comment Carroll vit son alibi se retourner contre lui après sa mort, et comment, à la faveur des interprétations psychanalytiques, on en vint à soupçonner de pédophilie un homme qui pensait vivre tranquillement «à l’ombre de l’enfant-idéale» ses amours avec les actrices. Soucieux de se protéger des uns, Carroll devint ensuite la cible des autres. (…) Seulement voilà, Karoline Leach, à son tour, alla trop loin. Soucieuse de dénoncer toutes les hypocrisies, elle s’attaqua au trio bourgeois formé par Monsieur et Madame Liddell avec leur adorable fille. Il lui fut aisé de montrer que l’affection (réelle) de Carroll pour Alice avait été artificiellement isolée : ce n’est même pas à elle, mais à son ami George MacDonald, que Carroll envoya le premier exemplaire de son livre ! Leach s’avisa ensuite de citer les pages fort émouvantes que Henry Liddell avait écrites à propos de l’amour entre hommes – suggérant par là que son épouse n’était peut-être pas comblée. Par déductions successives, celle-ci se retrouvait ainsi en position, suggérait Leach, d’être la véritable cause des problèmes de conscience et des crises de culpabilité que Lewis Carroll avait traversées dans les années 1860. N’était-il pas envisageable que l’écrivain ait filé avec la maman d’Alice des amours adultères ? Ainsi, en même temps qu’elle démolissait un mythe, Karoline Leach entreprenait d’en recréer un autre. Comme si le secret explicitement souhaité par Carroll, et respecté par ses héritiers à grand renfort de mensonges, appelait irrésistiblement le fantasme ou la calomnie. Cette polémique n’est devenue constructive que tout récemment. Lors de la publication française de son livre (1), en 2010, Leach a effacé toute allusion à d’éventuelles amours entre Carroll et Mme Liddell. Sa recherche, désormais relayée par d’autres travaux, a trouvé son véritable objet : le «mythe Carroll», entendu comme l’ensemble des élucubrations universitaires, des déformations historiques et des projections imaginaires, est devenu le sujet d’études régulièrement publiées sous forme d’articles sur un site (www.carrollmyth.com). Abordant la question par des entrées entièrement renouvelées, les jeunes chercheurs montrent comment les secrets – définitivement impénétrables – de la vie de Lewis Carroll reflètent les caprices de la morale des peuples. Une chose, dirait Alice, «curieusement curieuse» («curiouser and curiouser»). Maxime Rovere
Can you ever divorce an artist’s life from their work? “Knowing Van Gogh shot himself, does that change the way you look at his paintings? Caravaggio was a murderer – does that make you look at him differently?” Searle asks. “There are lots of things we don’t like for all sorts of temporal reasons. What is unacceptable now may not be unacceptable in the future, and ditto in the past. The Victorian sculptures of black, naked slave girls tell us something about the Victorians – they are historical documents as well as sculptures.” The attitude, says art writer Jonathan Jones, “where people [think] the art exists in its own sphere – I think that’s not true at all. Ovenden’s art probably does reflect aspects of his life we now find deeply troubling.” The question of how harshly we should judge the art by its artist remains. Can you read Alice in Wonderland in the same way when you’ve seen Lewis Carroll’s photographs of naked girls? Or listen to Benjamin Britten’s work, knowing he wrote great music for children, with such attention, because he had an obsession with pubescent boys (as detailed in John Bridcut’s 2006 biography)?“One school of thought is the artwork is divorced from its creator and we should make an assessment of the work in isolation from any consideration of the artist’s intentions,” says Jonathan Pugh, research fellow at Oxford University’s Uehiro Centre for Practical Ethics. “One issue that muddies the water is a question of complicity. Certain kinds of art might involve complicity in further wrongdoings. If we think that displaying certain works might entice people to carry out wrongs of the sort that are depicted in the work, then that might be cause for moral concern.”  If we only allowed art by artists with unimpeachable moral standards, we’d have empty libraries and galleries. But it appears there are degrees of what we will tolerate. If the sexual abuse of children seems to be the crime that a viewer or reader cannot get over, apparently it’s only for a while. There are no calls for the works of Caravaggio, for instance, to be hidden or destroyed, even though his paintings Victorious Cupid and St John the Baptist are of a naked, pre-pubescent boy, an assistant with whom Caravaggio is believed to have been having sex – which we would consider to be abuse by today’s standards. Instead, they are considered masterpieces. But you don’t have to go back centuries. The BBC, while busy purging all mention of Jimmy Savile, has said there are no plans to remove sculptures by Eric Gill – a man who abused his daughters, and had sex with not only his sister but also his dog – outside Broadcasting House, despite calls from charities representing people who have survived abuse asking them to do so. The Tate, which removed 34 works by Ovenden from its online collection following his conviction, has many works by Gill, who died in 1940. The Tate said it had sought to establish any connection between Ovendon’s work and his crimes, and that the prints can still be viewed on application. It has been pretty obvious that in the art world, and in wider society, great art confers a degree of protection, which has to explain why many in Hollywood stick by Roman Polanski, even though the film director sexually assaulted a child. The passing of time, and the death of an artist, also seems to help rehabilitate work. “If the art is good then the story of the life illuminates it,” says Jones. It would be a mistake to consider Ovenden a “great” artist, he adds, and some of Ovenden’s work now looks “extremely troubling”, but that does not justify its destruction. Demonising art, he says, “is not a rational response to it. There is no way that you should punish the art for the crimes of the artist. A civilised society preserves art and tries to learn from it.” (…) Pictures of children, particularly naked ones, are abhorred when we know about the reprehensible motives of their creator, but even when there is no suggestion that the artist has worrying intentions or desires, their work has raised suspicion. “This lens has crept between us and the art, that says this [a hysteria over abuse] is the thing you must look at,” says Frances Spalding, the art historian and editor of art journal the Burlington magazine. “It rather destroys the pleasure in looking at certain kinds of child nudity which can be, in other ways, an expression of a joy in life.” Charles Dodgson’s family’s incursive destruction of his papers immediately after his death, and their steady refusal to allow evidence to be made public, meant that the first hand biographical evidence remained almost non-existent until the second half of this present century. In a separate but ultimately linked development, a massive and almost irresistible myth surrounding the name « Lewis Carroll » had begun to develop even while Dodgson still lived. In the fallow space left by the lack of prima facie evidence, and the silence of his family, this myth grew in an unprecedented and powerful way. When early biographers wrote their studies of Lewis Carroll, lacking almost all first hand evidence, they had little choice but to fill their books with the stuff of this myth. And thus very early on it became dignified by an apparent scholastic pedigree. Later biographers took their lead and repeated these supposedly already verified « facts ».(…) For the Victorians, caught as they were on the cusp of a new age in which all old certainties were dying, « Lewis Carroll » came to mean a readiness to believe — in wonderland, fairytales, innocence, sainthood, the fast-fading vision of a golden age when it seemed possible for humanity to transcend the human condition. Carroll became a way of affirming that such things really had once been. Even before Dodgson’s death, his assumed name had become the ultimate embodiment of this Victorian aspiration toward otherworldliness. « Lewis Carroll » was the Pied Piper and Francis of Assisi. His supposed tenderness for all children was seen as part of a Christlike renunciation of adult pleasure and the adult world. It became an emanation of the strange Victorian obsession with childhood innocence, that identified immaturity with inviolability in a way impossible for us now. In common with so many icons-in-the-making, Dodgson himself was one of the first to perceive the growth of the myth surrounding Carroll, and with typical contrariness he both deplored and manipulated it. He instinctively understood the power of an image. He was throughout his life, not only impulsive and contradictory, but also quite a shameless manipulator of his own persona, who could very cleverly present a view of himself designed to produce his desired effect, and as we will see further on « Carroll » began to be famous at precisely the time in Dodgson’s life when he was most filled with self-doubt, most motivated to consciously re-invent himself. The guise of the patron saint of children offered itself at precisely the right time, and he took it up, as a part-time persona. By a kind of mutual agreement, he and his society began creating their mutually beneficial myth of Carroll and little girls. Purity was exactly what the Victorians wanted to connect with Carroll, and purity was precisely what it (intermittently) suited Dodgson to have associated with himself. His genuine and instinctive affection for children began to be selfconscious, exaggerated, and, inevitably, somewhat insincere. He began to play the part of child-worshipper, with a strange mix of sincerity and irony. He invented the word « child-friend », but misused it, with almost malicious intent. He worshipped the child as an article of religious faith, and exploited it as a means of concealment for his own unconventional, possibly sexual, relationships with women. It was inextricably bound up with his wish to rediscover himself as an innocent man, and — on a different level — his cynical wish for others to see him as innocent. Carroll’s love for the child was always in part a construction. In real terms, children were never as prominent in his life as the legend, or even Dodgson’s own testimony, would have it. (…)  It is an indication of the power of this need, as well as the extraordinary degree to which « Lewis Carroll » already enjoyed an existence independent of Dodgson in the public mind, that while this mythic image of child-centredness was already the assumed reality of « Carroll », his alter ego Charles Dodgson was the subject of a widespread gossip that contradicted this image almost entirely. Dodgson was being condemned and criticised for his unconventional contacts with grown women, even while « Carroll » was being sanctified for loving only children. The scandals about women and cutesy magazine stories of « little girls » co-existed but never touched. Emine Saner (The Guardian)
Comment expliquer l’absence de Carroll sur les rayonnages de l’ancienne salle de lecture de la British Library, tandis que Beatrix Potter ou Charles Kinsley figurent en bonne place parmi les plus grands noms de la littérature britannique et d’autres moins connus ? (…) Peut-être le soupçon de mise à l’écart s’avérait-il injustifié, mais il faut dire que mon interrogation quant à la cause de cette absence prenait place dans un contexte où la réputation de celui-ci semble avoir eu à souffrir du privilège accordé aux petites filles dans son œuvre ou sur ses clichés, au point que les ouvrages actuels qui lui sont consacrés se sentent tous en devoir de prendre sa défense, parfois au prix d’une révision fantaisiste de sa biographie. Les débordements de passion encore récents à propos de cas de pédophilie en Europe (en Belgique et en Angleterre en particulier) seraient-ils cause de cette éclipse silencieuse ? Nous en sommes réduits aux conjectures, mais l’orientation de celles-ci prend nul doute racine dans cette atmosphère. Matthew Sweet, dans son livre intitulé Inventing the Victorians, rapporte que l’artiste Graham Ovenden, suspecté à tort de faire partie d’un réseau de pédophilie, fut conduit à Scotland Yard en 1993 ; pour preuve à charge : sa collection de photos de Lewis Carroll. Qu’il soit pervers ou non, le « cas » Carroll, aux côtés de Nabokov, s’est en effet trouvé pris dans les arcanes des discours contemporains sur la perversion. Le mythe de l’auteur aux tendances pédophiles, dont l’œuvre composait un danger pour les enfants, fut engendré par certains psychanalystes de la première heure, comme le montre Karoline Leach. Ceux-ci détournèrent l’enseignement freudien sur le travail de l’artiste pour ne voir que corruption là où les philosophes, les linguistes, les critiques littéraires et les mathématiciens s’attachaient encore à célébrer le génie de l’œuvre et la modernité de ses intuitions. Ce mythe venait toutefois en opposition à l’image tout aussi erronée du cœur pur, adorateur de l’innocence suggérée par la première biographie de l’auteur, écrite par son neveu et qui tenait de l’hagiographie. (…) S’ils ne fournissent pas de quoi nous convaincre, les travaux récents attestent néanmoins d’une volonté d’écarter la suspicion de pathologie sexuelle qui a entouré la biographie de Carroll à la suite des publications référées à la psychanalyse au début du siècle. (…) Ces jugements étayés sur des approches divergentes de la question de la perversion, captives d’un discours moral, ne parviennent pas toutefois à sortir de l’opposition : culpabilité contre innocence. (…) Un récent travail à ce sujet me conduisit à saisir comment, du « tous pervers » post-moderne à la condamnation fondée sur une morale étriquée en passant par les plaidoiries de l’innocence, toutes les positions prises à ce sujet font fi du fantasme et de la portée de sublimation et de symptôme de l’œuvre, qui seuls s’avèrent pouvoir nous permettre de tenir une juste position éthique, de traiter du rapport de l’artiste à sa production en dehors de cette dialectique étriquée. (…) Si la loi morale a bien pour envers la perversion, selon Lacan, elles sont comme les deux faces d’une même médaille, l’une s’avérant irrémédiablement liée à l’autre. Aussi nous invite-t-il à nous écarter d’une trop simple opposition entre culpabilité et innocence qui ne saurait servir de fondement à une position éthique (celle-ci implique de prendre en compte la dimension du fantasme et de la jouissance du sujet), encore moins à une appréciation de l’œuvre. Dans son « Hommage rendu à Lewis Carroll », prononcé lors d’une intervention radiophonique en 1966 (…) relève à cet égard que jouissance et loi morale s’avèrent toutes deux participer également de la constitution de l’œuvre (…) L’homme de foi prend place au côté du poète et du mathématicien pour contribuer à l’équilibre de l’œuvre. (…) La dialectique de la culpabilité et de l’innocence contribue en effet à masquer le véritable enjeu, le véritable enseignement de l’œuvre. (…) En effet, on peut se demander en premier lieu jusqu’à quel point Lewis Carroll n’aurait pas largement participé de la construction du mythe de l’enfance et du culte de l’innocence des victoriens, lui qui devait se défendre des rumeurs qui couraient sur son compte (il ne fut pas toujours lui-même perçu de son vivant comme si innocent que cela, sa correspondance indique qu’il ne l’ignorait pas). Ainsi invoquait-il la pureté de ses intentions (il ne faut pas douter qu’il y croyait lui-même), son admiration pour la pureté formelle de ses jeunes amies qu’il associe à leur parfaite innocence. (…) S’il n’y a aucune raison de ne pas croire à sa sincérité, les multiples précautions oratoires laissent entendre qu’il n’ignorait pas que la question n’était pas si simple et que de telles pensées étaient néanmoins présentes à son esprit, ne fut-ce que pour les rejeter. Le mythe de l’innocence vient en outre lui permettre de justifier sa pratique photographique. Dans sa correspondance avec ses amies-enfants, en revanche, il se présente volontiers à elles comme un amoureux transi voire délaissé. Comment ne pas être saisi par ailleurs par le fait que ses propos au sujet de ses amies-enfants laissent bien poindre qu’en effet ce n’est pas d’amour qu’il s’agit, mais d’amitié non plus. L’affection y perce peu, il se montre plutôt attiré par des sujets photographiques potentiels (…) D’ailleurs ne l’intéressent, semble-t-il, que les petites filles qu’il repère et décide de conquérir. Les lettres attestent d’une certaine distance avec celles qui vinrent à lui d’elles-mêmes, attirées par l’auteur d’Alice. La distance qu’il marqua avec ses amies quand elles grandirent indique, en outre, que la relation qu’il entamait était plus avec ce que l’enfant représentait pour lui, une petite fille, qu’avec un sujet pour laquelle il aurait développé une affection particulière. (…) En collectionneur presque, il multiplie les amitiés, mais il ne veut rencontrer les petites filles qu’une par une. (…) La rencontre d’une enfant en particulier compte moins que le fait d’avoir une amie-enfant. Étrange assertion enfin que celle-ci dans laquelle il témoigne de son aversion pour le sexe des garçons et de son admiration pour le corps dénudé des petites filles, lorsqu’il évoque pour Gertrude Thomson ses illustrations pour Sylvie et Bruno (…) Dans son « Hommage à Lewis Carroll », Lacan (…) insiste néanmoins sur la place qu’occupe dans cette construction la figure de la petite fille dans sa « portée d’objet absolu ». Nous tiendrons qu’au-delà des mythes entendus au sens de construction idéologiques qu’elle a contribué à produire, Alice, personnage ancré dans ce que furent les petites filles pour Carroll, contribue à la dimension proprement mythique de l’œuvre au sens fort, telle que la dégage Lacan. Sophie Marret
Ce qui pose réellement problème, c’est la place grandissante de la psychopathologie de la création artistique : le génie et la névrose sont mis en étroite connexion. Mais interpréter des œuvres littéraires comme la production brute d’un inconscient, c’est nier le travail d’élaboration (d’ordre créatif) de l’auteur, et surtout, en tout état de cause, la relation de sa production littéraire à la littérature et à la culture. On déhistoricise ainsi une œuvre. On oblitère aussi tout un pan de l’analyse critique, tout ce qui tient à la volonté consciente et créatrice, au projet d’écriture. Florence Becker Lennon, par exemple, nie la portée de cette dimension du travail littéraire lorsqu’elle estime, dans sa biographie de 1945, que dans sa dernière œuvre littéraire, Sylvie et Bruno, Carroll a perdu son génie créatif en acquérant une plus grande conscience de sa propre philosophie (…) Pourquoi, précisément, les psychobiographies posent-elles un problème du point de vue de la critique littéraire ? D’une part, les psychobiographies fonctionnent sur le principe de la recherche du secret, le « sale petit secret qui nourrit la manie d’interpréter », pour citer Gilles Deleuze. Au principe de ce secret, on trouve presque toujours l’enfance. Car le noyau dur au centre de toute recherche d’ordre psychobiographique, c’est l’origine, la genèse du « sale petit secret ». Or l’origine, c’est forcément l’enfance. Ce faisant, l’écriture biographique détache le sujet des influences sociales, culturelles et littéraires qui ont formé son art. De plus, en posant tout acte créateur sur la fondation unique d’un inconscient préadulte, on met en place le concept d’un génie miraculeux et forcément naïf. Là encore se pose le problème du statut de l’écrivain. La psychanalyse, telle, du moins, qu’elle est comprise par les psychobiographes, pose clairement un problème théorique au sein du carrollisme. Elle a permis le passage radical d’une croyance en l’inconnaissable et l’indicible en ce qui concernait la personne humaine, avec le respect absolu de sa mémoire, à une recherche minutieuse des secrets réels ou supposés : il s’agit du désir de croire qu’il devient possible d’avoir accès à l’inconscient, et donc de connaître le tout de l’auteur. Sous couvert d’iconoclastie (c’est-à-dire casser une image figée pour aller voir derrière), les psychobiographes, s’ils se donnent accès à des aspects d’une personnalité restée jusque-là inexplorée, réduisent leur lecture par une orientation unique de leur interprétation. L’iconoclastie, en matière de biographie, a un intérêt qui marque aussi sa limite. D’autre part, considérer l’auteur d’abord comme un personnage dont il faut percer les secrets biographiques, c’est occulter certains aspects de son œuvre, qu’on s’empêche de voir autrement que par le prisme des éléments biographiques déjà exhumés. S’interroger sur la question de l’enfance chez Carroll, c’est souvent ignorer que cette question a, pour lui, une dimension philosophique importante. Comme Jean-Jacques Lecercle l’a noté, l’enfant pour les victoriens est à la fois emblème de la pureté, de l’innocence absolue, et un être humain déjà porteur du péché originel qu’il faut éduquer et redresser. Mais pour Carroll, l’enfant est aussi celui qui connaît l’amour, et à qui il importe de donner une vision de plus en plus large de cet amour, de le guider dans sa connaissance intuitive de l’amour divin. Non perverti par les doctrines, il est celui qui aide l’adulte à comprendre l’importance de l’amour divin, mais limité par son expérience, il est celui qu’il faut aider à acquérir le sens des devoirs envers Dieu et les hommes. Ceci prend son sens si on s’autorise à lire Sylvie et Bruno, par exemple, non pas comme un échec littéraire, mais comme l’expression d’une philosophie personnelle très aboutie, construite à partir de fréquentations et de lectures dont on a longtemps ignoré l’importance, fascinés comme l’étaient les psychobiographes par la recherche de l’anormalité du discours relatif à l’amour et l’interrogation sur les motifs possibles de cette anormalité. Certes, la question de l’enfance est importante – pas parce qu’elle se réfère à l’enfance de Carroll, ni à son amour de l’enfance, mais parce que cette question est centrale dans sa philosophie. (…) L’articulation paradoxale de l’innocence et de la perversité est un motif récurrent des psychobiographies. Elle est souvent résolue en posant que Carroll avait une connaissance intuitive de la perversité, comme tout enfant (selon la formule de Freud, incorrectement lue, selon laquelle l’enfant est un « pervers polymorphe »), mais que son inconscience de ses propres mécanismes psychiques ne lui permettait pas de la comprendre dans toute sa dimension proprement adulte. Michael Bakewell, dans sa biographie de 1996, estime ainsi que les « pensées impures » que Carroll évoque dans sa préface à Sylvie et Bruno sont impures au sens où le catéchisme l’entend. Mais lorsqu’il écrit cette préface, Carroll a cinquante-sept ans, et peut difficilement être suspecté d’entretenir une inquiétude adolescente sur la masturbation – sauf à s’acharner à croire à un esprit infantile enfermé dans le corps d’un homme mûr. L’idée qu’il puisse s’agir de doute religieux ou d’inquiétudes métaphysique ne l’effleure pas un instant, elle est pourtant digne d’être explorée. La fermeture au monde est un autre motif. On entend par là le monde adulte, événementiel, politique, etc. (…) C’est une chose de définir le nonsense comme un système clos, c’en est une autre d’affirmer que Carroll était un îlot retiré du monde adulte. Difficile, dans ce cas, de considérer que c’était un homme cultivé, par exemple. Or, Hugues Lebailly l’a montré, il était très au fait de la production culturelle de son époque, et souvent même peu orthodoxe dans ses choix ; pas parce qu’il ne connaissait pas l’orthodoxie, mais parce qu’il s’en détachait tout à fait consciemment. Fréquenter le théâtre lui était interdit implicitement, sinon explicitement, mais il était capable de défendre son point de vue et de s’y tenir. Pierre Bourdieu parle, dans Les règles de l’art, à propos de Sartre biographe de Flaubert, de « cette forme de narcissisme par procuration que l’on tient d’ordinaire pour la forme suprême de la “compréhension”». Loin d’objectiver son sujet, le psychobiographe, de la même façon, se contente souvent de plaquer sur le personnage de Carroll sa lecture d’événements biographiques réels ou imaginaires (hérités de la doxa), qui est une lecture non seulement stérile, mais également violente. Loin de s’interroger sur la genèse du travail créatif, il postule une genèse idéale et indicible et développe l’image d’un « créateur inconscient » ou « créateur incréé ». Ceci repose sur la croyance qu’une vie, telle qu’on la voit, est orientée par sa finalité : en d’autres termes, chacun des événements biographiques et des interprétations qui en sont tirées a une signification touchant à un but ultime. C’est une téléologie qui implique une forme de transcendance. Carroll, enfant dans l’âme, innocent et inconscient de son propre génie, a écrit des chefs- d’œuvre : c’est incompréhensible mais cela est, miraculeusement. Cette irruption de la transcendance dans la psychobiographie scelle son échec. Il me semble qu’une autre hypothèse peut être posée en ce qui concerne l’auteur en tant que mythe. Je me demande si le discours si prégnant dans le carrollisme sur la pureté absolue du personnage d’Alice ne nous fournit pas déjà une piste. Je ne trouve pas, personnellement, qu’Alice soit d’une exceptionnelle pureté. Tout en représentant l’innocence, elle me semble même particulièrement perverse et manipulatrice, bien qu’elle soit (ou peut-être parce qu’elle est) elle-même manipulée par les autres personnages. Je vois là une image bien perverse de petite fille. Je crois d’ailleurs que les enfants le perçoivent, certains s’en effrayent et d’autres s’en amusent, d’autres encore font les deux simultanément ou successivement. Si ma lecture est un tant soit peu correcte, alors comment le paradoxe de l’articulation entre innocence et perversité dans le personnage d’Alice se résout-il ? Je pense qu’il n’est pas absolument absurde de penser que Carroll, en tant que figure mythique, est la réponse à ce paradoxe. Ce serait bien, selon la formule de Lévi-Strauss, un « modèle logique de résolution d’une contradiction », en ceci qu’il incorpore, plutôt que son héroïne, la perversité portée par son texte. En d’autres termes, Carroll serait devenu une figure mythique quand les carrolliens, ne supportant plus de voir en Alice la perversité, l’ont fait porter, par un mécanisme collectif de projection, sur la figure de l’auteur. On obtient ainsi deux figures mythiques : celle de l’enfant parfaitement innocent et pur, et celle de l’auteur absolument pervers et anormal. De fait, cela pourrait commencer à expliquer pourquoi Sylvie et Bruno, où la perversité est sans conteste présente, est si dépréciée par les psychobiographes, qui affirment qu’avec cette œuvre, Carroll a perdu son pouvoir créatif pour écrire des bêtises. La figure de l’auteur ayant perdu là sa perversité alors que son dernier roman la regagnait, l’équation ne fonctionne plus par le mythe. Plus largement, il me semble que les psychobiographies posent le problème de la réception des œuvres littéraires (…) Dans la relation entre auteur et lecteur, le « sujet supposé savoir » est à la fois l’auteur, le lecteur et le texte, chacun étant relié aux autres par la relation très particulière de la lecture. Mais dans la relation entre auteur, lecteur et biographe, le « sujet supposé savoir » se doit forcément d’être le psychobiographe, faute d’avouer son incapacité à donner sens à son travail, ce qu’il ne fait jamais. Il me semble que les psychobiographes posent le problème des dangers de la critique littéraire, en creux : si le critique se pose en « sujet supposé savoir » il se résigne à la transcendance et à porter sur ses propres épaules tout le poids du sens qu’il donne au texte. S’il s’avoue qu’il ne sait pas, il entre dans la relation classique entre lecteur, auteur et texte, et fait fonctionner le texte en respectant sa portée, toute sa portée et rien que sa portée. Si les psychobiographies appliquées à Carroll ont un sens, c’est peut-être celui-là : démontrer par l’absurde ce que la critique ne peut pas se permettre de faire. Il me semble que le double mythe de l’enfance et de l’auteur tel qu’il a été exploité par les psychobiographies est passé dans la doxa carrollienne. Mais il doit être examiné en dehors d’elle pour que la critique ait une chance d’en faire un concept constructif. Pascale Renaud-Grosbras

Attention: une perversion peut en cacher une autre !

En ce monde et ces temps étranges d’idées chrétiennes devenues folles

Où, démocratisation et mondialisation obligent, la quasi-fétichisation du droit des victimes (enfants, femmes, minorités, homosexuels) peut coexister avec leur pire exploitation (prostitution enfantine, pédophilie, mariages forcés/prépubères, excision, changement de sexe prépubère ou filiation mensongère mais aussi enfants-soldats, boucliers humains ou faux réfugiés) …

Où la dénonciation du long silence coupable sur la pédophilie dans l’Eglise catholique va de pair avec la complaisance la plus douteuse pour les relations proprement incestueuses de certains de nos happy few

l’irresponsabilité la plus débridée dans l’habillement comme dans le comportement ou le langage cotoie la pudibonderie la plus rétrograde dans les relations hommes-femmes …

Où après s’être si longtemps battu pour la création de toilettes séparées pour les femmes, l’on se déchire à présent,  au nom de la nouvelle minorité du moment et président américain en tête, contre la « ségrégation urinaire » fameusement décrite il y a exactement 50 ans par Jacques Lacan …

Où une affaire de détournement de mineure pourrait indirectement faire basculer l’élection de la première femme à la tête de la première puissance mondiale et du Monde libre …

Et où, protection des droits de l’enfant oblige, peintres, photographes ou cinéastes se voient, alternativement et avec leurs oeuvres et ceux qui les détiennent, portés au nues ou mis au pilori ….

Quelle meilleure illustration de la prolifération de doubles contraintes ou d’injonctions paradoxales où nous place de plus en plus notre condition postmoderne …

Que la destinée posthume de Lewis Carroll …

Lui qui vivait déjà, première mondialisation oblige, dans un monde d’extrêmes entre enfance bourgeoise quasi-vénérée d’un côté et  enfance de rue proprement dickensienne de l’autre (prostitution, « sweatshops ») …

Mais aussi d’intense compétition entre les rares nouveaux praticiens d’un art tout juste naissant …

Où un auteur à la riche carrière de romancier, essayiste, photographe et logicien-mathématicien …

Qui avait tant fait pour déniaiser la littérature enfantine et la littérature tout court …

Se voit relégué apparemment pour l’éternité au statut d’écrivain pour enfants …

 Soit, encensement précoce et expurgation familiale de ses archives aidant, comme véritable saint désincarné de l’innocence enfantine …

Soit, pansexualisation psychanalytique oblige et entre Brassaï et Nabokov, comme déviant soupçonné des pires arrières-pensées pédophiles …

Et finit à l’instar de sa dernière oeuvre, son opus magnum et inspiration des plus grands « Sylvie et Bruno » condamné comme échec littéraire …

Par se voir interdire avec ses lecteurs potentiels…

La maturité dont la prétendue non-acquisition lui était justement reprochée ?

Les petites filles : de l’inconscient au mythe

Sophie Marret

1À plusieurs égards, le nom de Lewis Carroll est devenu indissociable de la figure de la petite fille. Dans le prénom d’Alice se sont condensés les titres de ses œuvres majeures, soulignant la dimension mythique que le personnage a revêtue, dès la publication du premier volume. Entendons la notion de mythe selon une acception faible pour l’instant, suivant l’usage commun par lequel le terme désigne le caractère fabuleux du personnage imaginaire, porteur de rêve et d’idéal et dont les résonances touchent un large public, au-delà des barrières culturelles. Les petites filles sont au cœur de l’œuvre : bien qu’inégalement, Alice partage la place d’héroïne avec Sylvie ; elles se sont aussi trouvées au cœur de la vie de l’auteur, lui valant autant de regards bienveillants que méfiants. Les amitiés enfantines de Carroll ont contribué aux mythes qui entourent ses biographies. Entendons cette fois les constructions biaisées qui permettent de satisfaire tel ou tel critère d’appréciation et dont Roland Barthes a souligné le lien à l’idéologie1. En ce qui concerne Carroll, nous ne pouvons que nous référer à l’habile travail de démythification de Karoline Leach qui n’a toutefois pas su éviter l’ornière2.

2À l’heure où les échos de la vie retentissent de façon suspecte sur l’œuvre, il convient de revenir sur l’aura de scandale attachée aux amies-enfants pour dégager la véritable portée mythique de l’œuvre, entendue dans un sens positif cette fois-ci, comme ce par quoi l’œuvre de fiction emporte une vérité. Mon propos sera d’interroger comment la figure de la petite fille autour de laquelle se condensent les mythes qui entourent la vie et l’œuvre intervient dans la dimension proprement mythique de l’œuvre, partant du postulat que l’enfant de la fable est informée de ce que fut une petite fille pour Carroll, au-delà d’une analogie par trop simpliste entre la vie et l’œuvre.

Entre innocence et culpabilité

3Comment expliquer l’absence de Carroll sur les rayonnages de l’ancienne salle de lecture de la British Library, tandis que Beatrix Potter ou Charles Kinsley figurent en bonne place parmi les plus grands noms de la littérature britannique et d’autres moins connus ? Les gardiens ne surent m’apporter de réponse. Peut-être le soupçon de mise à l’écart s’avérait-il injustifié, mais il faut dire que mon interrogation quant à la cause de cette absence prenait place dans un contexte où la réputation de celui-ci semble avoir eu à souffrir du privilège accordé aux petites filles dans son œuvre ou sur ses clichés, au point que les ouvrages actuels qui lui sont consacrés se sentent tous en devoir de prendre sa défense, parfois au prix d’une révision fantaisiste de sa biographie. Les débordements de passion encore récents à propos de cas de pédophilie en Europe (en Belgique et en Angleterre en particulier) seraient-ils cause de cette éclipse silencieuse ? Nous en sommes réduits aux conjectures, mais l’orientation de celles-ci prend nul doute racine dans cette atmosphère. Matthew Sweet, dans son livre intitulé Inventing the Victorians, rapporte que l’artiste Graham Ovenden, suspecté à tort de faire partie d’un réseau de pédophilie, fut conduit à Scotland Yard en 1993 ; pour preuve à charge : sa collection de photos de Lewis Carroll3.

4Qu’il soit pervers ou non, le « cas » Carroll, aux côtés de Nabokov, s’est en effet trouvé pris dans les arcanes des discours contemporains sur la perversion. Le mythe de l’auteur aux tendances pédophiles, dont l’œuvre composait un danger pour les enfants, fut engendré par certains psychanalystes de la première heure, comme le montre Karoline Leach. Ceux-ci détournèrent l’enseignement freudien sur le travail de l’artiste pour ne voir que corruption là où les philosophes, les linguistes, les critiques littéraires et les mathématiciens s’attachaient encore à célébrer le génie de l’œuvre et la modernité de ses intuitions. Ce mythe venait toutefois en opposition à l’image tout aussi erronée du cœur pur, adorateur de l’innocence suggérée par la première biographie de l’auteur, écrite par son neveu et qui tenait de l’hagiographie4. Plaidant la nécessité d’une contextualisation de l’œuvre par rapport à la conception victorienne de l’enfance, les critiques littéraires contemporains ont pour la plupart cherché à innocenter leur favori. Karoline Leach n’échappe pas à cette tentation lorsqu’elle tente de dénoncer la fixation supposée de Carroll sur les petites filles en évoquant des erreurs concernant l’âge de certaines de ses amies-enfants, le maintien de certains liens avec d’anciennes amies après leur mariage. Elle prend appui, elle aussi, sur le contexte victorien pour repousser toute trace d’ambiguïté dans l’intérêt de Carroll pour les petites filles et pense s’attaquer aux deux mythes de l’innocence et du désir déviant, en lui supposant une vie amoureuse finalement banale. Rejetant l’hypothèse (courante mais sans véritable fondement) selon laquelle Lewis Carroll serait tombé amoureux d’Alice et l’aurait demandée en mariage, ce qui lui aurait été refusé par ses parents, Karoline Leach construit son argumentation autour de l’amour caché, car scandaleux, de celui-ci pour la mère d’Alice. Ainsi pense-t-elle pouvoir élucider les zones d’ombre des journaux, l’état dépressif dont Carroll fait part à une certaine période sans en dévoiler de cause, la référence au péché qui hante son esprit (qu’elle rapporte également à la masturbation), ou la censure appliquée à ses écrits personnels par les membres de sa famille. Son interprétation est déduite de la lecture de certains poèmes, d’un déchiffrage éminemment problématique de la correspondance et du journal et de spéculations logiques souvent douteuses (qu’il n’est pas le lieu de développer ici). S’ils ne fournissent pas de quoi nous convaincre, les travaux récents attestent néanmoins d’une volonté d’écarter la suspicion de pathologie sexuelle qui a entouré la biographie de Carroll à la suite des publications référées à la psychanalyse au début du siècle. En dépit de sa tentative de ne pas cautionner le mythe de l’innocence victorienne véhiculé par la biographie de Collingwood, Karoline Leach ne cherche pas moins à restaurer une image de pureté coïncidant avec une norme morale contemporaine, c’est-à-dire celle d’une normalité sexuelle acceptable, impliquant pratique de la masturbation à l’adolescence et désir pour une femme, alors que le célibat et la chasteté de Carroll en étaient venus précisément à attirer les soupçons.

5Certains vont jusqu’à soutenir que le jugement moral relève d’une attitude défensive devant notre propre perversion face à laquelle nous met l’auteur. C’est le cas notamment de James Kincaid5. Ces jugements étayés sur des approches divergentes de la question de la perversion, captives d’un discours moral, ne parviennent pas toutefois à sortir de l’opposition : culpabilité contre innocence. L’œuvre s’y trouve étrangement mêlée. Un récent travail à ce sujet6 me conduisit à saisir comment, du « tous pervers » post-moderne à la condamnation fondée sur une morale étriquée en passant par les plaidoiries de l’innocence, toutes les positions prises à ce sujet font fi du fantasme et de la portée de sublimation et de symptôme de l’œuvre, qui seuls s’avèrent pouvoir nous permettre de tenir une juste position éthique, de traiter du rapport de l’artiste à sa production en dehors de cette dialectique étriquée.

Perversion et sublimation

6Nous conviant à nous détacher d’une interprétation morale de ce terme, Lacan nous invite à une révision de la catégorie clinique de la perversion dont il fait une structure avec pour caractéristique une inversion de l’écriture du fantasme par rapport à la névrose. Jacques-Alain Miller, suivant ses pas, a mis en évidence par ailleurs les coordonnées de la perversion Gidienne qui tiennent en la dissociation de moins et de phi (Lacan écrit moins phi l’objet du désir, voile sur le manque qui le constitue, image attirante qui porte les traces de l’objet perdu cause du désir)7. Dans ce que Jacques-Alain Miller qualifie de forme « non standard » de la perversion8, les deux composantes sont disjointes : d’un côté le phallus mort, l’idéal désincarné, l’amour pour Madeleine (moins) et de l’autre la jouissance, ses relations avec de jeunes garçons (phi), jouissance métonymique, sur le mode de la collection, radicalement disjointe de l’amour. Lacan invite dès lors à repenser le rapport de la perversion à l’éthique et à décoller l’appréhension clinique de la perversion du jugement moral impliqué par l’emploi de ce terme ambigu. Ce qui ne signifie pas bien sûr accepter l’inacceptable.

7Lorsqu’il convoque la perversion à propos de l’éthique, Lacan vise à souligner comment loi morale et jouissance se trouvent inextricablement liées. « La genèse de la loi morale ne s’enracine pas ailleurs que dans le désir lui-même », indique-t-il9, ce qui implique une intrication de la loi morale et de la culpabilité fondamentale du sujet. Sade « complète » Kant, « la philosophie dans le boudoir […] donne la vérité de la Critique10 ». Kant néglige ce qu’avait entrevu Aristote, que le plaisir (et donc l’instinct de mort) agit comme « fonction directrice de l’éthique11 » (la recherche du bonheur), tandis que l’échec de « l’affranchissement matérialiste du désir » tient en ce que « nous ne nous trouvons pas devant un homme moins chargé de devoirs qu’avant la grande expérience critique de la pensée dite libertine12 ». Par cet énoncé, il vise l’échec de Sade.

8Si la loi morale a bien pour envers la perversion, selon Lacan, elles sont comme les deux faces d’une même médaille, l’une s’avérant irrémédiablement liée à l’autre. Aussi nous invite-t-il à nous écarter d’une trop simple opposition entre culpabilité et innocence qui ne saurait servir de fondement à une position éthique (celle-ci implique de prendre en compte la dimension du fantasme et de la jouissance du sujet), encore moins à une appréciation de l’œuvre. Dans son « Hommage rendu à Lewis Carroll », prononcé lors d’une intervention radiophonique en 1966 et récemment publié dans la revue Ornicar ?13, Lacan estimait que la curiosité quant à savoir comment Carroll en était venu à se faire servant des petites filles était vouée à rester sur sa faim, « car la biographie de cet homme qui tint un scrupuleux journal ne nous en échappe pas moins ». Il ajoutait : « L’histoire, certes, est dominante dans le traitement psychanalytique de la vérité, mais ce n’est pas la seule dimension : la structure la domine. On fait de meilleurs critiques littéraires là où on sait cela14. » Critiquant avec virulence Paul Schilder pour son approche psycho-biographique15, il en appelait à une lecture du génie de l’œuvre fondée sur son rapport à la vérité de l’inconscient. Toutefois, si d’une part il indique : « Le penchant de Lewis Carroll pour la petite fille impubère, ce n’est pas là son génie », il ajoute : « Nous autres psychanalystes n’avons pas besoin de nos clients pour savoir où cela échoue à la fin dans un jardin public16. » S’il laisse entendre par là qu’il soupçonne que Carroll relève d’une structure perverse sans s’y étendre, c’est qu’il relève à cet égard que jouissance et loi morale s’avèrent toutes deux participer également de la constitution de l’œuvre : « Lewis Carroll […] était religieux, religieux de la foi la plus naïvement, étroitement paroissiale qui soit, dût ce terme auquel il faut que vous donniez sa couleur la plus crue vous inspirer de la répulsion. [.] Je dis que ceci a sa part dans l’unicité, de l’équilibre que réalise l’œuvre. Cette sorte de bonheur auquel elle atteint, tient à cette gouache, l’adjonction de surcroît à nos deux Lewis Carroll, de ce que nous appellerons du nom dont il est béni à l’oreille d’une histoire, l’histoire encore en cours, un pauvre d’esprit17. » L’homme de foi prend place au côté du poète et du mathématicien pour contribuer à l’équilibre de l’œuvre.

9Lacan note par ailleurs que « la sublimation est l’autre face de l’exploration que Freud fait des racines du sentiment éthique18 ». Il place sur le même plan perversion et « sublimation excessive de l’objet » comme les deux cas que Kant n’envisage pas : « Deux formes de la transgression au-delà des limites normalement désignées au principe de plaisir19. » « Sublimation et perversion [poursuit-il], sont l’une et l’autre un certain rapport du désir qui attire notre attention sur la possibilité de formuler, sous la forme d’un point d’interrogation, un autre critère d’une autre, ou de la même, moralité, en face du principe de réalité20. » La mise en rapport qu’il opère entre perversion et sublimation, comme ce qui fait entrevoir la dimension de la pulsion, mérite qu’on s’y attarde. Il distingue en effet la sublimation de « l’économie de substitution où se satisfait d’habitude la pulsion en tant qu’elle est refoulée21 ». La sublimation s’avère propre à porter l’accent sur la pulsion dans la mesure où celle-ci y est dérivée mais non refoulée. Sans-doute faut- il saisir là ce qui participe au génie de l’œuvre d’art : celle de Carroll nous enseigne incontestablement sur le réel ; elle laisse entrevoir comment le sujet du désir vient en opposition au sujet de la raison, ce que Lacan s’attache également à démontrer dans cette intervention. Son ouverture sur la pulsion aurait-elle contribué à ce que certains préfèrent soutenir qu’il ne fallait rien y voir de tel ou que d’autres la tirent du côté de la perversion ? La dialectique de la culpabilité et de l’innocence contribue en effet à masquer le véritable enjeu, le véritable enseignement de l’œuvre.

10Dès lors, supposer la perversion de Carroll ne s’avère pas non plus nécessaire à l’appréhension de l’œuvre, le travail de la sublimation suffirait à rendre compte de son ouverture au réel de la pulsion. Néanmoins Lacan soulignait que l’attrait de celui-ci pour les petites filles participe de la composition de l’œuvre : « Le penchant de Lewis Carroll pour la petite fille impubère, ce n’est pas là son génie… mais c’est bien de la conjuration des deux positions [ce penchant, celui du “poète”, du “rêveur”, de “l’amoureux si l’on veut” et la position du professeur de mathématiques] d’où jaillit cet objet merveilleux […] son œuvre22. » S’il indiquait que s’attarder sur la prétendue perversion de Carroll risquait de nous faire rater le génie de l’œuvre, il tenait néanmoins ce « penchant » comme constitutif de l’œuvre, aux côtés du savoir du professeur de mathématiques.

11Il nous conduit dès lors à nous interroger malgré tout sur ce que furent les petites filles pour Carroll afin de saisir comment elles informent l’œuvre et le mythe qu’elle supporte. Pour cela, j’ai fait le pari de m’intéresser à ce qu’il dit aux petites filles à travers la correspondance23. Le décalage de ses dires est assez saisissant avec le mythe de l’enfance auquel il s’accroche et qu’il contribue à nourrir.

A travers la correspondance

12En effet, on peut se demander en premier lieu jusqu’à quel point Lewis Carroll n’aurait pas largement participé de la construction du mythe de l’enfance et du culte de l’innocence des victoriens, lui qui devait se défendre des rumeurs qui couraient sur son compte (il ne fut pas toujours lui-même perçu de son vivant comme si innocent que cela, sa correspondance indique qu’il ne l’ignorait pas). Ainsi invoquait-il la pureté de ses intentions (il ne faut pas douter qu’il y croyait lui-même), son admiration pour la pureté formelle de ses jeunes amies qu’il associe à leur parfaite innocence. En atteste une de ses lettres pour solliciter l’autorisation de prendre des clichés d’une petite fille dans le plus simple appareil :

Here I am, an amateur photographer, with a deep sense of admiration for form, especially the human form, and one who believes it to be the most beautiful thing God has made on this earth. […] Now, your Ethel is beautiful both in face and form ; and is also a perfectly simple-minded child of Nature, who would have no sort of objection to serving as model for a friend she knows as well as she does me. So my humble petition is, that you will bring the 3 girls and that you will allow me to try some grouping of Ethel and Janet […] without any drapery or suggestion of it.
I need hardly say that the pictures should be such as you might if you liked frame and hang up in your dining room. On no account would I do a picture which I should be unwilling to show to all the world—or at least the artistic world.
If I did not believe I could take such pictures without any lower motive than a pure love of Art, I would not ask it : and if I thought there was any fear of its lessening their beautiful simplicity of character, I would not ask it24.

13S’il n’y a aucune raison de ne pas croire à sa sincérité, les multiples précautions oratoires laissent entendre qu’il n’ignorait pas que la question n’était pas si simple et que de telles pensées étaient néanmoins présentes à son esprit, ne fut-ce que pour les rejeter. Le mythe de l’innocence vient en outre lui permettre de justifier sa pratique photographique.

14Dans sa correspondance avec ses amies-enfants, en revanche, il se présente volontiers à elles comme un amoureux transi voire délaissé. Il écrit à Agnes Arles : « Where shall you be in the summer ? in the land of foxes, or lilies ? I shall probably have no sleep till I hear, and next to no appetite for dinner, so I hope you’ll tell me as soon as its settled25 », ou à Gertrude Chataway :

My dear Gertrude,
Explain to me how I am to enjoy Sandown without you. How can I walk on the beach alone ? How can I sit all alone on those wooden steps ? So you see, as I shan’t be able to do without you, you will have to come26.

15L’excès hyperbolique dévoile la parodie et vise à provoquer le rire, mais c’est sous couvert des jeux de l’amour, montrés dans leur dimension de semblant, de jeu, qu’il aborde les petites filles. En passer par l’amour, balayé d’un trait d’humour pour indiquer que ce n’est pas de cela qu’il s’agit, ne relève-t-il pas d’un étrange paradoxe ? La relation épistolaire d’ailleurs s’avère propre à convoquer ce registre.

16Comment ne pas être saisi par ailleurs par le fait que ses propos au sujet de ses amies-enfants laissent bien poindre qu’en effet ce n’est pas d’amour qu’il s’agit, mais d’amitié non plus. L’affection y perce peu, il se montre plutôt attiré par des sujets photographiques potentiels :

The next 2 or 3 days were very enjoyable, though very uneventful. I called on Mrs Cameron on Monday, and told her I felt rather tempted to have my camera sent down here—there are so many pretty children about—but that it was too much trouble, and instead, I asked her if she would photograph for me (in focus) the prettiest two, one being a child of Mr Bradley’s, the master of Marlborough, and the other, name unknown, but constantly to be seen about : I described her as well as I could. “Well then,” said Mrs Cameron, “next time you see her, just ask her her name,” and this I half resolved to do27.

17D’ailleurs ne l’intéressent, semble-t-il, que les petites filles qu’il repère et décide de conquérir. Les lettres attestent d’une certaine distance avec celles qui vinrent à lui d’elles-mêmes, attirées par l’auteur d’Alice. La distance qu’il marqua avec ses amies quand elles grandirent indique, en outre, que la relation qu’il entamait était plus avec ce que l’enfant représentait pour lui, une petite fille, qu’avec un sujet pour laquelle il aurait développé une affection particulière.

18La gêne se fait sentir dans l’attitude des enfants elle-même, auxquelles il reproche occasionnellement une certaine froideur à son égard, un certain éloignement. Il écrit à Agnes Hull :

My Darling Aggie,
(Oh yes, I know quite well what you’re saying—“why can’t the man take a hint ?. He might have seen that the beginning of my last letter was meant to show that my affection was cooling down !” Why, of course I saw it ! But that is no reason why mine should cool down, to match ? I put it to you as a reasonable young person—one who, from always arguing with Alice for an hour before getting up, has had good practise in Logic—haven’t I a right to be affectionate if I like ? Surely, just as much as you have a right to be as unaffectionate as you like. And of course you mustn’t think of writing a bit more than you feel : no, no, truth before all things !). (Cheers. Ten minutes allowed for refreshment)28.

19En collectionneur presque, il multiplie les amitiés, mais il ne veut rencontrer les petites filles qu’une par une. « I like my child friends best one by one », écrit- il à Beatrice Earle29. L’âge venant, il s’avère occupé à former de nouvelles amitiés, supportant mal que celles-ci viennent à manquer. La rencontre d’une enfant en particulier compte moins que le fait d’avoir une amie-enfant. Il écrit à Edith Rix : « […] I got rather tired of having no child-friend : so made acquaintance with a child, of about 12 years old, who lodges a few doors off30. » La froideur de ses lettres ultérieures à Alice, au sujet de ses publications, indique que rien de l’affection d’antan n’a subsisté pour la femme qu’elle est devenue. Elle fut réservée à l’enfant en tant que telle (il est bien connu qu’il se désintéressait de ses amies quand elles grandissaient, cette particularité si constante ne saurait être attribuée au seul fait d’une nouvelle pudeur ou d’un changement de caractère de celles-ci).

20Étrange assertion enfin que celle-ci dans laquelle il témoigne de son aversion pour le sexe des garçons et de son admiration pour le corps dénudé des petites filles, lorsqu’il évoque pour Gertrude Thomson ses illustrations pour Sylvie et Bruno : « I had much rather have all the fairies girls, if you wouldn’t mind. For I confess I do not admire naked boys in pictures. They always seem to me to need clothes : whereas one hardly sees why the lovely forms of girls should ever be covered up31 ! » Pour le formuler en termes cliniques, les petites filles se situent entre phallus (dans sa fonction de voile sur le manque attaché à l’image idéalisée, alors que le sexe masculin est plus propre à évoquer la castration) et objet dont il tire jouissance de les collectionner et de les regarder. Elles ont presque la valeur d’un fétiche. Lacan soulignait dans son séminaire « D’un autre à l’Autre » : « La petite fille est l’objet de désir du voyeur, c’est très précisément ce qu’il peut s’y voir qu’à ce qu’elle le supporte, de l’insaisissable même, d’une ligne où il manque, c’est-à- dire le phallus32. »

L’objet du mythe

21Lacan soulignait par ailleurs la valeur phallique de la petite fille et son rapport avec l’objet dans son séminaire « L’objet de la psychanalyse », contemporain de son intervention à France Culture, dans lequel il indique : « Seule la psychanalyse éclaire la portée d’objet absolu que peut prendre la petite fille, c’est parce qu’elle incarne une entité négative, qui porte un nom que je n’ai pas à prononcer ici, si je ne veux pas embarquer mes auditeurs dans les confusions ordinaires. De la petite fille, Lewis Carroll s’est fait le servant, elle est l’objet qu’il dessine, elle est l’oreille qu’il veut atteindre, elle est celle à qui il s’adresse véritablement entre nous tous33. » Dans « L’objet de la psychanalyse », il compare à Alice l’infante du tableau de Vélasquez, Les Ménines, dont il indique qu’elle est le signe qui vient à la place de l’objet chu, du regard du peintre34.

22Là où Lacan constate que l’Alice du conte a pour valeur moins phi, les petites filles s’avèrent plutôt avoir eu pour valeur phi (coupé du moins) à travers la correspondance de Carroll. Son rapport à celles-ci semble construit sur une coupure entre amour et jouissance sur le mode de la perversion Gidienne.

23Postulons que l’écriture de l’œuvre contribua pour l’écrivain à nouer le phi et le moins par une prise du désir et de la jouissance à l’idéal (l’enfant y devient, grâce aux illustrations de Tenniel notamment, prise dans un discours, une idéologie conforme aux idéaux victoriens, la valeur de fétiche est enrobée d’un discours esthétique). L’Alice du récit en outre est devenue un nom, la petite fille du texte noue la jouissance au signifiant, de fétiche, elle devient moins phi, phallus imaginaire « qui n’est rien d’autre que ce point de manque qu’il indique dans le sujet35 ». Le texte porte dès lors une trace de la subversion de ces idéaux par le savoir sur la pulsion et l’inconscient qu’il dévoile. Nous ferons l’hypothèse que le rapport spécifique de la petite fille à la jouissance pour Carroll contribua à ce que la figure d’Alice s’avère particulièrement propre à supporter l’ouverture du texte sur le réel. « Seule la psychanalyse éclaire la portée d’objet absolu que peut prendre la petite fille », indique Lacan dans son « Hommage rendu à Lewis Carroll » (soit ici moins phi). Il faut entendre qu’il pointe les affinités de la figure d’Alice avec la jouissance. Il conclut : « Pour un psychanalyste, elle est, cette œuvre, un lieu élu à démontrer la véritable nature de la sublimation dans l’œuvre d’art36 », qu’il comprend comme la prise de l’objet cause du désir à la lettre.

24« Le mi-dire est la loi interne de toute espèce d’énonciation de la vérité, et ce qui l’incarne le mieux, c’est le mythe37 », indique Lacan. « Épave du discours de la science, le propre du mythe est de toucher à la vérité qui est sœur de jouissance », indique-t-il dans le même séminaire38. Le mythe est une écriture qui ouvre à l’inconscient, au réel de la pulsion hors signifiant.

25Dans son « Hommage à Lewis Carroll », Lacan indique comment les affinités de l’œuvre avec les mathématiques contribuent à faire émerger une intuition du réel, direction que mon propre travail ne peut que me porter à suivre. Il insiste néanmoins sur la place qu’occupe dans cette construction la figure de la petite fille dans sa « portée d’objet absolu ». Nous tiendrons qu’au-delà des mythes entendus au sens de construction idéologiques qu’elle a contribué à produire, Alice, personnage ancré dans ce que furent les petites filles pour Carroll, contribue à la dimension proprement mythique de l’œuvre au sens fort, telle que la dégage Lacan. Nous conclurons avec lui : « Il y a bien, comme on nous le dit, Lewis Carroll, le rêveur, le poète, l’amoureux si l’on veut, et Lewis Carroll le logicien, le professeur de mathématiques. Lewis Carroll est bien divisé, si cela vous chante, mais les deux sont nécessaires à la réalisation de l’œuvre39. »

Notes

1 Roland Barthes, Mythologies, Paris, Seuil, 1957.

2 Karoline Leach, In the Shadow of the Dreamchild : A New Understanding of Lewis Carroll, Londres, Peter Owens, 1999.

3 Matthew Sweet, Inventing the Victorians, Londres, Faber and Faber, 2001, p. 166.

4 Stuart Dodgson Collingwood, The Life and Letters of Lewis Carroll, Londres, Fisher Unwin, 1908.

5 James Kinkaid, Child-Loving, The Erotic Child and Victorian Culture, Routledge, 1992.

6 Sophie Marret, « Lewis Carroll : entre culpabilité et innocence », Bulletin du groupe petite enfance, n° 18, Paris, Agalma, octobre 2002.

7 Jacques-Alain Miller, « Sur le Gide de Lacan », Critique de la sublimation, La Cause Freudienne, n° 25.

8 Ibidem, p. 14.

9 Jacques Lacan, L’éthique de la psychanalyse, Le séminaire, livre VII, 1959-1960, texte établi par Jacques-Alain Miller, Paris, Seuil, 1986, p. 11.

10 Jacques Lacan, « Kant avec Sade », Écrits, Paris, Seuil, 1966, p. 766.

11 Jacques Lacan, Léthique de la psychanalyse, p. 36.

12 Ibidem, p. 12.

13 Jacques Lacan, « Hommage rendu à Lewis Carroll », texte prononcé le 31 décembre 1966 sur France Culture, sous le titre « Commentaire d’un psychanalyste ». Transcription de Marlène Bélilos à partir de la bande sonore. Texte établi par Jacques-Alain Miller in Ornicar ?, n° 50, revue du Champ Freudien, diffusion Navarin-Seuil, 2002.

14 Ibidem, p. 9.

15 Paul Schilder, « Psychoanalytical Remarks on Alice in Wonderland and Lewis Carroll », The journal of nervous and mental diseases, LXXXVII, 1938.

16 Jacques Lacan, « Hommage rendu à Lewis Carroll », p. 11.

17 Ibidem, p. 11-12.

18 Jacques Lacan, L’éthique de la psychanalyse, p. 105.

19 Ibidem, p. 131.

20 Ibid.

21 Ibid., p. 132.

22 Jacques Lacan, « Hommage rendu à Lewis Carroll », p. 11.

23 The Letters ofLewis Carroll, edited by Morton N. Cohen, Oxford University Press, 1979.

24 Ibidem, vol. 1, p. 338.

25 Ibid., vol. 1, p. 129.

26 Ibid., vol. 1, p. 254.

27 Ibid., vol. 1, p. 66-67.

28 Ibid., vol. 1, p. 421.

29 Ibid., vol. 1, p. 528.

30 Ibid., vol. 2, p. 715.

31 Ibid., vol. 2, p. 947.

32 Jacques Lacan, « D’un autre à l’Autre », séminaire inédit, cours du 26 mars 1969.

33 Jacques Lacan, « Hommage rendu à Lewis Carroll », p. 9.

34 Jacques Lacan, « L’objet de la psychanalyse », séminaire inédit, conférence du 15 décembre 1965, p. 19.

35 Jacques Lacan, « La science et la vérité », Écrits, Paris, Seuil, 1966, p. 877.

36 Jacques Lacan, « Hommage rendu à Lewis Carroll », p. 12.

37 Jacques Lacan, L’envers de la psychanalyse (1969-1970), texte établi par Jacques-Alain Miller, Paris, Seuil, 1991, p. 127.

38 Ibidem, p. 76.

39 Jacques Lacan, « Hommage rendu à Lewis Carroll », p. 11.

Voir aussi:

Lewis Carroll et les psychobiographes : la fondation du mythe ou l’enfance réifiée

Pascale Renaud-Grosbras

1Nous savons que toute biographie est une construction. Mais certaines ont des traits si spécifiques qu’elles prennent une apparence particulière, à tel point qu’elles semblent devoir remplir une fonction : il s’agit des psychobiographies. C’est l’hypothèse de travail qui sera développée ici.

2La toute première biographie de Lewis Carroll fut publiée en 1898 par Stuart Dodgson Collingwood, son neveu1. Il travaillait à partir des témoignages de la famille et des papiers laissés par son oncle, dont son Journal, et de quelques vagues souvenirs personnels. Cette biographie est typique du genre biographique souvent hagiographique de l’époque victorienne, du style « Life and Letters ». Collingwood avait entrepris de donner une image lisse de son oncle. Rappelons qu’il fut le dernier biographe à voir le Journal dans sa version intégrale, puisque plusieurs volumes disparaîtront ensuite et qu’une version lourdement expurgée sera tout ce que les biographes pourront consulter par la suite2. En choisissant de placer en fin de volume une sélection de lettres d’amies-enfants (sans jamais, d’ailleurs, préciser l’âge de ces amies dont certaines n’étaient pas exactement des enfants), il commençait à orienter la lecture de la vie et des œuvres de Carroll. On croirait à le lire que son oncle n’a jamais quitté le refuge d’Oxford et a passé son temps à faire connaissance avec des petites filles et correspondre avec elles. Le seul moment où il approche de l’admission que son oncle ait pu être intéressé par les questions qui intéressaient ses contemporains, c’est pour les mettre de côté comme rebutantes pour les lecteurs de Sylvie et Bruno :

As things are, there are probably hundreds of readers who have been scared by the religious arguments and political discussions which make up a large part of it, and who have never discovered that Sylvie is just as entrancing a personage as Alice when you get to know her3.

3Il est vrai que le roman n’avait connu qu’un succès très limité, pour ne pas dire un échec, à sa parution. Mais Collingwood expédie ainsi les questions religieuses et politiques traitées par son oncle avec un sérieux auquel il tenait énormément, comme en témoignent les deux préfaces à Sylvie et Bruno, en se contentant de dire que c’est dommage car elles empêchent de faire la connaissance du personnage de la petite fille. Voilà déjà l’enfance au cœur de la biographie carrol- lienne, et nous verrons qu’elle y restera. Je n’ai pas l’intention de faire ici une étude détaillée des biographies de Carroll, quoique ce serait certainement une étude fascinante. Je me contenterai de donner quelques repères dans l’évolution de l’écriture biographique à propos de Carroll.

4Une étape que je trouve particulièrement importante est le texte de Virginia Woolf à l’occasion de la publication des œuvres complètes par Nonesuch Press en 19394. Elle y développe la vision d’un homme si effacé qu’il en est presque inexistant, la vision aussi d’une vie à la fois poétique et mystique, mystérieuse et transcendante, idéale et stérile :

But the Reverend C.L. Dodgson had no life. He passed through the world so lightly that he left no print. He melted so passively into Oxford that he is invisible. He accepted every convention ; he was prudish, pernickety, pious, and jocose. If Oxford dons in the nineteenth century had an essence, he was that essence. He was so good that his sisters worshiped him ; so pure that his nephew has nothing to say about him5.

5La notion d’enfance prend ici une dimension poétique qui, appliquée à la biographie, aboutit à des conclusions séduisantes car elles sont succinctes et de l’ordre d’un mythe ; elles répondent en effet au désir du retour à l’âge d’une fraîcheur enfantine supposée :

Childhood normally fades slowly. […] But it was not so with Lewis Carroll. For some reason, we know not what, his childhood was sharply severed. It lodged in him whole and entire. He could not disperse it. And therefore as he grew older this impediment in the center of his being, this hard block of pure childhood, starved the mature man of nourishment. He slipped through the grown-up world like a shadow, solidifying only on the beach at Eastbourne, with little girls whose frocks he pinned up with safety pins. But since childhood remained in him entire, he could do what no one else has ever been able to do—he could return to that world ; he could re-create it, so that we too become children again6.

6La magie, l’innocence, l’immatérialité de l’enfance sont au cœur de cette lecture de Carroll par Virginia Woolf. Le thème de l’enfance détruite par quelque événement grave est au fondement de certaines approches psychanalytiques, aussi nous est-il familier ; mais pour elle, il ne s’agit pas de mettre en place une étude de cas, mais de donner à la lecture des œuvres une fraîcheur et une dimension poétique portées par une forme de transcendance mystérieuse. De fait, la biographie n’intéresse pas Virginia Woolf et peu lui importe la véracité de ses analyses. Le problème fut que cette lecture poétique s’est « incrustée » dans la doxa carrollienne. Collingwood avait utilisé le motif de l’enfance pour donner de son oncle une image pure et détourner tout intérêt de ses activités adultes ; j’entends par là sa réflexion théologique et son amitié pour les progressistes Maurice et MacDonald, par exemple, qui dans une famille aussi ancrée dans les valeurs anglicanes que la famille Dodgson ne pouvaient qu’être suspectes. Virginia Woolf, elle, fait de l’enfance un principe explicatif de l’œuvre ainsi que de la vie de Carroll, en lui conservant encore le mystère poétique du concept de l’enfant innocent. Dès lors, les biographes successifs vont s’emparer du concept de l’enfance pour l’intégrer à leur façon dans leur lecture de la vie de Carroll, et bien souvent aussi, de ses œuvres.

7L’enfance, à cette époque de l’écriture biographique consacrée à Carroll, est considérée comme la limitation d’un monde à un imaginaire enfantin et le refus d’un monde adulte. Cette lecture a perduré longtemps, notamment chez Jean Gattégno, en France, qui dans sa thèse de 1966 publiée en 1970 développe l’hypothèse selon laquelle « c’est le refus du monde réel qui forme l’ossature du projet carrollien » ; ce refus est un repli dans un monde de l’enfance sclérosé et fermé aux influences du monde extérieur7. Il considère que Carroll, même s’il se désolait, par exemple, de certaines injustices sociales, était incapable de quitter l’abri que représentait Oxford pour se lancer dans l’action collective, incapable aussi d’écrire autrement que dans le cadre strict du nonsense. Dans son livre de 1974, il avoue que l’écriture biographique semble impossible face à un homme comme Carroll, et se résout à renoncer à rechercher une unité8.

L’avènement de la psychobiographie

8Ce qui imprime définitivement le thème de l’enfance et toute la complexité y afférente dans l’image de Carroll, c’est l’avènement d’un genre particulier de biographie, qu’on peut appeler la « psychobiographie ».

9Vers le début du xxe siècle, il semble que le genre biographique ait perdu sa portée didactique et hagiographique pour permettre à l’auteur d’explorer ce qui devient un « sujet » : non plus sujet au sens de personne, mais sujet au sens de sujet d’étude. Le sujet de la biographie était jusqu’alors un personnage à respecter, un personnage littéraire central à la tentative littéraire qu’est une biographie, devant lequel s’effaçait en apparence tout point de vue idéologique. Je dis « en apparence » car il est certain que ce point de vue existait, sans être nécessairement revendiqué ni même conscient chez le biographe. Je pense ici particulièrement à Mrs Gaskell, qui s’efforce de faire de Charlotte Brontë une sainte domestique dont le sens du devoir domina toute la vie, et qui pour ce faire n’hésite pas, en toute bonne conscience, à manipuler la chronologie, à censurer délibérément certains événements de la vie de son héroïne (il s’agit ici clairement d’une héroïne), voire à passer sous silence une analyse proprement littéraire des œuvres de l’auteur qu’elle aborde9. Le point de vue idéologique de Mrs Gaskell est évident à un lecteur d’aujourd’hui : elle ne pouvait admettre qu’une femme consacre exclusivement sa vie à autre chose que l’idéal petit bourgeois de la famille et du devoir, y compris le devoir religieux. Elle avait aussi entrepris de la défendre contre les accusations de « grossièreté » qui avaient été formulées après la parution de Jane Eyre, et surtout après la révélation que l’auteur de ce roman était une femme. Elle renvoya donc à l’environnement de Charlotte Brontë, plutôt qu’à la conscience de l’auteur, tout ce qui lui semblait justifier cette accusation, égratignant au passage des personnes encore en vie, qui furent évidemment furieuses de se voir portraiturer ainsi10. Mrs Gaskell, en cherchant à défendre son héroïne qu’elle trouvait elle-même indéfendable, était de fait dans une position paradoxale, qui fait de sa biographie un monument littéraire, un modèle du genre biographique – vers lequel il est pourtant impossible de se tourner sans arrière-pensée si l’on cherche à « connaître » la vie de Charlotte Brontë, pour autant que cela soit possible. La bonne conscience de Mrs Gaskell lui permit d’écrire son livre, sinon d’en assumer totalement les conséquences : elle se hâta en effet de partir en vacances sur le continent à la parution du livre pour échapper aux poursuites judiciaires auxquelles elle s’attendait. Cette bonne conscience repose entièrement sur le but didactique de ce qui est finalement une hagiographie. Il s’agit d’enseigner au public le sens du devoir, incarné dans un personnage. Elle le fit ailleurs, comme romancière, mais ici elle n’a aucune hésitation à « utiliser » un personnage réel, et dans les deux cas, en tant que romancière ou en tant que biographe, elle s’efface derrière ses personnages qui portent, ou représentent, l’idéal qu’elle entend exposer au public. J’ai pris cet exemple car il me semble particulièrement représentatif du genre biographique anglais au xixe siècle, où la biographie a un but didactique, lequel but peut difficilement pousser vers autre chose qu’une hagiographie. On est du côté de la défense : défense du sujet de l’étude et défense d’un point de vue idéologique plus ou moins assumé.

10Les biographes qui suivirent immédiatement Mrs Gaskell se montrèrent très possessifs et protecteurs envers Charlotte Brontë, refusant de prendre la mesure de la signification des lettres à M. Heger publiées dans le Times en 1913, une mesure qu’ils jugèrent vulgaire et blessante envers la mémoire de leur héroïne. Mais en 1920, une certaine Lucile Dooley publia une étude de Charlotte Brontë pour un journal de psychologie américain, où elle étudiait la personnalité de Charlotte à la lumière du concept de la névrose, introduisant le complexe d’Electre, ou la fixation au père, pour expliquer la genèse du génie de l’auteur. Le génie est donc étroitement lié à une pathologie et l’acte d’écrire est considéré comme une soupape de sécurité destinée à l’empêcher de sombrer dans la folie, plutôt que comme une tentative artistique proprement dite. Curieusement, Lucile Dooley, tout en posant comme hypothèse que Charlotte Brontë était inconsciente des raisons profondes qui la faisait écrire et inconsciente de son art, pose comme hypothèse corollaire qu’elle a su exposer au monde les rouages de la psyché dans ce qui est finalement « une grande contribution à la psychologie ». D’autres biographes suivirent, qui clamèrent que Charlotte était restée bloquée éternellement au stade de la psychose enfantine, qui l’empêchait de vivre parmi ses semblables. Chacun d’entre eux affirme tour à tour être parvenu au « noyau dur de la personnalité » de leur sujet. Un d’entre eux ne peut s’empêcher de noter que Charlotte a disparu à trente-huit ans, l’âge auquel sa mère est morte. Le fatalisme de ces études est frappant. Toute action, qu’elle soit créative ou quotidienne, est passée par le filtre de la pathologie. Il est vrai que la biographie de Mrs Gaskell présentait déjà tous les éléments nécessaires à une telle débauche interprétative, et qu’aucun de ces biographes n’a pris la peine de vérifier certains faits que Mrs. Gaskell tenait de commérages ou avait purement et simplement inventés. Mais l’idée que la clé ultime de l’analyse est à portée de main suffit à déclencher une véritable avalanche de nouvelles biographies11.

11Vers le début du xxe siècle donc, en matière de biographie, il y a de moins en moins un souci d’édification et de plus en plus un souci d’ordre scientifique. Ce terme est douteux, certes, dans un contexte littéraire, mais il me semble important néanmoins. Le but de la biographie, en effet, devient la recherche, selon une méthode explicite, des preuves justifiant d’une hypothèse posée par l’auteur de la biographie au cours de sa recherche précédant l’écriture proprement dite. La forme de la biographie évolue : du genre « Life and Letters », on passe à un travail de remaniement des données biographiques connues en ayant recours à des théories appartenant à l’histoire de la pensée contemporaine. C’est sur ce dernier point surtout qu’il me semble important de se pencher, car l’avènement de la psychobiographie s’appuie entièrement sur l’importance grandissante de la psychanalyse, considérée non plus comme méthode thérapeutique, mais comme système explicatif. Il est vrai que Freud lui-même avait ouvert la voie, avec ses études sur Léonard de Vinci ou Dostoïevski. Il s’indignait de ce que la biographie passe sous silence le « refoulé » de la sexualité, qu’il considérait au moins aussi important que les événements proprement dits et qu’il cherchait dans la production créatrice de ces artistes. Il s’indignait surtout de la « pruderie » des biographes traditionnels. Mais en 1928, dans son texte sur Dostoïevski et le parricide, il admet que « malheureusement, l’analyse ne peut que déposer les armes devant le problème du créateur littéraire12 ».

12Une brèche était toutefois ouverte, où les biographes de Carroll se sont engouffrés. Il s’agissait de s’intéresser à la part secrète de la vie de l’auteur, non plus en tant qu’auteur, ni en tant que personnage, mais en tant que sujet porteur d’un inconscient potentiellement accessible pour peu que l’on s’appuie sur une lecture minutieuse de ses œuvres et une relecture tout aussi minutieuse de ce qui était connu de sa vie. En ce qui concerne Carroll, dans ce genre de biographies, l’écriture devient symptôme, plutôt qu’œuvre d’art. Le geste créatif est inconscient plutôt que conscient. La notion selon laquelle ses livres sont sortis tout écrits des limbes de son inconscient ou d’un pré-conscient commence à apparaître. Et chez Carroll, cela prend une dimension particulière, puisqu’il est traditionnellement vu comme auteur pour enfant : ce quelque chose de secret qu’il exprime dans ses écrits, ça doit avoir un rapport avec l’enfance. On cherche donc à accumuler, à partir de la masse de données héritées des biographies antérieures, des indices en forme de symptômes que l’écriture critique formera en syndromes : en d’autres termes, écrire une psychobiographie, c’est faire une étude de cas et dégager des syndromes à partir des symptômes tirés de ce qui est connu de la vie. Or, il est rare que ces auteurs aillent chercher ailleurs que dans les biographies précédentes les données dont ils se servent. On ne trouve que très rarement des tentatives pour interroger ceux qui ont connu leur sujet d’étude, et plus le temps passe, plus cette possibilité s’éteint. Les biographies successives s’écrivent donc peu à peu à partir des biographies précédentes, cherchant toujours plus le « secret », le « refoulé », que les auteurs précédents n’auraient pas vu. C’est alors que la séparation établie par Carroll entre sa personnalité d’auteur comme Lewis Carroll et sa personnalité en tant que Charles Lutwidge Dodgson a pris un sens particulier. Je crois qu’aucun de ces auteurs ne s’est arrêté sur le fait qu’en renversant son prénom et le nom de sa mère, Charles et Lutwidge, en les latinisant puis en les transcrivant en anglais, il a, littéralement, « coupé le nom du père » (Dodgson). Cela ne me semble pas anodin, et pas simplement pour des raisons psychologiques. En effet, en tant que fils aîné d’une grande famille de filles appelé à prendre la place de son père à la tête de la famille, il était destiné à suivre les traces de celui-ci, ce qu’il a commencé à faire en entrant à Oxford. Mais il a ensuite refusé de rentrer dans les ordres, et a acquis sa notoriété en devenant écrivain. Ce n’était pas là le comportement qui était attendu de lui. Sa famille, anglicane et traditionaliste si lui-même ne l’était pas, était néanmoins à sa charge. Il me semble que cette raison de prendre un nom de plume, et celui-là en particulier, méritait d’être explorée avant de se lancer dans ce que je considère être une hypothèse délirante, celle de la séparation pathologique de sa personnalité en deux identités distinctes. Quant à l’idée selon laquelle deux parties différentes de son cerveau prenaient le dessus tour à tour selon son activité du moment, je vois mal comment elle pourrait être défendue sérieusement. Hypocrisie peut-être, méfiance sans doute, mais pathologie je ne crois pas – ou alors il faudrait arriver à cette hypothèse en dernière analyse. Mais l’œuvre de Carroll abonde en symboles, en rêves et en jeux de mots. Là aussi, c’est pain béni pour le psychobiographe. Interpréter un symbole, c’est ainsi que la connaissance populaire de la psychanalyse voit sa pratique – symboles sexuels en premier lieu, et là aussi il est évident que Carroll fut un sujet particulièrement bien choisi par ces auteurs. L’image évolue peu à peu pour arriver chez certains à celle d’une personnalité anormale : on a vu que pour Gattégno, l’hypothèse est le refus du monde réel. Chez plusieurs autres auteurs revient le motif de la fixation à l’enfance. Dans l’esprit du public, la pédophilie est largement présente.

13Ce qui pose réellement problème, c’est la place grandissante de la psychopathologie de la création artistique : le génie et la névrose sont mis en étroite connexion. Mais interpréter des œuvres littéraires comme la production brute d’un inconscient, c’est nier le travail d’élaboration (d’ordre créatif) de l’auteur, et surtout, en tout état de cause, la relation de sa production littéraire à la littérature et à la culture. On déhistoricise ainsi une œuvre. On oblitère aussi tout un pan de l’analyse critique, tout ce qui tient à la volonté consciente et créatrice, au projet d’écriture. Florence Becker Lennon, par exemple, nie la portée de cette dimension du travail littéraire lorsqu’elle estime, dans sa biographie de 1945, que dans sa dernière œuvre littéraire, Sylvie et Bruno, Carroll a perdu son génie créatif en acquérant une plus grande conscience de sa propre philosophie :

Carroll’s philosophy became steadily more conscious and more concentrated, from Wonderland to Looking-Glass, from Looking-Glass to Sylvie and Bruno, with is moralistic detours. But, as his philosophy became more conscious, it also grew more concentrated, drier, and less nutritious13.

14C’est Florence Becker Lennon encore, dans son introduction à sa biographie, qui a cette métaphore extraordinaire sur le genre biographique, la métaphore d’un oignon qu’on pèle sans jamais arriver au cœur. On a beau décortiquer, il restera toujours quelque chose, un autre secret à découvrir dans un processus sans fin :

All the great abstractions—Genius, Love, Religion—like Peer Gynt, resemble an onion. But their onions, unlike Peer Gynt, are infinite. At least, no one has yet succeeded in defoliating any of them till all the leaves were in one hand and nothing in the other. Each one is made up of known and common qualities—plus X. And no matter how many leaves we succeed in pulling off—perhaps no single individual has pulled more than one—bulb X in the other hand never looks any smaller14.

15En 1955, Phyllis Greenacre publie une étude psychanalytique des œuvres de Swift et de Carroll15. Elle fait remonter la névrose de Carroll à l’enfance de Charles Dodgson, né de parents cousins germains, dans une famille nombreuse où les rivalités n’étaient sans doute pas exprimées à cause de l’exemple parental de vertu chré- tienne. En tant que Lewis Carroll, l’homme aurait voulu retrouver l’état de déraison propre à la période pré-verbale de la petite enfance, qu’il tenta d’éloigner dans sa vie quotidienne par ses habitudes strictes et son refoulement des émotions, mais qui affleure dans ses œuvres de nonsense. Élevé avec des petites filles, il n’aurait pas réussi à résoudre le fantasme de sa propre identité, et un attachement œdipien non résolu l’aurait poussé à s’identifier à sa mère. Dans le roman Sylvie et Bruno, Phyllis Greenacre estime que le jardinier est une image dégradée du père, qui ouvre la porte aux enfants afin qu’ils rejoignent une image idéalisée du père, capable d’enseigner l’amour universel mais pas l’amour individuel. Elle voit dans les scènes de rêve, en particulier la chanson du jardinier, une représentation onirique typique d’une scène d’excitation sexuelle. Voir dans ces passages la mise en scène d’une représentation de la scène primitive impossible à assimiler interdit de s’interroger sur la portée stylistique du poème, et sur son importance dans la construction structurelle du roman. Selon Phyllis Greenacre, tout cet aspect effrayant de la vie sexuelle adulte, l’auteur l’aura toujours repoussé, ce qui culmina dans Sylvie and Bruno où l’amour n’est qu’amour fraternel, amour universel, bref, amour désexualisé. Mais là encore cela pose un problème, puisque cette interprétation ne permet pas de s’interroger sur la portée philosophique et proprement théologique de la notion d’amour pour Carroll.

16Dans ces tentatives biographiques, le biographe est un porteur de compétence critique : loin de s’effacer devant son sujet, au moins en apparence, le point de vue du biographe s’expose, se revendique, avec plus ou moins de prudence. Le sujet de la biographie n’est plus un héros mais un sujet d’étude, en toute bonne conscience car le but est d’ordre scientifique. Il ne s’agit plus de montrer une vie qui puisse être un modèle pour le public, mais de découvrir les éléments cachés d’une personnalité, dont les œuvres servent de support à la lecture de symptômes. Plus grave, ces approches ne se limitent pas à trouver de l’anormalité chez l’homme, mais à englober aussi, voire surtout, ses œuvres littéraires. Que n’a-t-on pas écrit sur Sylvie et Bruno ? Pour ceux qui ne l’ont jamais lu mais connaissent la littérature consacrée à Carroll, le roman est un indigeste fouillis d’où le nonsense est absent, et où un petit garçon parle de façon terriblement agaçante. Mais en premier lieu, le reproche principal fait au livre est que Carroll a perdu sa capacité à approcher l’enfance et à la restituer. Roger Lancelyn Green, par exemple, considère que pour les deux volumes consacrés à Alice, Dodgson équilibrait parfaitement son âme d’enfant retrouvée et l’adresse et le jugement logique de l’adulte intelligent16. Mais quand il a écrit Sylvie et Bruno, dit-il, l’équilibre était rompu et il utilisait les paroles et les fantasmes de ses amies-enfants, sans les faire passer par le filtre de la maturité. C’est la perte de l’accès à l’enfance et le règne absolu de l’adulte qui signerait donc l’échec du roman. On ne peut plus parler ici d’anormalité psychique : on entre dans le domaine de la critique littéraire la plus abusive. On ne cherche plus seulement le secret, mais l’échec, un échec dû à des raisons psychologiques. L’auteur, pour les psychobiographes, est écrivant plutôt qu’écrivain. Pourquoi pas ? Mais dans ce cas, le genre trouve sa clôture dans le fait même qu’il prend pour sujets premiers des artistes, des écrivains. Personne ici ne peut sérieusement remettre en question le fait que Carroll est écrivain – sinon ce colloque n’aurait jamais eu lieu.

17Pourquoi, précisément, les psychobiographies posent-elles un problème du point de vue de la critique littéraire ? D’une part, les psychobiographies fonctionnent sur le principe de la recherche du secret, le « sale petit secret qui nourrit la manie d’interpréter », pour citer Gilles Deleuze17. Au principe de ce secret, on trouve presque toujours l’enfance. Car le noyau dur au centre de toute recherche d’ordre psychobiographique, c’est l’origine, la genèse du « sale petit secret ». Or l’origine, c’est forcément l’enfance. Ce faisant, l’écriture biographique détache le sujet des influences sociales, culturelles et littéraires qui ont formé son art. De plus, en posant tout acte créateur sur la fondation unique d’un inconscient préadulte, on met en place le concept d’un génie miraculeux et forcément naïf. Là encore se pose le problème du statut de l’écrivain. La psychanalyse, telle, du moins, qu’elle est comprise par les psychobiographes, pose clairement un problème théorique au sein du carrollisme. Elle a permis le passage radical d’une croyance en l’inconnaissable et l’indicible en ce qui concernait la personne humaine, avec le respect absolu de sa mémoire, à une recherche minutieuse des secrets réels ou supposés : il s’agit du désir de croire qu’il devient possible d’avoir accès à l’inconscient, et donc de connaître le tout de l’auteur. Sous couvert d’iconoclastie (c’est-à-dire casser une image figée pour aller voir derrière), les psychobiographes, s’ils se donnent accès à des aspects d’une personnalité restée jusque-là inexplorée, réduisent leur lecture par une orientation unique de leur interprétation. L’iconoclastie, en matière de biographie, a un intérêt qui marque aussi sa limite. D’autre part, considérer l’auteur d’abord comme un personnage dont il faut percer les secrets biographiques, c’est occulter certains aspects de son œuvre, qu’on s’empêche de voir autrement que par le prisme des éléments biographiques déjà exhumés. S’interroger sur la question de l’enfance chez Carroll, c’est souvent ignorer que cette question a, pour lui, une dimension philosophique importante. Comme Jean-Jacques Lecercle l’a noté, l’enfant pour les victoriens est à la fois emblème de la pureté, de l’innocence absolue, et un être humain déjà porteur du péché originel qu’il faut éduquer et redresser18. Mais pour Carroll, l’enfant est aussi celui qui connaît l’amour, et à qui il importe de donner une vision de plus en plus large de cet amour, de le guider dans sa connaissance intuitive de l’amour divin. Non perverti par les doctrines, il est celui qui aide l’adulte à comprendre l’importance de l’amour divin, mais limité par son expérience, il est celui qu’il faut aider à acquérir le sens des devoirs envers Dieu et les hommes. Ceci prend son sens si on s’autorise à lire Sylvie et Bruno, par exemple, non pas comme un échec littéraire, mais comme l’expression d’une philosophie personnelle très aboutie, construite à partir de fréquentations et de lectures dont on a longtemps ignoré l’importance, fascinés comme l’étaient les psychobiographes par la recherche de l’anormalité du discours relatif à l’amour et l’interrogation sur les motifs possibles de cette anormalité. Certes, la question de l’enfance est importante – pas parce qu’elle se réfère à l’enfance de Carroll, ni à son amour de l’enfance, mais parce que cette question est centrale dans sa philosophie.

Les fonctions : l’auteur, l’enfance

18Il me semble que les psychobiographies mettent en regard deux formes mythiques, deux fonctions, celle de l’enfance et celle de l’auteur. On a déjà vu quelques-unes des catégories que porte la figure mythique de l’enfance : le miracle, l’innocence, la naïveté, le refus d’un monde adulte incompréhensible. La liste est sans doute longue ; d’ailleurs, si la notion d’enfance est mythique, c’est bien parce que chaque époque y puise, ou y met, ce qui lui convient. C’est une fonction malléable car stable, ou stable car malléable.

19La fonction de l’auteur, c’est sans doute Michel Foucault qui l’a le mieux décrite19. Selon lui, le nom d’auteur, en premier lieu, a une fonction. Fonction classificatoire d’abord : il circonscrit un corpus. En carrollisme, le problème du corpus est réglé par l’attribution à Dodgson des textes dits « sérieux » et à Carroll des textes littéraires ; pourtant, cette distribution est débordée par le paradoxe constitutif de la classification basée sur le nom d’auteur : en témoignent les hésitations sur le statut de Sylvie et Bruno. Le nom d’auteur a aussi une fonction d’attribution d’un mode de réception spécifique, en d’autres termes il attribue un statut aux discours de l’auteur. Selon Michel Foucault :

Il manifeste l’événement d’un certain ensemble de discours, et il se réfère au statut de ce discours à l’intérieur d’une société et à l’intérieur d’une culture. Le nom d’auteur n’est pas situé dans l’état civil des hommes, il n’est pas non plus situé dans la fiction de l’œuvre, il est situé dans la rupture qui instaure un certain groupe de discours et son mode d’être singulier. […] La fonction auteur est donc caractéristique du mode d’existence, de circulation et de fonctionnement de certains discours à l’intérieur d’une société20.

20Le carrollisme a fourni un statut au discours de Carroll en s’appropriant et en construisant l’image de l’auteur ; par le même mouvement, le carrollisme fonde sa légitimité en caractérisant son propre discours par la référence à l’auteur. L’image de Carroll que nous possédons aujourd’hui est construite, cette construction est même probablement l’enjeu principal du carrollisme. On peut poser l’hypothèse selon laquelle, pour les psychobiographes comme pour tous ceux qui parlent de Carroll, l’auteur a pour fonction d’inscrire les discours dont il est porteur dans un ensemble de discours qui le concernent, lui, sa vie et ses œuvres.

21La confluence de la fonction auteur et de l’enfance considérée comme une fonction s’articule particulièrement bien dans le cas de Carroll, pour donner des figures rhétoriques typiques du mythe, tout un ensemble de figures insistantes dont on peut dresser une liste non exhaustive. Ce sont les formules de base de la doxa carrollienne.

22La figure de l’innocence, d’abord : la formule de Collingwood, « a very beautiful personality21 », était déjà vide de sens quand on considère qu’il parlait non seulement de son oncle – tout le monde peut s’amuser à écrire la biographie de son oncle – mais d’un auteur. Les psychobiographes ne se sont pas embarrassés de commenter la beauté de la personnalité de leur sujet. Ils l’ont réduite à une figure de la plus grande innocence. Un auteur proche de son âme d’enfant est forcément innocent et pur, ou innocent mais pervers, selon la vision que l’on a de l’enfance. D’autre part, si l’auteur est un enfant, alors il ne sait pas grand-chose du monde, et il devient possible à celui qui l’étudie de trouver dans ses œuvres ce qu’il ne savait pas lui-même y avoir mis. On voit le danger à ne jamais s’interroger sur cette idée ; elle peut être féconde comme totalement vide de sens. À l’inverse, on peut aussi considérer que si l’auteur est un enfant, il a joué comme un enfant : on peut dès lors s’autoriser à chercher dans ses œuvres les jeux auxquels il a joué. Un des derniers biographes de Carroll, Richard Wallace, en 1990, pose l’hypothèse selon laquelle Carroll aurait été victime d’agressions sexuelles lorsqu’il était élève à Rugby et que cela aurait développé en lui une homosexualité et une perversité qu’il aurait dévoilées dans ses écrits, sous forme d’anagrammes22. Aussi s’efforce-t-il d’explorer minutieusement les œuvres de Carroll pour y retrouver ces anagrammes – et les trouve, bien évidemment. Paradoxalement, la figure de l’innocence rejoint ici celle de la perversité. Quelques années plus tard, c’est lui encore qui a écrit ce livre affirmant que Carroll est Jack the Ripper23. Il est évident que ce type de recherche en dit plus long sur leur auteur que sur Carroll. L’articulation paradoxale de l’innocence et de la perversité est un motif récurrent des psychobiographies. Elle est souvent résolue en posant que Carroll avait une connaissance intuitive de la perversité, comme tout enfant (selon la formule de Freud, incorrectement lue, selon laquelle l’enfant est un « pervers polymorphe »), mais que son inconscience de ses propres mécanismes psychiques ne lui permettait pas de la comprendre dans toute sa dimension proprement adulte. Michael Bakewell, dans sa biographie de 1996, estime ainsi que les « pensées impures » que Carroll évoque dans sa préface à Sylvie et Bruno sont impures au sens où le catéchisme l’entend24. Mais lorsqu’il écrit cette préface, Carroll a cinquante-sept ans, et peut difficilement être suspecté d’entretenir une inquiétude adolescente sur la masturbation – sauf à s’acharner à croire à un esprit infantile enfermé dans le corps d’un homme mûr. L’idée qu’il puisse s’agir de doute religieux ou d’inquiétudes métaphysique ne l’effleure pas un instant, elle est pourtant digne d’être explorée.

23La fermeture au monde est un autre motif. On entend par là le monde adulte, événementiel, politique, etc. Nous connaissons tous cette anecdote dont il est difficile de retrouver la source une fois qu’on l’a lue, mais qui est très probablement apocryphe, de Carroll entrant à quatre pattes dans un salon, pensant n’y trouver que des enfants, et se trouvant nez à nez avec des adultes interloqués25. C’est une chose de définir le nonsense comme un système clos, c’en est une autre d’affirmer que Carroll était un îlot retiré du monde adulte. Difficile, dans ce cas, de considérer que c’était un homme cultivé, par exemple. Or, Hugues Lebailly l’a montré, il était très au fait de la production culturelle de son époque26, et souvent même peu orthodoxe dans ses choix ; pas parce qu’il ne connaissait pas l’orthodoxie, mais parce qu’il s’en détachait tout à fait consciemment. Fréquenter le théâtre lui était interdit implicitement, sinon explicitement, mais il était capable de défendre son point de vue et de s’y tenir.

24Pierre Bourdieu parle, dans Les règles de l’art, à propos de Sartre biographe de Flaubert, de « cette forme de narcissisme par procuration que l’on tient d’ordinaire pour la forme suprême de la “compréhension”27 ». Loin d’objectiver son sujet, le psychobiographe, de la même façon, se contente souvent de plaquer sur le personnage de Carroll sa lecture d’événements biographiques réels ou imaginaires (hérités de la doxa), qui est une lecture non seulement stérile, mais également violente. Loin de s’interroger sur la genèse du travail créatif, il postule une genèse idéale et indicible et développe l’image d’un « créateur inconscient » ou « créateur incréé ». Ceci repose sur la croyance qu’une vie, telle qu’on la voit, est orientée par sa finalité : en d’autres termes, chacun des événements biographiques et des interprétations qui en sont tirées a une signification touchant à un but ultime. C’est une téléologie qui implique une forme de transcendance. Carroll, enfant dans l’âme, innocent et inconscient de son propre génie, a écrit des chefs- d’œuvre : c’est incompréhensible mais cela est, miraculeusement. Cette irruption de la transcendance dans la psychobiographie scelle son échec.

Le mythe carrollien comme résolution d’un paradoxe

25Il me semble qu’une autre hypothèse peut être posée en ce qui concerne l’auteur en tant que mythe. Je me demande si le discours si prégnant dans le carrollisme sur la pureté absolue du personnage d’Alice ne nous fournit pas déjà une piste. Je ne trouve pas, personnellement, qu’Alice soit d’une exceptionnelle pureté. Tout en représentant l’innocence, elle me semble même particulièrement perverse et manipulatrice, bien qu’elle soit (ou peut-être parce qu’elle est) elle-même manipulée par les autres personnages. Je vois là une image bien perverse de petite fille. Je crois d’ailleurs que les enfants le perçoivent, certains s’en effrayent et d’autres s’en amusent, d’autres encore font les deux simultanément ou successivement. Si ma lecture est un tant soit peu correcte, alors comment le paradoxe de l’articulation entre innocence et perversité dans le personnage d’Alice se résout-il ? Je pense qu’il n’est pas absolument absurde de penser que Carroll, en tant que figure mythique, est la réponse à ce paradoxe. Ce serait bien, selon la formule de Lévi-Strauss, un « modèle logique de résolution d’une contradiction », en ceci qu’il incorpore, plutôt que son héroïne, la perversité portée par son texte. En d’autres termes, Carroll serait devenu une figure mythique quand les carrolliens, ne supportant plus de voir en Alice la perversité, l’ont fait porter, par un mécanisme collectif de projection, sur la figure de l’auteur. On obtient ainsi deux figures mythiques : celle de l’enfant parfaitement innocent et pur, et celle de l’auteur absolument pervers et anormal.

26De fait, cela pourrait commencer à expliquer pourquoi Sylvie et Bruno, où la perversité est sans conteste présente, est si dépréciée par les psychobiographes, qui affirment qu’avec cette œuvre, Carroll a perdu son pouvoir créatif pour écrire des bêtises. La figure de l’auteur ayant perdu là sa perversité alors que son dernier roman la regagnait, l’équation ne fonctionne plus par le mythe.

Le « sujet supposé savoir »

27Plus largement, il me semble que les psychobiographies posent le problème de la réception des œuvres littéraires, que je voudrais ici tenter d’exposer autrement en quelques mots. Dans la relation entre auteur et lecteur, le « sujet supposé savoir » est à la fois l’auteur, le lecteur et le texte, chacun étant relié aux autres par la relation très particulière de la lecture. Mais dans la relation entre auteur, lecteur et biographe, le « sujet supposé savoir » se doit forcément d’être le psychobiographe, faute d’avouer son incapacité à donner sens à son travail, ce qu’il ne fait jamais. Il me semble que les psychobiographes posent le problème des dangers de la critique littéraire, en creux : si le critique se pose en « sujet supposé savoir » il se résigne à la transcendance et à porter sur ses propres épaules tout le poids du sens qu’il donne au texte. S’il s’avoue qu’il ne sait pas, il entre dans la relation classique entre lecteur, auteur et texte, et fait fonctionner le texte en respectant sa portée, toute sa portée et rien que sa portée. Si les psychobiographies appliquées à Carroll ont un sens, c’est peut-être celui-là : démontrer par l’absurde ce que la critique ne peut pas se permettre de faire. Il me semble que le double mythe de l’enfance et de l’auteur tel qu’il a été exploité par les psychobiographies est passé dans la doxa carrollienne. Mais il doit être examiné en dehors d’elle pour que la critique ait une chance d’en faire un concept constructif.

Notes

1 Stuart Dodgson Collingwood, The Life and Letters of Lewis Carroll (Rev. C.L. Dodgson), Londres, Thomas Nelson & Sons, 1898.

2 The Diaries of Lewis Carroll, éd. Roger Lancelyn Green, 2 vol., Londres, Cassel and Company, 1953.

3 Stuart Dodgson Collingwood, op. cit., p. 236-237.

4 Introduction de Virginia Woolf pour The Complete Works of Lewis Carroll, éd. Alexander Woolcott, Londres, Penguin Books, 1988 [Nonesuch Press, 1939].

5 Ibidem., p. 47-48.

6 Ibid., p. 48.

7 Jean Gattégno, L’univers de Lewis Carroll, Paris, José Corti, 1970, p.

8 « Ceci est-il une biographie ? La question n’est pas rhétorique, et j’ai beaucoup hésité à écrire “La Vie de Lewis Carroll”. De qui vais-je parler en effet ? De celui qui répondait au nom de Charles Lutwidge Dodgson ? ou de celui que l’on ne connaît que sous le nom de Lewis Carroll ? La vie de Charles L. Dodgson, son neveu l’a écrite dès l’année de sa mort. Celle de Carroll supposerait, pour être possible, le pouvoir de trancher entre la vie et les livres » (Jean Gattégno, Lewis Carroll : une vie, Paris, Seuil, 1974, p. 13).

9 Elizabeth Gaskell, The Life of Charlotte Brontë, Londres, Penguin Classics, 1997 (1857).

10 Voir à ce sujet l’appareil critique du livre d’Elizabeth Gaskell, Charlotte Brontë, traduction de Lew Crossford revue, corrigée et annotée par Pascale Renaud-Grosbras, Paris-Monaco, Éditions du Rocher, 2004.

11 L’étude des biographies des sœurs Brontë a été réalisée brillamment par Lucasta Miller dans The Brontë Myth, Londres, Vintage, 2002. Voir en particulier le chapitre 5, « Secrets and Psychobiography », p. 109-139, sur lequel je me suis largement appuyée ici.

12 Sigmund Freud, « Dostoïevski et le parricide » (1928), trad. J. B. Pontalis, C. Heim et L. Weibel, in Résultats, idées, problèmes II, Paris, Presses universitaires de France, 1985.

13 Florence Becker Lennon, « Escape Through the Looking-Glass » (1945), Aspects of Alice : Lewis Carroll’s Dreamchild as seen through the Critics’Looking-Glasses (1865-1971), éd. Robert Phillips, Londres, Victor Gollancz Ltd, 1972, p. 76.

14 Florence Becker Lennon, « An apology for biographies », préface à Lewis Carroll : a Biography, Londres, Cassell & Co, 1947, p. 7.

15 Phyllis Greenacre, Swift and Carroll : a Psychoanalitic Study of Two Lives, New York, International Universities Press, 1955.

16 Cité par Selwyn H. Goodacre dans « Lewis Carroll the Creative Writer », Mr Dodgson : Nine Lewis Carroll Studies, LCSNA, 1973, p. 15-22.

17 Gilles Deleuze et Claire Parnet, Dialogues, Paris, Flammarion (Champs), 1996, p. 58.

18 Jean-Jacques Lecercle, « Un amour d’enfant », Jean-Jacques Lecercle (dir.), Alice, Paris, Autrement (Figures mythiques), 1998, p. 7-48.

19 Conférence donnée à la Société française de philosophie le 22 février 1969, texte repris dans Michel Foucault, Dits et écrits, 1954-1988, vol. 1, Paris, Gallimard, 1994, p. 789-821.

20 Ibidem, p. 798.

21 Pour évoquer Sylvie and Bruno, Collingwood parlait en effet de « revelation of a very beautiful personality » à propos de son auteur. Stuart Dodgson Collingwood, op. cit., p. 319.

22 Richard Wallace, The Agony of Lewis Carroll, Melrose, Gemini Press, 1990. Notons en passant que Richard Wallace se présente comme thérapeute pour enfants.

23 Richard Wallace, Jack The Ripper : « Light-Hearted Friend », Melrose, Gemini Press, 1996.

24 Michael Bakewell, Lewis Carroll : A Biography, Londres, Heinemann, 1996, p. 110.

25 Cet incident est rapporté pour la première fois dans la biographie de Langford Reed, The Life of Lewis Carroll, Londres, W. & G. Foyle, 1932. Il n’indique aucune source.

26 Voir Hugues Lebailly, Charles Lutwidge Dodgson et la vie artistique victorienne : les journaux et les lettres, chroniques des excentricités d’un reclus monomaniaque ou témoignages de l’intégration d’un amateur éclairé ?, thèse soutenue auprès de l’université de Strasbourg 2, 1997.

27 Pierre Bourdieu, Les règles de l’art : genèse et structure du champ littéraire, Paris, Seuil (Libre examen), 1992, p. 267.

 Voir également:

L’imagination et le diptyque chez Lewis Carroll

Toshiro Nakajima
Traducteur Pascale Renaud-Grosbras

1La photographie d’Alice Pleasance Liddell prise dans les jardins du doyen de Christ Church est une des plus connues de Lewis Carroll, logicien, photographe et écrivain, qui a su se détacher des conventions victoriennes portant sur le portrait enfantin pour créer son propre langage esthétique. Nous verrons dans cet article que chez Carroll, la photographie est le versant visuel de sa production artistique, dont les autres versants sont l’écriture et le dessin : elle est donc, par essence, intertextuelle. On ne peut comprendre cette photographie de 1858, Alice Liddell as the Beggar Maid1, sans se pencher sur les complexités esthétiques et les ambiguïtés contenues dans cette image.

2Alice Liddell as the Beggar Maid, la plus mémorable des photographies d’Alice Liddell par Lewis Carroll, montre la petite fille qui enflamma son imagination absorbée dans la contemplation du spectateur, dans une attitude de mendiante. La vérité de ce portrait trouve sa source dans la figure d’une héroïne énigmatique mais issue d’une longue tradition, figure à laquelle le modèle comme l’artiste ont collaboré : le visage de la petite fille montre une attention soutenue pour la présence du photographe, dont le regard traverse l’appareil Ottewil.Lire cette photographie, c’est s’interroger à la fois sur la place qu’elle a prise dans la culture britannique depuis l’époque victorienne et la replacer dans les débats sur l’esthétisme contemporain. Au cours des dernières décennies, comme le disent Roger Taylor et Edward Wakeling, « it has caused the most intense speculation2 ». On a souvent dit que la fascination qui s’en dégage était due à l’évocation de l’innocence enfantine et à la glorification de la pureté. Pourtant, la plupart des critiques insistent également sur la fascination d’ordre sexuel qu’inspire la figure de cette petite fille. Brassaï, un des plus grands photographes du vingtième siècle, qui considérait Lewis Carroll comme un des plus grands photographes amateurs anglais, se plaisait à imaginer son exil hors de l’âge adulte où il lisait la peur de grandir et concluait que :

[…] in the most unforgettable and doubtless most revealing picture he ever took, “The Beggar Maid,” Alice, standing against a filthy wall, her legs and feet bare, looks at us, her eyes full of enormous sadness. Her dress is torn and hanging in shreds, her flesh bare as though she has just been raped3.

3Plus tard, il devint courant d’interpréter le plaisir visible que prenait Lewis Carroll à photographier de petites filles « sans habillement » comme une preuve de sa pédophilie supposée. Cette photographie, en particulier, a servi à construire le mythe de la pédophilie de Lewis Carroll chez certains auteurs :

Alice Liddell as the “Beggar Maid” operates as further evidence of Carroll’s uneasy relationship with children outside the utopian circles of Oxford and the Pre-Raphaelites. Carroll’s camera operated like the “cult of the child” industry as a whole4.

4Helmut Gernsheim, le premier biographe du photographe Lewis Carroll, a probablement contribuer à fixer ce mythe dans les esprits :

Characteristically, his dislike of boys extended also to their nakedness. “I confess do not admire naked boys. They always seem to me to need clothes—whereas one hardly sees why the lovely forms of girls should ever be covered up.” In his hobby there was no danger of outraging Mrs. Grundy provided he found little girls—and parents—who raised no objection5.

5La question de la sexualité du photographe s’est donc souvent posée chez les critiques, qu’ils décrivent Alice comme une fillette consciente de l’attraction qu’elle exerce ou comme une délicieuse jeune innocente, des interprétations qui, sans doute, prennent leur source dans le climat contemporain d’anxiété généralisée à propos de l’exploitation sexuelle des enfants6. La question de la pédophilie a toutefois été dernièrement largement remise en cause. L’historienne de l’art Anna Higonnet met en doute ce mythe profondément ancré dans les esprits contemporains par la toute-puissance du concept d’innocence enfantine, un des plus précieux concepts de notre culture actuelle.

Having once seen Carroll’s nudes, Alice’s bare calves and shoulders, her soliciting gesture, and her ripped rags, all provoke suspicion. The whole beggar pretext seems dubious, since Alice exudes health, wealth, and the arrogant privilege. To Carroll’s contemporaries, however, Alice’s beggar portrait did not look prurient at all. No less an eminent Victorian that the British poet laureate Alfred, Lord Tennyson said it was the most beautiful photograph he had ever seen7.

6Par-delà ces considérations, que signifie réellement la figure de la petite mendiante ? Depuis que le poète William Blake a donné une voix à l’enfant, cette figure a été largement représentée et interprétée. Sa popularité tient sans doute à son ambiguïté. Le thème de la mendiante était populaire à l’ère victorienne, pour ceux qui s’intéressaient aux relations entre l’individu et la société et aux relations de classe. On rencontre souvent, dans la littérature, ce désir d’éveiller la compassion pour les maux soufferts par les plus pauvres au cœur de la cité, comme dans ce poème dont l’auteur est anonyme :

The wand’ring beggar girl may meet
Some pity, as she walks the street
While some relieve her woe ;
Her artless accents float along,
And tho the heart direct the song
The burthen sad—Heigho ! Heigho !
Although the burthen be—Heigho !

Wealth and power may guilt await,
envy not their pomp and state,
Whom virtue thus forego ;
I’d rather tune my artless voice,
And in an honest heart rejoice,
Than sigh in guilt—Heigho ! Heigho !
Nor let the burden be—Heigho8 !

7L’image de la mendiante apparaît ici comme un cliché ironique. On peut rapprocher cette image de la caricature de George Cruickshank, Our Gutter Children, qui date de 1869. Il y critiquait les efforts hypocrites des classes aisées envers les petites filles destinées à être exilées dans les colonies afin d’y trouver une vie meilleure. Indigné par le projet d’une dénommée Miss Rye, il fit circuler sa caricature parmi les députés9. Lewis Carroll, lui, ne considérait pas que l’art avait le pouvoir de faire évoluer la moralité ni la société victoriennes, et ce n’est pas précisément là qu’est la portée de sa photographie.

8Plusieurs critiques l’ont souligné, elle tire son titre du poème de Tennyson, The Beggar Maid (1842) :

Her arms across her breast she laid ;
She was more fair than words can say :
Bare-footed came the beggar maid
Before the king Cophetua.
In robe and crown the king stept down,
To meet and greet her on her way ;
“It is no wonder,” said the lords,
“She is more beautiful than day.”

As shines the moon in clouded skies,
She in her poor attire was seen :
One praised her ankles, one her eyes,
One her dark hair and lovesome mien.
So sweet a face, such angel grace,
In all that land had never been :
Cophetua swore a royal oath :
“This beggar maid shall be my queen10

9Le sujet de ce poème est dérivé d’une ballade élizabéthaine dont la plus ancienne version se trouve dans Crowne Garland of Goulden Roses (1612) de Richard Johnson. Elle est souvent citée par Shakespeare chez qui le nom de la mendiante est Zenelophon11. Chez Thomas Percy, dans Reliques of Ancient English poetry, son nom devient Penelophon. William Holman Hunt a illustré le poème de Tennyson pour l’édition Moxon. Edward Burne-Jones est l’auteur de King Cophetua and the Beggar Maid12 (1884), qui fut exposé à l’Exposition universelle de Paris en 1889, où le roi est représenté aux pieds de la mendiante, au moment où l’amour et la spiritualité transcende les barrières de classe et la raison même13.

10Tennyson demanda à Julia Margaret Cameron d’illustrer ses Idylls of the King and Other Poems, une collaboration qui met en valeur la collaboration étroite entre texte et illustration. Sa composition pour King Cophetua and the Beggar Maid représente l’arrivée de la pauvre mendiante qui couvre sa poitrine en s’avançant devant le roi, dont la photographe capture l’expression au moment où il s’apprête à plier le genou devant elle.

11Revenons à Lewis Carroll et à sa propre composition sur ce thème. L’album Lewis Carroll de la Princeton University Library contient plusieurs autres portraits d’Alice, dont Alice Liddell Dressed in her Best (1858). Cette photographie est à l’opposé de la première : Alice y est représentée comme une petite fille de la meilleure société. On a l’habitude de voir Alice as the Beggar Maid seule, hors du contexte que le photographe lui-même avait l’intention de proposer – c’est-à-dire auprès de Alice Liddell Dressed in her Best. Comme le rappelle Roger Taylor :

Like Rejlander’s genre studies, the photograph was most probably meant to be seen as one of a pair, with the other showing little Alice, then aged six, dressed in her best outfit, complete with white ankle socks and black leather shoes. It is a diptych suggestive of class distinction, as well as a fall from grace and a rise to redemption14.

12Il me semble également que ces deux photographies doivent être vues côte à côte, comme un diptyque. Le mot « diptyque », qui en grec signifie « ensemble », se réfère à un objet qui se plie en deux, le plus souvent des tablettes articulées de bois, d’ivoire ou de métal. Les surfaces internes étaient garnies de cire et étaient utilisées pour l’écriture. Les premiers chrétiens l’adoptèrent pour un usage liturgique. Au Moyen Âge et durant la Renaissance, le diptyque était plus précisément un tableau peint sur deux panneaux articulés, le donateur apparaissant fréquemment sur un des deux panneaux, dans une posture d’adoration envers les personnages peints sur l’autre.

13Carroll fit coloriser la photographie Alice Liddell as the Beggar Maid afin de l’offrir à sa muse, montée sur un carton dans un coffret couvert de velours violet15. Les diptyques contenant le nom des morts ou des vivants, en particulier des saints et des martyrs, étaient souvent déposés sur l’autel. Il est vrai cependant que cette photographie est unique, même si elle est montée sur une carte qui s’ouvre comme un diptyque ; mais j’aime à croire que Lewis Carroll, spectateur de sa muse, apparaît sur le panneau manquant pour adorer la petite fille éternelle.

14Charles Lamb disait de William Hogarth : « […] his graphic representations are indeed books : they have the teeming, fruitful, suggestive meaning of words. Other pictures we look at—his prints are read16w ». Les photographies de Lewis Carroll devraient, il me semble, être lues elles aussi par le biais de son imagination qui s’appuie sur le diptyque. On trouve beaucoup de ces photographies dans ses albums. En 1858, il y eut Quintin Twiss in « The Rat-Catcher’s Daughter » où le personnage passe le seuil d’une maison, un sac à la main, et Quintin Twiss in « The Two Bonnycastles », où il est assis, l’air rêveur, en train de fumer un brûle-gueule. En 1878, il y eut deux photographies de Xie Kitchin adossée à une pile de boîtes exotiques, vêtue d’une tunique brodée de dragons, l’une intitulée Xie Kitchin as Tea-Merchant (On Duty) et l’autre Xie Kitchin as Tea-Merchant (Off Duty).

15Il y eut la même petite fille, dans une longue chemise de nuit blanche, endormie dans un lit dans Xie Kitchin in « Where Dreadful Fancies Dwell » en 1873 et éveillée, la joue sur la main, dans Xie Kitchin in « A Summer Night » l’année suivante.

16On retrouve cette imagination orientée par le motif du diptyque dans ses écrits littéraires. Dans Alice’s Adventures in Wonderland, lorsque Alice est confrontée au terrible dilemme « Who in the world am I », elle est très inquiète et évoque tous les enfants de son âge auxquels elle peut penser pour retrouver sa propre identité.

“I’m sure I’m not Ada,” she said, “for her hair goes in such long ringlets, and mine doesn’t go in ringlets at all ; and I’m sure I can’t be Mabel, for I know all sorts of things, and she, oh, she knows such a very little ! Besides, she’s she, and I’m I, and—oh dear, how puzzling it all is ! I’ll try if I know all the things I used to know17.”

17Dans ce contexte, Ada et Mabel sont tour à tour la mendiante, tandis que l’héroïne Alice est Alice elle-même dans Alice Liddell Dressed in her Best. De même, au chapitre VI, « Pig and Pepper », un bébé d’une forme étrange se met à ressembler à une étoile de mer puis se change en cochon :

“If it had grown up,” she said to herself, “it would have made a dreadfully ugly child : but it makes a rather handsome pig, I think.” And she began thinking over other children she knew, who might do very well as pigs, and was just saying to herself “if one only knew the right way to change them18…”

18Vu de l’extérieur, un étrange bébé se change en cochon ; mais le point de vue change pour considérer la situation de l’intérieur, grâce à la figure du diptyque.

19Le conflit binaire que l’on reconnaît dans les activités créatrices de Lewis Carroll, entre l’inaccessible (l’idéal) et le réel (la réalité indéterminée) se retrouve dans ses écrits comme dans ses photographies. Les deux portraits en diptyque d’Alice nous montrent, non seulement l’amour qu’il portait à la petite fille, mais aussi cette forme d’imagination, profondément ancrée chez lui, qui lui permettait de concevoir ses histoires d’Alice et ses photographies sur le même modèle, pour ce qui est de la forme comme pour ce qui est du fond.

Notes

1 « Ten prints of this image, in varying crops, are recorded. These comprise : two in the Liddell family collection ; two in the M.L. Parish collection, Princeton University ; one, carte-de-visite format, in the Pierpont Morgan Library, New York ; one in the Gilman collection, in the Henry W. and Albert A. Berg collection, New York Public Library ; one, carte-de-visite format, in a private collection, one formerly in the Justin Schiller collection, and one in a private collection », Lewis Carroll’s Alice, Londres, Sotheby’s, 2001, p. 52.

2 Roger Taylor et Edward Wakeling, Lewis Carroll : Photographer, Yale University Press, 2002, p. 61.

3 Brassaï, « Carroll the Photographer », Literature and Photography : Interactions 1840-1922, ed. Jane M. Rabb, Albuquerque, University of New Mexico Press, 1995, p. 56.

4 Carol Mavor, Pleasures Taken : Performances of Sexuality and Loss in Victorian Photographs, Londres, I. B. Tauris, 1996, p. 35.

5 Helmut Gernsheim, Lewis Carroll : Photographer, New York, Dover, 1969, p. 21.

6 Voir Diane Waggoner, « Photographing Childhood : Lewis Carroll and Alice », in Marilyn R. Brown, Picturing Children : Constructions of Childhood between Rousseau and Freud, Hampshire, Ashgate, 2002, p. 149.

7 Anna Higonnet, Pictures of Innocence : The History and Critics of Ideal Childhood, Londres, Thames and Hudson, 1998, p. 125.

8 « The Wand’ring Beggar-Girl », in The Universal Songster ; or, Museum of Mirth : Forming the Most Complete, Extensive, and Valuable Collection of Ancient and Modern Songs in the English Language, with a Copious and Classified Index, Londres, Johnes and Co., 1832, I, p. 254.

9 Voir Robert L. Patten, George Cruikshank’s Life, Times, and Art, Londres, Methuen, 1996, II, p. 447. La caricature donne la parole à quatre personnages. Le Juif dit : « There are many plans suggested for providing for the neglected children of drunken parents, but none such a Sweeping measure as this, for by this plan, we provide for them at once, and get rid of the dear little ones altogether. » Une dame s’exclame : « This is a delightful talk ! And we shall never want a supply of these neglected children, whilst the Pious and respectable Distillers and Brewers carry on their trade and we shall always find plenty of little dears about the Gin Palaces and Beer shops. » Le clergyman, pour sa part, jette des pelletées de petites filles dans une charrette en disant : « All these little Gutter girls are our sisters, and therefore, I feel it my duty as a Christian Minister to assist in this good work. » Miss Rye, tenant un fouet à la main, conclut : « I am greatly obliged to you, Christian ladies and gentlemen for your help, and as soon as you have filled the cart, I’ll drive off and pitch the little dears aboard of a ship and take them thousand of miles away from their native land, so that they may never see any of their relations again. »

10 Alfred Lord Tennyson, Poems, Londres, E. Moxson, 1857, p. 359-360.

11 Voir en particulier Love’s Labour’s Lost, IV, 1, 60-66.

12 Il commenta ainsi la fin de son travail sur ce tableau : « This very hour I have ended my work on my picture. I am very tired of it—I can see nothing more in it, I have stared it out of all countenance and it has no word for me. It is like a child that one watches without ceasing till it grows up, and lo ! It is a stranger », Lady Georgiana Burne-Jones, Memories of Edward Burne-Jones, Londres, 1904, I, p. 253.

13 Le critique d’art Fernand Khnopff remarque : « […] the polished metal reflects the beggar maid’s feet, adorable feet—their ivory whiteness enhanced by contrast with the scarlet anemones that lie here and there », Fernand Khnopff, « In Memoriam Sir Edward Burne-Jones, Bart. : A Tribute from Belgium », Magazine of Art (1898), p. 522.

14 Roger Taylor, op. cit., p. 64.

15 Voir Lewis Carroll’s Alice, p. 52.

16 Charles Lamb, « Essay on the Genius and Characters of Hogarth », The Reflector, III, 1811.

17 Lewis Carroll, Alice’s Adventures in Wonderland and Through the Looking-Glass, Harmondsworth, Penguin Books (Centenary Edition), 1998, p. 18.

18 Ibidem, p. 55-56.

Voir encore:

Lewis Carroll writer & photographer: clearing up a few myths

Lawrence Gasquet

1If the works of Lewis Carroll are still celebrated today by scholars all over the world, it is precisely because they possess the rare ability to make their readers think about the functions and limits of the media involved in oral and written language. A lot of energy has been devoted to the study of the linguistic and philosophic depth of works such as the Alices, The Hunting of the Snark, and to a lesser extent Sylvie and Bruno; however, he who looks at these works a little closer is also assured to find similar treasures as far as the aesthetic dimension is concerned. Carroll’s text deals constantly with the visual, either at a purely material level of organisation, or at a more abstract level of reference. The study of the structures that make reality intelligible in Carroll’s writings is indeed rewarding, because of his ability to turn what is mainly surface into depth, whether it be the surface of the mirror, chessboard, Euclidian plane or photographic plate. We will not have time here to detail aspects of this study; let it be sufficient for the moment to state that Carrollian Nonsense is synonymous with order, and that this orderly dimension is achieved through the combined use of image and text1. What characterises Carroll’s writing is the constant and direct interplay with the pictural. It has been shown that Nonsense thrives on structure, and takes advantages of overstructuration to reveal the flaws of our language system2. Denouncing in various ways the polysemous dimension of linguistic signs, which according to him stands in the way of accurate thought, Carroll reminds us that we indulge in approximations whenever we deal with a sign system that is complete enough to be exact. The hunting of the sign is similar to the The Hunting of the Snark, insofar as they both try to eradicate the informal and the irrepresentable, in other words, that which cannot form a valid system, and which consequently generates entropy. Thus, Lewis Carroll resorts to graphic malleability to denounce (or celebrate, depending on the point of view adopted) the inexactitude of language. Dodgson’s keen concern for form, and his mixing of the textual and the visual in order to achieve better understanding, makes him appear as extremely modern, for indeed it is relatively recently that the debate on the status of the graphic sign has led to a kind of middle-ground, acknowledging the validity of WJ.T. Mitchell’s statement:

The image/text problem is not just something constructed “between” the arts, the media, or different forms of representation, but an unavoidable issue within the individual arts and media. In short, all arts are “composite” arts (both text and image); all media are mixed media, combining different codes, discursive conventions, channels, sensory and cognitive modes3

2The reception of a work of art thus presupposes aesthetic and linguistic interdependence4. From a pragmatic point of view, it seems that image and language are linked by common goals: both function rather similarly as regards reference, expression of intention, and production of effects on the reader/spectator (hence the birth of a new discipline called visual semiotics)5. Pragmatically, then, there is no essential difference between text and image, since both obey similar strategies. The image is caught in language, and language is bound to the image; their intertwining is precisely what fascinates Carroll, and his writings make the reader experience the plenitude of the graphic sign. Jean-François Lyotard declares that the best form possible is the one that remains at an intersection between two contradictory requirements, that of the “articulate meaning” and that of the “plastic sense”: Carroll understood this perfectly when he composed rebus-letters, preferred schemas to words, varied the font-size of his texts, or attempted to create a new mathematical sign system6, in which the shape of symbols would suggest their meaning, just like Humpty-Dumpty’s name suggests his roundness (“My name means the shape I am—and a good handsome shape it is, too7” 192). Mathematical symbols, belonging to the category of signs situated at the highest level of schematic abstraction8, are then conceived as formally motivated. These attempts at improving the impact of the sign confirm the Carrollian will to control signification, to eliminate possible interferences between sign and meaning; they also testify to the ability of the visual to complete some deficiencies of the written language. In general, Carroll’s writings try to circumscribe polysemous meaning, preferring exactitude to semantic range and overdetermination to vagueness. Carrollian language looks for semantic limpidity, revealing a mistrust of the ambiguous nature of words, and the natural porosity of the sign. In Dodgson’s eyes, language cannot compete with visual sensations; both media are complementary, but they do not generate the same emotion. The visual takes you unawares and overwhelms you in one second, whereas language, caught in its own linearity, cannot possibly possess so instantaneous and powerful an impact. Both language and image are complementary, but one can detect in all of Dodgson’s works a particular sensitiveness towards the visual; visual sensations trigger his strongest emotions. This of course is palpable in his passion for photography, and his extreme frustration for not being much of a painter. Dealing with Charles Lutwidge Dodgson’s art of photography proves painstaking indeed, because of the apparent difficulty in abstracting ourselves from the influence of his literary productions, and because his photographs get inserted into the standard biographies to illustrate what then becomes “the writer’s ‘hobby’”. Yet, whoever becomes interested in the history of photography, or in the history of photographic practices, knows that although Dodgson first took up photography as a diversion from his mathematical work, it evolved into something much more meaningful, both to him and to the scholar. As Douglas Nickel underlines in the recent exhibition catalogue of the San Francisco MOMA9, the camera immediately became a passport for Dodgson, allowing him a particular kind of circulation and an excuse for meeting persons of high station. He exchanged information with the leading practitioners of photography in Victorian England (including Rejlander, Cameron, Peach Robinson), published a review of one photographic exhibition, and by 1860 was distributing his own list of 159 photographs for sale (no doubt to cover the cost of what was still an extremely expensive activity). His diaries also testify to the expense and difficulty of the undertaking and the sincerity of his ambitions for it. The impromptu success of the Alices afforded him a financial independence that enabled him to return to photography, allowing him to indulge in a more private vision, without as much concern for market opinion as before. In a period of 24 years, Dodgson generated about 3000 negatives, preserving his best images in a set of circulating albums. He became a renowned figure in photographic circles; therefore, Douglas Nickel is certainly right to claim that if we wish to make a case for Dodgson as a visual artist, we first have to engage his images as if they were not known to be the production of a household name—to show, paradoxically enough, that the photographs have artistic merit in spite of the renown of their maker: “They must not be prejudged as keepsakes, the by-products of a writer’s hobby, but as the serious expression of an innovator demonstrably committed to his medium and the world of pictures10.” The most slippery path is obviously the approach focalising exclusively on his alleged predilection for little girls, forgetting that to entertain a special interest in young females was at the time very ordinary indeed, as some colleagues have shown in illuminating articles11. It seems rather unfair that posterity should have focused on the same aspect that appealed to Nabokov for example, contributing to the building of the myth denouncing Carroll as a vile Humbert Humbert:

I have always been very fond of Carroll… He has a pathetic affinity with Humbert Humbert but some odd scruple prevented me from alluding in Lolita to his perversion and to those ambiguous photographs he took in dim rooms. He got away with it, as so many other Victorians got away with pederasty or nympholepsy.
His were sad scrawny little nymphets, bedraggled and half-dressed, or rather semiundraped, as if participating in some dusty and dreadful charade12.

3I think that there is more to his photographs than mere voyeurism and fetishism; I prefer to leave the bedraggled nymphets to psychoanalysts, and I will try to concentrate on a much less controversial aspect of his pictures, since I am going to focus on their composition.

4Let us briefly state that Dodgson was first and foremost a portraitist; he never really indulged in the Victorian craze of serious tableaux-vivants, with the exception of a handful of pictures which are quite remarkable in that they can be considered as mock tableaux-vivants, mere sketches of them enacted for fun. These embryonic tableaux do possess an irresistible charm for their very lack of perfection, for their auto-referential dimension I should say: Dodgson’s St. George hasn’t slain much of a dragon, in spite of the impressive size of his sword13; the ghosts which people some of his dreams seem indeed congenial14, and the rare special effects he uses in his pictures appear so obvious that they become all the more charming. These odd and sketchy pictures are quite interesting in Carroll’s practice because they reveal his differences as regards a majority of his Victorian fellow-photographers: his aim is not to make his spectators guess the intended subject from schematic props and perfect costumes, as was the point of tableaux-vivants, but to approximate theatrical living pictures without ever masking the personality of his models. “St. George and the Dragon” does not represent the slaughter of a dragon, it is a portrait of Xie Kitchin as a princess, just as “The Dream” is a simple pretext for representing Mary MacDonald in the act of sleeping15. The originality of Dodgson’s portraits stems precisely from their ability to depart from the norm, thereby underlining the idiosyncrasies of each sitter, and perhaps illustrating his own fantasies as well. This deviance from the norm is palpable for instance in Xie Kitchin’s portrait as Penelope Boothby, after Reynold’s painting and Millais’ Cherry Ripe. Xie Kitchin’s face has lost much of the innocence that characterized the painted girls, as she is now almost a woman, her provocative eyes challenging those of the spectator. Thus, it seems to me that Dodgson is always able to retain the personality of his sitter, by refusing to submerge her under props and by favoring some imperfections. We can also remember the picture of Agnes Grace Weld as Little Red Riding Hood16; if you compare it to the series of pictures created by Henry Peach Robinson for his Little Red Riding Hood series17, it becomes obvious that Dodgson is not in the least interested in recreating a seemingly perfect fiction. Robinson’s Riding Hood finds herself glued, so to speak, in a “narration” which weight is underlined by the profusion and exactitude of details. These pictures can hardly be deemed portraits, unlike Dodgson’s. Peach Robinson and his fellow photographers illustrate literary works, but Dodgson never illustrates anything but his own imaginary fictions. Dodgson’s photographs confirm the truthfulness of Susan Sontag’s claim that “photographs […] are attempts to contact or lay claim to another reality18”. I would say that, in the example of tableaux-vivants, fiction becomes a pretext for portraiture. I will take a last allegorical example, rarely acknowledged as such though; it is maybe the most famous of all pictures taken by Dodgson, namely Alice as a beggar-maid. In fact, thanks to the catalogue established very recently by Edward Wakeling19, we learn that this picture was one of a pair20, created in the fashion of Rejlander’s photographic diptychs. The notoriety of the photograph ensures that it is invariably displayed alone, removed from its original context. Like Rejlander’s genre studies, it is likely that Dodgson conceived the pair to be seen as the two sides of the same subject, to contrast a demure girl of good breeding with a ragged beggar girl whose knowing look and wayward stance were purposely contrived to obtain alms from willing pockets. Beyond the alleged transmutation of Alice Liddell into a temptress, there was also simply an attempt at staging allegorical figures in common fashion. The little props favoured by Dodgson are rather run-of-the-mill; as many other Victorian photographers he often uses books, flowers, and other usual accessories to convey basic metonymic information about the sitter. Dodgson here simply follows the common language in use at the time, and there is nothing especially original in the nature of his prop selection. What is sometimes slightly odd, on the contrary, is his choice of settings and his composition. Lindsay Smith has underlined how bare his settings were sometimes, as if he wanted to emphasize the intrinsic qualities of his subjects. She has noticed in her study of women and children in the 19th century how several Victorian photographers, like Hawarden or Cameron, carefully contextualise their figures in order to load them with meaning; by comparison, “in Carroll context is largely disregarded”. I can only agree with Lindsay that in some particular indoor pictures Dodgson does not seem to be interested in sustaining any fictional frame, the person captured being self-sufficient. But I wouldn’t go as far as to say that “the faults smack of a blindness to anything other than the little girl captured […] errors […] are simply not seen, it is not that the photographer’s eye is simply comfortable with them. One feels it does not notice them”. Knowing how fussy he was in matters of illustration, I cannot believe that he was blind to these defects, if we must call them so (today, to reveal the corner of a carpet or to underline the artificiality of the décor is delightfully postmodern and cutting edge). I would say that these pictures featuring a subject leaning on a wall were the result of a deliberate choice; first of all, the subjects were very often obliged to lean against a fixed surface in order not to move during the exposure time, which was quite long (approximately 65 seconds in the 1870’s); this is why Dodgson’s pictures rarely feature any depth of field. Secondly we can suppose that Carroll was not able to take all the time he would have liked when dealing with his little friends, who could not pose for hours in a row but were rather eager to play. So I would surmise that Dodgson preferred to have a rather shabby décor enhancing the beauty of his model than the contrary. Carroll ridiculed the Victorian taste for impersonating famous characters and elaborate settings in “Hiawatha’s Photographing”, a short story that he wrote in 1857, in which different family members demand that they should be photographed according to their ostentatious whims, varying from Ruskinian attitude to Napoleonic pose. Dodgson does indeed bow to the Victorian tradition for his portraits of famous personalities of the time, but it is true that as a lioniser he could hardly let go of conventions. The pictures that reveal the true dynamics of his vision are the pictures of his friends, not those of his acquaintances. I would argue that those pictures testify to a sharp concern for form, as their composition is carefully executed. We know through Dodgson’s writings that he was indeed very receptive to all kinds of visual stimuli21 and I would argue that the detailed study of the composition of his photographs confirms that Carrollian photography is just another version of a painstaking attempt to structure reality, totally similar to Nonsense in this respect.

5I would contend that a substantial majority of Dodgson’s photographs are composed according to basic geometrical figures22, their structural organisation being further enhanced by the black and white quality of the pictures23. Dodgson’s best photographs feature a criss-crossed plane, whose overall visual power lies in the intersection or parallelism of straight lines; similarly, the subjects are generally placed by Dodgson so that the final arrangement composes geometrical forms, such as triangles, squares or, less frequently, circles. Where a typical Victorian photographer would have preferred picturesque or artificial backgrounds, Carroll always favours close backgrounds and obviously selects them because of the structuring power of their straight lines. The fact that Dodgson chose to photograph many sitters holding props that divide the picture along an impressive slanting line is also quite remarkable, and cannot be purely accidental. Several studies have shown that a hierarchy exists in the perception of form by the human eye; if the same image is presented to dozens of different persons, the eyes of these persons always choose the same points to rest on. Constant patterns of perception have thus been proved to exist, and horizontal or vertical lines belong to the category of elements that immediately organize space24

6. The fact that Dodgson tries to recreate in his photographs a symmetry that does not exist in nature is worth noticing. The very exactness of his composition remains a source of harmony, and confirms that he perfectly understood the evocative power of form. Photography reproduces the outer forms of reality, the precise reality whose imprint lies on photographic paper. Dodgson, however, is never satisfied with recording passively the forms suggested by chance, that constitute a first echo of forms between reality and its representation; he always attempts to create another series of echoes, that make sense and resound inside the restricted sphere of representation. This last echo is borne by the geometrical forms that pervade his photographs. This system of visual echoing is poetic, insofar as it aims at creating emotion through visual perception; its very existence lays bare the peculiarity of Dodgson’s vision, confirming that quality photography is definitely wrought by human perception, and cannot possibly be reduced to a mere chemical process. François Soulages contends that one of the characteristics of photography lies in the twofold point of view that is presented to the viewer: the first viewpoint he calls “visual”, and the second he calls “artistic”25: photography then embodies the dialectics between the visual and the artistic, it allows both the coexistence of these two perspectives and the passing from one to the other. We could say that the common point, the intersection of these two concepts (visual and artistic) would be structure. In this vein, I would say that Dodgson indeed problematizes and illustrates this concept of structure. In fact, Dodgson’s pictures amplify or sublime structure in the same way his literary practice does. He pushes this geometrization further than other Victorian photographers, and this obvious tendency to organize space geometrically, to create what we could call visual echoes, becomes highly significant. The photographic work of Charles Lutwidge Dodgson does precisely the same as the literary work of Lewis Carroll; they both amplify and exalt a structure that is normally already present in both media. Dodgson’s particular enterprise of overstructuration doubtlessly arises from a need to classify and order, thus characterising his relation to the external world.

7Lewis Carroll’s works constitute a good example of the pragmatic use of images. Rudolf Arnheim once put forward the idea that available forms are as varied as the sounds of language but, more essentially, they organize themselves according to easily definable models, of which geometric forms are the best example26. It seems that Carroll well understood that images can help elucidate the world. Carroll strives to anticipate the mental representation of his readers, making the task easier for them. He arranges his fictional space according to clear and intelligible rules, this deformation being also, most of the time, a simplification. To simplify or purify a form does not mean weakening it, but on the contrary increasing its potential for significance. A form that is simple enough to be easily manipulated and integrated thus possesses a pragmatic function, allowing a clearer correspondence between sign and referent. By favouring simple forms, Carroll thus establishes a system of clear and univocal relations, thus making his dream of a semiotically transparent communication system come true. For instance, Carroll is especially interested in charts, diagrams or maps because they constitute different possibilities of visual representations, in which visible space structures abstract knowledge. Through the Looking-Glass is on a strictly diegetic level a faithful recording of the trajectories of chess pieces on a chess-board, as the first page reminds us; following a similar pattern, a diegetic chart meant by Carroll to help the reader find his way in a winding plot is featured in Sylvie and Brunos preface. We all remember the Captain’s blank map in The Hunting of the Snark, or Mein Herr’s ideal map on the scale of one to one in Sylvie and Bruno Concluded, which would cover the entire country. The schema, as the abstract representation of some external phenomenon, points to semantic inflation27. Pedagogy favours schemas because they allow the user to retain only what is essential, to abstract and reduce the perceived world to intelligible signs. A great defender of synthetical devices, Carroll anticipates the following statement by Arnheim on the pragmatic role of images: “visual thinking is the ability of the mind to unite observing and reasoning in every field of learning28”. In other words, visualisation undoubtedly stimulates intellectual reasoning: and we know that Carroll is primarily interested in reasoning. One of the messages that we can read in the Alices is that if solutions momentarily solve problems, they do not however suppress the problems. The unanswerable riddle of the Mad Hatter is only the most provoking example of a set of highly problematic questions, that continue to haunt our minds even after they have received some kind of answer. It is precisely this seemingly infinite questioning and reasoning that fascinates Carroll. The process was pointed out by Gilles Deleuze when he tried to rehabilitate what he called le problématique29. The yearning for the problematic pervades Carroll’s work; to dream of recreative mathematics is just another way of working out problems while pretending not to do so. The Carrollian tendency to schematise reflects his indirect but insistent need to reason. Trying to understand what Carroll’s motivation for transforming the world into a riddle could be, Deleuze concludes that:

On ne peut parler des événements que dans les problèmes dont ils déterminent les conditions. On ne peut parler des événements que comme des singularités qui se déploient dans un champ problématique, et au voisinage desquelles s’organisent les solutions. C’est pourquoi toute une méthode de problèmes et de solutions parcourt l’œuvre de Carroll, constituant le langage scientifique des événements et de leurs effectuations30.

8What constitutes the fundamental originality of Lewis Carroll is that while he attempts to enact this potentially infinite reasoning, he constantly relies on the visual dimension, which becomes a support for the intellect. “The Dynamics of a Parti-cle” and one of the Professor’s stories in Sylvie and Bruno Concluded (658) both show Lewis Carroll’s propensity to adorn abstractions with feelings, emotions, and even intelligence. In the same vein, the ingenious “Offer to the Clarendon Trustees” features unexpected prosopopeia; in the following letter Carroll requires material means to improve mathematical research in Christ Church:

It may be sufficient for the present to enumerate the following requisites: others might be added as funds permitted.
A. A very large room for calculating Greatest Common Measure. To this a small one might be attached for Least Common Multiple; this, however, might be dispensed with.
B. A piece of open ground for keeping Roots and practising their extraction; it would be advisable to keep Square Roots by themselves, as their corners are apt to damage others.
C. A room for reducing fractions to their Lowest terms. This should be provided with a cellar for keeping the Lowest Terms when found, which might also be available to the general body of undergraduates, for the purpose of “keeping Terms”[…].
D. A large Room, which might be darkened, and fitted up with a magic lantern, for the purpose of exhibiting Circulating decimals in the act of circulation. This might also contain cupboards, fitted with glass-doors, for keeping the various scales of Notation.
E. A narrow strip of ground, railed off and carefully leveled, for investigating the properties of Asymptotes, and testing practically whether Parallel Lines meet or not: for this purpose it should reach, to use the expressive language of Euclid, “ever so far”. This last process, of “continually producing the Lines”, may require centuries or more; but such a period, though long in the life of an individual, is as nothing in the life of the university.
As photography is now very much employed in recording human expressions, and might possibly be adapted to Algebraic expressions, a small photographic room would be desirable, both for general use and for representing the various phenomena of gravity, Disturbance of Equilibrium, Resolution, etc., which affect the features during severe mathematical operations.

9This little masterpiece of humour is in fact a typical example of how Carroll converts some highly abstract concepts into concrete figures that can be seen. This passage invites us to regress from the metaphorical to the literal, as very often in Carroll’s works: here he alludes to abstract mathematical entities as if they were palpable beings; he is careful to ask that the square roots should be planted carefully, so that their sharp corners do not cause any damage. What is most fascinating is that the reader ends up actually imagining the impossible objects evoked by Carroll, mingling real mathematical characteristics, sign systems and the fanciful information given by the narrator. The humour of the passage is created by the process of hybridisation that takes place within each reader.

10This ability to turn non-visual concepts into visual objects is a tour-de-force that is common to Carroll. He goes beyond other writers, because he attempts precisely to draw from the undrawable, where common writers only strive to give a depiction of what is already perceivable, usually using long descriptions. Carroll nearly never resorts to hypotyposis (apart perhaps in Sylvie and Bruno, which tends to adopt usual novelistic techniques). To find an interest in the fact that Carroll manages to give a shape to what has none, we have of course to agree upon the fact that literature generally depends for its realization on the reader’s power to convert words into effectively charged imagery (such as landscapes, room decoration, faces, and so on) and we know that this is hardly an easy task. In simpler words, the challenge for a writer is to make the reader picture his words. The Carrollian imagination seems to be primarily visual; the constant introduction of sketches in epistolary texts, the tendency to insert geometrical features everywhere (take for instance the nickname given to the little ghost in Phantasmagoria: “old brick, old parallelepiped”). All these characteristics tend to prove that the Carrollian world is carefully designed and structured, just as the literary genre of Nonsense obeys specific rules of its own, as Elizabeth Sewell argued several years ago.

11These brief examples help us understand how Carroll transforms in his texts abstract concepts into fictional anthropomorphic beings, finally questioning our primary perception of abstraction. We also understand that his favouring visual representation perfectly matches his taste for the literal; in addition to the comforting dimension of the literal (insofar as what is literal presupposes a clear correspondence between signifying and signified, contrary to the metaphoric)31, literal interpretations generally allow for concrete and thus relatively easy mental representation. This recognition that mental representation provides a cognitive prop which permits a greater efficiency of reasoning can help us better understand the Carrollian need for visual support; among his numerous intuitions, Carroll knew that seeing things allowed one to think more efficiently. Unfortunately, the fact that his sitters were often little girls has hidden this dimension behind an enticing yet superficial myth. Yet the main point should be that his devotion to photography appears then perfectly in tone with his ultimate quest for order and cognitive effectiveness.

Notes

1 For a detailed study, see Lawrence Gasquet, “De l’esprit à la lettre: forme et graphisme dans l’œuvre de Lewis Carroll”, Ph.D. Thesis, November 1999, Université Michel de Montaigne, Bordeaux III.

2 See Jean-Jacques Lecercle, Le Dictionnaire et le cri, Presses Universitaires de Nancy, 1995, Philosophy of Nonsense, London, Routledge, 1994, The Violence of Language, London, Routledge, 1990, as well as Elizabeth Sewell, Field of Nonsense, London, Chatto and Windus, 1952.

3 W.J.T. Mitchell, Picture Theory, Chicago, University of Chicago Press, 1995, p. 95.

4 On this subject, see Bernard Vouilloux, La peinture dans le texte: xviiiexxe siècles, Paris, CNRS Éditions, 1994, p. 114.

5 See Marie Carani, ed., De l’histoire de l’art à la sémiotique visuelle, Sillery (Québec), Septentrion, 1992.

6 See Sophie Marret, Lewis Carroll: De l’autre côté de la logique, Presses Universitaires de Rennes, 1995, p. 39 and Jean-François Lyotard, Discours, Figure, Paris, Klincksieck, 1971.

7 The reference edition is The Complete Works of Lewis Carroll, Harmondsworth, Penguin, 1982.

8 See Abraham Moles, L’image, communication fonctionnelle, Paris, Casterman, 1981, p. 107.

9 Douglas Nickel, Dreaming in Pictures: The Photography of Lewis Carroll, San Francisco, San Francisco MOMA, Yale University Press, 2002, p. 12.

10 Ibidem, p. 12.

11 See Hugues Lebailly, “Charles Lutwidge Dodgson et la pédolâtrie victorienne: ébauche de contextualisation d’une fascination prétendument idiosyncrasique”, in Lewis Carroll, jeux et enjeux critiques, Presses Universitaires de Nancy, 2003.

12 Interview by Alfred Appel, sept. 1966, in Wisconsin Studies in Contemporary Literature 8, n° 2, (Spring 1967), p. 143.

13 Lewis Carroll, “St. George and the Dragon”, 1875; see also “The Fair Rosamond”, 1863.

14 Lewis Carroll, “The Dream”, ca. 1860.

15 Lewis Carroll, “The Dream: Mary MacDonald Dreaming of her Father and Brother”, 1863.

16 Lewis Carroll, “Little Red Riding Hood”, 1857.

17 Henry Peach Robinson, 1858.

18 Susan Sontag, On Photography, Harmondsworth, Penguin, 1973, p. 16.

19 Edward Wakeling and Roger Taylor, Lewis Carroll Photographer, Princeton UP, 2002.

20 Ibidem, p. 6. “Alice Liddell as a Beggar-Maid” and “Alice Liddell dressed in her Best Outfit”, 1858.

21 Let us remember for example the extraordinary amount of energy he invested in the architectural modifications inflicted temporarily to Christ Church in 1872; Dodgson wrote a pamphlet entitled “The New Belfry of Christ Church, Oxford. A Monograph by D.L.C. A Thing of Beauty is a Joy Forever” (1872) and went so far as to compose a pastiche of The Compleat Angler, or The Contemplative Man’s Recreation by Isaac Walton. “The Vision of the Three T’s” was supposed to ridicule the giant wood structure meant to protect the bells while the university was being refurbished.

22 See Lawrence Gasquet, “De l’esprit à la lettre: forme et graphisme dans l’œuvre de Lewis Carroll”, chap. III.

23 About the essentially abstract quality of black and white, see Henri Cartier-Bresson, “L’instant décisif”, in Images à la Sauvette, Paris, Verve, 1952, non paginé.

24 See Abraham Moles, L’image, communication fonctionnelle, Paris, Casterman, 1981, p. 54-57; Claude Gandelman, Le regard dans le texte, Paris, Klincksieck, 1986, p. 17-25; Rudolph Arnheim, The Power of the Center, Berkeley, University of California Press, new version, 1988.

25 François Soulages, Esthétique de la Photographie, la perte et le reste, Paris, Nathan, 1998, p. 268.

26 Rudolf Arnheim, La Pensée Visuelle, Paris, Champs Flammarion, 1976, p. 98.

27 See Abraham Moles, L’image, communication fonctionnelle, p. 98.

28 Rudolf Arnheim, The Split and the Structure, Twenty Eight Essays, Berkeley, University of California Press, 1996, p. 119.

29 Gilles Deleuze, Logique du sens, Paris, Minuit, 1969, p. 70.

30 Ibidem, p. 72.

31 On the avoidance of metaphor in Nonsense, see Jean-Jacques Lecercle, Philosophy of Nonsense, p. 29 and p. 62-69.

Voir de plus:
Lewis Carroll au pays des fantasmes
Maxime Rovere
Marianne
15 Juillet 2012

Amateur «d’amies-enfants», de photos de nus mais aussi d’actrices, le père d’ «Alice au pays des merveilles» traîne depuis toujours une réputation sulfureuse relayée par les biographes. A l’occasion des 150 ans du conte, apprendra-t-on enfin la vérité ?

C’était il y a tout juste cent cinquante ans. Le vendredi 4 juillet 1862, par une après-midi légèrement pluvieuse, le révérend Charles Lutwidge Dodgson, accompagné de son ami Robinson Duckworth, emmenait trois petites filles pour une promenade en barque. Comme à son habitude, il improvisa une histoire absurde, les aventures d’une enfant portant le prénom de l’une d’entre elles – Alice – découvrant le Pays des Merveilles. Ce jour-là, Lewis Carroll (son nom de plume), donnait naissance à l’un des contes les plus extraordinaires et les plus inclassables de la littérature mondiale. Avec une insouciance désarmante, il abordait des rivages inconnus, à la croisée du jeu de hasard et de la linguistique, de la logique et de la fantaisie, exprimant d’une seule voix les obsessions de l’Angleterre victorienne et l’universelle aspiration à un monde de rêve et d’innocence.

Seulement voilà, pendant un siècle et demi, tandis que le personnage d’Alice s’élevait toujours plus haut au firmament de l’imaginaire, inspirant les plus grands artistes – John Tenniel, Arthur Rackham, Walt Disney, Salvador Dali, Annie Leibovits et Tim Burton, entre autres – l’image de son créateur, Lewis Carroll, connaissait de moins enviables mésaventures. La médisance, l’aveuglement, l’ignorance et l’esprit de sérieux se combinèrent successivement pour former à la fin un écheveau inextricable d’interprétations et de soupçons oiseux sur l’homme qui aimait les «amies-enfants». Jusqu’à ce que l’anglaise Karoline Leach, à l’aube de l’an 2000, tombe par hasard sur la pièce manquante. Depuis, ce qu’on appelle le «mythe Carroll» a volé en éclats. Qui était réellement le père d’Alice, du Lapin Blanc et du Chapelier Fou ? L’anniversaire du conte est l’occasion de laisser à nouveau Lewis Carroll mener la barque, comme en ce fameux jour de juillet 1862.

Pour comprendre l’extraordinaire raz-de-marée qui a bouleversé les études anglaises, il convient tout d’abord de restituer l’histoire officielle de Carroll telle qu’on la trouve encore un peu partout, et jusque dans la biographie de l’universitaire Morton Cohen (Lewis Carroll, une vie, une légende, éd. Autrement). Cette histoire raconte que Charles Dodgson, jeune professeur de mathématiques dans la prestigieuse université anglaise de Christ Church (Oxford), s’était pris d’affection pour les fillettes du doyen Henry George Liddell, ancien proviseur de Westminster. Peu accommodant, proche de la famille royale, cet homme et sa femme Lorina Hannah Reeve laissèrent le jeune Charles s’approcher de leurs enfants – un garçon nommé Harry né en 1847 et surtout Lorina (1849), Alice (1852) et Edith (1854) – pour un motif qui leur sembla d’abord très honorable : Dodgson prenait des photographies, et rien n’était si chic que d’avoir des portraits de famille tirés au collodion. Soucieux des convenances, les Liddell contrôlèrent néanmoins très attentivement l’amitié entre leurs enfants et le jeune professeur. Carroll voulut-il donner des cours particuliers au jeune Harry ? Mme Liddell refusa. Voulut-il organiser des séances de photographies avec d’autres enfants ? Elle refusa encore. Les têtes blondes, de leur côté, idolâtraient celui qu’elles appelaient «oncle Dodgson». Alors, la méfiance de Mme Liddell s’affaiblit. Pendant quatre années (les cahiers intimes tenus par Lewis Carroll durant cette période, 1858–1862, ont disparu, comme nombre de ses documents et photos), elle laissa croître malgré elle l’intimité entre l’écrivain et ses enfants – d’où les parties d’échec, les promenades en barque et les interminables récits imaginaires.

Mais le 27 septembre 1863, un événement eut lieu. Brutalement, toute relation cessa : alors qu’il travaillait encore à rédiger pour la petite Alice le conte qui la mettait en scène, Lewis Carroll fut déclaré persona non grata dans la maison Liddell. Il ne verra plus jamais les enfants – en tout cas, jamais en privé. Les centaines de lettres qu’il envoya à Alice, et sans doute aussi à Harry et à Lorina, furent bientôt brûlées par leur mère. Celle-ci fit savoir que le nom de Carroll ne devait plus jamais être prononcé devant elle, et lorsqu’un universitaire entreprit la biographie de son mari helléniste, elle lui imposa de ne faire aucune mention du professeur de mathématiques. Celui-ci devait passer le reste de sa vie à photographier des petites filles, tout en devenant une star mondiale de la littérature pour enfants.

Que s’est-il donc passé entre Alice et son pygmalion ? Comment expliquer une rupture aussi violente ? Le Journal que tint scrupuleusement Lewis Carroll aurait pu renseigner la postérité si une main – bien ou mal avisée ? – n’avait déchiré la page du 27 septembre 1863. Et tout serait décidément resté à l’état d’hypothèses si Karoline Leach, auteur de scénarios pour la télévision, n’avait découvert par hasard, le 3 mai 1996, dans les archives de Guilford, le document qui incite à relire toute l’histoire de Lewis Carroll. Il s’agit d’un bout de papier déchiré où se trouvent résumées les pages volontairement «censurées» du journal. Violet Dodgson, nièce et gardienne des papiers de Lewis Carroll entre 1929 et 1966, y a noté d’une écriture très reconnaissable ce que contenait la page du 27 septembre 1863 : «L. C. apprend de Mme Liddell qu’on murmure qu’il utilise les enfants afin de courtiser la gouvernante – et [certains (?)] murmurent aussi qu’il fait la cour à Ina (diminutif de Lorina, la sœur aînée d’Alice)

Ces quelques lignes, immédiatement publiées dans le Times Literary Supplement, furent un coup de tonnerre. L’hypothèse selon laquelle Lewis Carroll aurait demandé Alice en mariage, que les universitaires avaient fini par tenir pour acquise, s’effondrait comme un jeu de cartes. L’une des amitiés les plus touchantes de l’histoire littéraire n’était pas morte de s’être indûment transformée en amour : la love story n’était qu’un montage fabriqué par le temps, comme un faux portrait de couple diffusé sur internet, fruit du rapprochement oiseux de deux photographies parfaitement anodines. Il fallait tout revoir. Il fallait, pour comprendre la vie de Lewis Carroll, prendre en compte le rôle très considérable joué par la rumeur dans l’Angleterre victorienne, que l’écrivain défie sans cesse par la fantaisie de ses contes.

Retour aux passages conservés du Journal. Que lit-on ? Le 17 mai 1857, alors que son intimité avec les Liddell commence à peine, Lewis Carroll écrit : «J’ai découvert, à ma grande surprise, que certains étudiants interprètent l’attention que je porte (aux enfants) comme une marque d’intérêt à l’égard de Miss Prickett, la gouvernante. (…) Ce serait manquer de tact envers (elle) que de continuer de donner prise à des remarques de cette sorte.» Une première fois, donc, Lewis Carroll avait senti la menace de celle que les Anglais appellent « Mrs. Grundy », la voix de la rumeur, incarnation proverbiale des conventions victoriennes. Mais en dépit de ses résolutions, il avait continué de fréquenter assidûment la famille Liddell – ainsi que quelques autres, dont les MacDonald, les Price, les Brodie. En 1863, lorsqu’il apprend que non seulement les rumeurs anciennes concernant Miss Prickett ne se sont pas affaiblies, mais qu’elles concernent maintenant l’aînée de ses amis, son sang ne fait qu’un tour. Et c’est sans doute d’un commun accord avec Mme Liddell, et non pas congédié par elle, que Lewis Carroll s’éloigne de la famille. Hélas ! En faisant la lumière sur cet événement, le document découvert par Leach remettait en cause toute la biographie de Carroll.

Pendant trois ans, Karoline Leach s’efforça donc, avec plus ou moins de bonheur, de démolir point par point le récit officiel. La première version de sa biographie de Carroll (In the shadow of the dreamchild. A new understanding of Lewis Carroll, Owen, 1999) est un véritable chamboule-tout. Avec la précision d’un sniper, elle renverse une à une les suspicions attachées à la personne de l’écrivain. Elle observe d’abord que Lewis Carroll, loin d’avoir été solitaire, participait très activement à la vie littéraire, photographique et théâtrale de son temps. Que ses amitiés avec les enfants étaient soigneusement inscrites dans le cadre de la famille – il était souvent l’ami des parents – et articulées à ses activités artistiques.

Dans ce contexte, elle aborde l’aspect le plus troublant des activités du personnage : ses photos de nus. C’est ici précisément qu’un jugement bien avisé ne saurait faire fi de l’histoire. Leach explique avec patience que dans ces images, qui nous semblent aujourd’hui choquantes, la nudité était perçue comme un symbole spirituel. Par effet, dira-t-on, de l’hypocrisie bourgeoise ? Peut-être. Mais d’une part, poursuit Leach, «les archives des photographes les plus célèbres de l’époque, Oscar Rejlander et Julia Margaret Cameron, regorgent d’images du même genre». D’autre part, ces images ne jouent pas pour Carroll le rôle que l’on croit.

En effet, Leach observa que les soi-disant «amies-enfants» de Lewis Carroll étaient parfois des jeunes femmes de vingt ou trente ans – ce qu’aucun «spécialiste» de l’écrivain n’avait relevé jusqu’à elle. Qu’il s’agissait, de surcroît, d’actrices dont Carroll suivait la carrière, encourageait les audaces et recherchait les privautés. Selon son interprétation, l’enfance n’était donc pour Lewis Carroll qu’une couverture destinée à cacher des liaisons aussi scandaleuses pour l’époque, celles qu’il entretenait avec des femmes parfaitement nubiles.

On mesure la méprise. Soucieuse de suivre les distorsions de la vérité, Leach montre comment Carroll vit son alibi se retourner contre lui après sa mort, et comment, à la faveur des interprétations psychanalytiques, on en vint à soupçonner de pédophilie un homme qui pensait vivre tranquillement «à l’ombre de l’enfant-idéale» ses amours avec les actrices. Soucieux de se protéger des uns, Carroll devint ensuite la cible des autres. Invincible Mrs. Grundy.

Seulement voilà, Karoline Leach, à son tour, alla trop loin. Soucieuse de dénoncer toutes les hypocrisies, elle s’attaqua au trio bourgeois formé par Monsieur et Madame Liddell avec leur adorable fille. Il lui fut aisé de montrer que l’affection (réelle) de Carroll pour Alice avait été artificiellement isolée : ce n’est même pas à elle, mais à son ami George MacDonald, que Carroll envoya le premier exemplaire de son livre ! Leach s’avisa ensuite de citer les pages fort émouvantes que Henry Liddell avait écrites à propos de l’amour entre hommes – suggérant par là que son épouse n’était peut-être pas comblée. Par déductions successives, celle-ci se retrouvait ainsi en position, suggérait Leach, d’être la véritable cause des problèmes de conscience et des crises de culpabilité que Lewis Carroll avait traversées dans les années 1860. N’était-il pas envisageable que l’écrivain ait filé avec la maman d’Alice des amours adultères ? Ainsi, en même temps qu’elle démolissait un mythe, Karoline Leach entreprenait d’en recréer un autre. Comme si le secret explicitement souhaité par Carroll, et respecté par ses héritiers à grand renfort de mensonges, appelait irrésistiblement le fantasme ou la calomnie.

Cette polémique n’est devenue constructive que tout récemment. Lors de la publication française de son livre (1), en 2010, Leach a effacé toute allusion à d’éventuelles amours entre Carroll et Mme Liddell. Sa recherche, désormais relayée par d’autres travaux, a trouvé son véritable objet : le «mythe Carroll», entendu comme l’ensemble des élucubrations universitaires, des déformations historiques et des projections imaginaires, est devenu le sujet d’études régulièrement publiées sous forme d’articles sur un site (). Abordant la question par des entrées entièrement renouvelées, les jeunes chercheurs montrent comment les secrets – définitivement impénétrables – de la vie de Lewis Carroll reflètent les caprices de la morale des peuples. Une chose, dirait Alice, «curieusement curieuse» («curiouser and curiouser»).

(1) Lewis Caroll, une réalité retrouvée, de Karoline Leach, traduit de l’anglais par Béatrice Vierne, Arléa, 250 p., 26 €.

LES MILLE VISAGES D’ALICE

L’héroïne inventée par Lewis Carroll est la toute première petite fille à avoir séduit le monde entier. Par voie de conséquence, elle s’est incarnée en une longue suite d’adaptations fascinées par le même problème : comment représenter celle que Carroll appelait «l’enfant idéale» («dreamchild») ? Et en particulier, quel âge devait-elle avoir ? Sur ce point, l’évolution de la morale, de l’éducation et de l’imaginaire collectif lié à l’enfance ont engendré bien des malentendus. Bientôt associée à un univers romantique, Alice a rapidement vieilli.

Arthur Rackham, sans doute l’un des plus grands illustrateurs du XXe siècle, fut le premier à lui donner en 1907 la taille, l’âge et les traits d’une jeune femme éthérée. L’étrangeté de l’univers carrollien y trouva une nouvelle dimension : il devenait inquiétant, comme si les moments où les personnages malmènent la petite fille prenaient le pas sur son propre amusement. Le dilemme de l’adolescence, divisée entre les responsabilités de l’âge adulte et les émois de l’enfance, s’invitait au Pays des Merveilles.

Tandis qu’évoluaient les acquis scolaires des tout-petits, le grand nombre de références manipulées par les personnages devinrent incompréhensibles (surtout aux non-anglophones), donc inquiétantes : les jeux sur les connaissances mathématiques, musicales, géographiques de l’école primaire se dissolvaient dans une lecture nocturne. Alice cessa d’incarner le bon sens enfantin – cet esprit volontiers terre-à-terre mais libre d’interdits, capable d’accéder à des raisonnements étrangers aux adultes et de tirer profit de ses erreurs… Elle devint gothique. L’adaptation cinématographique de Tim Burton (2009) magnifia le Chapelier Fou, mais acheva de tuer le personnage d’Alice : à la fin du film, la jeune femme suggère même à son père de se lancer… dans le commerce avec la Chine !

Pour lutter contre la colonisation du Pays des Merveilles par les adultes, un certain nombre d’illustrateurs ont cherché refuge dans l’apparence d’Alice Liddell : les interprétations de Thomas Perino (Seuil, 2008) ou de Rébecca Dautremer (Hachette, 2010) ont ainsi renoncé aux boucles blondes pour montrer une brunette arborant une coupe au carré.

Liberté des artistes ? Pourquoi pas. A condition de ne pas donner des leçons d’histoire en se cachant derrière la «vraie Alice». En réalité, Carroll ne prit à la petite Liddell que son nom ; ses propres dessins et les directives qu’il donna à John Tenniel, le tout premier illustrateur, indiquent très clairement que l’apparence de la «dreamchild» s’inspire de deux autres petites filles qu’il prit en photo : Mary Hilton Badcock et Beatrice Henley, plus blondes l’une que l’autre. Walt Disney, autre génie de l’enfance, fut scrupuleusement fidèle à ce cliché, absolument central à l’époque victorienne, toujours majeur dans les années 1950. Et pour le XXIe siècle ? On attend encore les images d’une Alice qui seraient, comme tous les personnages de rêves, «ni tout à fait la même, ni tout à fait une autre».

Voir de même:

« Lewis Carroll »: A Myth in the Making

Karoline Leach

The Victorian web

[« ‘Lewis Carroll’: A Myth in the Making » has been adapted with permission of author and publisher from the opening chapter of Karoline Leach’s In the Shadow of the Dreamchild (London: Peter Owen Ltd, 1999). E-mail: Antonia@peterowen.com. British Reviews of the book.]

« Lewis Carroll is among the immortals of literature, C. L. Dodgson was soon forgotten, except by the very few. » — Claude M. Blagden, Student of Christ Church from 1896.

« He was the last saint of this irreverent world; those who have surrendered the myths of Santa Claus, … of Jehovah, hang their last remnants of mysticism on Lewis Carroll and will not allow themselves to examine him dispassionately » — Florence Becker Lennon

Charles Dodgson was born on January 27 1832. He lived his life and eventually died on January 14 1898.

« Lewis Carroll » was born on March 1 1856, and is still very much alive.

The hundred years of scholarship surrounding the author of Alice, has, I suggest, been largely concerned with the second rather than the first of these two incarnations. It has been devoted primarily to a potent mythology surrounding the name « Lewis Carroll », rather than the reality of the man, Dodgson. The evidence for this is everywhere, the reasons are only partly explicable in rational terms.

Charles Dodgson’s family’s incursive destruction of his papers immediately after his death, and their steady refusal to allow evidence to be made public, meant that the first hand biographical evidence remained almost non-existent until the second half of this present century. In a separate but ultimately linked development, a massive and almost irresistible myth surrounding the name « Lewis Carroll » had begun to develop even while Dodgson still lived. In the fallow space left by the lack of prima facie evidence, and the silence of his family, this myth grew in an unprecedented and powerful way. When early biographers wrote their studies of Lewis Carroll, lacking almost all first hand evidence, they had little choice but to fill their books with the stuff of this myth. And thus very early on it became dignified by an apparent scholastic pedigree. Later biographers took their lead and repeated these supposedly already verified « facts ».

By the time any large amounts of prima facie data became available, the supposed « truth » about Charles Dodgson’s life had become so well known, so embedded in the scholastic tradition that revision on any major scale seemed unnecessary, even impertinent. And evidence — sometimes extremely large and conclusive amounts of evidence — that suggested other possibilities tended to be marginalised and ignored. Thus, scholarship itself has become enmeshed in the evolution of the myth, in a way that may be unique in literary scholarship. Thus, the current biography of the author of Alice is in some of its most important respects, an invented biography of an invented name. It is more an extended essay on the unconscious power of myth and its place in the most civilised society, than it is any kind of full exposition of Dodgson’s life.

I am not about to suggest by this that all modern biographers of Lewis Carroll are wilful story-tellers or incompetent fantasists. I am not about to suggest that they have no regard for the value of evidence. On the contrary, the last thirty years have seen something of a renaissance in Lewis Carroll scholarship. Research that ought to have been undertaken years before, has finally got under way. Volumes of his letters were published in the late 1970s. His unexpurgated diary is at present being prepared for publication.

But so far, the effect of this renaissance has only been to emphasise the degree to which the Carroll image exists beyond the reach of such evidence, in a curious quasi-religious realm of faith and intuition; the extent to which the entire Carroll phenomenon — popular culture and scholarship — manifests the psychology of iconicism, in its most bizarre and subliminal form. The image of the man presented by the biographies is so uniform and so confidently asserted that it gives the impression of arising from a firm and irrefutable basis. It seems inevitable that this degree of certainty, of unity, must have a considerable amount of good evidence at its source. But in fact something much stranger than straightforward biography is at work here.

Lewis Carroll’s first biography appeared, officially sanctioned by the family, within months of his death in 1898. The image it presented of the man and his life has changed very little in the ensuing hundred years. By now, it is familiar. It is a portrait of a Victorian clergyman, shy and prim, and locked to some degree in perpetual childhood. A Janus who stumbled into genius through psychological fragmentation. A man who « had no life », who lived apart from the world and apart from normal human contact, who was monkish and chaste, and « died a virgin ».

Perhaps above all else, it is a portrait of a man emotionally focused on pre-pubescent female children; a man who sought comfort and companionship exclusively through serial friendships with « little girls », and who almost invariably lost interest in them when they reached puberty. His emotional life is presented as an ultimately sterile and lonely series of « repeated rejections », as the little ones grew up and inevitably left him behind. Since Freudian analysis plucked out the heart of his mystery sixty years ago, and found it cankered, this obsession has been seen by many as evidence of a repressed and deviant sexuality, and Carroll has been described as a man who struggled to master his « differing sexual appetites ». To the popular press and the popular mind he is seen as a « paedophile ». To distinguished scholars he is a man who « wanted the company of female children ».

In the most high profile and respected of modern biography, Carroll is variously described as one « [whose] sexual energies sought unconventional outlets », who was « utterly depend[ent] upon the company and the affection of little girls ». It is said with certainty that he was infamous for this passion even during his own lifetime, his photography of their bodies « perilously close to a kind of substitute for the sexual act ». (Bakewell, xvii, 245, Cohen, 530). Even those who do not accept the sexual connotation, and set out to « defend » him against a supposed Freudian stigma — like Derek Hudson’s 1954 biography, and Roger Lancelyn Green’s preface to the edited Diaries of 1953 — make no attempt to question his supposed exclusive passion for the girl child. Their contention is merely that this obsession was largely sexless, because Lewis Carroll was too emotionally immature, too « simple hearted » to experience adult sexual desire for anyone or anything, or too prim to give any expression to it. For Hudson the very idea of Carroll as a sexual being was « delightfully absurd »: He was a man who carried his childhood with him; the love that he understood and longed for was a protective love … (Hudson, 100, 188). But the most academically impeccable of recent works, the one described more than once as « definitive », is the most outspoken about the nature and exclusivity of Lewis Carroll’s obsession. Professor Morton Cohen’s Lewis Carroll: a Biography entirely disowns the image of the asexual eternal child in favour of a picture of « a highly charged, fully grown male, with strong mature emotional responses » whose « emotions focus[ed] on children, not on adults ». (193) It is a passionately believed-in portrait of a rigidly-controlled sexual deviant.

Whichever interpretation is presented, whether of controlled deviancy or of absolute asexuality, the axiom on which they both depend, indeed the axiom upon which the entire analysis of Carroll’s life and literature depends, is the assumption that the girl-child was the single outlet for his emotional and creative energies in an otherwise lonely and isolated life. That she was the sole inspiration for his genius; that she inhabited the place in his heart, occupied in more normal lives by adult friends and by lovers. This belief, and its corollaries — his loneliness and his unassailable chastity — are the assumptions by which everything else about Carroll is evaluated.

The consensus seems to put the matter beyond question. It persuades us that the image of Carroll available in every biography is well-founded, and evidentially secure. The idea that so much respected tradition might be no more than a collation of powerful but baseless myths seems an outrageous and impudent suggestion. But nonetheless, it happens to be true.

The prima facie record, as it has emerged over the past fifty years, simply does not adequately support these images, or the present certainties of modern biography that have been built upon them. As this book will attempt to show, the very reverse is the case.

The man who emerges from the pages of Dodgson’s diary and from his own extensive correspondence is not a « simple-hearted », naive dreamer of children, not a shy asexual recluse, loathing little boys, obsessed with little girls and unable to function in an adult world. The legend is true insofar that his preferred companions were always female, but he never hated boys or men, in fact he enjoyed several important men and boy-friendships in his life. And, despite frequent self-caricature as a « hermit », and despite its frequent repetition in biography, he was never any kind of a recluse. His diary makes it clear that he was almost addicted to company — particularly female company — and he never had any shortage of this in his life. In fact certain times were characterised for him by an almost obsessive socialising, hurrying about London visiting artists and writers and business associates, and his innumerable female friends, making more than half a dozen calls a day and fitting in theatre-visits and invitations to dine in between. Myth has just preferred to have it otherwise.

The same applies to an even greater extent to the most controversial and least understood area of Dodgson’s life. Perhaps the defining emblem of his existence, whether seen as saintly uncle or as deviant; the belief that Lewis Carroll gave his love and attention exclusively to pre-pubescent girl children; that he abandoned all these friendships when the girls reached fourteen.

The reality of the life recorded in his diaries and his letters allows of no such glib and easy dismissal. It was Dodgson who invented the now famous term « child-friend ». But with typical elusiveness he chose to use it in a peculiarly personal, almost deliberately misleading way. For Dodgson a « child-friend » was any female of almost any age — at least under forty — with whom he enjoyed a relationship of a special kind of closeness. Some indeed were little girls, some began as such but grew up and were still « child-friends » at twenty or thirty; some were given the name even though their relationship with Dodgson began when they were young women. A little girl of ten and a married woman of thirty five, a child he met once at the beach and a woman he shared intimate exchanges with for twenty years or more, might equally be termed « child-friends » by Dodgson. Far from losing interest in girls when they reached puberty, at any one time a substantial proportion – anything from 30 to 90% — of his « child-friends » were already at or well beyond this watershed.

In defiance of everything that is presently believed, and beneath the misleading and infantilising appellation, his women-friendships were numerous. There were married women like Constance Burch, widows like Edith Shute and Sarah Blakemore, and single girls like Theo Heaphy, May Miller and « darling Isa » Bowman. These women were an integral part of his life, a potent source of companionship and comfort. They went on theatre trips with him, or dined tete-à-tete with him in his rooms, sometimes nursed him when he was ill, mended his clothes, shared his lodgings for extended periods. Some of them modelled for his camera, in what he called « outré » costume, long after leaving their childhood behind.

Many of these relationships were evidently very intimate and important to him; indeed he defied the conventions of his society in order to maintain them. Some of them were heavily sexualised, possessive and jealous, and certainly rumoured at the time to be sexual. He was gossiped about in consequence, sometimes vindictively, his social life, his photography all the source of powerful rumour. The gossip dogged and worried him. « Mrs. Grundy » became his personal Torquemada, tut-tutting at his heels as he walked his women-friends through polite society; whispering and hinting and rumour-mongering behind his back. His philosophy about such disapproval was barbed, but resigned.

You need not be shocked at my being spoken against. Anybody, who is spoken about at all, is sure to be spoken against by somebody. [Letters, II, 978]

he wrote to his morally-panicked younger sister, when talk about his relationship with a 25 year old woman threatened open scandal.

Beyond the bland and insincere mythology, his mature life was dominated by such scandals, about his attachment to married ladies, or unmarried women, prepared to surrender something of their reputation to be with him, in open defiance of the prevailing moral code. The reality of the author of Alice, his life and his literature, is of a rich and curious existence that, for a century or more, both biography and popular imagery have elected to ignore, in favour of a largely invented portrait.

Such apparently radical contentions will doubtless outrage those who like their biographical certitudes to be absolute, but, as I hope I will show, they are contentions that are considerably better supported by the evidence than almost any part of the current consensus. But before we begin any in-depth re-analysis of the data and its interpretation, I think we should look at how the current image was arrived at, and why it might be at the same time, so popular and so far-removed from any demonstrable reality.

The answer to the first part of this is, I believe, that his life has fallen victim, not simply to biographical selectivity, but to the process of iconisation. Lewis Carroll has become a myth almost as powerful as his fairy tale.

Carroll and his Alice have always shared a strange incestuous kind of immortality. Almost from the moment of her literary birth, they have been the two parts of a bizarre and unique symbiosis where the author and his creation have penetrated one another, merging until the boundaries of their identities are no longer clear. At the centre of the Alice stories lies the image of Carroll and at the centre of the Carroll image lies Alice. With the spread of his fame worldwide, the name « Lewis Carroll », an invention, the conceit of a man who liked to play with words and symbols, became in itself a word-symbol, a semi-tangible rendering of an idea. It became aspiration.

For the Victorians, caught as they were on the cusp of a new age in which all old certainties were dying, « Lewis Carroll » came to mean a readiness to believe — in wonderland, fairytales, innocence, sainthood, the fast-fading vision of a golden age when it seemed possible for humanity to transcend the human condition. Carroll became a way of affirming that such things really had once been. Even before Dodgson’s death, his assumed name had become the ultimate embodiment of this Victorian aspiration toward otherworldliness. « Lewis Carroll » was the Pied Piper and Francis of Assisi. His supposed tenderness for all children was seen as part of a Christlike renunciation of adult pleasure and the adult world. It became an emanation of the strange Victorian obsession with childhood innocence, that identified immaturity with inviolability in a way impossible for us now.

In common with so many icons2-in-the-making, Dodgson himself was one of the first to perceive the growth of the myth surrounding Carroll, and with typical contrariness he both deplored and manipulated it. He instinctively understood the power of an image. He was throughout his life, not only impulsive and contradictory, but also quite a shameless manipulator of his own persona, who could very cleverly present a view of himself designed to produce his desired effect, and as we will see further on « Carroll » began to be famous at precisely the time in Dodgson’s life when he was most filled with self-doubt, most motivated to consciously re-invent himself. The guise of the patron saint of children offered itself at precisely the right time, and he took it up, as a part-time persona. By a kind of mutual agreement, he and his society began creating their mutually beneficial myth of Carroll and little girls.

Purity was exactly what the Victorians wanted to connect with Carroll, and purity was precisely what it (intermittently) suited Dodgson to have associated with himself. His genuine and instinctive affection for children began to be selfconscious, exaggerated, and, inevitably, somewhat insincere. He began to play the part of child-worshipper, with a strange mix of sincerity and irony. He invented the word « child-friend », but misused it, with almost malicious intent. He worshipped the child as an article of religious faith, and exploited it as a means of concealment for his own unconventional, possibly sexual, relationships with women. It was inextricably bound up with his wish to rediscover himself as an innocent man, and — on a different level — his cynical wish for others to see him as innocent. Carroll’s love for the child was always in part a construction. In real terms, children were never as prominent in his life as the legend, or even Dodgson’s own testimony, would have it.

« Carroll » became one of the truths by which his age measured itself and its values, and reassured itself that all was well. By the 1890s, the « reality » of this image was already an axiom, magazine articles celebrated « a genuine lover of children », « as tenderly attached to his mathematical studies as he is to children », inhabiting « an El Dorado of innocent delights ». And even those who knew Dodgson, were persuaded that they saw Carroll and drew him in impossibly idealised lines. To his adoring artist friend Gertrude Thomson he was « not exactly an ordinary human being of flesh and blood. Rather … some delicate, ethereal spirit, enveloped for the moment in a semblance of common humanity. » (Harper’s Monthly Magazine, July 1890, 254; Illustrated News, 4 April 1891, 435; Interviews and Recollections, 235) To an extent one can see the same compulsion operating in the biographies of other « immortal » children’s storytellers. Hans Christian Andersen and Edward Lear have to a lesser degree been separated from the full meaning of their own lives, crammed, sometimes with great struggle, into the sailor-suit of perpetual childhood (an outfit that for Lear, with his syphilis and his possible bisexuality, seems particularly inappropriate), and then condemned for their inability to grow up. (Levi, 31) Perhaps there is something in us that refuses to allow the heroes of our own childhood out of the nursery, even while it finds them infinitely suspect for remaining there. But only Lewis Carroll has inspired such an irresistible need to realign him as a fiction. Only to him, partly by reason of his own personal charisma, and proactive involvement in making the legend, has it fallen to become a genuine icon, an image for every subsequent generation.

Even while Dodgson was still alive, and practising his own personal brand of morality, the evidence of possible sexual activity was the aspect of reality most invisible to the Carroll legend. In keeping with the vaguely religious and Christlike undertone of his mythology, Carroll has always, as an imperative, been required to appear chaste. Even now, when widely perceived as a deviant, he is defined absolutely as a non-practising, essentially innocent and virginal deviant. An abstinence from sexual activity is the first requirement of his mythology. It is an indication of the power of this need, as well as the extraordinary degree to which « Lewis Carroll » already enjoyed an existence independent of Dodgson in the public mind, that while this mythic image of child-centredness was already the assumed reality of « Carroll », his alter ego Charles Dodgson was the subject of a widespread gossip that contradicted this image almost entirely. Dodgson was being condemned and criticised for his unconventional contacts with grown women, even while « Carroll » was being sanctified for loving only children. The scandals about women and cutesy magazine stories of « little girls » co-existed but never touched. It is as if, in the public mind, the two were already quite separate individuals, and suggests that it is within our perception, not within him, that the famous « dual personality » has its root.

However complicit he may have been in using the prevalent fictions to his own advantage, the myth was not of Dodgson’s making. It existed beyond his control, and it effortlessly survived him. While he lived, the drive to turn Dodgson into Carroll was held in check to an extent by his corporeal existence. Dodgson’s life and the Carroll image existed in semi-detached tolerance of one another. But, when Dodgson died in the new year of 1898, « Carroll » continued with barely a blip, barely a shiver. To the irresistible process of bizarre apotheosis, the death was hardly more than the shedding of a skin.

Unsurprisingly, the obituaries of January 1898 set a tone of respectful eulogy on a Christian life decently lived. It is not surprising that they had nothing to say about its more controversial aspects. This was nineteenth century England, which did not have quite our modern appetite for the « outing » of the guilty. But amnesia about the reality of Dodgson’s life extended beyond what was required by the most punctilious discretion, into something far stranger.

Over the years immediately following his death, many people who had known Charles Dodgson left their impressions of him. These were almost uniformly sincere tributes from those who had admired, respected or loved him. But even the most affectionate of them seemed unable to forget it was « Lewis Carroll » they were conjuring, and in pursuit of him, not only did they choose to disregard those aspects that might have appeared morally ambiguous, they began a process of selective remembering, concentrating on the special, the magical, the unworldly or child-like aspects of Dodgson’s character to the exclusion of the ordinary, the everyday, the « normal » or the worldly. It was as if they turned the general need to believe into an article of personal faith and themselves into disciples and handmaidens; clutching the hem of the new messiah as he danced down the roads of memory, touched by magic, softened by nostalgia; « the property of an older and vanishing world. »

As he began to be seen across the great divide of a brand new century, as all the Victorian certainties collapsed into the disaster of the Great War, and the brave new world beyond, so the need to believe that what Carroll was seen to represent had once been real became ever more fervent. Alice Maitland’s heartfelt cry, « Alas! alas! that life should change; …all the dear, old, familiar places and faces disappear », could be the leitmotif for all such memoirists. In their poignant visions of antique rectitude, in the images of the perpetual child, lost in the golden splendour of a perpetual summer day, we see not reality but desperate and touching aspiration. The need to be sure that once it had really been like that. The memoirs are lyrical in their evocations of the latter-day Merlin, half lost in his own vivid fancy, or the quaint creaky philosopher with a heart of unassailable goodness. He was remembered as « one of the few genuine scholar-saints », as « a bringer of delight in those dim, far-off days’, as « one of those innocents of whom is the Kingdom of Heaven ». (Interviews and Recollections, 68-9, 124, 163, 181, 186.)

What he could never be was an adult, human male. And most things that demonstrated his sexual identity, his adulthood, were swiftly lost from the tradition, while hyperbole converted his eccentricities into near grotesqueries, his complexities into simplistic absolutes. He had to be sealed off from the ordinary, preserved for posterity, half in the cloister, half in fairyland. It was a process expedited, perhaps legitimised, by the first work of biography to appear after his death.

Voir de même:

ART begets certainties that biography can’t confirm. We know, for instance, that Charles Lutwidge Dodgson, whose nom de plume was Lewis Carroll, loved little girls a little too much. Only a man with a dangerous affinity with female children could have produced the defiantly sane Alice, debunker of Wonderland; the beautiful and troubling photographs of her real-life counterpart, Alice Liddell; and all those other portraits of startlingly unbashful prepubescent maidens. The historical record, riddled with gaps made when Dodgson’s family excised passages from his diary or mislaid volumes altogether, doesn’t prove Dodgson’s — let’s not call it pedophilia, let’s call it obsession — but doesn’t disprove it either, and so into the evidentiary void generations of biographers and novelists and filmmakers have poured their beliefs about his secret sexual predilections, which have been repeated so often they have attained the status of fact.

But what if those beliefs turned out to be wrong? In a book published three years ago in Britain, called  »In the Shadow of the Dreamchild, » the British playwright Karoline Leach proposed a revision of the reigning perception of Dodgson. Dodgson, she argues, was not the man his hagiographers made him out to be. He was not a sweet, saintly, shy, stuttering Oxford mathematics don, afraid of grown women and drawn to under-age females in partial or total undress. He was a witty, urbane, well-connected roué, a bit bored by his academic duties but completely alert to women — and not just preteenage women, but full-breasted teenagers, women nearing or past the age of majority, and in one notable case, a woman five years his senior.

This last is the subject of Leach’s most interesting and problematic claim, which is that the great love of Dodgson’s life was not Alice, as has been unanimously supposed, but her mother, Lorina Liddell, a famous beauty married to a man widely believed to have been in love with one of his male colleagues. (Her husband, Henry George Liddel, was the dean of Christ Church, the Oxford college where Dodgson taught.) Leach, like all Dodgson biographers, bases her argument on a reading of three obscure but crucial passages in the Dodgson story. There was, first, the mysterious incident in late June 1863 that led to the Liddells’ break with Dodgson after years of close friendship. Second, there is the page cropped clumsily from his 1863 diary, in which the causes of the break were presumably explained. Third, there are the many entries in that diary and others from the period in which Dodgson chronicles his anguished battles with sin, and begs God for strength to resist it.

Morton N. Cohen, considered the greatest living Dodgson scholar, speculated in his 1995 biography that the sin was his love for Alice and that the incident involved her in some way. He suggests that Dodgson may have alarmed her mother by hinting at marriage with Alice. Leach, however, has since discovered a scrap of paper in the archives written in the hand of Dodgson’s niece, one of the guardians of his papers. The paper is headed  »Cut Pages in Diary » and contains a short summary of three entries. One of these is the missing entry, which appears to have described a conversation between Mrs. Liddell and Dodgson in which she tells him that he is thought to be using the children to get to the governess or else to be courting the oldest Liddell daughter, Alice’s sister Ina.

Leach makes much of the fact that the missing page says nothing about Alice — indeed, there is little mention of Alice in any of the diaries — and shows, instead, intense anxiety about gossip. To bolster her theory, Leach adduces other evidence, all of it circumstantial: that Dodgson frequently quoted Psalm 51, King David’s hymn of repentance after his adultery with Bathsheba, in his pleas for God’s forgiveness; that the heroine of Dodgson’s love poetry written at that period was an elusive woman, not a child; that in 1862 Dodgson got the dean to exempt him from an Oxford rule requiring certain teachers to become priests in the Church of England — something the proper Liddell would only have done if he had to, perhaps out of a fear of scandal. Leach points out that in Victorian society an adulterous affair would have been much more damaging to all parties implicated than mere attraction to a child, which would have been dismissed as a charming foible.

Is Leach right? Her book has been well received in British literary circles, and she tells the story of the hypothetical affair, and both families’ efforts to suppress all trace of it, with the flair of a writer of scholarly detective fiction. More important than the truth of her thesis, though, is the skepticism she brings to the stereotype of the genius as emasculated misfit. But in an effort to explain the origins of the myth of pedophilia, Leach also advances a theory that strikes this reader as too subtle by half.

Later in life, after the  »Alice » books had made him famous, Dodgson began to cultivate a public image as a patron of little girls. He prowled beaches and streets to strike up their acquaintance; he begged mothers to let him escort the girls around town; he photographed them naked. Reading Dodgson’s letters carefully, Leach shows that many of the females Dodgson called his  »child-friends » were actually postpubescent teenagers and even young adult women, and concludes that Dodgson, and later his family, stressed his love of children in order to deflect attention from his intimacies with unmarried women, which his contemporaries would have found far more disgraceful.

And yet, to emphasize Dodgson’s adult sexuality, Leach feels she must play down the unusual attention he unquestionably paid to girls of, say, 8 and up. Many of his older  »child-friends » entered his life as actual children, and faded out of it in their mid-20’s. It is as if he made no distinction between the child and the adult. A refusal to respect the sanctity of childhood may be even more disturbing than excessive love of it, but this does help us understand the one body of work that appears to contradict Leach’s thesis: Dodgson’s photographs. The best of these are of little girls; none of his pictures of boys or grown men and women are half as good. Their success lies in their unsentimentality and Dodgson’s ability to solicit from the girls expressions of emotion as full-blown and complex as any adult’s.

One girl in her nightgown stares at the photographer in dismay at her uncombable hair. Another stands on her father’s back and crows with triumphant glee. Alice Liddell looks out from her beggar maid’s and Chinese costumes with an inquisitiveness so grave it can’t help being seductive, as if to say, I’m not sure what game you’re playing here, but I know it has consequences. There are both love and trust in that look, feelings that had to have been encouraged and reciprocated, whether romantically or in some less categorizable way. Art may not be enough to solve the puzzles of life, but if it’s good, it doesn’t lie.

Voir par ailleurs:

From Caravaggio to Graham Ovenden: do artists’ crimes taint their art?

A court this week ordered the destruction of portraits belonging to artist and sex offender Graham Ovenden on grounds of indecency – to the dismay of some observers. The question of how to treat such objects is not going away

Emine Saner

The Guardian

17 October 2015

In Court 1 of Hammersmith magistrates court on Tuesday, a judge was deciding the fate of hundreds of photographs and pictures. District Judge Elizabeth Roscoe had to rule on whether works by and belonging to the artist Graham Ovenden, a convicted paedophile, were indecent. She decided they were, ordering the destruction of a number of them, including photographs of young girls taken by the French writer and artist Pierre Louÿs in the 1860s and 1870s, and works by the German artist Wilhelm von Plüschow.

The judge acknowledged she would “invite the wrath of the art world” and said she was “no judge of art or artistic merit”. Her decision led one writer this week to compare her decision to “an act of medievalism to match any of the statue-smashing antics of the Islamic State”. Outside the court, Ovenden said: “I am a famous artist. I am an equally famous photographer, and they are destroying material which has been in the public domain for over 40 years.”

What troubled Judge Roscoe was that some of the images “appear to be sexually provocative. Some, whether overtly or not, evoke poses by adult women that are intended to be sexually alluring.” She was assessing the images, she said, “on the basis of the ‘recognised standards of propriety’ which exist today”.

From a legal perspective, what is indecent in England and Wales is subjective. “It’s purely down to the [judge’s] personal opinion. A different judge could reach a different verdict,” says Alisdair Gillespie, a professor of criminal law at Lancaster University who specialises in child pornography law. Photographs come under the Protection of Children Act 1978, whereas paintings would be dealt with as a prohibited image of a child under a different Act.

“The difficulty is that photographs that are classed as indecent are what we call child pornography, and the test is vague at best. There is no [permissible] defence of artistic merit, where there would be under obscene publications [which paintings are usually tested under], and there is case law that says context is irrelevant.”

He acknowledges differences of opinion. “There has always been doubt as to where child nudity fits into our laws. Some countries decide child pornography means sexualised photographs [to distinguish] between indecency and sexuality. Our laws cover nudity, which other countries might not.” Once a judge has decided an image is indecent, he or she has no choice but to order its forfeiture. On the whole, he says, our child pornography laws work well. “Where I think it doesn’t particularly work is at the very nuances, the close decisions. But if you were the government, would you change the law? Probably not.”

Gillespie says art is assessed in itself, and Ovenden’s conviction is not relevant to a judge. But what about the rest of us? In 2013, Ovenden, who has never shown remorse, was sentenced to two years in prison after his earlier non-custodial sentence for sexual offences against children in the 1970s and 1980s was ruled unduly lenient. But Ovenden, who had once produced a book titled Aspects of Lolita, had been considered a suspect figure long before his 2013 conviction. In 1991, US customs officials seized proofs from a book of images of children by Ovenden. Two years later, British officers removed boxes of photographs and videos from his Cornwall estate. In 2009 Ovenden was accused of making indecent images of children, but the case was thrown out.

“I’m shocked that a judge would feel they had the right to destroy these things,” says the Guardian’s art critic Adrian Searle of this latest decision. He seems less bothered about Ovenden’s work (“I always felt he was a rubbish artist”) but says there are grounds for appeal to avoid the destruction of photographs by Louÿs and others. “The judge needs to see it in the context not of Ovenden and his proclivities, or what use he put the photographs to, but in terms of [the works’] interest and importance in relation to early photography.” Also, Searle points out, they will have been reproduced over the years – destroying the originals seems idiotic.

Can you ever divorce an artist’s life from their work? “Knowing Van Gogh shot himself, does that change the way you look at his paintings? Caravaggio was a murderer – does that make you look at him differently?” Searle asks. “There are lots of things we don’t like for all sorts of temporal reasons. What is unacceptable now may not be unacceptable in the future, and ditto in the past. The Victorian sculptures of black, naked slave girls tell us something about the Victorians – they are historical documents as well as sculptures.”

The attitude, says art writer Jonathan Jones, “where people [think] the art exists in its own sphere – I think that’s not true at all. Ovenden’s art probably does reflect aspects of his life we now find deeply troubling.” The question of how harshly we should judge the art by its artist remains. Can you read Alice in Wonderland in the same way when you’ve seen Lewis Carroll’s photographs of naked girls? Or listen to Benjamin Britten’s work, knowing he wrote great music for children, with such attention, because he had an obsession with pubescent boys (as detailed in John Bridcut’s 2006 biography)?

“One school of thought is the artwork is divorced from its creator and we should make an assessment of the work in isolation from any consideration of the artist’s intentions,” says Jonathan Pugh, research fellow at Oxford University’s Uehiro Centre for Practical Ethics. “One issue that muddies the water is a question of complicity. Certain kinds of art might involve complicity in further wrongdoings. If we think that displaying certain works might entice people to carry out wrongs of the sort that are depicted in the work, then that might be cause for moral concern.”

If we only allowed art by artists with unimpeachable moral standards, we’d have empty libraries and galleries. But it appears there are degrees of what we will tolerate. If the sexual abuse of children seems to be the crime that a viewer or reader cannot get over, apparently it’s only for a while. There are no calls for the works of Caravaggio, for instance, to be hidden or destroyed, even though his paintings Victorious Cupid and St John the Baptist are of a naked, pre-pubescent boy, an assistant with whom Caravaggio is believed to have been having sex – which we would consider to be abuse by today’s standards. Instead, they are considered masterpieces. But you don’t have to go back centuries. The BBC, while busy purging all mention of Jimmy Savile, has said there are no plans to remove sculptures by Eric Gill – a man who abused his daughters, and had sex with not only his sister but also his dog – outside Broadcasting House, despite calls from charities representing people who have survived abuse asking them to do so. The Tate, which removed 34 works by Ovenden from its online collection following his conviction, has many works by Gill, who died in 1940. The Tate said it had sought to establish any connection between Ovendon’s work and his crimes, and that the prints can still be viewed on application.

It has been pretty obvious that in the art world, and in wider society, great art confers a degree of protection, which has to explain why many in Hollywood stick by Roman Polanski, even though the film director sexually assaulted a child. The passing of time, and the death of an artist, also seems to help rehabilitate work. “If the art is good then the story of the life illuminates it,” says Jones. It would be a mistake to consider Ovenden a “great” artist, he adds, and some of Ovenden’s work now looks “extremely troubling”, but that does not justify its destruction. Demonising art, he says, “is not a rational response to it. There is no way that you should punish the art for the crimes of the artist. A civilised society preserves art and tries to learn from it.”

Ovenden was given 21 days to appeal, and those who disagree with the judge’s decision will be in the uncomfortable position of supporting a paedophile’s right to keep his collection of questionable images. Ovenden has suggested the V&A take them, but this would be up to the police. The police have the right to destroy them, says Gillespie. It is unlikely they could be displayed “but they could theoretically be stored. If the police were to do this, I suspect they would do so privately.”

Pictures of children, particularly naked ones, are abhorred when we know about the reprehensible motives of their creator, but even when there is no suggestion that the artist has worrying intentions or desires, their work has raised suspicion. “This lens has crept between us and the art, that says this [a hysteria over abuse] is the thing you must look at,” says Frances Spalding, the art historian and editor of art journal the Burlington magazine. “It rather destroys the pleasure in looking at certain kinds of child nudity which can be, in other ways, an expression of a joy in life.”

Several works have been looked at by police, often by the artist mothers of child subjects, even though there has been no suggestion any abuse has taken place, or that the artists have suspect motives. In 2001, police visited the Saatchi Gallery after concern was raised about a photograph of the artist Tierney Gearon’s children, photographed naked on a beach. No further action was taken. “I don’t see sex in any of those prints, and if someone else reads that into them, then surely that is their issue, not mine,” wrote Gearon in this paper about the uproar. In 2007, a photograph of two little girls – one partially clothed and dancing over another naked child – by the American photographer Nan Goldin was seized from the Baltic gallery in Gateshead (it was later returned after the CPS decided it was not indecent).

Richard Prince’s work, Spiritual America, an appropriation of a nude photograph of the then 10-year-old Brooke Shields, wearing makeup and posing provocatively, was removed from an exhibition at Tate Modern in 2009. Last year, a gallery in Germany cancelled an exhibition of photographs by the artist Balthus after public criticism. But both Prince’s work and Balthus’s photographs had been shown elsewhere without incident.

The American photographer Sally Mann’s work Immediate Family, published in a book in 1992, became instantly controversial: her fascinating and beautiful black-and-white images, which included naked photographs of her three young children, were said to be pornographic by some (mainly on the religious right). Mann has defended herself, saying her photographs are “natural through the eyes of a mother”. She has talked of a time just before hysteria about paedophilia exploded. Child pornography, she said, “wasn’t in people’s consciousness. Showing my children’s bodies didn’t seem unusual to me. Exploitation was the farthest thing from my mind.”

Voir aussi:

 Des photos d’enfants nus choquent l’Australie

S’attaquant au sujet, une revue d’art australienne, « Art Monthly Australia », vient de publier, en couverture de son numéro de juillet, la photographie d’une fillette de 6 ans, nue.

Marie-Morgane Le Moël

Le Monde

23.07.2008

Les photos d’art montrant des enfants nus sont-elles acceptables ? En Australie, c’est devenu un débat national, discuté dans les dîners ou à la tête du gouvernement.

S’attaquant au sujet, une revue d’art australienne, Art Monthly Australia, vient de publier, en couverture de son numéro de juillet, la photographie d’une fillette de 6 ans, nue. Mal lui en a pris : la commission australienne de classification va procéder à l’examen de la revue pour déterminer si elle peut être vendue librement.

La polémique a pris de l’ampleur depuis plusieurs semaines.

Tout a débuté lorsque fin mai, la police fédérale a mené une perquisition dans une galerie d’art de Sydney, sur le point d’inaugurer une exposition de Bill Henson, un photographe renommé, connu pour ses portraits en noir et blanc. Les policiers emportent alors des épreuves photographiques montrant une adolescente poitrine nue. L’affaire prend rapidement une dimension nationale, lorsque le premier ministre, Kevin Rudd, se dit « absolument révolté » par les images. Tandis que des associations de défense des enfants protestent contre une « exploitation » des adolescents photographiés, de nombreux artistes crient, eux, à la censure.

Une lettre, signée des grands noms de la scène artistique australienne, dont l’actrice Cate Blanchett, est même adressée au premier ministre pour lui demander de revenir sur ses déclarations.

Il y a quelques jours, la police a finalement annoncé qu’aucune poursuite ne serait engagée à l’encontre de Bill Henson. Mais la publication du dernier numéro d’Art Monthly a ravivé les tensions. Sur le cliché, datant de 2003, la photographe Polixeni Papapetrou a fait poser sa fille, les bras croisés autour d’une jambe, dans une posture qui ne présente a priori rien de provocateur. « Cette photo a fait le tour des expositions à travers le pays depuis cinq ans, sans aucun problème. La réaction des médias et du public pose des questions non pas sur la photo, mais sur l’évolution de la société », soutient le rédacteur en chef du magazine, Maurice O’Riordan. Cette fois encore, le premier ministre travailliste a condamné les images : « Nous parlons de l’innocence de petits enfants ici. (…) Franchement, je ne peux pas supporter ce genre de choses », a affirmé M. Rudd. Dans les médias, parents ou commentateurs s’indignent de nouveau. « Le débat n’est pas le bon : on ferait mieux de se battre pour les enfants vraiment exploités », commente pour sa part James McDougall, directeur du Centre légal australien pour les enfants et les jeunes.

 Voir de plus:

FOUR years ago, artist Polixeni Papapetrou found herself the centre of a controversy when a nude photograph of her six-year-old daughter, Olympia, graced the front cover of Art Monthly.

The magazine was joining in a noisy debate that had erupted over the artistic portrayal of children in the wake of the Bill Henson debacle, when police swooped on a Sydney gallery and seized photographs of naked adolescent girls in the belief they could be pornographic (the inquiry was abandoned two weeks later and the pictures put back on display).

The effect, however, was similar to dousing a fire with petrol. Kevin Rudd called the photograph disgusting, prompting the young Olympia to face a barrage of media baying at her front door with a lofty denunciation of the then PM, and a declaration that the picture was beautiful. What is not known is that behind the impressive facade of their home in Fitzroy, Papapetrou was recovering from radical surgery for breast cancer.  »Olympia was very angry that it was happening at this time, » she recalls.

Now Papapetrou’s two children are back on display in a new exhibition, The Dreamkeepers, only this time they are fully clothed and disguised with puppet masks. As they enter adolescence, she is keen to protect their identity.

Was she surprised at the furore?  »Yes. What I failed to realise is that the culture had changed. We are living in more anxious times; we are anxious about looking at children and we worry about them being exploited. »

Perhaps the concern over the picture of Olympia was that the shot of her perched on a rock against a painted backdrop of white cliffs was a replica of an earlier work by children’s author Lewis Carroll. The tortured genius had an avid interest in photographing naked young girls, leading to speculation that he had an erotic attraction to them.

 »It’s an interesting idea, » she concedes.  »But Lewis Carroll was a proper English don at Oxford, and the son of a minister; I don’t think he would have done anything. He was a romantic; he thought that young girls were made in the image of God, that they were perfect. He thought they were absolutely beautiful and they are. » Olympia, she says, bears no scars from having her body so publicly discussed.

In The Dreamkeepers, Papapetrou explores the theme of transformation: from child to adolescence, and adulthood to old age, dramatic points in a person’s life. She does this by collapsing the state of the child and the elderly into one body and the result is arrestingly surreal; young frames with old heads on their shoulders engaging in simple pleasures; collecting shells, watching waves. The colours are vivid and the landscapes beautiful; Mount Buller on a clear day; the ochre cliffs at Black Rock. The photographs emanate an unspeakable poignancy and act as a gentle reminder of the fragility of life. Papapetrou has two relatives with dementia, who are returning to a childlike state, and her experience of cancer has prompted her to think about death differently.

 »I had only thought about it before as an idea, a concept. Now it has become a reality. I have started taking more risks with my work. I realise that art doesn’t have to be safe. » And she has got over any residual guilt she felt about working with her children.  »I know that when I am not here I have left behind a record of our journey together. They will remember that we had a lot of fun doing this. »

Voir encore:

Australian PM in new nude art row

A child pictured naked on the cover of an Australian arts magazine has said she is « offended » by Prime Minister Kevin Rudd’s criticism of the photo.

BBC news

7 July 2008

Mr Rudd re-ignited a row over children in art when he criticised the July cover of Art Monthly Australia.

The girl, Olympia Nelson, 11, has said she is proud of the image taken by her mother, a photographer, in 2003.

The magazine’s editor said the cover was in protest at the closing of a photo exhibition of naked children.

Childhood innocence

Mr Rudd had reacted strongly to the front cover image, saying: « Frankly, I can’t stand this stuff. »

He added: « We’re talking about the innocence of little children here. A little child cannot answer for themselves about whether they wish to be depicted in this way. »

He was supported by opposition Liberal Party leader Brendan Nelson, who described the image as a « two-fingered salute to the rest of society ».

Officials have said they will review the magazine’s public funding.

Editor Maurice O’Riordan wrote in the magazine that he knew the photograph would be controversial, but that he hoped to « restore some dignity to the debate… and validate nudity and childhood as subjects for art ».

In May, an exhibition of pictures of naked children by photographer Bill Henson was closed before it opened, in a case that provoked a nationwide debate over censorship.

‘Part of art’

However, Olympia Nelson appeared at a press conference with her father, the art critic Robert Nelson, and said the picture was her favourite image.

It shows her sitting naked in front of a painted landscape. The photograph was taken by her mother, Melbourne photographer Polixeni Papapetrou, when she was six years old.

« I’m really, really offended by what Kevin Rudd had to say about this picture, » she told reporters.

« I love the photo so much, » she aded. « I think that the picture my mum took of me had nothing to do with being abused and I think nudity can be a part of art. »

The Australian Childhood Foundation said that parents had no ethical right to consent to nude photographs being taken of their children, as it could have psychological effects in later years.

Child protection activist Hetty Johnston told told Nine Network Television that the photographs amounted to the « sexual exploitation of children » and called for new laws against the use of photographs of naked children for exhibition, sale or publication.

« We need to put a line in the sand – because clearly some of those in the arts world can’t do that – and say this is where you don’t go, this is a no-go zone, » she said.

The debate has provoked a strong debate in the Australian media. In an editorial entitled « Art stunt betrays our children », the Australian daily newspaper The Daily Telegraph said it saw the need to protect artistic expression but said some of the images of children published in Art Monthly Australia were « highly sexualised ».

Corrie Perkin

The Australian
August 22, 2008

ONE Sunday morning last month, a culture war was declared on an unsuspecting Melbourne family. Artist and lawyer Polixeni Papapetrou and her husband Robert Nelson were woken up at 5.30am by a television producer seeking an interview to discuss the July issue of Art Monthly Australia magazine. The Sunday Telegraph had published a story that morning under the headline « Art mag’s ‘sick’ nude child stunt » that referred to the cover image of a naked five-year-old girl.

Papapetrou, creator of the 2002 image Lewis Carroll’s Beatrice Hatch before White Cliffs, declined to be interviewed at the time. She’d given the magazine permission to reproduce the photograph, which had toured nationally as part of an exhibition in 2003. And she had done this after discussing it with the model, her daughter Olympia, now 11, and her husband, a respected art academic and critic. Now, artist and photograph were under attack.

Papapetrou was bewildered by the media attention that followed, including TV crews camped outside her house. « It’s not as if I had photographed Olympia now, it was a very old image and it had been seen by a lot of people, » she says.

« When I asked Olympia if we could use the image on the cover, she said: ‘Sure, Mum.’ I said it could appear on the newsstands and be bought by people; she said: ‘That’s fine, it was taken when I was a baby.’ She sees that body as very different to the body she has now. »

Olympia is one of the subjects in Papapetrou’s latest body of work, opening at Sydney’s Stills Gallery next Thursday.

The exhibition, Games of Consequence, reveals children playing in the landscape. « Away from our familiar urban environment, Papapetrou’s children act out roles that take us into a familiar but forgotten past, » curator Natalie King writes in the exhibition catalogue essay.

« In doing so, Papapetrou induces what she calls the ‘wonderfully heterogenous dimensions of childhood, where the fear and danger mix with the angelic’. »

King adds: « Lost in a beguiling narrative, the young characters in Papapetrou’s fabrications wander without a story, escaping the inevitable fate of all tales: an ending. »

Papapetrou developed her passion for photography while studying law at the University of Melbourne. She has photographed many children, including her nine-year-old son Solomon, during her critically acclaimed career. Her PhD, which she completed in 2006, examined children in 19th-century photography.

« You’re only a child for such a short time but you’re an adult for the rest of your life, » she explains when asked why she finds children such interesting subjects to photograph. « A lot of people look back on their childhood very nostalgically. They loved it or they hated it. Childhood is such a formative period and I think I’m privileged to have been able to photograph children. Because once they’re 15 or 16, it’s over. »

She shows me a black-and-white photograph of Olympia, taken when she was eight months old. The baby stares boldly at the camera; her dark eyes mesmerise the viewer.

Her daughter, Papapetrou says, is a constant source of inspiration. « I didn’t start photographing her for my work until she was much older, but I was aware from a young age she had this incredible presence before the camera, » she says.

« As a subject matter, Olympia is totally fascinating. I have photographed Solomon, but Olympia has this relationship with the camera. I think it’s like why some film directors work with the same actors over and over again. »

Papapetrou, who was born in 1960, says Games of Consequence was partly inspired by her own childhood. The oldest child of Greek migrants, she grew up in a Melbourne bayside suburb when children played in parks, on the beach and in the neighbourhood streets with no adults to monitor their safety. « I wanted to make pictures about my childhood so I could show my children what I did and how I discovered a world of freedom, » she says. « I don’t think that world exists for children any more. »

Papapetrou dressed the children in clothes from the late 1960s and early ’70s, then asked them to re-enact the games she remembered from her own youth.

For example? « At the beach it was picking up shells and listening to the water; we believed it was the mermaids singing to us, » Papapetrou says. « And we’d just sort of walk around paddocks and vacant lots and play with ropes, we’d tie each other up. We tested ourselves. We would wander for hours and sometimes we’d become lost but we always found our way home. »

Papapetrou’s parents both worked. She was often left in charge of her younger sister and brother. « It would be all of us – other neighbourhood children and my brother and sister – playing as a group, » she says. « We would just wheel my brother around in a pram. Can you imagine a six-year-old today wandering around with a newborn baby? That’s what we did, and we’d do it for hours. We had such fun. »

These childhood photographs were taken during 2007. Then in October, two weeks after her last shoot, Papapetrou was diagnosed with breast cancer. She had two active tumours in one breast but decided to have a bilateral mastectomy. « I really had no time to think about my work, other than simply trying to manage my life and my children and my family, » she recalls.

In March her work featured in an exhibition at Tokyo’s National Art Centre. She has also been preparing for the Games of Consequence exhibition, which travels to New York, then back to Melbourne after its Sydney run.

Papapetrou is ready to start working again. Her recent health battle and the Art Monthly Australia saga have prompted her to think deeply about children and the complex world into which they step once they become teenagers.

The Art Monthly Australia cover image reignited the passionate anti-child pornography debate that surfaced during the previous month’s imbroglio over artist Bill Henson’s images of naked underage children. Papapetrou says she agreed for her photograph to be reproduced by Art Monthly Australia after NSW police decided to drop their investigation into the Henson issue. « I thought, ‘Well, we all know where we stand now, »‘ she says.

« If Bill Henson’s images had been given an R rating or if charges had been laid against him, I would have thought: ‘Well, maybe the ground has shifted, the territory has changed.’

« What I failed to realise was that even though the matter had been settled in Bill Henson’s favour, that actually there had been a cultural shift in this country. »

Kevin Rudd fuelled the debate when he expressed his concern that the image was onthe cover of a national magazine.

« We’re talking about the innocence of little children here, » the Prime Minister said. « A little child cannot answer for themselves about whether they wish to be depicted in this way. »

Papapetrou says Olympia was angered by Rudd’s response and the way her naked body had been blacked out on TV.

« She was just upset by the way people were making a big deal out of it, » Papapetrou says. « Most of all, she was angry that part of her body had been blocked and that the PM said disparaging things about the work. She felt very let down by the politicians and the media, who she felt had misunderstood the work. »

She adds: « At no point did she feel a victim. She had been consulted the whole way through the process. She enjoyed being photographed, and I think is proud of the work we’ve done together. She wanted to defend it. »

And how did the artist, who was recovering from surgery after recent cancer treatment, respond?

« I was astounded, » she recalls over a cup of tea. « Everything that I believe in was attacked. My art was attacked, my role as a mother was attacked, as if I’d abrogated my maternal duties by allowing the work to be published, then allowing Olympia to appear before the media. »

Papapetrou and Art Monthly Australia’s critics were vindicated two weeks later when the Classification Board said the July edition – including the three essays – warranted unrestricted classification.

Standing in front of the 2002 original photograph that hangs on Papapetrou’s sitting-room wall, I ask what she feels when she sees the image.

« Oh, love, » she says. « And Olympia is not ashamed of this picture. She sees this as a part of her life that’s gone, she will never be like this again. It’s her baby body. »

Speaking about her children’s images, Papapetrou says: « I’ve journeyed from domestic space to play space to imaginative space to the real world, and what I’m finding now is that I want to go back to where I started from. »

She picks up the photo of eight-month-old Olympia, still sitting on the table next to her cup of tea. « It may sound strange, but I think I’ve done a complete circle with my work. I want to go back to where I started, exploring that intimacy you find in the space that is the home. I’m ready for that. »

Games of Consequence opens at Stills Gallery, Paddington, NSW, on August 28.

The Dreamkeepers exhibition is at Nellie Castan Gallery, 12 River Street, South Yarra, until June 2.

Voir également:

A naked return for puritanism
A row in Australia over an art magazine cover shows that our leaders are less at ease with child nudity than the prudish Victorians were
Barbara Hewson
Spiked
15 July 2008

Kevin Rudd, Australia’s prime minister, has started yet another row over nudity in art by protesting about the July cover of Art Monthly Australia (AMA). The cover photograph was taken by Melbourne photographer Polixeni Papapetrou in 2003, and it shows her daughter Olympia at the age of six, seated nude on a seaweed-covered rock on a beach, against a painted backdrop of white cliffs. The July AMA issue also contains two other pictures of nude children.

Rudd complained: ‘Frankly, I can’t stand this stuff.’ (1) The leader of Australia’s opposition Liberal Party, Brendan Nelson, was also outraged, calling Papapetrou’s photo ‘indefensible’ and a ‘two-fingered salute to the rest of society’. Olympia, now 11, has rushed to her mother’s defence. She appeared at a press conference with her father, the art critic Robert Nelson, and told reporters that she is proud of the cover picture. ‘I love the photo so much. It is one of my favourites’, she told reporters. ‘I think that the picture my mum took of me had nothing to do with being abused and I think nudity can be a part of art.’ (2)

Indeed, it’s hard to see what all the fuss is about. AMA’s cover is an obvious reworking of Lewis Carroll’s 1873 photograph of Beatrice Hatch, aged seven (3). Carroll’s photograph also shows a nude girl sitting on a seaweed-covered rock, with white cliffs in the background. The backdrop is hand-painted on glass. Carroll’s photo is taken sideways on, while Olympia is photographed looking directly at the camera, but otherwise the poses are similar.

Beatrice Hatch was a daughter of Edwin Hatch, a theologian who was then vice-principal of St Mary Hall, Oxford, and later university reader in Ecclesiastical history. The Hatches allowed Carroll to take a number of nude shots of their young daughters. It’s ironic that, in twenty-first century Australia, similar photos cause a national controversy, with some censorial puritans campaigning for them to be made illegal.

The AMA cover is in response to an earlier controversy about childhood and nudity. In May this year, the police raided the Roslyn Oxley9 gallery in Sydney and confiscated photographs of nude teenagers by Bill Henson, only hours before the opening of an exhibition. Henson is a leading Australian photographer, whose work features in collections throughout the country and who has had great acclaim internationally.

Tom Slaterenson’s photos, too and called them ‘revolting’. He said: ‘I am passionate about children having innocence in their childhood.’ (4) Hetty Johnston, founder of the Australian child protection pressure group Bravehearts, called for Henson and the Roslyn Oxley9 gallery to be prosecuted.

After a brief, but intense period of public controversy, during which the Roslyn Oxley9 gallery received firebomb threats, the Sydney authorities decided that there were no grounds to prosecute either Henson or the gallery. However, by then, presumably on a precautionary basis, the Roslyn Oxley9 gallery itself had pulled two of Henson’s photographs from its website, Untitled #8 and Untitled #39. There is nothing offensive about these particular images, and their abrupt removal from public view illustrates the chilling effect of moral panics about art, nudity and the young on artistic freedom and free speech. They lead to more and more shrill protests and to self-censorship in order to avoid controversy.

It is remarkable that the gallery had held a similar show of Henson’s work in 2006, which is still available to view on the gallery’s website. This again featured some pictures of nude young models, shot in a moody light, but apparently no one was sufficiently affronted to complain to the authorities on that occasion.

Now, Hetty Johnston has said that the nude photographs in the current issue of AMA amount to the ‘sexual exploitation of children’. She has called for new laws to make it illegal to take a photo of a naked child for exhibition, sale or publication. Puritanism is on the march here. And as Oscar Wilde observed: ‘Puritanism is never so offensive and destructive as when it deals with art matters.’ Defending the magazine’s cover, AMA editor Maurice O’Riordan said that he intended to ‘restore some dignity to the debate … and validate nudity and childhood as subjects for art’ (5).

A blanket ban on photographs of naked children will not stop child abuse, and the notion that merely photographing a naked child or teenager is tantamount to child abuse is difficult to take seriously. The assumption that any photograph of a naked child is pornographic is simply ridiculous. Article 20.2 of the Council of Europe’s recent Convention on the Protection of Children against Sexual Exploitation and Sexual Abuse (25 October 2007), for example, gives a much more restrictive definition: ‘The term “child pornography” shall mean any material that visually depicts a child engaging in real or simulated sexual explicit conduct or any depiction of a child’s sexual organs for primarily sexual purposes.’

Is Johnston suggesting that parents should not be able to take nude photos of their own children? No one would condone a parent who permitted pornographic pictures to be taken of their child, or allowed them to be put into public circulation, but underlying Johnston’s proposal is a profound mistrust of all adults, as well as the corrosive idea that nudity is inherently corrupting.

If all photos of nude children were to be banned, then logically there is no reason why photographs of Donatello’s David should not also be banned, along with Lewis Carroll’s photos of nude children, much of Wilhelm von Gloeden’s oeuvre, and any reproduction of Bronzino’s Allegory of Venus with Cupid, to name but a few.

Indeed, applying Johnston’s baleful logic, just about every image in Western medieval and Renaissance art showing the naked infant Jesus, putti or Cupid would similarly need to be banned to protect us from our baser impulses. This new Puritanism would seem to be heading in the direction of a regressive anti-aesthetic, which dictates that any reproduction of the naked human form is unacceptable.

Barbara Hewson is a barrister at Hardwicke Building in London.

Previously on spiked

Nathalie Rothschild outlined how a photograph of 15-year-old Disney star Miley Cyrus’ back caused a global storm of controversy. Previously, she argued that censoring photos of children is damaging to artistic licence. Brendan O’Neill said a Sensitivity Stasi is eroding artistic freedom. Josie Appleton said paedophile panics blurred our view of Betsy Schneider’s photos at a London exhibition on childhood. Or read more at spiked issue Arts and entertainment.

(1) Australian PM in new nude art row, BBC News, 7 July 2008

(2) Australian PM in new nude art row, BBC News, 7 July 2008

(3) Indeed, it is part of a series of pictures inspired by Lewis Carroll. See the Johnston Gallery website

(4) Blanchett steps into nude art row, BBC News, 28 May 2008

(5) Rudd v art critic over child nudity, The Age, 7 July 2008

Voir aussi:

The world debate over naked children in art that arose over Polixeni Papapetrou’s pictures in Art Monthly Australia is bigger than art and touches on civil liberties. This has been acknowledged obliquely in international media, with papers such as El Universal in Mexico expressing surprise that the debate had arisen in Australia and not an ultraconservative country like Iran (15 July 2008). In their Australian resolution, the issues go well beyond Kevin Rudd’s paternalistic instructions to the Australia Council that artists dealing with children must now follow protocols to protect the innocence of children.

Unbeknown to many artists working only six years ago like my wife Polixeni the image of naked children became criminalized. We all knew that child pornography was banned but that’s very different to art: pornography is explicitly and proactively sexual, as in a definition from the Council of Europe, describing child pornography as any material that visually depicts a child engaging in real or simulated sexually explicit conduct or any depiction of a child’s sexual organs for primarily sexual purposes. (Convention on the Protection of Children against Sexual Exploitation and Sexual Abuse, article 20.2, 25 October 2007).

We had no idea that perceptions had moved so far beyond the law to become intolerant of all images of naked children. Nowadays you cannot collect shots of a naked child at a colour lab without fear of being reported to the Police as a paedophile. Detectives will be waiting for you. Families with naked children captured digitally live in fear of a Police audit of their hard disk. Orthodox families, once proud of their baptismal image, with the body held up after immersion in the sacred font, now feel forced to demote the picture from the mantelpiece to the archive at the back of the wardrobe, where it languishes under layers of uncertainty and worry.

All of this has occurred without good science and without the necessary debate. It has arisen in a mood of panic and has ended in a culture of repression, cultivating anxieties of the most destructive kind throughout the general community which have the paradoxical consequence of abolishing the innocence of children, for the innocence of children can no longer be recognized or celebrated for what it is. Not surprisingly, art has got itself caught up in this shift of increasingly obtuse public perception, as artists have always been schooled in more liberal ways and are, for the most part, unsympathetic to a moral order that is destined to cloak children in shame for their bodies.

The debate has even moved during the Art Monthly Papapetrou controversy. Child protection spokespeople no longer feel obliged to explain how an image is pornographic. It suffices that it show a naked child. The discourse is no longer about pornography but child exploitation. Child protection advocates have receded from the term pornography because this might entail some demonstrations of visual intentionality and have begun using ugly terms like child exploitation image which exonerates the accuser from any form of proof of erotically stimulating content.

This has persistently struck me as irrational and even sly; but it is telling of the culture that now engulfs us. For me, an image of a naked child can only be exploitative if it is pornographic. Its something in the nudity, otherwise pictures of children fully clad would also be exploitative. To become reprehensible in any sense, the nudity must be seen as sexual in adult terms, inappropriately sexualizing the child and conferring on the child an unwholesome availability to transgressive erotic engagement by an adult. The very term child exploitation image is a way of stigmatizing the picture of a naked child without having to prove (a) that the image is pornographic and (b) that any harm can come to anyone through its publication.

The problem with child nudity

We have to ask ourselves, as if nothing had ever been said: what is the problem with child nudity? A child’s body is not intrinsically sinful. It would be a terrible adult hang-up if we considered it so, as if a sign of the Fall; and this perception ought to be dispelled for the prejudice that it is. To maintain the rage against naked children in pictures without having to prove their pornographic quality, three claims have emerged.

First, nudity in pictures strips children of their innocence and children need protection from such a violation. This was the argument by which the Australian Prime Minister Kevin Rudd initiated the debate over Papapetrou. He stated, from within his deeply held personal beliefs, that the protection of the innocence of children should be stepped up. On one level, who can deny that children’s innocence should be protected? It’s a truism, but applied illogically to the circumstance. It seemed necessary to ask how innocence can be lost by the body being seen in a photograph, a question that I posed in The Age (8 July 08) and which Rudd didn’t answer. The Prime Minister had all the passion to make the claim but none of the patience to justify it. I argued that a loss of innocence can only occur if the consciousness of the child is corrupted, that is, if adult consciousness somehow intrudes upon and displaces the clean mind of the young one. It seemed unclear when and how this could occur in an artistic picture. No one, as far as I know, has so far helped Rudd out with this question.

Second, the image increases the risk of sexual crime against the child. I have repeatedly called for evidence of this claim and it has not, to my knowledge, been forthcoming. The overwhelming majority of sexual crimes committed against children occurs within families by people known to the family. Such horrible people already have access to the child. They have no need of artworks of that child. In the history of the world, there has never been a case of a sexual crime against children being caused by an artwork. The exposure to significant paedophilic risk is unsubstantiated and, based on the statistics, is exceedingly unlikely. If the image is a genuine artwork, it will be thoughtful presumably a total turn-off for a paedophile and will avoid that pure objectification which is supposed to make someone lust after a targeted individual. And even if the image is not thoroughly thoughtful, the link between literal exposure and exposure to risk is still missing. So there would be two steps that you would have to take to mount the case: (a) that a thoughtful artwork can act as a sexual stimulant and (b) that an image of any kind causes sexual crime against its subject.

When we see children on TV, in theatre, dance and film, any given child would be subject to the same exploitative exposure, because (while not exactly nude) the child is nearly always projected as lovely and cute in its body as well as mind, inviting quite as much undesirable attention by perverts who could arrive to watch the child by the advertising associated with the event. So unlikely is a crime against such children that the public endorses these child spectacles with full confidence. We are all complicit in their creation as consumers of the film or theatrical production when we buy the ticket. By the criteria now applied to art, if ever you have watched a film or play or dance with an adorable child in it, you have supported child exploitation. This is self-evidently silly. Having a child seen as gorgeous in the public view involves negligible risk and zero moral problem along the lines of exploitation. And that is why you continue to buy your ticket, uninhibited by such scruples.

Third, it has been argued that other children are exposed to greater risk by virtue of one child being seen naked in an artwork. Never mind Olympia herself (Papapetrou’s model and our daughter), who may remain safe with vigilant parents minding their daughter under lock and key. It is other children in less secure environments who become subject to predators as a result of the artistic encouragement by artists like Papapetrou. I call this the induction of vulnerability argument. It basically says that if culture accepts nude pictures of children in one circumstance, kids become vulnerable in another circumstance. The suggestion is that if we allow naked child pictures to proliferate, we valorize a kind of laying bare of children’s flesh for adult delectation and hence precipitate a lustful predisposition toward children in these offenders. Again, this argument only holds if the pictures can truthfully be described as pornographic.

Leaving aside the need for that proof, there is a fault in logic. Let us also leave aside the obvious question: why would you not consider it nobler to cultivate a society where children’s nudity is seen as natural? Unless we can return to this, we promulgate adult hang-ups, project anxieties upon children and induce destructive fears into our relationship with children. We move toward an epoch in which parents now feel remiss in letting their children’s bodies be seen; and this taboo in turn encourages children to be ashamed of their bodies. And so we go headlong into a culture of shame, creating transgenerational repression of something that ought to be natural. But this may be too idealistic for the moment (artists are idealistic!) and so let us return to the logic.

The induction of vulnerability argument also comes without any evidence or good reasoning. No image has these inductive powers. An image cannot create evil lust where none existed beforehand; nor can it justify illicit lust or promote a crime against the knowledge that the crime is wrong. Even if you count the image as totally objectifying (i.e. porn rather than art) the causal link between the image and the crime lacks credibility. We have other serious crimes: for example, the rape of women. The rape of women is absolutely unacceptable. There is no degree to which we can say: raping women is more acceptable than any other crime. The offence is absolute. So do we ban pornography which objectifies women on the basis that it normalizes a rapist’s designs and assuages his guilty conscience? No, we do not, because the community does not fundamentally believe that there is a causal link between the image and the crime. And rightly so. Impugning the image on this basis presupposes a direct connexion between visual fantasy and actual felony; and this is an unfounded assumption in which nobody in our community really believes; otherwise we would criminalize adult pornography forthwith. Pornography is tolerated on a massive scale, presumably on the basis that it is more likely to help desperate men manage their lust than cause them to convert their desires into crime. We know full well that pictures don’t make rapists or paedophiles. Neither logic nor evidence has been brought to the induction of vulnerability argument. To use the appropriately Australian term, it is a furphy.

Even if one day an artwork is found among a child rapists possessions (among all the thousands of cases where none has been detected) the causal link in that instance still remains weak. There is no greater demonstration of agency in the picture than if, say, a gunman is found to have had violent movies in the house or an axe-murderer is known to have possessed splatter flicks. These items of artifice neither create nor justify nor normalize criminality, because bitter and twisted people do not become bitter and twisted through representations but a horrible prior cycle of abuse, humiliation and repression. The artworks or films neither provide a cue nor a justification nor a motif of escalation. You could just as easily say that the male killer committed the murder because the movies failed him; they were no longer effective in keeping the angry outlet within his fantasy. The argument that pictures of any kind much less pictures authorized by the chastity of art cause these enormities does not stand up to scrutiny.

The question of rights

Without the righteous being able to demonstrate a link between pictures and ill-consequence, parents can still be accused of exploiting their child by photographing them naked and exhibiting the image. Even though the picture might be rated as benign (which was often conceded with Polixeni’s Olympia as Beatrice Hatch by White Cliffs, the image on the cover of Art Monthly) the accusation has been maintained that the use of the child for this artistic purpose is still intrinsically unfair to the child because the child is not in a position to decide the issue with the necessary cognitive maturity. Much has been debated on the question of rights. This issue was raised by Kevin Rudd who immediately said that a child at six, eight or ten could not be presumed to have the ability to evaluate the consequences. So the debate was bound to take that direction. Who decides that a picture with a naked child can be made and published? How is consent constituted between parents and kids? Who considers all of the moral consequences and who does the risk evaluation? Who, if anyone, mediates?

The argument has been put that a child’s rights must not be subsumed by the guardian. Given that a child cannot evaluate all the issues, it is immoral so we hear for the parent to presume to decide on the child’s behalf. There has been a suggestion that it is necessary to wait till age 18 for the child, by then an adult, to give permission to publish the image. The child cannot decide for herself or himself because a child cannot be informed of all consequences.

This argument continues: therefore, either a third party must intercede a body of unknown shape and size, an authority, an ethical rule, perhaps the new Australia Council protocols, something super-parental with the power of legalizing or we need blanket prevention. Some have taken this argument to the extreme: we need total undiscriminating censorship, a totalitarian ban on naked children in art and presumably beyond art as well, wherever an image can be seen by a third party.

How necessary is it to repeal the sacrosanct rights of parents in judging what is best for their children? The only way of answering this is to compare the risks involved with those in other areas of life where parents subject their children to certain risks.

In turn, to scrutinize the parental economy of risk, we need to understand the concept of risk, which is more or less quantifiable according to the OHS culture that we now know in every workplace throughout the developed world. Risk is computed as the severity of any possible damage multiplied by the likelihood of the event occurring. We judge, for example, that driving a car or riding a bike is an acceptable risk. We say this even though the possible damage is extremely severe. You can be killed. There is proof, because lots of people get killed on the roads each week. But given the number of total motor journeys, it isn’t very likely that you’ll have a serious accident on any given day. So you declare the risk worth taking and drive (with children in the cabin) or ride the bike every day.

The incitement to paedophiles (or perhaps loss of privacy, if that is the problem) caused by nude children in an artwork can therefore be compared with other risks. It should be compared with sport, for example; because though seen as a kind of archetype of health and youth, implanted in us as wholesome from early education, sport is in fact the source of permanent injury, where people wreck their knees, break necks and spines and encounter other corporal disasters that cripple them for life. Every weekend yields a fresh harvest in our hospitals. Notwithstanding, children in our community face immense pressure not just from parents but also teachers and junior associations to entertain the sporting spirit in a fierce degree, to strive to win with all energy, to take on feverish enthusiasm, overcome all fear of risk, and trounce the opposition. I am personally relieved that our boy Solomon has rejected football for this reason, because I feel sure that one day he would return home via the surgery, as I once did in competition sport, with a permanent disability.

So as not to be too culturally elitist in targeting sport, consider ballet. This beautiful and understandable artistic enthusiasm is also incubated under massive parental pressure and manipulation: you’re so pretty in your tutu, girls are assured. They are indoctrinated by their parents, with the typical blend of hope, ambition and vanity that all parents project on their kids. The parent is hugely gratified to see a daughter move gracefully on the stage to public applause. Yet this same reward may also yield anorexia and arthritis, well known risks to any psychiatrist or even any soul with balletic experience.

The physical and psychological damage to the child in these instances is not just likely but widespread. In any given street, every family is likely to be affected, because the massive societal endorsement makes sport unavoidable and artistic activities like ballet compellingly attractive. So on a social level, these activities are a much greater worry, because the serious damage that they cause is constant and ubiquitous.

Parents make decisions on their children’s behalf, either by forcing them, brow-beating them, shaming them, or (we hope) by lovely encouragement, sweet blandishments and benign imploring. Yet the result is the same: we expose them to risk. So why not institute some super-parental discouragement? Why not invoke anti-football protocols and demand identification for when it is ethically appropriate for children to be allowed to participate in these tangibly damaging activities? The only reason we do not think this way in relation to sport but do when it comes to nudity in art is just that sport is common, usual, accepted. It is valorized by custom and, because it is mainstream, it is unchallenged. Parents absolutely enjoy the right to decide and bring on these risks for their children.

The reason nudity in art is singled out among all these parental prerogatives is that it’s unusual: it’s a minority activity. The majority regularizes. The risk to kids is accepted if institutionalized and maintained by custom. Art is rat bag and deviant because individual. It is based on individual choice rather than convention in a way that makes the responsibilities more conspicuous. It seems easier to accuse the parental influence of being irresponsible, even though it exposes children to much lower levels of risk than socially normalized leisure activities. While other forms of risk-taking are programmed in conformity to expectations, art is not. So it is mercilessly targeted.

Through all of this, we are witnessing the great discourse against difference playing itself out in the realm of art. You might cast a glance at the vocabulary used by the psychologist Michael Carr-Gregg speaking out against our daughter Olympia when he called her mouthy. The implication behind this gratuitous insult is that she mustn’t stand out. We are irresponsible parents if we let our children be identified in any way as different, because this will lead to bullying at school. Instead of helping to bring dignity to difference, Carr-Gregg finds difference a liability which is dangerous to let out. Let us leave aside the hypocrisy of a psychologist so piously looking after children against bullying while at the same time fomenting strife for Olympia with an abusive intervention in the media which may as well be designed to shame her with the quality of difference.

Because our antagonists have produced no good arguments, I have tried to develop some for them to explain their rancour in my own mind.

Perhaps a more benign interpretation of the hatred of parental prerogative in art matters but not in conformist matters like sport and traditional ballet would be the sentiment associated with the possible damage. Maybe the community feels more h4ly about risks to children through artistic nudity just because it seems to involve crime? The worst outcome is not an innocently broken spine but a heinous deed perpetrated upon a child by human will. The fact that the possible damage is criminal obscures from public consciousness that risk is risk and damage is damage, irrespective of the source of the harm and whether or not it involves volition. To focus on a danger just because there is a criminal narrative within it creates an irrational promotion of the danger in public consciousness. Subjecting a child to risk seems okay if the risk can be seen as natural as if there is anything natural about football or ballet! but it inspires horror when the risk has a human element of malevolence and perversion. The criminality entails a cocktail of emotion and blame that are not taken care of through apparently guilt-free terms like accident. The scene is set for emotion to prevail over reason.

The scale of unscientific desperation

In fact, risk is risk and the currency is not altered by the source of the danger. We must disentangle the issues analytically at every stage and the community deserves its experts to keep them separate. Our authorities and leaders need greater scrupulosity in their arguments, people like Kevin Rudd, the leader of the opposition Brendan Nelson, state premiers Morris Iemma and John Bracks, senior lawyers Moira Rainer and David Galbally, child psychologists and journalists, all variously accusing good parents of dereliction and child abuse, even in letting Olympia speak to the cameras.

When Polixeni constructed her photographs in 2003, she was busy not just with the artistic work but also concerned herself as a scholar with the proprieties of photographing children. Her investigation formalized in a PhD at Monash University took her both to the analysis and historical interpretation of the photography and writing of Charles Dodgson, aka Lewis Carroll, as well as the tradition of female photographers whose subject matter has been their own children.

Sadly, the best international mother-artists have encountered the worst and most embittered reactions, from Sally Mann and Nan Goldin to Tierney Garson and Betsy Schneider. These women have all been vilified for their work. In 2007, Polixeni had the opportunity to meet personally with Connie Petrillo in Perth, whom the WA Police had prosecuted ten years ago for photographing her boys naked. Though acquitted by the jury, the process left Petrillo traumatized. There has never been an apology emanating from the Police or the State for their false accusations and bullying. This I call an injustice against motherhood. The ferocity with which the warm artistic inquiry of mother-artists has been attacked is a blot on civil society.

Polixeni has shown due diligence as an intellectual, a mother and an artist in investigating the moral, historical, psychological and legal issues that touch on her work. In the campaign against her, we have witnessed (a) a total absence of evidence being adduced and (b) psychological brutality against her and Olympia, as if neither child protection advocate, legal counsel, clinician nor art critic has ever heard of defamation. Art critic? Yes, John McDonald was not ashamed to represent our family on the ABC as calculating attention-seekers, feeling persecution envy when the Henson affair was current and bringing ourselves as inferior artists into the media limelight. He expressed glee that now were really getting it. This is a stage family pushing a daughter out there. Watching stuff happening to Henson, asking, Why him and not us? Well they’ve got it now. (PM, 10 July 2008)

Bah, artists should be inured to malice. It is curious for me to front up at our primary school and greet all the other parents and their children, knowing that I stand accused of being a child abuser and a derelict father who has willfully abandoned the paternal duty to protect his girl, a dad who has effectively sold his daughter into visual prostitution.

Fortunately, contact with our wonderful school community has revealed to me that parents do not share the views of so many critics in the media. In response to Janet Albrechtsen, who fulminated that we dismally shirked our heavy responsibility as parents and failed to understand that adults are the grown-ups, one of the school mothers said: well, she as a grown-up forgot her manners. In their zeal to be seen as upholders of moral standards and best parental practice, our critics have failed to remember what they were taught at school and university, that they need evidence to back up their claims, not to mention any politeness of avoiding an attack ad hominem.

But never mind such subtleties of civility and etiquette! The zeal over this matter caused one commentator to come perilously close to fabricating evidence against us. Andrew Bolt asked me a question in The Herald-Sun: did Olympia consent as a toddler to being photographed and exhibited sucking on a dummy as if she were dreaming of sex? In a letter on Bolts blog at breakfast time on the same day as his column appeared (11 June 2008), I pointed out that this question implicitly described a picture which Bolt had never seen. I asked Bolt: had he ever seen any of the Pacifier images? Monica Attard later asked him the same question and he replied that he had seen a picture of Olympia with her grandmother’s jewelry. Well, this is not a Pacifier image. Bolt, not normally a shy man, did not answer the question with a simple yes, so I think the implication is clear.

Unless I have misunderstood, Bolt was detected fabricating a picture in his own mind one that he hadn’t yet seen but in which he already imagined the model dreaming of sex to project his own fantasy upon it, thus condemning the work and its interpreter. Bolt cannot tell us that he has seen the work, yet wreaked opprobrium upon it and its creator. Even if it’s just an implication, it seems as if Bolt misled the public, concocting false shadows in order to discredit Polixeni and me. Such zeal to denounce us as filth-mongers (deeply, deeply disturbing as Bolt said), even if it means risking a kind of journalistic fraud, is deplorable. In order to frame Polixeni and me as pornographers, the scrupulosity that honours the truth like evidence and logic can be sacrificed.

Making a political point

During the Papapetrou controversy, I was repeatedly asked why we had used (or abused) our daughter in order to make a political point, first in creating a nude picture and allowing it to be published and second in encouraging her to speak on our behalf. For many commentators, this was proof of child exploitation. It was never credited as Olympia speaking on her own behalf. Unlike Henson, the argument went, the decision to publish the image was not made innocently, unaware of the sensitivities and inflammatory consequences of a naked child being seen in an image at this time. It was a shameless exercise to gain attention, a stunt, for which we exploited our daughter.

It is difficult to explain the problems of being asked to provide an image in a magazine. As the artist, you don’t have control of the editorial content. Polixeni and I felt that the magazine was quite within its rights to provide an artistic forum to debrief over Henson and also to contemplate earlier cases of censorship in which Polixeni was involved. It seemed important to do this; and granted that the edition would scrutinize the rights and wrongs of child nudity in art, it seemed entirely fair that the editor, Maurice O’Riordan, would seek to illustrate the magazine with some balance, choosing an alternative to Henson, an Australian artist who also enjoys a h4 international profile but who works with children as a female and a mother at that and had encountered controversy before. (Incidentally, when Kevin Rudd visited the National Art Center in Tokyo to see the show of the late Emily Kngwarreye, he may have been told that if he’d arrived only a few weeks earlier, he would have seen a large exhibition of Polixeni Papapetrou in the same gallery.) In all events, the bona fides of the Art Monthly approach to Polixeni was borne out by the content of the magazine, one article in which (by Adam Geczy) was in fact quite critical of the Hensonesque approach.

In a way, though all of this is true, I was surprised that the media seemed to need these defences. The work was made in 2003 and earlier, when there was no talk of provocation. The spirit of all of Polixeni’s works is non-combative and non-provocative. But even if the editor of the magazine, Maurice O’Riordan, phrased the purpose of the edition as a protest which in fact he did not it would not have changed the image nor Polixeni’s reasons for allowing it to be published. As a work of art, it has been produced in good faith to entertain the higher powers of the mind, with the conviction of the artist that it is wholesome and worth seeing. In the artists estimation, either the image is worth seeing or not; and this was an image in which the artist had excellent faith. It had already received huge endorsement locally and interstate; it was published in broadsheets; cards for Citibank reproduced it; and, in all of this, the picture had caused no controversy locally or internationally.

The idea that the magazine was motivated by a political purpose and therefore Olympias contribution constituted a form of exploitation to make a political point makes no sense. The only reason that you would make an artwork is to have it seen. If it was worth seeing in 2003, then it is worth seeing now as well. We are not about to concede that the times have temporarily made it inappropriate. There was never going to be a time in the future in which the work would be more or less acceptable according to child protection pressure groups. If anything, their influence is rising, owing to the support that they get from the Commonwealth and the media. There is no prospect of a more diplomatic moment. An editor wanted to publish it in a serious context. As there is nothing wrong with the image, there was also no reason to refuse publication. All the talk about exploitation to make a political point is a red herring. It all presupposes that there is something wrong with the image. But if you begin with the premise that there is nothing wrong with the image, then there is no exploitation in displaying the work at any time.

Commentators of course charged us with the likelihood that one day Olympia would disavow her participation in the picture and reproach her mother either for making the picture or both parents (and herself) for consenting to have it displayed on Art Monthly. And I had to agree with these interrogators on one point. Her willingness at age five and enthusiasm at age eleven are no guarantee of her support in years to come. Certainly, she may foreswear the whole exercise and recriminate both of us for leading her into an embarrassment. This is a possibility. It is entirely up to Olympia. But there is also a much likelier possibility based on what we know of other enlightened children of art that she will remain delighted with the image, that it will be an object of great pride which logically accompanies her personal courage in defending it against the scorn of the Prime Minister. Like any actor in a film, the performance of Olympia in her mother’s photographs is a substantial achievement. She has had a rare artistic and educational opportunity and has been able to grow with the experiences. It is likelier that she will look fondly on the family culture that provided this privilege than despise it. But of course time will tell and we will take responsibility for it.

One possible ground for Olympia reproaching us would be along the lines of what Guy Rundle has stated, Arena Magazine, 96: children need their privacy protected and this should surmount the artist’s right to free speech. But then we have to ask: what privacy is lost, even if the images circulate unrestricted on the web? It just so happens that in none of Polixeni’s images under discussion is there any genital exposure. To be sure, in Olympia as Beatrice Hatch, anyone can see that Olympia has thighs and the contour of a rump. I would expect that when she is a lot older, Olympia will be able to reason as she does now that every child has these features and none should be ashamed of them.

We would be worried about the likelihood of future recrimination if we felt that there was something wrong with the pictures or something of Olympia’s future privacy was at stake. But a child at five is innocent. Olympia already identifies her body in the image from 2003 as her kid body, the one that she’s already outgrown. When children grow up, their bodies change greatly and maybe we then have something to be ashamed of (or maybe not). But a picture of anyone as a weenie in no way compromises the privacy that the same person enjoys in later life. That has always been the reason we allow kids to promenade naked on the beach: they have nothing to be ashamed of. This doesn’t change just because now we have the internet. Privacy is not an issue precisely because children are innocent. The protection of privacy makes little sense unless there is a demonstrable link to a loss of innocence.

This is why artists need to make images of naked children. The mother-artists cited above, who been vilified for their work, have in many ways created the best record of child innocence that history can lay claim to. I find it sad that Rundle forecloses on their warm artistic inquiry, which has never done any harm to anyone. The innocence of children deserves to be recognized, celebrated and understood. It is a fundamental part of child identity and human experience; and it crucially involves nudity. If we ban its representation, our community plunges headlong into repression, all at the expense of curiosity and insight, and all without evidence or good grounds to impugn it.

If there was a political point in making and disseminating the image, it was only the political point that all serious art makes in its every manifestation: it is the universal right of free speech. But even this is not the reason the work was made nor the reason it was published. It was made and published because it is beautiful, evocative, resonant and totally harmless.

The industrialization of anxiety

From beginning to end, the Papapetrou controversy was very unlike the Henson affair. In Henson’s case, the saga commenced with the NSW Police seizing pictures from the gallery. The materials that the Police considered offensive were the photographs themselves, an invitation in the mail plus the publication of the photographs on the internet. The allegation was that the material is child pornography; and the main defence given was that the artist has a formidable reputation. The artist said nothing and a large body of arts figures supported Henson with arguments of dubious substance. The best that I read more or less only argued that the works deserve to sell for a steep price and that they’re very good pictures, with grand art-historical ancestry, which do not resemble porn because the models do not have a come-hither look. A come-hither look is not a prerequisite for porn, so I didn’t rate this as a particularly h4 argument. Most utterances in Henson’s favour did not recognize the key theme of the public polemic, namely that the pictures stood accused not of nakedness in general but specifically the nakedness of children. Nevertheless, the case fizzled out once the Classification Board gave the pictures a G rating. Throughout the debate, the taciturn Henson remained the same charismatic Dark Lord of the Camera as he was called in The Age in 2005.

In Papapetrou’s case, a magazine published images that she had taken in 2003 and earlier in order to restore dignity to the debate. The magazine was accused of provocation in the wake of the Henson affair and was referred to the Classification Board. h4 protestations were made by the artist and her family. As noted, the debate swung around more clearly to the theme of child exploitation and precipitated a world response.
The really big deal in the Papapetrou controversy that didn’t emerge in the Henson affair is the question of civil liberties. The terms of the Henson debate were to do with the freedom of art. The terms of the Papapetrou debate are more to do with the freedom of parents and children. At no stage did any of us in the Nelson-Papapetrou family justify what we did because art is a higher priority than the rights of children. We have never seen art as quarantining anyone from civil codes or insulating them from parental responsibilities. Art is not a screen and we have never invoked its protection for that purpose.

The main reason that my family has been vociferous against the accusations during the Papapetrou controversy is that our feelings are not just about art but parental culture in general and civil rights in particular. This is the first test-case where a robust family has been threatened with the withdrawal of their freedom to act as any family might, not just an artistic family. The freedom at issue is to photograph a child naked and to let other people see the image. In my mind, at least, this attack upon civil liberties is also an attack upon the innocence of children, because it cruels our chances as parents of recognizing and celebrating the innocence of children within families and beyond.
We can see culture within the space of a couple of years turning to deny the dignity of a child’s body (not just as representation but in reality), seeing it as a sign not of the innocence of the child but the depravity of the adult witness. Its not a case of a couple of rotten eggs spoiling it for everyone else. Its a problem of massive impercipience, brought on by the industrialization of anxiety.

My fear that people are losing a natural relationship to children has been graphically demonstrated through the opinion on numerous antagonistic blogs in response to the Papapetrou controversy. In many vituperative comments, Olympia has been incorrectly described as wearing make-up in the now famous Olympia as Beatrice Hatch by White Cliffs of 2003. Bloggers have repeated this erroneous claim again and again, which was also discussed on radio. In fact, Olympia was wearing no make-up and wig. Just as there is no wig, so there is no rouge on her cheeks, no eye shadow, lippy, nothing, just Olympia’s skin and hair. This is the natural colour of a five year old girl. Not only is there no make-up but there is no Photoshop either. There is no digital manipulation between the model, the negative and the print.

When the public decides that Olympia is wearing make-up, it has jumped to a conclusion that assumes, I guess, that children are as grey as we adults are. But in fact they often have a wonderful colour that we lack entirely and subsequently fudge in mature years through artificial means. To see this wonderful chromatic richness and luminosity, however, you actually have to look, rather as Polixeni looks with her Hasselblad. And here is the problem. Its as if no one any longer looks at children. Its as if they’re too scared to. If you get caught looking at a child, you might be considered a paedophile. So people are wary of looking at children by extension to the ban on touching them. Males, especially, are scared to make jokes with them, to develop any intimacy with them and make wriggly giggly gags that cause children to become excited and in which men, in the past, have shown winsome talent. Playing with kids always used to be one of the few behavioural options that humanized men and let them relax their rigid masculinity. And as we now know from the Papapetrou controversy, women can also be suspected of various degrees of child abuse. They too have to be guarded in their gaze to avoid suspicion as having an unhealthy or exploitative interest in children.

We are as a community losing the innocence of children, because we have already lost an assumption that our fondness for children is untainted. The incrementally regulatory environment is killing childhood innocence, not the artist who seeks to celebrate childhood innocence.

The moral panic over protecting the innocence of children against artists is a symptom of something larger, more insidious and more sinister in our culture. It is the anxiety revolution, in which a vast array of goods and services is promoted by stimulating anxiety. Anxiety is commercialized from health insurance to the marketing of private schools to schemes for monitoring adolescents in a panorama of drug and sex hazards. Check out Michael Carr-Greggs website for voyeuristic evidence.

In our culture, only one emotional stimulant for boosting sales is as powerful as sex and that is fear. It began with fundamentalist religion and reactionary politicians and it has spread virally throughout the fabric of institutional life. It is the most common commercial strategy, because once you have inseminated fear, you can sell security. Business was never simpler: identify risk, conflate it with great emotion and then sell solutions. Who would be without a marketing plan that does not propagate fear? The h4est purveyors of fear are the media. TV could not live a day in its competitive environment without promoting fear in the community. It thrives on predators, on cases of people not being sufficiently guarded and falling prey to villains or bad luck. There is always a coda implying that superior levels of security should have been provided. It is a mad spiral, a constantly worsening manipulation of public perception toward insecurity by the most influential channels.

So where does the irresponsibility lie? The cultivation of anxiety for commercial purposes is extremely damaging and one of the victims now is childhood innocence. It has caused childhood nudity to be criminalized. Put this together with the equally massive projection of teen sexuality upon children and you have a lot of very confused parents. Parents sense that they are out of control in this media-environment, when each weekend they can watch their tiny daughters emulating all the erotic moves on television that their pumping teenage role-models promiscuously exhibit to loud thumping music. Actually, parents often feel that they have to go along with this emulation and admire their daughters for such precocity. The sexualization of children is endemic throughout our culture (with absolutely nothing to do with art) and remains powerfully promoted by the commercial interests that shape popular culture and seduce the very young especially girls to gaze, act and dance with a sexual body language.

Parents are struggling to achieve a sense of control in all of this and look for the likeliest scapegoat in the vicinity. Again, the politicians and media will gladly spring to their assistance. An artist with an unpronounceable name, an outspoken daughter and a husband in a bright shirt and bowtie will certainly do. These must be the people who are wrecking child innocence. We need a law against their visual profanities. They are terrible snobbish people who thumb their nose at the law. They give, as Brendan Nelson said, the two finger salute to the nation. They are arrogant and slippery, enjoying indulgences that should now finally stop.

Back to art and children

And this brings me to the final sadness. The Australian community has long been suspicious of artists; but now the caricature of the irresponsible artist has acquired a new dimension, arousing not just suspicion but resentment. The new persona of the artist is someone who can use art as a loophole to break the law and obtain a dear privilege denied to everyone else. Parents in the general community no longer enjoy the privilege of photographing their kids in the nude. How come artists get to do this? What puts them above the law?

Though this is a terrible insult to artists, I actually have some sympathy for the reaction. It proves to me that parents have been diddled of something owing to them. They would dearly love to be able to photograph their children in the nude and not fear prosecution. So I completely understand their resentment over the privilege of artists, that its all right for some but not for us. An inalienable right has been taken away from ordinary parents. How hurtful, then, that ordinary parents are not allowed to possess a record of their children’s innocence but artists are allowed to seize this privilege! The mums and dads who work an honest living and have the fondest relationship with their kids are denied a record of enormous value to their family and their children when they grow up. Unless their parents were artists, the future men and women who are now kids will never see what they looked like lounging around in the nude as only children can (if they are still allowed). The memory of a key part of their innocence is deleted. Permanently.

We are in a most unfortunate predicament where everyone is a loser. With the incremental attack on civil rights, parents lose an inestimable treasure in the imagery of their child’s innocence. The artist earns the resentment of the general community for retaining this privilege. The child protection spokesperson is on the losing legal side and resorts to insulting a child. The politicians are caught talking about things that they know nothing about. Senior lawyers risk getting caught defaming an artistic family. The righteous journalist is caught fabricating a picture that lets him indulge his sexual fantasy and bring false witness to his adversary. Opinion writers are caught speaking with neither evidence nor science nor decorum. No one gains in this dire moral downward spiral. It has brutalized so many commentators and few have escaped with their honour intact. It wrecks the credibility of everyone who goes near it. It makes fools of the police who are ordered to prosecute and then have to return the confiscated artworks. It bludgeons the gallerists and artists who will never hear an apology over the way they are mishandled. The issues are beyond the Classification Board, whose criteria have nothing to do with the current preoccupations. The moral downward spiral sucks the Australia Council into becoming a super-parent, forced to take over relations between artist, child and parent. The Australia Council has to come up with a world-first in paternalism, imposing a kind of toddler harness on the nations artists, where the people who think profoundly about the issues are constrained by politicians who scarcely think about them at all. In short, there was never a cultural mess like it since the epoch of iconoclasm in Byzantium.

But while artists may suffer from a new alienation in the general community, the real victims are children, children who can no longer be gazed upon without occasioning fears of paedophilia among their onlookers. In 2000, I wrote a Freudian essay recognizing the sensuality of children which has been held up as an example of a disturbing paedophilic tendency. Amazingly, I got into trouble and had to explain myself on radio for having said, back then, that the sensuality of children is integral to parental fondness. Just what did you mean by that? I was asked, as if cuddling your own child is suspect and expressing it breaches a taboo. When the essay described the oral pleasure of infantile dummy sucking, various commentators thought that they had proof of my depravity.

Wherever artistic and academic interest is suppressed, you can be sure that the general public suffers a yet more serious eradication of consciousness. As the community is harrowed of its visible affection for children, children grow up with emotionally stunted relations with their adult families. Children are being quarantined from the recognition of their sensual pleasures; and so they, too, are denied much: emotional things that are important and integral to their development and wellbeing, things that arise from the curiosity and fond empathetic wonder of adults. We are witnessing an unprecedented alienation of childhood where it is considered shameful to wonder what makes a kid giggle, in which parental curiosity is being eliminated for fear of being condemned as paedophilic.

I remember when I was a boy how I used to smile at everyone in the street. People used to smile back and I felt that I could generate this warmth between me and others. My friendliness had my parents approval; they used to admire my toothy grin. That sense of being an emotional agent in the world is progressively being denied to children and for no good reason. Nowadays, hardly any male dares look at a child much less smile at one, for fear of the friendliness being misconstrued. The relationship is increasingly suspect, with an intervention emanating from state control. What we demand of the state is that it protect children from psychological and physical violation. We do not for that reason permit the state to wipe the smile from the child’s face, to wreck what innocence we have retained between adults and children and to banish the child’s body from public view. The state has no moral right to make this incursion into family life. It never had a mandate to interfere in this way. It is a new bureaucratic barbarism, in which some ambitious brave hearts and vulgarizing politicians have persuaded the world to abandon reason, art and science.

 Voir également:

Déesse grecque d’Australie : entretien avec Polixeni Papapetrou

Le littéraire.com

21 juillet 2016

Il y a une dizaine d’années, Polixeni Papa­pe­trou a été vic­time d’une stu­pide contro­verse dans son pays. Le pré­texte en était qu’elle pho­to­gra­phiait sa fille (à l’époque âgée de six ans) nue. C’était ne rien com­prendre à ce que Polixeni Papa­pe­trou explore. Prin­ci­pa­le­ment, le thème de la trans­for­ma­tion de l’enfance à l’adolescence, de l’âge adulte à la vieillesse.
Son expé­rience de la mala­die l’a ren­due encore plus poreuse à la fra­gi­lité de la vie. La beauté reste l’essence de sa vision des femmes. A sa manière la créa­trice lutte pour leur liberté comme aussi celle de la créa­tion. L’australienne sait créer un « roman­tisme » très par­ti­cu­lier. Au lyrisme qui dis­sipe l’intelligence, elle pré­fère cette der­nière tout en demeu­rant capable d’offrir des émotions. Elles per­mettent de fran­chir le pas du passé au pré­sent et vers le futur que l’œuvre annonce sub­ti­le­ment au sein de son céré­mo­nial par­ti­cu­lier. Il est intense, dans son écono­mie de moyens l’artiste nour­rit une réelle fée­rie.
Il n’existe plus d’un côté le réel et de l’autre sa fic­tion. Ne res­tent que des signes qui se par­tagent entre l’ascèse et la sou­plesse. ils deviennent moins des parures qu’une men­ta­li­sa­tion du réel. Celui-ci change de registre et qua­si­ment de sta­tut en ce qui tient du défi plastique.

 Entretien :

Qu’est-ce qui vous fait lever le matin ?
Il y a tou­jours tant de choses à faire que je dois sor­tir du lit. La pre­mière chose que je fais est de pré­pa­rer le petit-déjeuner, lire le jour­nal et ache­ver mon crois­sant. La nour­ri­ture est une puis­sante moti­va­tion. Récem­ment, je suis deve­nue gour­mande des crois­sants pour le petit-déjeuner car une bou­lan­ge­rie fran­çaise s’est ouverte près de chez moi.

Que sont deve­nus vos rêves d’enfant ?
Enfant, je me rap­pelle que j’éprouvais une forte urgence de quit­ter ma famille et décou­vrir une autre vie que la mienne. Je crois que mes rêves tour­naient tous autour de l’idée de fuite : le rêve majeur était de par­tir pour l’université et je l’ai réa­lisé. Ce qui a changé ma vie pour toujours.

A quoi avez-vous renoncé ?
A rien je pense et c’est plu­tôt le contraire : j’ai beau­coup gagné.

D’où venez-vous ?
Je suis née et j’ai grandi à Mel­bourne de parents grecs. Je suis Aus­tra­lienne avec un héri­tage grec. Aussi je me res­sens comme si je venais de Grèce parce que, lorsque je visite ce pays, je me sens autant chez moi qu’en Australie.

Quelle est la pre­mière image dont vous vous sou­ve­nez ?
Sous le lit de mes parents, il y avait une boîte qui conte­nait des pho­tos de mes parents ado­les­cents en Grèce et aussi les pho­to­gra­phies de leurs pre­mières années en Aus­tra­lie. Je sor­tais ces pho­tos toutes les semaines pour les étudier. Elles étaient un mys­tère pour moi. Je ne peux pas pré­ci­sé­ment me sou­ve­nir d’une seule image comme la pre­mière mais cette boîte de pho­to­gra­phies fut cer­tai­ne­ment pour moi ma pre­mière ren­contre avec les images. Beau­coup plus tard, quand je voya­geais en Grèce, on m’a donné la seule pho­to­gra­phie sur­vi­vante de mes grands-parents que je n’ai jamais ren­con­trés. Ce n’est pas la pre­mière image dont je me sou­viens mais c’est l’image la plus mémo­rable pour moi.

Et votre pre­mière lec­ture ?
Quand j’ai com­mencé l’école pri­maire, je ne savais pas par­ler anglais. On me demanda de lire un livre d’école inti­tulé « John et Betty ». Ce livre défi­nis­sait les attentes des filles et des gar­çons de l’époque. Comme nous n’avions pas de livres en anglais à la mai­son, j’en ai volé un à l’école mais je fus décou­verte : une lettre fut envoyé à mes parents avec comme résul­tat une punition.

Qu’est-ce qui vous dis­tingue des autres artistes ?
J’éprouve beau­coup de rap­pro­che­ments avec les pho­to­graphes et les pra­ti­ciens d’autres arts et la lit­té­ra­ture. Peut-être que ce qui m’en dis­tingue — en dehors de mon passé et de ma per­son­na­lité — est l’opportunité d’avoir pu tra­vailler avec des êtres ins­pi­rés spé­cia­le­ment dans mon enfance. Je pense que j’ai eu un pri­vi­lège unique en ayant accès à leur inno­cence, leur com­pré­hen­sion, leur ima­gi­na­tion, leur intel­li­gence incom­pa­rable et leur naï­veté, leur com­pré­hen­sion natu­relle du sym­bo­lique et leur sens du mer­veilleux. Je me rends compte que tout le monde ne peut aimer la pers­pec­tive fraîche, enchan­tée de ce que les enfants peuvent appor­ter aux adultes quand ils sont trop réflé­chis et conditionnés.

Acceptez-vous le terme de pho­to­graphe fémi­niste ?
Oui, dans le sens que je ne peux dire le contraire. Je ne suis pas ouver­te­ment fémi­niste mais ce que je retiens du fémi­niste est son appré­hen­sion du pou­voir des struc­tures qui fonc­tionnent dans les lignes de démar­ca­tion de la notion de genre – ce que beau­coup de mes pho­to­gra­phies tentent de sub­ver­tir. Un thème per­sis­tant au cours de mon tra­vail est com­ment se tra­vaillent les « changes » à tra­vers les formes et par le jeu de rôle. Par exemple, mes enfants — fémi­nins et mas­cu­lins – ont été bénis habillés de la robe de bap­tême dévo­lues au sexe opposé (« Phan­tom­wise », 2002). J’ai aussi emprunté au fémi­nisme le désir de com­prendre les dyna­miques des filles (« Games of Conse­quence », 2008), le sym­bole phal­lique (« The Ghil­lies », 2013) et plus récem­ment com­ment les femmes, les fleurs et le jar­din ont été réin­ter­pré­tés par les fémi­nistes en tant que décons­truc­tion de la pas­si­vité fémi­nine que sou­ligne toute l’histoire de l’horticulture déco­ra­tive (« Eden », 2016).

Ou travaillez-vous et com­ment ?
Je tra­vaille tou­jours en Aus­tra­lie. Chaque cor­pus est créé soit à l’extérieur, soit en stu­dio. Je vais de l’un à l’autre cela, dépend du type d’espace que je désire pour entou­rer mes portraits.

A qui n’avez-vous jamais osé écrire ?
Mmm, ma mère ? C’est juste une plai­san­te­rie. Je suis une épis­to­lière quelque peu intré­pide. A peine sor­tie de mes études pho­to­gra­phiques, j’ai écrit à Richard Ave­don (et j’ai eu une belle réponse) et j’ai aussi écrit à un ancien Pre­mier Ministre aus­tra­lien pour expri­mer ma décep­tion face à son phi­lis­ti­nisme. Le seul pro­blème que j’ai à écrire est la crainte de leur faire perdre leur temps.

Quelle musique écoutez-vous ?
J’aime la musique et j’en écoute de tous les genres et de toutes les époques. Je chante sou­vent à par­tir de la petite liste de mon iPhone. Elle contient des airs popu­laires avec les­quels j’ai grandi en tant que tee­na­ger dans les années 70. La musique clas­sique repré­sente une grande par­tie de la culture de ma famille. Ma fille Olym­pia joue du vio­lon dans un orchestre et j’aime son réper­toire. Mon com­po­si­teur favori est sans doute Bach.

Quel livre aimez-vous relire ?
« Madame Bovary » de Flau­bert pour la struc­ture psy­cho­lo­gique d’Emma et com­ment celle-ci est en par­tie déter­mi­née par la posi­tion de la femme au XIXème siècle. Sa morale, son déclin finan­cier et psy­cho­lo­gique est un récit tra­gique et édifiant sur beau­coup d’aspects du XIXème siècle.

Quand vous regar­dez dans un miroir qui voyez-vous ?
Par chance moi-même. Mais c’est une grande ques­tion. En anglais, nous uti­li­sons le pro­nom réflexif “myself’ (moi-même). Mais nous pou­vons dire aussi je vois « my self » : signi­fi­ca­tion de ma nature inté­rieure. Je ne ferais pas cette allu­sion sous pré­texte que j’essaye tou­jours de com­prendre qui je suis. Comme l’appareil photo, le miroir ne ren­voie pas d’analyse. C’est à l’œuvre d’art de la proposer.

Quel lieu à valeur de mythe pour vous ?
Paris, énor­mé­ment, et pour rai­sons de pur plai­sir. Il y a d’autres villes en tant que capi­tales du monde. Londres par exemple qui est pour moi majes­tueuse et belle. Mais Paris pos­sède une gran­deur baroque et la gran­di­lo­quence du dix-neuvième siècle qui ne cessent jamais d’être intimes, lyriques, par­lantes, déco­ra­tives et gaies. Cela me rend heu­reuse d’y pen­ser. Il y a d’autres endroits qui manquent entiè­re­ment de l’élégance cha­ris­ma­tique de Paris mais qui résonnent puis­sam­ment avec moi. Les terres autour de Mil­dura, au nord-ouest de mon état de Vic­to­ria en est un exemple. Tout l’Australie pré-coloniale est char­gée d’histoires avec une signi­fi­ca­tion spi­ri­tuelle pro­fonde. Vous pou­vez tou­jours le sen­tir for­te­ment dans cette par­tie sèche mais belle que nous appe­lons le Mallee.

Quels sont les artistes dont vous êtes le plus proche ?
Ce sont des artistes qui sont des amis ou que je connais per­son­nel­le­ment. Bien sûr, pour avoir une rela­tion proche, il faut que j’admire leur tra­vail et leur engagement.

Quel film vous fait pleu­rer ?
C’est une bonne ques­tion. J’ai tou­jours et seule­ment pleuré devant les films sur l’Holocauste. Bien que je trouve ces films dif­fi­ciles à regar­der, je m’oblige à les regar­der et je demande à mes enfants (de 17 et 19 ans) de le faire afin de ne pas se trom­per sur ce qui est arrivé et de com­prendre l’histoire de leur grand-mère paternelle.

Que voudriez-vous rece­voir pour votre anni­ver­saire ?
Ah, tris­te­ment, je vou­drais que mon doc­teur me dise que je fête­rai le pro­chain après celui-ci.

Que vous ins­pire la phrase de Lacan : “L’amour c’est don­ner quelque chose qu’on n’a pas à quelqu’un qui n’en veut pas “ ?
L’idée de Lacan est un modèle du défi­cit d’amour. Il sup­pose que vous avez un dépôt fini d’actif d’amour selon lequel vous emprun­tez, simu­lez ou pro­met­tez de rendre de quoi vous man­quez. De l’autre côté, « notre » amant ne manque de rien et n’a aucun besoin de l’amour, autre­ment la rela­tion serait la dépen­dance et non de vrai amour. Cette vision est intel­li­gente mais fausse. Je dirai qu’il pro­pose une réa­lité proche de l’offrande par­ti­cu­lière des fleurs. Vous n’avez pas de fleurs et per­sonne pour les rece­voir (comme mon mari par exemple). On peut donc consi­dé­rer que c’est inutile. Mais le miracle de l’amour fait que plus on donne, plus on doit don­ner. Ce n’est pas un modèle défi­ci­taire mais génératif.

Et celle de Woody Allen : « la réponse est oui mais quelle était la ques­tion » ?
Nous connais­sons cette énigme. La ques­tion doit être : « La vie a-t-elle un sens ? ». Bien sûr, la réponse est oui. Mais après cette affir­ma­tion, nous ne connais­sons tou­jours pas la ques­tion. Et toutes les autres et belles ques­tions séman­tiques suivent. L’art, la musique ont-ils un sens ? Oui ! Mais quelle est la question ?

Quelle ques­tion ai-je oublié de vous poser ?
Aimez-vous faire du shop­ping ? Et la réponse est…

Pré­sen­ta­tion, entre­tien et tra­duc­tion réa­li­sés  par jean-paul gavard-perret pour lelitteraire.com, le 18 juillet 2016.

Voir de plus:

L’art pervers

Célèbre pour ses tableaux et photos de petites filles, Graham Ovenden vient d’être reconnu coupable d’actes de pédophilie sur ses modèles. La Tate Gallery cache ses images. Connaître la vie d’un artiste joue-t-il sur l’appréciation de son oeuvre?

Eric Albert (Londres, correspondance)

LE MONDE CULTURE ET IDEES

02.05.2013

Attention, sujet tabou. Pour cet article, plusieurs commentateurs de la scène artistique britannique ont refusé de nous répondre. La Tate Gallery n’a pas donné suite à nos demandes répétées d’entretien. Et nous avons hésité sur l’attitude à adopter : fallait-il ou non montrer les oeuvres de Graham Ovenden ?

Né en 1943, l’artiste britannique s’est fait connaître par ses photographies d’enfants de rue, avant de devenir une figure contestée de la peinture pop art. Le 2 avril, il a été reconnu coupable de pédophilie pour six chefs d’accusation concernant l’indécence envers un mineur et un chef d’accusation concernant la molestation sexuelle de mineur.

Quatre femmes, qui avaient posé pour lui enfants, l’accusaient d’avoir abusé d’elles entre 1972 et 1985. Elles ont raconté notamment qu’il leur mettait un foulard sur les yeux pour organiser des « jeux de dégustation » menant à des abus sexuels oraux.

POSES PARFOIS AMBIGÜES

La peine n’a pas encore été prononcée, et Graham Ovenden – qui clame son innocence – peut faire appel. Il a déjà connu des démêlés avec la justice, notamment pour possession d’images indécentes de mineurs, mais il avait chaque fois été blanchi.

Deux jours après la condamnation, la Tate Gallery, qui possédait trente-quatre de ses oeuvres, a décidé de les retirer de la vue du public. Ces photos de jeunes filles plus ou moins dénudées, dans des poses parfois ambiguës – l’une montre clairement le pubis –, n’étaient pas exposées mais elles étaient disponibles sur le site Internet, et elles pouvaient être vues sur rendez-vous. Ce n’est plus le cas.

La décision est controversée. Les oeuvres, jugées intéressantes avant le procès, sont-elles soudain différentes ? Ont-elles perdu leur valeur artistique ? « C’est une décision absurde de la Tate », répond d’emblée Anthony Julius, avocat, auteur de plusieurs ouvrages sur la transgression dans l’art.

Mais après réflexion, il se reprend : « Je ne serais peut-être pas arrivé à la même conclusion que la Tate, mais finalement, la décision est raisonnable et défendable. Si les photos montrent des jeunes filles qui ont été abusées, il est logique d’avoir un mouvement de recul. »

RESPECTER LES VICTIMES

Pour Matthew Kieran, professeur de philosophie et d’art à l’université de Leeds, toute la question est là : quelle que soit la valeur artistique des oeuvres, il faut respecter les victimes. « La Tate a pris la bonne décision, parce que, moralement, les modèles sont en droit de ne pas vouloir être exposées. » Le problème est que les noms des quatre plaignantes n’ont pas été publiés pour des raisons légales : personne ne sait donc si elles figurent sur les photos de la Tate.

Le Monde a décidé de ne pas publier, pour cette page, de photos ou de peintures de Graham Ovenden montrant de très jeunes filles nues. Nous risquerions, puisque nous ignorons l’identité des femmes qui ont déposé plainte, de montrer des jeunes filles qui ont été abusé avant ou après les séances de pose avec le photographe.

Nous publions en revanche des portraits de Maud Hewes qui, jeune fille, a posé à de nombreuses reprises pour Graham Ovenden : elle a témoigné n’avoir jamais été abusée par l’artiste.

Dans certaines de ces images, l’ambiguïté saute aux yeux. Et voilà toute la difficulté : c’est précisément ce qui en fait l’intérêt. « Même en imaginant que ces oeuvres aient été réalisées par quelqu’un qui n’avait rien fait de mal, ces images sont troublantes, souligne le philosophe Matthew Kieran. Elles montrent des petites filles sexualisées, et rappellent que des pulsions sombres peuvent exister en chacun de nous. Il n’est pas question d’agir sur ces pulsions, mais cela ne veut pas dire qu’elles n’existent pas. »

EGON SCHIELE EN PRISON

Pour le philosophe, ces oeuvres soulèvent des questions intéressantes, si pénibles soient-elles. C’est pour cela qu’il avertit : il ne faut pas détruire le travail de Graham Ovenden ou imposer une censure d’Etat. Dans de nombreuses années, quand les victimes ne seront plus vivantes, il sera de nouveau possible de les exposer, estime-t-il.

C’est d’ailleurs le cas de bien des oeuvres. En 1912, Egon Schiele (1890-1918) avait été condamné à vingt et un jours de prison après avoir abusé d’une fillette de 12 ans – la jeune fille avait cependant retiré son accusation pendant le procès. Les toiles du peintre autrichien n’en sont pas moins exposées dans les musées du monde entier. Des corps anguleux et nus, parfois de très jeunes femmes, laissant voir avec précision les organes génitaux.

L’artiste britannique Eric Gill (1882-1940), qui a notamment réalisé les bas-reliefs du chemin de croix de la cathédrale catholique de Westminster, à Londres, est également un cas qui laisse songeur. Il a eu des relations incestueuses avec sa soeur, violé ses enfants, et eu des expériences sexuelles avec son chien. Ecstasy, un bas-relief présentant un couple en pleine fornication, est aujourd’hui en possession de la Tate. Connaître les méfaits de l’artiste change-t-il quelque chose à l’appréciation de son oeuvre ?

Voir de :

De la pédophilie en littérature

Frédéric Beigbeder

Lire

Novembre 2009

Ouh là là! Quel titre effrayant! Que vais-je bien pouvoir dire sur ce sujet sans déclencher une avalanche de courrier? ! Depuis l’affaire Marc Dutroux (1996), la pédophilie est le sujet tabou par excellence. Tout écrivain qui s’avise d’y toucher risque d’être victime d’un lynchage immédiat. Puis-je rappeler, avant de me griller complètement, deux principes de base? 1) Il existe une grande différence entre le fantasme littéraire et le passage à l’acte criminel. 2) On doit pouvoir écrire sur tous les sujets, surtout sur les choses choquantes, ignobles, atroces, sinon à quoi cela sert-il d’écrire? Voulons-nous que les livres ne parlent que de choses légales, propres, gentilles? Si l’on ne peut plus explorer ce qui nous fait peur, autant foutre en l’air la notion même de littérature. Ces deux principes étant posés, il est temps de susciter ma levée de boucliers. À mon avis, l’écriture doit explorer AUSSI ce qui nous excite et nous attire dans le Mal. Par exemple, il faut avoir le courage d’affronter l’idée qu’un enfant est sexy. La société actuelle utilise l’innocence et la pureté de l’enfance pour vendre des millions de produits. Nous vivons dans un monde qui exploite le désir de la beauté juvénile d’un côté pour aussitôt réprimer et dénoncer toute concupiscence adulte de l’autre.

Le roman doit-il se laisser brider par cette schizophrénie? La chasse aux sorcières qui vient d’être ranimée par l’affaire Polanski, puis le délire sur Frédéric Mitterrand (annoncé par l’attaque de François Bayrou sur Daniel Cohn-Bendit) oublient ce qui est en vente dans les librairies. Disons les choses clairement : ceux qui s’indignent avec tant de virulence doivent brûler une longue liste d’ouvrages. Messieurs et Mesdames les censeurs, dégainez vos briquets! Vous avez de l’autodafé sur la planche : Le blé en herbe de Colette, Si le grain ne meurt d’André Gide, Lolita de Nabokov, Il entrerait dans la légende de Louis Skorecki, Au secours pardon de votre serviteur, Rose bonbon de Nicolas Jones-Gorlin, Les 120 journées de Sodome du marquis de Sade, Ivre du vin perdu de Gabriel Matzneff, Les amitiés particulières de Roger Peyrefitte, La ville dont le prince est un enfant d’Henry de Montherlant, Il m’aimait de Christophe Tison, Le roi des Aulnes de Michel Tournier, Pour mon plaisir et ma délectation charnelle de Pierre Combescot, Journal d’un innocent de Tony Duvert, Mineure de Yann Queffélec, Les chants de Maldoror de Lautréamont, Microfictions de Régis Jauffret, Moins que zéro de Bret Easton Ellis, Mémoire de mes putains tristes de Gabriel Garcia Marquez, Enfantines de Valéry Larbaud, Histoire de ma vie de Casanova ou même, quoique en version platonique, Mort à Venise de Thomas Mann doivent rapidement être incendiés! Ma liste n’est pas exhaustive. Je remercie les maccarthystes français anti-pédophilie de m’aider à compléter cette liste d’autodafés en envoyant leurs lettres de délation au magazine car je suis sûr que j’en oublie et j’ai hâte de les lire… pour mieux être révolté, bien sûr, et avoir un regard désapprobateur sur ces œuvres! C’est donc le sourcil froncé que j’aimerais terminer sur une citation, insupportablement comique, tirée du Manuel de civilité pour les petites filles à l’usage des maisons d’éducation (1926) de Pierre Louys : « À partir de l’âge de huit ans, il n’est pas convenable qu’une petite fille soit encore pucelle, même si elle suce la pine depuis plusieurs années. » Ah! zut zut, nous voilà bien. Que faire de ce numéro de Lire avec cette phrase dedans? Doit-on aussi le brûler à présent?

Voir par ailleurs:

Is it wrong to admire Paul Gauguin’s art?

He changed painting for ever, but Paul Gauguin’s despicable lifestyle presents a challenge to our appreciation of his greatness, says Alastair Smart.

Much of the power of Paul Gauguin’s most famous works derives from our uncomfortable knowledge of the context they were created in

Life’s not easy as a Paul Gauguin fan. You are on the defensive too much to be effusive. Gauguin was both a syphilitic paedophile and an artist more important than Van Gogh. See the problem? Foul man, fine artist. Some say our knowledge of the former should change our opinion on the latter. Others, myself among them, think otherwise.

The trouble we aesthetes have, though, is that in Gauguin’s case – just like Van Gogh’s – his life was so dramatic it’s hard not to read the biography on to the art. Indeed, much of the power of his most famous works – the Polynesian-babe paintings – derives from our uncomfortable knowledge of the context they were created in. Although rendered innocent and unerotic, these brown-skinned nudes were more than just Gauguin’s models; they were his sex slaves, too.

Feminists have justifiably given the Parisian a good hammering down the years. After dumping his wife and five kids, Gauguin upped sticks to Martinique, Brittany, Arles (where he spent nine notorious weeks with van Gogh in 1888), and finally the South Pacific islands of Tahiti and Hiva Oa. He took three native brides – aged 13, 14 and 14, for those keeping score – infecting them and countless other local girls with syphilis. He always maintained there were deep-rooted ideological reasons for his emigration, that he was quitting decadent Paris for a purer life in a fecund South Seas paradise, but one wonders how pure things really were in the hut he christened La Maison du Jouir (“The House of Orgasm”).

In short, posterity has Gauguin down as a sinner, and his posthumous punishment is a lack of exposure. The forthcoming retrospective at Tate Modern is the UK’s first major Gauguin show in 50 years.

Contrast that with the mass pilgrimage to the Royal Academy last winter for The Real Van Gogh. A marketing masterstroke, that exhibition showed the Dutchman’s works alongside letters he wrote. Avidly we looked for the story behind the art, for a glimpse into the mind of a genius, almost disregarding the very reason we proclaimed genius to begin with: the paintings themselves.

But perhaps Van Gogh’s art isn’t enough any more. Yes, it was unique, and brilliant in its day, but those boots, sunflowers and cypress trees have become rather old hat. They’re fit for greetings cards, fridge magnets and hotel-wall reproductions, but no longer for inspiring the wow factor. Gauguin, by contrast, was too much of a cad in life to ever reach such heights of commodification in death. Besides which, his outrageous range of colours is poorly served by reproduction. They have to be seen to be believed – which makes the Tate show all the more exciting.

It’s often held against Gauguin that he couldn’t draw (they said the same about Titian) and that his figures are crudely shaped (well, it never did his disciple Picasso any harm). But who cares about that when his colouring is so sumptuous?

Inspired by the flat fields of unmodulated colour in Japanese prints, Gauguin cast realism aside in a quest for more profound meaning. He had no time for naturalistic appearance or the Impressionists’ shimmering evocations of it: that was too superficial. He believed, rather, in “the music of painting”, in finding a harmony of intense colours to reflect the deeper harmony of the universe. Think of 1897’s meditation on the course of human life, D’où venons-nous?, where the complementary golds and browns of Tahitian bodies are set against the complementary blues and greens of the tropical glade.

With his patches of strong, undiluted colour, it was but a small step to Matisse – and the rest, as they say, is art history. But how sincere were Gauguin’s claims of taking painting to a higher realm? Many peers distrusted an ex-stockbroker who had turned to art only in his late twenties. “He’s not a seer, he’s a schemer,” one-time mentor Camille Pissarro railed, arguing that Gauguin never really lost his capitalist streak; that with his paintings of sun-soaked islands, Gauguin was just cashing in on the Parisian bourgeoisie’s fondness for all things “other”.

As its title, Gauguin: Maker of Myth, suggests, the Tate show will tackle this charge head-on. Far from revealing any deep truth, were Gauguin’s images of the South Pacific really just contrived, faux-exotic picture postcards? The case for the prosecution is strong – take Noa Noa, his journal about life on Tahiti. The occult local legends it relates were actually lifted from a Dutch ethnographer’s accounts of the 1830s. Likewise, his renderings of “Polynesian” statuary were largely inventions, inspired by photographs of South-East Asian art he brought from France.

Gauguin had never been a stranger to mythologising, of course. Part of our perception of Van Gogh as a mad, tortured genius stems from Gauguin’s tales of their troubled weeks together in Arles – most notably that of the Dutchman “charging at” him menacingly, “razor in hand”. And Gauguin was a fine self-mythologiser, too. As a self-portrait such as 1889’s Christ in the Garden of Olives exemplifies, he even embraced the role of Christ: martyr for a better type of art that no one else grasped.

So, was he a fraud? The romantic in me likes to think not. Besides, moving for good to a hut halfway around the world isn’t really the sort of thing you do lightly. If he was deceiving anyone with his idyllic island pictures, it was most probably himself. To Gauguin’s disbelief, Tahiti wasn’t the “august land” he claimed or had expected – there were too many French missionaries for that.

In some paintings, one senses another dark truth surfacing, too: that however hard he tried to “go native”, Gauguin always felt like an outsider, unable to share in the islanders’ profound mysteries. Consider The Ancestors of Tehamana (a portrait of his wife, wearing a high-necked missionary dress). Tehamana sits in front of a frieze that depicts the alien combination of a Buddhist idol, indecipherable glyphs and two evil spirits. She smiles at us, sort of, with all the enigma of a Polynesian Mona Lisa. Beneath the Westernised clothing, and in all but the sexual sense, it seems Gauguin found her impenetrable.

His pioneering work with colour and form make the Tate retrospective long overdue. Along with Cézanne, Gauguin must rank as one of the two fathers of modern art, and one hopes he’ll now re-emerge – with characteristic brilliance – from his Dutch sidekick’s shadow.

Last year, German art historians voiced the theory that Van Gogh’s ear had actually been hacked off by Gauguin with his fencing sword. Nonsense, of course, but it struck a chord with the public, partly because we’re engrossed by every detail of the turbulent maestros’ coming together, but more because it reflected the distinct images we have of them. In the popular imagination, Gauguin is considered the sinner to Van Gogh’s saint. A Rolling Stone to Van Gogh’s Beatle. The 1956 movie Lust for Life captured this perfectly, with Anthony Quinn as the brutish Paul opposite Kirk Douglas’s fragile and unhinged Vincent.

It’s as though we feel a collective guilt for our forebears’ failure to spot Van Gogh’s genius while he was alive, and we assuage it by blaming that bounder Gauguin for all the heated clashes that hastened the Dutchman’s demise. He was a graceless survivor, and everyone prefers a heroic victim. No matter how majestic Gauguin’s canvases, it’s hard finding sympathy for the devil.

  • ‘Gauguin: Maker of Myth’ is at Tate Modern from Sept 30 to Jan 16 (020 7887 8888)

Affaire David Hamilton: It’s no rock ‘n’ roll show (Looking back at the dark side of rock music’s magnetism)

26 octobre, 2016

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Si quelqu’un scandalisait un de ces petits qui croient en moi, il vaudrait mieux pour lui qu’on suspendît à son cou une meule de moulin et qu’on le jetât au fond de la mer. Jésus (Matthieu 18: 6)
Il faut peut-être entendre par démocratie les vices de quelques-uns à la portée du plus grand nombre. Henry Becque
Il nous arriverait, si nous savions mieux analyser nos amours, de voir que souvent les femmes ne nous plaisent qu’à cause du contrepoids d’hommes à qui nous avons à les disputer (…) ce contrepoids supprimé, le charme de la femme tombe. Proust
There’s only three of us in this business. Nabokov penned it, Balthus painted it, and I photographed it. David Hamilton
Had I done to Dolly, perhaps, what Frank Lasalle, a fifty-year-old mechanic, had done to eleven-year-old Sally Horner in 1948? Vladimir Nabokov
I found myself maturing amid a civilization which allows a man of twentyfive to court a girl of sixteen but not a girl of twelve. Humbert Humbert (Lolita, Vladimir Nabokov, 1955)
Ici, on vous met en prison si vous couchez avec une fille de 12 ans alors qu’en Orient, on vous marie avec une gamine de 11 ans. C’est incompréhensible! Klaus Kinski (1977)
Did you hear about the midnight rambler Well, honey, it’s no rock ‘n’ roll show (…) Well you heard about the Boston… It’s not one of those Well, talkin’ ’bout the midnight…sh… The one that closed the bedroom door  I’m called the hit-and-run raper in anger  The knife-sharpened tippie-toe…  Or just the shoot ’em dead, brainbell jangler  You know, the one you never seen before. Mick Jagger
Young teacher, the subject of schoolgirl fantasy She wants him so badly Knows what she wants to be Inside her there’s longing This girl’s an open page Book marking – she’s so close now This girl is half his age (…) Don’t stand so close to me (…) Strong words in the staffroom The accusations fly It’s no use, he sees her He starts to shake and cough Just like the old man in That book by Nabokov. Sting
Sweet Little Sixteen. She’s got the grown-up blues tight dresses and lipstick. She’s sportin’ high-heel shoes. Oh but tomorrow morning, she’ll have to change her trend and be sweet sixteen. And back in class again. Chuck Berry (“Sweet Little Sixteen”)
I slept with Sable when she was 13. Her parents were too rich to do anything, She rocked her way around L.A., ‘Til a New York Doll carried her away. Iggy Pop (Look away)
I can see that you’re fifteen years old No I don’t want your I.D. And I can see that you’re so far from home But it’s no hanging matter It’s no capital crime Oh yeah, you’re a strange stray cat. Mick Jagger-Keith Richards
Long ago, and, oh, so far away I fell in love with you before the second show Your guitar, it sounds so sweet and clear But you’re not really here, it’s just the radio Don’t you remember, you told me you loved me baby? You said you’d be coming back this way again baby Baby, baby, baby, baby, oh baby I love you, I really do Loneliness is such a sad affair And I can hardly wait to be with you again. Leon Russell and Bonnie Bramlet
From the window of your rented limousine, I saw your pretty blue eyes One day soon you’re gonna reach sixteen, Painted lady in the city of lies. (…) Lips like cherries and the brow of a queen, Come on, flash it in my eyes Said you dug me since you were thirteen, then you giggle as you heave and sigh. Robert Plant-Jimmy Page (Sick again, Led Zeppelin)
It’s a shame to see these young chicks bungle their lives away in a flurry and rush to compete with what was in the old days the goodtime relationships we had with the GTOs and people like that. When it came to looning, they could give us as much of a looning as we could give them. It’s a shame, really. If you listen to ‘Sick Again,’ a track from Physical Graffiti, the words show I feel a bit sorry for them. ‘Clutching pages from your teenage dream in the lobby of the Hotel Paradise/Through the circus of the L.A. queen how fast you learn the downhill slide.’ One minute she’s 12 and the next minute she’s 13 and over the top. Such a shame. They haven’t got the style that they had in the old days… way back in ’68. Robert Plant
Tomorrow brings another town, another girl like you. Have you time before you leave to greet another man. Richard Wright
Yeah! You’re a star fucker (…) Yeah, I heard about your Polaroids Now that’s what I call obscene Your tricks with fruit was kind a cute I bet you keep your pussy clean (…) Yeah, Ali McGraw got mad with you For givin’ head to Steve McQueen, Yeah, and me we made a pretty pair Fallin’ through the Silver Screen Yeah, I’m makin’ bets that you gonna get John Wayne before he dies. Mick Jagger
People always give me this bit about us being a macho band, and I always ask them to give me examples. « Under My Thumb »… Yes, but they always say Starf–ker, and that just happened to be about someone I knew. There’s really no reason to have women on tour, unless they’ve got a job to do. The only other reason is to f–k. Otherwise they get bored, they just sit around and moan. It would be different if they did everything for you, like answer the phones, make the breakfast, look after your clothes and your packing, see if the car was ready, and f–k. Sort of a combination of what (road manager) Alan Dunn does and a beautiful chick. Mick Jagger
Some girls take my money Some girls take my clothes Some girls get the shirt off my back And leave me with a lethal dose French girls they want Cartier Italian girls want cars American girls want everything in the world You can possibly imagine English girls they’re so prissy I can’t stand them on the telephone Sometimes I take the receiver off the hook I don’t want them to ever call at all White girls they’re pretty funny Sometimes they drive me mad Black girls just wanna get fucked all night I just don’t have that much jam Chinese girls are so gentle They’re really such a tease You never know quite what they’re cookin’ Inside those silky sleeves  (…) Some girls they’re so pure Some girls so corrupt Some girls give me children I only made love to her once Give me half your money Give me half your car Give me half of everything I’ll make you world’s biggest star So gimme all your money Give me all your gold Let’s go back to Zuma beach I’ll give you half of everything I own. Mick Jagger
Goodbye Ruby Tuesday Who could hang a name on you? When you change with every new day Still I’m gonna miss you. Brian Jones
She’s my little rock ‘n’ roll My tits and ass with soul baby Keith Richards
The plaster’s gettin’ harder and my love is perfection A token of my love for her collection, her collection Plaster caster, grab a hold of me faster And if you wanna see my love, just ask her And my love is the plaster And yeah, she’s the collector. Gene Simmons
Come on, babe on the round about, ride on the merry-go-round We all know what your name is, so you better lay your money down. Led Zeppelin
Like to tell ya about my baby You know she comes around She about five feet four A-from her head to the ground Van Morrison
Well, she was standing by my dressing room after the show Asking for my autograph and asked if she could go Back to my motel room But the rest is just a tragic tale Because five short minutes of lovin’ Done brought me twenty long years in jail Well, like a fool in a hurry I took her to my room She casted me in plaster while I sang her a tune. Jim Croce
This girl is easy meat I seen her on the street See-through blouse an’ a tiny little dress Her manner indiscreet…i knew she was Easy, easy, easy meat (…) She wanna take me home Make me sweat and moan Rub my head and beat me off With a copy of rollin’ stone Frank Zappa
Hey all you girls in these Industrial towns I know you’re prob’ly gettin’ tired Of all the local clowns They never give you no respect They never treat you nice So perhaps you oughta try A little friendly advice And be a CREW SLUT Hey, you ‘ll love it Be a CREW SLUT It’s a way of life Be a CREW SLUT See the world Don’t make a fuss, just get on the bus CREW SLUT Add water, makes its own sauce Be a CREW SLUT So you don’t forget, call before midnite tonite The boys in the crew Are fust waiting for you. Frank Zappa
I was an innocent girl, but the way it happened was so beautiful. I remember him looking like God and having me over a table. Who wouldn’t want to lose their virginity to David Bowie? Lorie Maddox
It’s not about being physically mature. It’s emotional maturity that matters. I don’t think most 16-year-olds are ready. I think the age of consent should be raised to 18 at a minimum, and some girls aren’t even ready then. I know, I know. People will find that odd, coming from me. But I think I do know what I’m talking about here. You are still a child, even at 16. You can never get that part of your life, your childhood, back. I never could. Mandy Smith
What happened was I got this class assignment from my college art teacher on the same weekend that a bunch of rock bands were due to come into town for a big ‘Dick Clark Caravan’ show. Back then, I was just a teen-age virgin dying to meet rock stars. When the teacher suggested we go out and make a plaster cast of something hard, I knew exactly what I wanted to do. What started out as a way to meet rock bands ended up turning into a pop art form. I mean, you really ought to see these casts all lined up together in a row. Seriously, it looks like some amazing chorus line. Cynthia Plaster Caster
They had groupies too, just like rock stars and movie stars. they were world heroes, and there wer women – especially down at the Cape – who chased them. I was at a party one night in Houston. A woman standing behind me, who had no idea who I was, said ‘I’ve slept with every astronaut who has been to the Moon.’ … I said ‘Pardon me, but I don’t think so. Joan Roosa
The Bible loves a good redemption story, but forgiveness only goes so far. These religious leaders who fell from grace shocked the world when their crimes and scandals became public. The fallen pastors and leaders include famous men like Ted Haggard, one of many anti-gay activitists caught being gay, and Tony Alamo, who was sentenced to 175 years in prison for pedophilia and marrying an eight-year-old girl. The pastors who have fallen into sin have all kinds of excuses: it wasn’t technically illegal, it was a youthful mistake, it was a conspiracy orchestrated by the Vatican. But none of that excuses the hypocrisy of religious « authorities » preaching one standard for their flock and then flaunting those rules in their private lives. The names of fallen pastors are famous, from Bill Gothard to Jim Bakker. And don’t forget Josh Duggar––apparently molesting his own sisters isn’t one of the things the Duggars can’t do. Genevieve Carlton
They’re known in rugby social circles as « jersey pullers ». Unabashed about their targets and dismissive of other halves, they are the stuff of which WAGs’ nightmares are made. The new phenomenon, which has spawned a range of T-shirts, mugs and social networking sites, is defined in the urban dictionary as girls who attach themselves to a member of a team. And they’re stalking a player near you. Their maxim? « If she can’t keep him – she shouldn’t have him. » And they’re not about to let a little stumbling block such as a girlfriend – or even a wife – get in their way. (…) Lions coach Warren Gatland was the first in the camp to acknowledge the issue publicly during the recent tour of Australia. He baulked at how a group of girls – dolled up to the nines – would « happen to be passing through » a restaurant or pub every time one of the players made the mistake of tweeting their location. « It’s crazy, » he said, wide-eyed at the phenomenon. The jersey pullers have even followed players to far-flung destinations, jetting thousands of miles for the chance to hang out by the pool or in a nightclub while the stars are in holiday mood. And far away from the prying eyes of home. Such was the intense interest in the Lions rugby players that Gatland was moved to hire a team of burly security guards for the tour in order to « control » the situation. The Independent
Sable Starr (born Sable Hay Shields; August 15, 1957 – April 18, 2009) was a noted American groupie, often described as the « queen of the groupie scene » in Los Angeles during the early 1970s. She admitted during an interview published in the June 1973 edition of Star Magazine that she was closely acquainted with Iggy Pop, Mick Jagger, Rod Stewart, Alice Cooper, David Bowie, and Marc Bolan. Starr first attended concerts around Los Angeles with older friends who had dropped out of school in late 1968. She lost her virginity at age 12 with Spirit guitarist Randy California after a gig at Topanga, California. She had a younger sister, Corel Shields (born 1959), who was involved with Iggy Pop at age 11, although he was also acquainted with Starr. Iggy Pop later immortalized his own involvement with Starr, in the 1996 song « Look Away » (…) Starr became one of the first « baby groupies » who in the early 1970s frequented the Rainbow Bar and Grill, the Whiskey A Go Go, and Rodney Bingenheimer’s English Disco; these were trendy nightclubs on West Hollywood’s Sunset Strip. The girls were named as such because of their young age. She got started after a friend invited her to the Whiskey A Go Go at the age of 14. (…) In 1973 she gave a candid interview for the short-lived Los Angeles-based Star Magazine, and boasted to the journalist that she considered herself to be « the best » of all the local groupies. She also claimed that she was closely acquainted with some of rock music’s leading musicians such as Jeff Beck, David Bowie, Mick Jagger, Rod Stewart, Marc Bolan, and Alice Cooper, adding that her favorite rock star acquaintance was Led Zeppelin’s lead singer, Robert Plant. When asked how she attracted the attention of the musicians, she maintained it was because of the outrageous glam rock clothing she habitually wore. She was often photographed alongside well-known rock musicians; these photos appeared in American rock magazines such as Creem and Rock Scene. (…) She ran away from home when she was 16 after meeting Johnny Thunders, guitarist in the glam rock band the New York Dolls. Wikipedia
Pamela Des Barres, connue comme groupie des groupes rock dans les années 1960 et 1970, est une femme de lettres, née Pamela Ann Miller à Reseda, Californie le 9 septembre 1948. (…) Lorsqu’elle était encore enfant, elle idolâtrait les Beatles et Elvis Presley, et fantasmait à l’idée de rencontrer son Beatle favori, Paul McCartney. Un amie du secondaire a introduit Des Barres auprès de Don Van Vliet, mieux connu sous le pseudonyme de Captain Beefheart, un musicien et ami de Frank Zappa. Vliet l’a, à son tour, introduite auprès de Charlie Watts et Bill Wyman des Rolling Stones, qui l’ont conduite à la scène rock au Sunset Strip de Los Angeles. Pamela a donc ensuite commencé à passer son temps avec The Byrds et quelques autres groupes. Quand elle est diplômée du secondaire, en 1966, elle multiplie les petits boulots qui lui permettent d’habiter près du Sunset Strip et d’entretenir plus de relations avec des musiciens rock : Nick St. Nicholas, Mick Jagger, Keith Moon, Jim Morrison, Jimmy Page, Chris Hillman, Noel Redding, Jimi Hendrix, Ray Davies, Frank Zappa et l’acteur Don Johnson. Membre des GTO’s (Girls Together Outrageously), un groupe uniquement constitué de chanteuses, formé par Frank Zappa. Le groupe a commencé sous le nom de Laurel Canyon Ballet Company, et a commencé par des premières parties des concerts de Zappa et des Mothers of Invention. Le spectacle était principalement constitué par des « performances », mélange de musique et de paroles parlées, puisqu’aucun de ses membres ne savait chanter ou jouer correctement d’un instrument. Elles ont sorti un album, Permanent Damage en 1969, couvertes par Zappa et Jeff Beck. Le groupe a été dissous par Zappa un mois après le lancement de l’album parce que quelques-uns de ses membres avaient été arrêtés pour possession de drogue. Elle se marie avec Michael Des Barres, chanteur principal de Power Station et de Detective, le 29 octobre 1977. Ils ont un enfant, Nicholas Dean Des Barres, né le 30 septembre 1978. Le couple divorce en 1991, en raison des infidélités répétées de Michael Des Barres. Des Barres a écrit deux livres à propos de son expérience de groupie : I’m With The Band (1987) (publié en Allemagne sous le titre anglophone Light my fire) et Take Another Little Piece of My Heart: A Groupie Grows Up (1993), ainsi qu’un autre livre, Rock Bottom: Dark Moments in Music Babylon.Wikipedia
Inceste de citron, Lemon incest, Je t’aime t’aime, je t’aime plus que tout, Papapappa, Naïve comme une toile du Nierdoi Sseaurou, Tes baisers sont si doux, Inceste de citron, Lemon incest,  Je t’aime t’aime, je t’aime plus que tout, Papapappa, L’amour que nous ne ferons jamais ensemble, Est le plus rare le plus troublant, Le plus pur le plus enivrant, Exquise esquisseInceste de citron… Serge Gainsbourg
Annie aime les sucettes Les sucett’s à l’anis Les sucett’s à l’anis D’Annie Donn’nt à ses baisers Un goût ani-Sé lorsque le sucre d’orge Parfumé à l’anis Coule dans la gorge d’Annie Elle est au paradis Pour quelques pennies Annie A ses sucettes à L’anis Ell’s ont la couleur de ses grands yeux La couleur des jours heureux … Serge Gainsbourg (Les Sucettes, 1966)
Les Sucettes est une chanson écrite par Serge Gainsbourg pour France Gall en 1966. Cette chanson est principalement connue pour ses deux niveaux de lecture : l’un décrit la scène innocente d’une fillette, Annie, friande de sucettes qu’elle va acheter au drugstore, l’autre décrit implicitement une fellation. Wikipedia
Je n’en compre­nais pas le sens et je peux vous certi­fier qu’à l’époque personne ne compre­nait le double sens. (…) Avant chaque disque (…), Serge me deman­dait de lui racon­ter ma vie (…) ce que vous avez fait pendant les vacances. Alors, je lui ai dit que j’avais été à Noir­mou­tier chez mes parents. Là-bas, il n’y a pas grand-chose à faire, sauf que, tous les jours, j’al­lais m’ache­ter une sucette à l’anis…(….) Et quand il a écrit la petite chan­son, je me voyais aller ache­ter ma sucette. C’était l’his­toire d’une petite fille qui allait ache­ter ses sucettes à l’anis, et quand elle n’en avait plus, elle allait retourner en acheter… Mais en même temps, je sentais que ce n’était pas clair… C’était Gainsbourg quand même !  (…) Mais (…) il me l’a jouée au piano, comme ça, et je l’ai tout de suite trou­vée très jolie, je lui ai dit : Serge, j’adore ta chanson !  (…) Et puis, je pars au Japon et là j’apprends qu’il y a tout un truc là-dessus, c’était horrible. (…) Ça a changé mon rapport aux garçons. (…) Ça m’a humiliée, en fait. France Gall
La mort a pour moi le visage d’une enfant Au regard transparent Son corps habile au raffinement de l’amour Me prendra pour toujours Elle m’appelle par mon nom Quand soudain je perds la raison Est-ce un maléfice Ou l’effet subtil du cannabis? (…) La mort ouvrant sous moi ses jambes et ses bras S’est refermée sur moi Son corps m’arrache enfin les râles du plaisir Et mon dernier soupir. Serge Gainsbourg (Cannabis, 1970)
Avoir pour premier grand amour un tel homme fait que le retour à la réalité est terrible. A seize ans je découvrais des sommets et ne pouvais ensuite que tomber de ce piédestal. Constance Meyer
Pendant les cinq dernières années de sa vie, de 1985 à 1991, Serge Gains­bourg a fréquenté une jeune femme alors qu’il vivait avec Bambou. Elle s’ap­pelle Cons­tance Meyer, avait à l’époque 16 ans, soit quarante-et-un de moins que le chan­teur, et raconte tout dans un livre qui paraît demain, La Jeune Fille Et Gains­bourg, aux éditions de L’Ar­chi­pel.En 1985, cette fan de l’homme à la tête de chou se pointe comme de nombreux, et surtout nombreuses, fans au domi­cile du chan­teur pour y dépo­ser une lettre accom­pa­gnée de son numéro de télé­phone. Visi­ble­ment touché, Gains­bourg appelle la jeune fille et l’in­vite à dîner. Suivront cinq années d’une histoire d’amour qui durera presque jusqu’au décès de l’ar­tiste en 1991. Cons­tance Meyer précise que Bambou, qui parta­geait la vie de Gains­bourg à l’époque, était au courant de la situa­tion et s’en accom­mo­dait : à elle les week-ends, à Cons­tance le reste de la semaine. Gala (2010)
The suggestion that I’d slept with Tony Leung on set was a disgusting allegation. Jean-Jacques Annaud had a lot to do with that – he was trying to promote the film. Now, I would handle things very differently, but back then – when I was in the middle of it, and a kid, really – it was very, very hard. I felt exploited by him. He never dispelled the rumours. He would walk into a room and be ambiguous, which ignited the fire. Everywhere I went in the world, the rumour followed me. Jane March
L’Indochine, dans les années 1930. Une Française de 15 ans et demi vit avec sa mère, une institutrice besogneuse, et ses deux frères, pour lesquels elle éprouve un étrange mélange de tendresse et de mépris. Sur le bac qui la conduit vers Saïgon et son pensionnat, elle fait la connaissance d’un élégant Chinois au physique de jeune premier. L’homme a l’air sensible à son charme et le lui fait courtoisement savoir. Elle accepte de le revoir régulièrement. Dans sa garçonnière, elle découvre le vertige des sens. Il est follement épris, elle prétend n’en vouloir qu’à son argent. La mère de la jeune fille tolère tant bien que mal cette liaison… Télérama
She was only 18 when she made the movie, after being spotted by Annaud on the cover of Just Seventeen. He said he was captivated by ‘this little girl with a faintly bored air and the look of revolt in her eyes’. It was a look he set out to exploit. Within days of the film’s release in 1992, rumours abounded that Jane had actually made love on the set with her co-star Tony Leung during steamy scenes. To add fuel to the fire, Annaud suggested that his young star had been a virgin, but had gained experience before filming began. Jane was pursued on a worldwide promotional tour by the question: ‘Did she or didn’t she?’ Annaud did absolutely nothing to put an end to the speculation and Jane was dubbed ‘the Sinner from Pinner’, after the rather dreary London suburb in which she grew up. Meanwhile, those who had known her in Pinner became rich on stories sold to tabloid newspapers and Annaud grew in stature on the back of Jane’s ignominy, which generated huge publicity for the film. Jane says she felt violated, prostituted and abandoned by Annaud. She sobbed herself into a nervous breakdown and couldn’t bring herself to speak to the director for ten years. The Daily Mail
The elements in the story are the basic stuff of common erotic fantasies: Sex between strangers separated by age, race and social convention, and conducted as a physical exercise without much personal communication. (…) Jean-Jacques Annaud’s film treats them in much the same spirit as « Emmanuelle » or the Playboy and Penthouse erotic videos, in which beautiful actors and elegant photography provide a soft-core sensuality. As an entry in that genre, « The Lover » is more than capable, and the movie is likely to have a long life on video as the sort of sexy entertainment that arouses but does not embarrass. (…) Annaud and his collaborators have got all of the physical details just right, but there is a failure of the imagination here; we do not sense the presence of real people behind the attractive facades of the two main actors. (…) Like classic pornography, it can isolate them in a room, in a bed: They are bodies that have come together for our reveries. Roger Ebert
Smooth, hard and satiny-brown, the two bodies mesh with color-coordinated seamlessness, like a pants-shirt combo purchased at the Gap. The camera looks on from a respectful middle distance, lingering with discreet languor over the puddingy smoothness of breasts, buttocks, and bellies, the whole scene bathed in a late-afternoon haze of sunlight and shadow. Sex! Passion! Voluptuous calendar-art photography! It’s time, once again, for the highfalutin cinema tease — for one of those slow-moving European-flavored specials that promise to be not merely sexy but ”erotic,” that keep trying to turn us on (but tastefully, so tastefully), that feature two beautiful and inexpressive actors doing their best to look tortured, romantic, obsessed. (…) The Lover isn’t exactly Emmanuelle — the characters do appear to be awake when they’re coupling — yet it’s one more movie that titillates us with the prospect of taking sex seriously and then dampens our interest by taking it too seriously. Why do so many filmmakers insist on staging erotic encounters as if they were some sort of hushed religious ritual? The answer, of course, is that they’re trying to dignify sex. But sex isn’t dignified — it’s messy and playful and abandoned. In The Lover, director Jean-Jacques Annaud gives us the sweating and writhing without the spontaneity and surprise. (…) In The Lover, these two are meant to be burning their way through a thicket of taboos. Yet as characters, they’re so thinly drawn that it’s hard to see anything forbidden in what they’re doing. We’re just watching two perfect bodies intertwine in solemn, Calvin Klein rapture (which, admittedly, has its charm). Owen Gleiberman
Sur un sujet dérangeant – la prostitution d’une lycéenne des beaux quartiers –, le réalisateur signe un film élégant qui s’appuie sur le talent de Marine Vacth. La Croix (2013)
François Ozon’s new film is a luxurious fantasy of a young girl’s flowering: a very French and very male fantasy, like the pilot episode of the world’s classiest soap opera. There’s some softcore eroticism and an entirely, if enjoyably, absurd final scene with Charlotte Rampling, whose cameo lends a grandmotherly seal of approval to the drama’s sexual adventure. The Guardian
Palme d’Or à Cannes, le cinquième film d’Abdellatif Kechiche, secoué par plusieurs polémiques, évoque le devenir de deux jeunes femmes traversées par une passion amoureuse. (…) Au début du récit, Emma est étudiante aux Beaux-Arts, désireuse de s’inventer un avenir d’artiste-peintre ; Adèle, lycéenne, se rêve institutrice. L’une a les cheveux bleus, de l’assurance, de l’ambition et assume son orientation sexuelle. L’autre, plus jeune, plus terrienne, moins égocentrée, se découvre, reçoit de plein fouet cette passion « hors norme » qui la plonge dans un indicible trouble, au milieu de ses amis comme de sa famille.  La quête de jouissance qui accompagne cette relation donne lieu à deux longues scènes particulièrement explicites qui, elles aussi, ont suscité et susciteront la discussion. On peut les trouver crues, extrêmement appuyées, choquantes (le film, en salles, est interdit aux moins de 12 ans). Il en va ainsi du cinéma – aussi intransigeant que dérangeant – d’Abdellatif Kechiche, expérience émotionnelle, sensorielle, travail d’imprégnation progressive du spectateur, plutôt que de suggestion ou de démonstration. La Croix (2013)
Quand on a vu le film mercredi en public, quand on a découvert les scènes de sexe sur grand écran, on a été… choquées. On les a pourtant tournées. Mais, j’avoue, c’était gênant. (…) [Les conditions de tournage] C’était horrible. Léa Seydoux
C’était… bestial ! Il y a un truc électrique, un abandon… c’est chaud franchement ! (…) Je ne savais pas que la scène de cul allait durer 7 minutes, qu’il n’y aurait pas de musique. Là, il n’y a que nos respirations et le claquement de nos mains sur nos fesses ». (…) Il y avait parfois une sorte de manipulation, qu’il était difficile de gérer. Mais c’était une bonne expérience d’apprentissage, en tant qu’actrice. Adèle Exarchopoulos
Léa: The thing is, in France, it’s not like in the States. The director has all the power. When you’re an actor on a film in France and you sign the contract, you have to give yourself, and in a way you’re trapped.
Adèle: He warned us that we had to trust him—blind trust—and give a lot of ourselves. He was making a movie about passion, so he wanted to have sex scenes, but without choreography—more like special sex scenes. He told us he didn’t want to hide the character’s sexuality because it’s an important part of every relationship. So he asked me if I was ready to make it, and I said, “Yeah, of course!” because I’m young and pretty new to cinema. But once we were on the shoot, I realized that he really wanted us to give him everything. Most people don’t even dare to ask the things that he did, and they’re more respectful—you get reassured during sex scenes, and they’re choreographed, which desexualizes the act.
Léa: For us, it’s very embarrassing.
Adèle: At Cannes, all of our families were there in the theater so during the sex scenes I’d close my eyes. [Kechiche] told me to imagine it’s not me, but it’s me, so I’d close my eyes and imagined I was on an island far away, but I couldn’t help but listen, so I didn’t succeed in escaping. The scene is a little too long.
Léa: No, we had fake pussies that were molds of our real pussies. It was weird to have a fake mold of your pussy and then put it over your real one. We spent 10 days on just that one scene. It wasn’t like, “OK, today we’re going to shoot the sex scene!” It was 10 days.
Adèle: One day you know that you’re going to be naked all day and doing different sexual positions, and it’s hard because I’m not that familiar with lesbian sex.
Léa: The first day we shot together, I had to masturbate you, I think?
Adèle: [Laughs] After the walk-by, it’s the first scene that we really shot together, so it was, “Hello!” But after that, we made lots of different sex scenes. And he wanted the sexuality to evolve over the course of the film as well, so that she’s learning at the beginning, and then becomes more and more comfortable. It’s really a film about sexual passion—about skin, and about flesh, because Kechiche shot very close-up. You get the sense that they want to eat each other, to devour each other.
Adèle: (…) And the shoot was very long in general.
Léa: Five-and-a-half months. What was terrible on this film was that we couldn’t see the ending. It was supposed to only be two months, then three, then four, then it became five-and-a-half. By the end, we were just so tired.
Adèle: For me, I was so exhausted that I think the emotions came out more freely. And there was no makeup artist, stylist, or costume designer. After a while, you can see that their faces are started to get more marked. We shot the film chronologically, so it helped that I grew up with the experiences my character had.
Léa: It was horrible.
Adèle: In every shoot, there are things that you can’t plan for, but every genius has his own complexity. [Kechiche] is a genius, but he’s tortured. We wanted to give everything we have, but sometimes there was a kind of manipulation, which was hard to handle. But it was a good learning experience for me, as an actor.
Marlowe Stern: Would you ever work with Kechiche again?
Léa: Never.
Adèle: I don’t think so.
Adèle: Yeah, because you can see that we were really suffering. With the fight scene, it was horrible. She was hitting me so many times, and [Kechiche] was screaming, “Hit her! Hit her again!”
Léa: In America, we’d all be in jail.Adèle: (…) She was really hitting me. And once she was hitting me, there were people there screaming, “Hit her!” and she didn’t want to hit me, so she’d say sorry with her eyes and then hit me really hard.
Léa: [Kechiche] shot with three cameras, so the fight scene was a one-hour continuous take. And during the shooting, I had to push her out of a glass door and scream, “Now go away!” and [Adèle] slapped the door and cut herself and was bleeding everywhere and crying with her nose running, and then after, [Kechiche] said, “No, we’re not finished. We’re doing it again.”
Adèle: She was trying to calm me, because we shot so many intense scenes and he only kept like 10 percent of the film. It’s nothing compared to what we did. And in that scene, she tried to stop my nose from running and [Kechiche] screamed, “No! Kiss her! Lick her snot!” The Daily Beast
Nous devrions, a priori, nous réjouir (…) Hélas, et indépendamment de la qualité artistique du film, nous ne pourrons pas participer de cet enthousiasme : nos collègues ayant travaillé sur ce film nous ont rapporté des faits révoltants et inacceptables. La majorité d’entre eux, initialement motivés, à la fois par leur métier et le projet du film en sont revenus écœurés, voire déprimés. (…)  Certains ont abandonné « en cours de route », « soit parce qu’ils étaient exténués, soit qu’ils étaient poussés à bout par la production, ou usés moralement par des comportements qui dans d’autres secteurs d’activités relèveraient sans ambiguïté du harcèlement moral ». Le Spiac-CGT
On ne vient pas faire la promo à L.A quand on a un problème avec le réalisateur. Si Léa n’était pas née dans le coton, elle n’aurait jamais dit cela. Léa n’était pas capable d’entrer dans le rôle. J’ai rallongé le tournage pour elle. Léa Seydoux fait partie d’un système qui ne veut pas de moi, car je dérange. Abdellatif Kechiche
Je n’ai pas critiqué Abdel Kechiche, j’ai parlé de son approche. On ne travaillera plus ensemble. Léa Seydoux
Muet puisque absent des César du Cinéma 2014 d’où son film La Vie d’Adèle n’est reparti qu’avec un seul prix, soulevant bien des interrogations, Abdellatif Kechiche était en revanche tout sourire, en chair et en os, du côté de Las Vegas où se déroule actuellement le salon AVN, le rendez-vous incontournable de la planète porno. (…) Abdellatif Kechiche n’aurait pas tiré un trait sur un biopic immortalisant à l’écran Marylin Chambers. En septembre dernier, on apprenait en effet que Kechiche voulait adapter à l’écran « l’histoire de Marilyn Chambers, une star du porno américain des années 1970 qui a fait scandale en couchant à l’écran avec un Noir et qui est morte l’année de l’élection d’Obama ». Au salon de Las Vegas, Carla Cat résume sa rencontre avec le réalisateur : « Il s’intéresse beaucoup au porno. Il aurait apparemment un projet. » Pour Kechiche, comme il l’avait déclaré dans Télérama, l’histoire de Marylin Chambers est « une histoire magnifique, qui raconte l’Amérique moderne et montre comment des hommes et des femmes exerçant un métier que tout le monde regarde de travers ont fait bouger les mentalités ». Pure people
I think working with actors is a little bit how a chef would work with a potato or a piece of meat. You have to kind of have a look at the potato or the piece of meat and see what kind of possibilities are in the ingredient. I know I’m using the wrong metaphor. I think my job is to see what potato is there and from there, just work under their conditions. I don’t think I have forced anybody. Bjork I may have forced here and there. For the good of the film, I just need to give them what they need. Lars von Trier
Les cinéastes et auteurs français, européens, américains et du monde entier, tiennent à affirmer leur consternation. Il leur semble inadmissible qu’une manifestation culturelle internationale, rendant hommage à l’un des plus grands cinéastes contemporains, puisse être transformée en traquenard policier. Forts de leur extraterritorialité, les festivals de cinéma du monde entier ont toujours permis aux œuvres d’être montrées et de circuler et aux cinéastes de les présenter librement et en toute sécurité, même quand certains États voulaient s’y opposer. L’arrestation de Roman Polanski dans un pays neutre où il circulait et croyait pouvoir circuler librement jusqu’à ce jour, est une atteinte à cette tradition: elle ouvre la porte à des dérives dont nul aujourd’hui ne peut prévoir les effets. Pétition pour Romain Polanski (28.09.09)
Il m’était arrivé plusieurs fois que certains gosses ouvrent ma braguette et commencent à me chatouiller. Je réagissais de manière différente selon les circonstances, mais leur désir me posait un problème. Je leur demandais : « Pourquoi ne jouez-vous pas ensemble, pourquoi m’avez-vous choisi, moi, et pas d’autres gosses? » Mais s’ils insistaient, je les caressais quand même. Daniel Cohn-Bendit (Grand Bazar, 1975)
La profusion de jeunes garçons très attrayants et immédiatement disponibles me met dans un état de désir que je n’ai plus besoin de réfréner ou d’occulter. (…) Je n’ai pas d’autre compte à régler que d’aligner mes bahts, et je suis libre, absolument libre de jouer avec mon désir et de choisir. La morale occidentale, la culpabilité de toujours, la honte que je traîne volent en éclats ; et que le monde aille à sa perte, comme dirait l’autre. Frédéric Mitterrand (”La mauvaise vie”, 2005)
J’étais chaque fois avec des gens de mon âge ou de cinq ans de moins. (…) Que vienne me jeter la première pierre celui qui n’a pas commis ce genre d’erreur. Parmi tous les gens qui nous regardent ce soir, quel est celui qui n’aurait pas commis ce genre d’erreur au moins une seule fois ? (…) Ce n’est ni un roman, ni des Mémoires. J’ai préféré laissé les choses dans le vague. C’est un récit, mais au fond, pour moi, c’est un tract : une manière de raconter une vie qui ressemble à la mienne, mais aussi à celles de beaucoup d’autres gens. Frédéric Mitterrand
C’est pas vrai. Quand les gens disent les garçons, on imagine alors les petits garçons. Ça fait partie de ce puritanisme général qui nous envahit qui fait que l’on veut toujours noircir le tableau, ça n’a aucun rapport. (…) Evidemment, je cours le risque de ce genre d’amalgame. Je le cours d’autant plus facilement ce risque-là puisqu’il ne me concerne pas. (…) Il faudrait que les gens lisent le livre et ils se rendraient compte qu’en vérité c’est très clair. Frédéric Mitterrand (émission « Culture et dépendances », le 6 avril 2005)
J’aurai raconté des histoires avec des filles, personne n’aurait rien remarqué. Frédéric Mitterrand
En tant que ministre de la Culture, il s’illustre en prenant la défense d’un cinéaste accusé de viol sur mineure et il écrit un livre où il dit avoir profité du tourisme sexuel, je trouve ça a minima choquant (…) On ne peut pas prendre la défense d’un cinéaste violeur au motif que c’est de l’histoire ancienne et qu’il est un grand artiste et appartenir à un gouvernement impitoyable avec les Français dès lors qu’ils mordent le trait. (…) Au moment où la France s’est engagée avec la Thaïlande pour lutter contre ce fléau qu’est le tourisme sexuel, voilà un ministre du gouvernement qui explique qu’il est lui-même consommateur. Benoît Hamon (porte-parole du Parti socialiste)
On ne peut pas donner le sentiment qu’on protège les plus forts, les connus, les notables, alors qu’il y a les petits qui subissent la justice tous les jours. Ce sentiment qu’il y a deux justices est insupportable.Manuel Valls (député-maire PS)
Qu’est-ce qu’on peut dire aux délinquants sexuels quand Frédéric Mitterrand est encore ministre de la Culture? Marine Le Pen (vice-présidente du FN)
A ce propos d’ailleurs, nous n’avons rien contre les homosexuels à Rue89 mais nous aimerions savoir comment Frédéric Mitterrand a pu adopter trois enfants, alors qu’il est homosexuel et qu’il le revendique, à l’heure où l’on refuse toujours le droit d’adopter aux couples homosexuels ? Pourquoi cette différence de traitement? Rue 89
C’est une affaire très française, ou en tout cas sud-européenne, parce que dans les cultures politiques protestantes du nord, Mitterrand, âgé de 62 ans, n’aurait jamais décroché son travail. Son autobiographie sulphureuse, publiée en 2005, l’aurait rendu impensable. (…) Si un ministre confessait avoir fréquenté des prostituées par le passé, peu de gens en France s’en offusquerait. C’est la suspicion de pédophilie qui fait toute la différence. (…) Sarkozy, qui a lu livre en juin [et] l’avait trouvé  » courageux et talentueux » (…) s’est conformé à une tradition bien française selon laquelle la vie privée des personnes publiques n’est généralement pas matière à discussion. Il aurait dû se douter, compte tenu de la médiatisation de sa vie sentimentale, que cette vieille règle qui protège les élites avait volé en éclats. Charles Bremmer (The Times)
David Bowie was a musical genius. He was also involved in child sexual exploitation. In the 1970s, David Bowie, along with Iggy Pop, Jimmy Page, Bill Wyman, Mick Jagger and others, were part of the ‘Baby Groupies’ scene in LA. The ‘Baby Groupies’ were 13 to 15 year old girls who were raped by male rock stars. The names of these girls are easily searchable online but I will not share them here as all victims of rape deserve anonymity. The ‘Baby Groupie‘ scene was about young girls being prepared for sexual exploitation (commonly refereed to as grooming) and then sexually assaulted and raped. Even articles which make it clear that the music industry ” ignor(ed), and worse enabl(ed), a culture that still allows powerful men to target young girls” celebrate that culture and minimise the choices of adult men to rape children and those who chose to look away. This is what male entitlement to sexual access to the bodies of female children and adults looks like. It is rape culture. David Bowie is listed publicly as the man that one teenage girl ‘lost her virginity’ too.* We need to be absolutely clear about this, adult men do not ‘have sex’ with 13 to 15 year old girls. It is rape. Children cannot consent to sex with adult men – even famous rock stars. Suggesting this is due to the ‘context’ of 70s LA culture is to wilfully ignore the history of children being sexually exploited by powerful men. The only difference to the context here was that the men were musicians and not politicians, religious leaders, or fathers. David Bowie was an incredible musician who inspired generations. He also participated in a culture where children were sexually exploited and raped. This is as much a part of his legacy as his music. Louise Pennington
When we treat public figures like gods, we enable the dangerous dynamic in which famous men prey on women and girls. Bowie is part of a long line of male stars who have used their fame to take advantage of vulnerable women. Among the many celebrities who have allegedly slept with girls under the age of consent are Elvis Presley (Priscilla Beaulieu, 14), Marvin Gaye (Denise Gordy, 15), Iggy Pop (Sable Starr, 13) and Chuck Berry (Janice Escalanti, 14). R. Kelly, Woody Allen and Roman Polanski, have all been accused or convicted of sexually assaulting minors, which differs from statutory rape in that it involves force. And of course, celebrities’ sexual crimes are not limited to teenagers. The cases of Bill Cosby and Jian Ghomeshi, who both allegedly used their high profiles to sexually abuse women, are currently before the legal system. Obviously, Bowie is not in the same league as Bill Cosby, if only because Mattix, known as one of the famous “baby groupies,” doesn’t seem remotely unhappy about her experiences with Bowie. They were both part of the ‘70s rock star scene on L.A’s Sunset Strip, where blowjobs and quaaludes were given out like handshakes. Mattix looks back fondly on the experience, calling it “beautiful” in a recent interview with Thrillist. She looks back less fondly on her relationship with Jimmy Page, who allegedly kidnapped and locked her up in a hotel room. But it’s still important to acknowledge that what Bowie did was illegal. Consent laws are in place because, unlike Mattix, too many underage girls end up traumatized by the sexual experiences they have with older men. Many of those who “consented” as teens realize later that they were exploited and controlled by their older lovers. It’s incredibly hard for any victim of sexual assault to come forward, but when your perpetrator is a beloved public figure, your story becomes even more unbelievable. We know rapists don’t fit one mould, yet we’re incredulous when a person’s crimes don’t match our image of them. This phenomenon is particularly heightened with celebrities. (…) You can both write a catchy pop song and like underage sex. But too often we mistake a person’s talent for who they are as people. Celebrities know this and take advantage of the protection that comes with being a beloved public figure. As a result, their victims suffer in silence. We should acknowledge that Bowie slept with an underage woman to acknowledge his humanity. Yes, his talent was exceptional. No, he was not a monster. But we should never glorify celebrities to the point that we refuse to acknowledge that they’re capable of ugly acts. Otherwise, we send a message to the alleged victims of Roman Polanski, R. Kelly and Jian Ghomeshi that entertainment is more valuable than justice. Angelina Chapin
Since the death of David Bowie on January 10th, fans and media have dissected much of his musical and cultural legacy. Bowie stands as a towering figure over the last 45 years of music, and as a celebrity famous for an ever-changing, enigmatic approach to his life and art, there is much to be analyzed in the wake of his passing. But not all of it is pleasant or even musical. One uncomfortable facet of the iconic rocker’s past has suddenly been thrust into the center of the dialogue, and it’s raised questions about both Bowie and the world that has enabled him and so many others. The high-profile controversies surrounding contemporary stars like R. Kelly (who was famously accused of statutory rape and taken to court on child pornography charges in the early 2000s) and the backlash against rapper Tyga (following his relationship with a then-underage Kylie Jenner) have led to a broader discussion surrounding legal consent and adult male stars who engage in predatory behavior. And since his death, more fans and commentators have had to question Bowie’s own past with teen girls as well. (…) Rock star escapades from that period have been glamorized for decades with no regard for how disturbing or illegal the behavior was. It became a part of the mythos—a disgusting testament to how little the writers documenting the happenings of the day cared about taking their heroes to task. And it was right there in the music itself: The Rolling Stones sang about underage girls in “Stray Cat Blues” and Chuck Berry glorified the teenage “groupie” in “Sweet Little Sixteen” a decade earlier. But we can’t look at it with those same eyes today—not if we are sincere about protecting victims and holding celebrities accountable. It’s convenient to go after Tyga and R. Kelly when we see hashtags or trending stories, and their behavior warrants every bit of scrutiny and criticism it’s gotten. But we cannot write off the alarming behavior of superstars past just because they’re now older, greyer or in the case of Bowie, newly-departed. Because this behavior didn’t start with contemporary hip-hop and R&B acts. In addition to her time with Bowie, Mattix was also statutory raped by Led Zeppelin guitarist Jimmy Page. In the book Hammer Of the Gods, former Zeppelin road manager Richard Cole claimed that the rocker tasked him with kidnapping the teen girl. He allegedly escorted her from a nightclub and thrust her into the back of Page’s limo with the warning of stay put or “I’ll have your head.” Page kept Mattix hidden for three years to avoid legal trouble. Mattix still romanticizes her experiences with these very adult men (“It was magnificent. Can you believe it? It was just like right out of a story! Kidnapped, man, at 14!” she stated in Hammer Of the Gods) but there is no doubt that what both Page and Bowie did was unacceptable. That it was glamorized in magazines like Creem and glossed over in films like Almost Famous speaks to cultural irresponsibility. So much of our culture turns a blind eye or gleefully endorses the hypersexualizing of teen girls. And when the stories are anecdotal as opposed to ripped from the headlines, it can be easy to dismiss and minimize the acts of artists like Bowie and Page as something “of the time.” But statutory rape laws existed even in the coke-fueled hedonism of the 1970s—because someone had to be protective of young girls who were susceptible to predators with big hair and loud guitars. But as it turns out, no one cared about protecting these girls; they were too busy mythologizing the rockers who were abusing them. Early rock ‘n’ rollers Chuck Berry and Jerry Lee Lewis both saw their careers sullied by headlines involving underage girls: Lewis revealed that he was married to his 13-year-old cousin in 1958 and was subsequently blacklisted from radio, while Berry was arrested and found guilty of transporting an underage girl across state lines for immoral purposes, spending two years in jail in 1960. Eagles drummer and vocalist Don Henley was arrested in 1980 in Los Angeles and charged with contributing to the delinquency of a minor after paramedics were called to his home to save a naked 16-year-old girl who was overdosing on cocaine and Quaaludes. He was fined $2,000, given two years’ probation, and ordered into a drug counseling program. Rocker turned right-wing caricature Ted Nugent sought out underage girls, going so far as to become the legal guardian of Pele Massa when she was 17 just to be able to duck kidnapping charges. Prince kept Anna Garcia, aka “Anna Fantastic,” with him at his Paisley Park compound when she was a teenager. She would ultimately become the subject of several of his late ‘80s/early ‘90s works, like “Vicki Waiting” and “Pink Cashmere,” which he wrote for Anna on her 18th birthday. (…) Prince dated Mayte Garcia shortly thereafter, a dancer he met when she was 16. “When we met I was a virgin and had never been with anybody,” she told The Mirror last year. The two would marry in 1996, when Mayte was 22. Unlike Anna, Mayte insists Prince didn’t pursue her seriously until she was 18. (…) There have been varying stories surrounding the relationship between a young Aretha Franklin and the late Sam Cooke. She has indicated in interviews that things between them became romantic, but in his unauthorized biography, David Ritz indicated that their first encounter occurred when she was only 12 years old and visited Cooke in his motel room in Atlanta. In the Sam Cooke Legends television documentary, Aretha recalled an incident involving her being in Cooke’s room, but indicated that her father interrupted what was likely going to be a sexual encounter. (…) Marvin Gaye met Janis Hunter around the time of her 17th birthday, and the still-married Motown star pursued the teenager immediately. According to Hunter’s 2015 memoir After The Dance, Gaye took her to an Italian restaurant in Hollywood and bribed the waiter $20 to bring the underage girl apricot sours. He had sex with her shortly thereafter, and the two began a relationship, despite a 17-year age difference and the fact that Marvin was still legally married to his first wife, Anna Gordy. Gaye would famously write “Let’s Get It On” in tribute to his lust for Jan. Shortly after giving birth to a daughter, Nona, Jan and Marvin were featured in a November 1974 issue of Ebony when she was 18. They would marry in 1977, after Marvin’s divorce from Anna was finalized; but Janis would leave the singer in 1981. We can dismiss all of this as just the “way things were back then.” We can pretend that we haven’t heard countless songs about young “Lolitas” who were “just seventeen—you know what I mean.” We can ignore the racial implications in the mainstream media’s relative silence on rockers’ histories of statutory rape and its glorification. But the next time you watch Almost Famous, take note of how much younger most of the Band Aids seem compared to the world-weary rockers that are repeatedly shown taking them to bed (Kate Hudson’s Penny Lane says she’s 16 in the film). Note how the movie casually nods to Page and Mattix in a scene at the infamous Hyatt “Riot House” on Sunset Strip. And think about how many girls would’ve been better off had someone given a damn way back when, as opposed to just fawning over a guitarist with some hit songs. Former Rolling Stones bassist Bill Wyman infamously began seeing 13-year-old Mandy Smith in 1983. According to Smith, Wyman had sex with her when she was 14. They married when she turned 18 in 1989; they divorced in 1991. She spoke about her time with the ex-Stone in an interview with The Daily Mail in 2010. “It’s not about being physically mature. It’s emotional maturity that matters,” she stated, after making it clear that she regrets what happened to her. “I don’t think most 16-year-olds are ready. I think the age of consent should be raised to 18 at a minimum, and some girls aren’t even ready then.” The Daily Beast
While the UK in 2015 inexplicably draws a line at girlhood sexuality on screen, it’s San Francisco in the 1970s that provides the film’s own context – with all the temptation for nostalgic glaze that this could offer a contemporary mindset. But elsewhere in California in those years, certain teenage girls went way beyond a cut-out-and-keep relationship to the frenzied rock scene’s most desirable. They hung out on Sunset Boulevard, L.A. There you’d find the self-dubbed foxy ladies, better known in the backstage of our cultural consciousness as baby groupies: the group of teenage high schoolers who ruled over a particular mile of Sunset Boulevard in the early 70s. The queens of the scene were close confidantes Sable Starr and Lori Lightning, who, along with other teen-aged names like Shray Mecham and Queenie Glam, slept with and dated the likes of David Bowie, Jimmy Page, Mick Jagger, Jeff Beck, Marc Bolan, Alice Cooper, Robert Plant and Iggy Pop. They were, in news that will destroy your idols, very young: Starr was 14 years old when she started hanging out on the Strip, with a 13 year old Lori Lightning (real name Mattix) joining the now established gang soon afterwards. The hangouts of choice were spots like the Rainbow Bar and Grill, Whiskey a Go Go and the E Club ­– later renamed Rodney Bingenheimer’s English Disco. The latter club was the preferred enclave for the era’s strange new musical breed – where, as Bowie would later enthuse to Details magazine, glam rock stars and their devotees could parade their “sounds of tomorrow” dressed in “clothes of derision.” The scene was documented by the controversial, short-lived publication Star, a tome that took teenage magazine tropes to their extreme: inside, you’ll find all the usual short stories, style guides and “How to approach your crush” articles, except in this case the stories tell of romantic backstage fantasies, how to dress to catch your “superfox”, and even a step-by-step nose-job diary (in the mag’s own words, “no dream is too far-out”). Beloved by adolescent aficionados everywhere, it wasn’t long, of course, before concerned parents were knocking the publisher’s door down – five issues long, in fact. Thanks to dedicated archive digger Ryan Richardson you can gape at every single issue online – including an interview with Starr and Queenie, in the final issue, that records for posterity the startling, angsty conviction of these ultimate mean girls. (…) But even more striking than the magazine’s laugh out loud, irreverent take on the scene – in its own words, “relief from all that moral-spiritual-ethical-medical-advice” – are the clothes. (…) Star was, needless to say, a heavily glamorised chronicle of the teenage groupie girls who frequented its pages – wilfully ignoring, and worse enabling, a culture that still allows powerful men to target young girls. But like any history that plays out in the margins – in the backstage of rock music’s mythmaking – there are conflicting accounts as to how well or badly off the girls were. Lori Lightning, who claims to have fallen in love with Jimmy Page aged 14, has no regrets. As she tells fellow ex-groupie Pamela des Barres in the latter’s book, “It was such a different time – there was no AIDS – and you were free to experiment.” Nobody can ask Starr, now – the ballsy queen of the babies eventually got clean and had kids, but died aged 51 in 2009. Even now, there’s a kind of power to be found somewhere amid the gushing interviews and romanticised editorials of Star. Addressing its teen readers without patronising them, Star cut straight to the heart of the sexual desires of girlhood like no other magazine would dare. Sexually forward in their dress and their attitude, the groupies adopted acceptable male traits to go out and get what they wanted. By channelling the stars of the Sunset Strip, the magazine empowered readers to approach humdrum high school life with the same fearlessness. Though not exactly feminist in its boy-getting tips – “I’d scratch any girl’s eyes out for a guy I want” – the message that boys shouldn’t have all the fun is loud and clear. As one reader writes in of the frustrating sexual double standard, “Guys can take their going steady rings and rules and shove it up their noses!” (…) Iggy Pop (…) slept with Starr when she was just 13, and, horribly, later wrote a song about it. His words are worryingly relevant to our own fetish for history’s visuals without their story – style divorced from context, worth a fleeting Instagram like and then on to the next. Our preference for rose-tinted glasses – especially de rigour heart-shaped ones, fit for a foxy lady – is hugely problematic. But flicking through Star magazine, you begin to see its role as a link between the innocent teenyboppers of the 60s, and the rise of badass female frontwomen in the 70s and beyond. Joan Jett was first spotted on the Boulevard, outside the Rainbow Grill. Later on, Grace Jones and Courtney Love are just two examples of powerful artists who were sexually upfront in their fashion, and did things entirely on their own terms. Dazed (Aug. 10, 2015)
The dregs of the sexual revolution were what remained, and it was really sort of a counterrevolution (guys arguing that since sex was beautiful and everyone should have lots everything goes and they could go at anyone; young women and girls with no way to say no and no one to help them stay out of harmful dudes’ way). The culture was sort of snickeringly approving of the pursuit of underage girls (and the illegal argument doesn’t carry that much weight; smoking pot is also illegal; it’s about the immorality of power imbalance and rape culture). It was completely normalized. Like child marriage in some times and places. Which doesn’t make it okay, but means that, unlike a man engaged in the pursuit of a minor today, there was virtually no discourse about why this might be wrong. It’s also the context for what’s widely regarded as the anti-sex feminism of the 1980s: those women were finally formulating a post-sexual-revolution ideology of sex as another arena of power and power as liable to be abused; we owe them so much. Lori Maddox
For San Francisco in particular and for California generally, 1978 was a notably terrible year, the year in which the fiddler had to be paid for all the tunes to which the counterculture had danced. The sexual revolution had deteriorated into a sort of free-market free-trade ideology in which all should have access to sex and none should deny access. I grew up north of San Francisco in an atmosphere where once you were twelve or so hippie dudes in their thirties wanted to give you drugs and neck rubs that were clearly only the beginning, and it was immensely hard to say no to them. There were no grounds. Sex was good; everyone should have it all the time; anything could be construed as consent; and almost nothing meant no, including “no.” “It was the culture,” she wrote. “Rock stars were open about their liaisons with underage groupies.” It doesn’t excuse these men to note that there was an overwhelming, meaningful, non-dismissible sense in this decade that sex with young female teenagers was if not explicitly desirable then certainly OK. Louis Malle released “Pretty Baby” in 1978, in which an 11-year-old and sometimes unclothed Brooke Shields played a child prostitute; in Manhattan, released the following year, director Woody Allen paired his middle-aged character with a 17-year old; color photographer David Hamilton’s prettily prurient photographs of half-undressed pubescent girls were everywhere…at the end of the decade Playboy attempted to release nude photographs of a painted, vamping Shields at the age of 10 in a book titled Sugar and Spice. […] In 1977, Roman Polanski’s implicit excuse for raping a 13-year-old girl he had plied with champagne and quaaludes was that everyone was doing it. Polanski had sequestered his victim at Jack Nicholson’s Bel Air house on the grounds that he was going to take pictures of her for French Vogue. Polanski’s victim pretended she had asthma to try to get out of his clutches. It didn’t work. Afterward, he delivered the dazed, glassy-eyed child to her home, he upbraided her big sister for being unkind to the family dog. Some defended him on the grounds that the girl looked 14. Reading Solnit on this, you can understand how Lori Maddox could have possibly developed not just a sincere desire to fuck adult men but the channels to do it basically in public; why an entire scene encouraged her, photographed her, gave her drugs that made all of it feel better, loved her for it, celebrated her for it, for years. (…) It is Maddox who interests me, in the end, not Bowie. But if there’s an argument for labeling Bowie a rapist that gets me, it’s how much I owe to the inflexible spirit that calls for it. Look, what a miracle; we are talking about this, when out of all the interviews Bowie gave in his life, he seems to never have been asked on the record about Maddox or any of the other “baby groupies,” or to have said a thing about Wanda Nichols after the case was dismissed. Jezabel

Attention, un scandale peut en cacher bien d’autres  !

En ces temps étranges …

Où l’on dénonce d’un côté comme le plus rétrograde les mutilations sexuelles que l’on prône de l’autre comme summum du progrès

Où l’on fustige chez certains les mariages forcés d’enfants tout en imposant par la loi à d’autres le mensonge et l’aberration de l’imposition de « parents de même sexe »

Où le long silence coupable sur la pédophilie que l’on condamne dans l’Eglise catholique se mue en complaisance douteuse pour les relations proprement incestueuses de certains de nos happy few, responsables politiques compris  …

l’irresponsabilité la plus débridée dans l’habillement comme dans le comportement ou le langage cotoie la pudibonderie la plus rétrograde dans les relations hommes-femmes …

Et à l’heure où la vérité semble enfin sortir sur les pratiques supposées du photographe David Hamilton

Alors que dans la plupart des pays les plus problématiques de ses oeuvres continuent à être publiées …

Qui rappelle …

Dans le climat général qui a permis de tels actes …

Et notamment dans la tant célébrée révolution sexuelle des années 60 …

La part de la musique et du cinéma qui l’ont si fièrement portée …

De ces Rolling Stones ou Bowie (ou notre propre Gainsbourg), Woodie Allen ou Malle, De Niro,  Kinski ou Annaud

Qu’oubliant leurs multiples Lorie Maddox ou Sheryl Brookes, l’on continue de fêter ou d’enterrer royalement …

Et surtout derrière l’inévitable phénomène de « groupies » que produit, sport, politique, religion et conquête spatiale compris, toute adulation des foules …

La vérité suggérée dans tant de chansons …

Mais explicitée dans le célèbre « Midnight rambler » des Rolling Stones …

Et d’ailleurs déjà envisagée dans le non moins célèbre « Lolita » de Nabokov …

Derrière le rock ‘n’ roll show …

A savoir, outre l’évidente apologie de la pédophilie, la violence sexuelle, voire le viol ?

Chapin: David Bowie’s magnetism had a dark side