Outdoors under the easel of the Mine Witness - 4 readers and 1 musician by the Collective and other useless things. The pieces of Muriel Quesne are often marked by a strong social conscience, turning
around the margin, seeking to exchange with the other, the foreigner, the one or that of the periphery. They give the floor to those who do not have it or cannot take it. Back to the sea is fed by interviews with an Algerian woman whose father worked in the cévenoles mines.
I’d like to be in the mother’s jewelry box
with the feet of all the children who cross in the jewelry box,
the dead and the living.
I’d like to keep the family stories quiet, hide the key.
But you have to say it again and again
and rehearse and invent for the social worker,
duty counsel, and
the judge and all the others,
for, for, for,
Maybe have the papers that burn the borders.