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 Ce texte est une réflexion sur le rapprochement de deux livres de Maurice Blanchot La folie du jour et L’instant de ma mort. Dans mon écriture de cette lecture croisée, je me suis surtout appuyée sur les écrits, en particulier les essais de Blanchot. Ainsi, ce sont les thèmes blanchotiens tels l’errance, l’instant, l’injustice, l’Holocauste qui guident cette étude.

This Essay discusses the act of writing as an ethical action, characterizing specially the fact that the intrinsic and natural loneliness of writing corresponds to a special situation in that the ontological dimension of the reality’s lecture gives place to the ethics as foundation of the reality in an act of “madness of decision”.

 Dans Le Dernier Homme (1957), Blanchot fait du récit un espace de questionnement de la communauté bien avant de le faire d’une manière plus théorique dans La Communauté inavouable (1983). Dans un sanatorium, un homme et une femme sont fascinés par un de ses plus anciens patients. Blanchot interrompt le mythe qui commençait à se cristalliser autour de ce personnage énigmatique et ouvre la communauté à une commutation indéfinie et instable de rapports qui ne cessent de se décentrer et de faire l’expérience d’un chiasme.

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Somehow, the formal requirements of Stéphane Mallarmé(1842-1898) are echoed in the same risky theorizations of Maurice Blanchot (1907-2003), in which the literature is a place of meaning, of secrets and of the mystery without mystery of the word and of the art. Separated temporally, the second delved into the poetics of the first as a discreet and elegant symptom of a saying that plays the word work to the timeless poetry of the future. These notes depart from the Blanchotians thoughts that open The book to come (2005) about a mythical (dis) encounter between the character Ulisses and the mermaid’s chant, that would be the paradigm of literature, and also some articles, from this and other books, about the work of the French poet, toward what I elaborate as another (dis) encounter, between Swan and Sign, proposed in a Mallarmean sonnet, that also announces what is next: criticism, books (the Book), poems and theories of modern literature and art.

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Maurice Blanchot, writer and critic, has devoted numerous pages of literary criticism to considerations on the poetic language and silence, engaging in dialogues with the writings of various poets and extracting from them modulations of the modern lyric. This paper aims to revisit part of these reflections, as well as Blanchot’s contribution to the poetry of modernity, especially the 20th century’s, a period marked by two world wars and by widespread violence.

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