And the Heavens Shall Part positions itself, from the outset, against confining the present, against impoverishing language, and against reducing existence to mere immediacy. When Christine Rebourg-Roesler states, in her preamble, "Speaking, writing, is scratching away the licorice lacquer of the night and emerging out of nothingness into animated forms," she is describing more than just an act of writing; she is articulating a poetics of openness, wherein speech becomes the site of a potenti...
And the Heavens Shall Part positions itself, from the outset, against confining the present, against impoverishing language, and against reducing existence to mere immediacy. When Christine Rebourg-Roesler states, in her preamble, "Speaking, writing, is scratching away the licorice lacquer of the night and emerging out of nothingness into animated forms," she is describing more than just an act of writing; she is articulating a poetics of openness, wherein speech becomes the site of a potential transfiguration of reality. The metaphor of "scraping away" the night lends the act of writing a quasi-mineral, tactile quality—as if language were tasked with tearing darkness away from the world to bring a form into being.
Christine Rebourg-Roesler was born in 1955 in Touraine, France. She holds a doctorate in psychology and for twenty-five years served as coordinator of a psychology department within a Center for Neuroscience Applied to Psychiatry in Alsace. Later, as a lecturer at the University of Nancy, she taught university courses in psychopathology, illuminating both the diagnostic and therapeutic fields. Today, she lives in Montreux, Switzerland, where she continues her research and writing, but where her latest publications have focused more on fictional works of both prose (Une entaille dans la chair du temps, Le Ciel s'ouvrira and À l’ombre de soi) and poetry (Les Humeurs du lac and L'Homme des étoiles et du vent). “Prix Alain Fournier" 2024 and 2026.
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