Abstract EN:

Cendrars' links between lived experience and writing are particularly strong. Two experiences may be considered to be the "spiritual source" of his writing: the frightening vision of the big "cubical idol", a vision of desire, and the second one inspired from the vision of the absurd "swarming" effect of life, which is imposing itself to be a vision of reality. Beyond these recognized moulds, Cendrars shapes very early his own "instrument". This very mould is characterized by the rejection of any convention and an ambition without limits. This ambition is revealed by the invention of the "orbicular" sentence which tends to define the entire scope of a subject in one specific jet. There are three stylistical firlds closely connected: the syntax, the figures of discourse and the rhythm. As far as the syntax is concerned, the leading roles of coordination and juxtaposition express the vision of the "swarming" effect of life. This effect is also present in the figures of exuberance. The figures of opposition and the comparison are showing very well the dualistic vision of the world. The uneven groups give often the rhythm which is frequently hurt but scarcely calmed. Cendrars' art is essentially of oral order. The various tonalities show up the amplitude of range. During the course of his professional life, Cendrars the writer is obsessed by the final view : the representation of perpetual movement.