{"id":9769,"date":"2026-09-19T23:44:12","date_gmt":"2026-09-19T21:44:12","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/patti-smith-fr\/"},"modified":"2026-09-19T23:44:12","modified_gmt":"2026-09-19T21:44:12","slug":"patti-smith-fr","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/patti-smith-fr\/","title":{"rendered":"Patti Smith – La pou00e9sie, le micro et le grondement"},"content":{"rendered":"

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Des chevaux au bord du Bowery<\/h3>\n

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La premi\u00e8re ligne de Horses<\/em> ne demande pas la permission. \u00ab Jesus died for somebody’s sins but not mine \u00bb tombe en novembre 1975 comme une porte enfonc\u00e9e dans une \u00e9glise qui usait trop longtemps le m\u00eame cantique. Patti Smith, n\u00e9e \u00e0 Chicago le 30 d\u00e9cembre 1946 et \u00e9lev\u00e9e dans le sud du New Jersey, \u00e9tait venue \u00e0 New York pour \u00e9crire, pour regarder, et pour se tenir pr\u00e8s de Robert Mapplethorpe pendant qu’ils \u00e9taient encore fauch\u00e9s. La pochette est sa photographie: chemise blanche, veste noire, un regard qui n’invite pas tant qu’il d\u00e9fie de d\u00e9tourner les yeux. John Cale produit. CBGB est la salle. Le disque est une lecture de po\u00e9sie qui a appris \u00e0 mordre.<\/p>\n

Elle n’a pas invent\u00e9 le punk, et elle n’en avait pas besoin. Elle lui a donn\u00e9 un pouls litt\u00e9raire. Gloria<\/em> prend une chanson de Van Morrison et la reconstruit en possession. Birdland<\/em> et Land<\/em> s’\u00e9tirent jusqu’\u00e0 ce que le groupe, la guitare de Lenny Kaye surtout, doive d\u00e9cider s’il accompagne un po\u00e8me ou s’il en devient un. Free Money<\/em> est presque une chanson pop, ce qui ne rend les pi\u00e8ces longues que plus \u00e9tranges. La sc\u00e8ne du downtown autour d’elle, Television, Richard Hell, les Ramones, discutait vitesse et rictus. Elle discutait Rimbaud, puis elle grondait quand m\u00eame.<\/p>\n

Avant l’album il y a eu une lecture. Au d\u00e9but des ann\u00e9es soixante-dix, \u00e0 l’\u00e9glise St. Mark’s, dans le Bowery, elle se tient avec Lenny Kaye et traite une soir\u00e9e de po\u00e9sie comme la r\u00e9p\u00e9tition d’un groupe qui n’existe pas encore. Les livres viennent d’abord, Seventh Heaven<\/em>, Witt<\/em>, une fa\u00e7on de mettre le nom d’une femme dans la m\u00eame phrase que les po\u00e8tes fran\u00e7ais qu’elle volait en public. Cet ordre compte. Le rock ne lui a pas donn\u00e9 une voix. Il lui a donn\u00e9 un volume. Quand elle tombe d’une sc\u00e8ne \u00e0 Tampa en 1977 et se brise des vert\u00e8bres du cou, l’interruption est physique, pas conceptuelle. Elle revient au m\u00eame travail: la langue \u00e0 un volume capable de remplir le CBGB et, plus tard, des salles bien plus grandes, sans devenir un slogan.<\/p>\n

Radio Ethiopia<\/em>, en 1976, est plus dur et moins aim\u00e9, document d’un groupe qui pousse au-del\u00e0 de la l\u00e9gende du premier disque. Easter<\/em>, en 1978, apporte Because the Night<\/em>, \u00e9crit avec Bruce Springsteen, un refrain assez grand pour la radio et toujours clairement le sien dans les couplets. Wave<\/em>, en 1979, ferme le premier chapitre. Elle \u00e9pouse Fred \u00ab Sonic \u00bb Smith, se rapproche de Detroit, et quitte le circuit. L’absence n’\u00e9tait pas une pause marketing. C’\u00e9tait une vie. Dream of Life<\/em>, en 1988, avec Fred, contient People Have the Power<\/em>, une chanson qui sonne \u00e0 la fois comme un tract et comme une hymne.<\/p>\n

La perte la ram\u00e8ne au travail dans une autre tonalit\u00e9. Fred meurt en 1994. Son fr\u00e8re Todd meurt quelques semaines plus tard. Gone Again<\/em>, en 1996, est un disque de ces faits, pas une campagne de retour: About a Boy<\/em>, \u00e9crit pour Kurt Cobain, c\u00f4toie des chansons qui refusent de presser le deuil. Elle continue de publier des livres. Just Kids<\/em>, le m\u00e9moire de 2010 sur les ann\u00e9es Mapplethorpe, re\u00e7oit le National Book Award et renvoie un nouveau public vers la chemise blanche de la pochette de Horses<\/em>. La prose a la m\u00eame habitude que le chant. Elle nomme ce qu’elle aime, puis elle ne cille pas.<\/p>\n

Sur sc\u00e8ne dans les d\u00e9cennies d’apr\u00e8s, la voix s’est rauqu\u00e9e et les setlists ouvrent encore des portes. Elle peut lire un po\u00e8me, puis lancer un groupe dans un long Gloria<\/em>, et la salle comprend les deux gestes comme une seule pratique. Les historiens du punk qui la classent en pr\u00e9curseure manquent le point. Elle n’attendait pas d’\u00eatre d\u00e9pass\u00e9e. Elle b\u00e2tissait une fa\u00e7on de se tenir au micro avec un livre dans une main et un grondement dans l’autre, et de penser les deux.<\/p>\n

On met Horses<\/em> et la premi\u00e8re ligne ne vieillit toujours pas en nostalgie. C’est un d\u00e9gagement. Tout ce qui suit, le regard de Mapplethorpe, la production de Cale, les ann\u00e9es d’absence, le retour, vient d’une chanteuse qui a trait\u00e9 le rock comme un endroit o\u00f9 la langue pouvait rester dangereuse.<\/p>\n

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