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Gaston Miron, man rapaillé

"Quebec Miron is incurable its language," Edouard Glissant.

When you start reading Rights Rapaillé Gaston Miron, the language sounds familiar, almost simple and natural. When you advance in reading, you doubt that more and more familiarity with the French language, the words collide, phrases grate, flay. And for good reason, Gaston Miron, born in Quebec, always seems torn between two languages, or at least struggling with a French language does not just happen because it faces the other, English and Quebecois. Miron's word is built on a lack of linguistic evidence and therein lies the strength of his poetry.
Miron is considered the national poet of Quebec, and we understand why: he questioned the words of its land, the place he always tried to live better. This place in which he refused to be foreign to itself.
In 1939, Miron discovers that her grandfather was illiterate. Then there is the own Bilingualism in Quebec, where English is the dominant language, and even the language of the ruler would Miron. "Which is my language, what is my place?" These two questions are one in Miron. One of the finest Quebec poems, "For my return, contains the basic question that runs through all his poetry in the place, here in Quebec. This poem appears in the section "Life agonal.

To my repatriation

Man plowing burns from exile

by your love with your hands full of tough conquests

according your eyes rainbow sky buttressed in the winds

for cities and a land which you are native

I've never traveled

to another country my country you

one day I said yes to my birth

I wheat in the eyes

I speculate on your soil, moved, dazzled

by the purity of the snow beast raised

a man returns

from outside the world.

The section where it appears poem begins with two quotations, one of François Villon "In my country'm in a distant land" and one of Louis Aragon "In strange countries my country itself. " This makes sense if you think for Miron, Quebec will not be granted. It says so in a radio broadcast that the problem of Quebec is that they are "bilingual with themselves." The poem cited is remarkable in that it describes a man in exile in the place where he was born, a man who tries to find his homeland to meet her again even though he lives there. But living does not happen by itself. Precisely because the country where he lives has no language except English communication on one side, and the Quebec regionalist other. The only possible resolution to the poet c is poetry. It alone can make bearable the linguistic tension. "Rapaillé" in Quebec is a colloquial term meaning "gather scattered cases. The collection is thus built on a patchwork of art. The poet brings language, a mixture of slang words, terms and botanical words of love. Gather tones, mixes lyricism tone protest, call for insurrection and celebration.
The mixture of lyric and epic in tone ; this poem, but the formulations used, a close Miron Césaire singing the "return home". Like him, Miron plays on occasions, anaphora, choruses, the power of the prophetic future. Like him, he builds his poem on long breaths. We find similar images: that of the burn, the conquest of countries at once pure and land, much land as evidenced by the beautiful images of " wheat in the eyes "or " pure fool ". "I would have said yes to my birth" Miron writes, as Césaire who, in the Notebook of a return home , acquiesces to his blackness. This Quebec soil, often compared to a woman, who suffered, like the Caribbean. It is so called the "Mother Courage [...] big dreams of anthrax painful."

terms specific to Quebec are becoming more important in the poems of Miron. The tension linguistics, the question about minority status are particularly striking in the texts, notably in Monologues disposition delusional. " In this text, Miron closer again Césaire by his rebellion, the power of his poetic inspiration and the assertion of an identity assumed:

[...]

here is my real life - prepared as a shed -

storage of History - I claim

I refuse a personal hello and defector

since I identify my condition humiliated

This determination comes as the desire to make Quebec actor its history. This desire is not much different from that Césaire. "The tornado Miron," according to the expression Edouard Glissant asserts in "The October":

we will make thee, Land of Quebec
bed resurrections
and miles of our dazzling metamorphoses
up where our starters the future
of our wills without concessions

men will hear your pulse beat in the history
's us waving in the fall of October
is the sound of red deer in the light
reached the future
and the future commitment.

Miron's poetry is an oral poetry, powerful, forcing the reader to read aloud. Beyond love poems, intimate questions, it is also with him a kind of collective destiny. So no regionalism in this work. It is also no coincidence that the preface to the book is written by Edouard Glissant who faced the same political and linguistic tensions. To meet

Miron, I advise listening to the show "Man rapaillé " at the end which means Gaston Miron read the poem "For a repatriation". This reading is particularly important because it has nothing to do with the reader's language. We hear the true language of Miron, one of the "r" rolled. So the authentic poetic material that is given to us to listen here: voice, tone, breath.
I also recommend listening to various interviews with the poet. Quebec language, so often mocked by the French, it takes a strange turn, we are invited to listen differently. Miron suggests a major problem when a language enriched it? At what time it is impoverished? Miron responds radically alienates English Quebecers. Because according to him, language is enriched when it produces new words, with shades of meaning when it is creative. The danger is great when served disappears Miron. "Tornado" protests against the language layer that will exercise more than empty shells and loses the true meaning of words. But beware the danger lies for him, not in a language other inputs, but in the use of a language in a formal way, which results in loss of meaning. language becomes sound and not of thinking.
Miron denounced the "colonial bilingualism", in other words the obligation to speak the same second language. About her seem surely be a bottle into the sea but it is nonetheless very relevant and very disturbing at a time when no one asks why we speak more English. This became a necessity. Miron's poetry responds to my opinion a very problem current as it conquers the freedom of language: "fly off the mouth of the English" . In this he proves that the strong response to the recess of thought and language is creation, it proves that the issue's linguistic can find a solution, not a political but poetic. Going even further: it shows that poetry and language are political.

References:

Man rapaillé , Gaston Miron, preface by Edouard Glissant, Poetry Gallimard, 1999 (1970)

"Miron the rapailleur" Jean-Michel Maulpoix
CBC Archives Canada on Gaston Miron
A good article on "French pen"

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Publication of "A snow and kisses accurate," Cheyne, 2010

My first collection of poems, A snow and kisses accurate, has been published by Cheyne.
A reading will take place Wednesday, March 9, at the French Alliance, during the Spring of Poets 2011, with poets published in Cheyne.

You can read the article by Vincent Mespoulet (School's Out Walls) dedicated to the collection: the collection Exergue

I note also that the School Beyond the Walls has a group "Spring of Poets 2011," around which can revolve, which you can send your texts on year's theme "Endless landscapes" and to which you can subscribe: Spring School of Poets on outside walls

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Paris, city of light.

The municipality has decided to allocate the budget for a whole year to install double lampposts in the streets to fight against the darkness of the night when everyone is melting. There shall be no night, there will be in daylight and the sky lights disappear behind too many. City Hall, penniless, to leave the abandonment small parks. overgrown, they become small islands bush, green and leafy, scattered throughout the city. We can hide in the night when there will be nowhere to disappear and the slides used for underground structures in shacks.

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And stress the poet was born. Making a poem

Miro "Sunrise", January 21, 1940

"O give me a life of sensations rather a life of thought! "

How to be a poet without having the means to support herself? John Keats (1795-1821) died at twenty-five years of tuberculosis, but he left a work as dense and intense his life. This poet has struck me, less from his writings by his perpetual tension to poetry. The vitality of his poetry contrast indeed with the moral and physical frailty the young man. But this is a real lesson: poetry is a power that nothing can stop, not even death, since Keats's poems are among the best known: "A Thing of Beauty Is A Joy Forever" ... Lesson. The poet always is anyway. Kaets experienced all the difficulties possible: social, economic, health and love. Autodidact of humble origins, this romantic has suffered the most severe criticism of his contemporaries. As Marc Poree, translator of Keats in the Gallimard edition: "Keats was especially considered morally reprehensible. It mocked his Platonism sensual the author of 'Endymion ; we mocked his youthful hedonism, we disguises his cult Ruler of the beauty [...]".

What interests me about Keats, this is not so much his poetic journey that reality in which he was able to build a work. It is striking that the intensity can gush of misery. It is without doubt one of the most damaging metamorphoses for poets that modernity as it has deprived us two things: time and space. In Europe, we have the comfort, fabulous communication facilities, financial resources, networks and yet we lack everything that makes poetry possible: a place and a present habitable. The new strain of the poet is so to speak, to have none. The life and work of many poets prove that poetry has never had to opulence, the poet's poem have preferred the bread leaving it to burn the body and mind. Keats is an exceptional figure, a dark flash might have said Rene Char. The brilliance with which he was capable of writing is remarkable. He could not be a hobby, a vague desire for glory. A total commitment of body and mind.

decidedly Keats is a poet of another time because he had the time to write a work as strong in recent years and in emergencies. But his case is not so far from that of contemporaries who, if not under time pressure and disease, are trimming their writing space by modernity. The beauty sells, creates but does not occur, the misery is compensated by the entertainment. The total shrinkage is because we have more vocations. What are we called, except to eat, to participate in the effort of crisis, this new war effort, to be happy and stupid. I call calling the urgent desire to impress the world and our tasks. Keats was angry and he is an example to follow, absolutely. The poet is first one who refuses to be devoured by the world to be the one who eats.

Keats's life shows us that the poet and the poem are always born of a struggle, a resistance to something. Battle between the company and the desire for solitude, the battle between conformity and individuality, resistance to the invasion of work, the invasion of material comfort and psychological resistance to mold social policy. Writing poetry is always dissenting because it can spring up in spite of everything, anyway. The poetic writing refuses the circumstances, crosses or crushes, writing poetry refuses to be embastillée and goes every day to conquer time. She sculpts the time, size in the block of cold stone of social time and settled, she enchants the tight space and crushing of modernity. And it is precisely the moment when everything keeps us from writing that we write because we have plenty of time, we take all costs. We poets dance in the need ...

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"Yes, learning to read the poem is in itself teach patiently, at length, the talent of listening," JP Simeon.

For many decades, and still today - the students had to memorize poems. The exercise of recitation is a balancing act that has left each with its own talents: excellent memory, monotonous voice, flow of racehorse galloping one, etc.. But teachers have rarely succeeded in their seduction scene when we asked to learn or to prose. Fortunately, Jean-Pierre Simeon son by reciting in the twilight of his pamphlet algae, sand, shells and shrimps, Letter from a poet to actors and a few other smugglers (Cheyne, 1997) and in an article entitled " The voice of poetry "( States Provisional poem, VII," orality "). I will not address here the question of the interpretation of the poem by the actor but I will reflect on the question more complex poetry in schools. These texts are meant for all the smugglers of poetry, he is a poet, teacher, director, parent, friend. He poses basic questions: how to read a poem? How to pass? Attention, it is not put in a closet learning of poems, but to change the function of this practice. Memorizing a poem he learns to think, feel and love? The answer is no. To teach a text to students must not only lead them to feel the music that carries every text, and the ideal would be to make them think the scope of what they say.

sensitive and personal approach to poetry is still missing from schools: some prefer the learning stupid and evil, that is to say, a crude approach to poetry. The cultural objective unfortunately premium over that of the formation of a singular human being. Let me explain by referring a little story. During the days of the end of August, designed to familiarize young people with their art teachers, one of us asked whether "the recitation was always appropriate, or whether it was more fashionable ". The literature teacher replied: "Yes, you can totally do learn by heart, even though it is, that they will always be useful for their culture. "And unfortunately it is a common argument that the" culture "of the pupils. poetry is suffering terribly from the bottom up approach. She also suffers from its nature as a subject of the past. (Like any text, it is always very difficult to feel how writing is alive). Memory can not be done expense of the appropriation even if it is one of the tools. Otherwise, as so aptly Jean-Pierre Simeon, "the school will continue to produce non-readers of poetry."

Jean-Pierre Siméon in an article entitled "Voices of the poem" distinguishes several forms of reading poetic reading by erosion "which is to read ten, twenty, thirty times a poem chosen arbitrarily for reasons unformulable in a slow, silent empathy." selective reading "shamelessly biased and partial, that is to elect such an argument and the poem itself, and to be a rehashing of procedure" and "dream about: which consists of a drift imaginative insolently subjective from the poem into an airlock here to access their own deep emotional and mental ", and" reading in residence is to live for several weeks in a book of poems, thanks to successive term and vagrants, not linear but circular. "It makes this account a fact of reading the poetry collection that confuses many readers, especially if they are young students. The poetry reading is not linear, it requires a time which is not that of the narrative, a highly variable time which can move at lightning wandering. The approach of poetry is unstable, so unstable that life, unlike the novel.

poetry is undoubtedly one of the trickiest arms against the cuculturel . And you better have been upset by that knowledge to thousands. To teach and to discover that not only deliver information but arouse desire, oh task more difficult and dangerous.

(For my part, I decided to set up a correspondence with two contemporary poets with each of my classes second. This business is only possible with the assistance of the Spring of Poets. This initiative very simple, allows students to read texts, discuss and share their impressions with a living author. I'll keep you posted on this blog about the success or failure of this project! )

Read and see :

- States Provisional poem, VII, "Orality," Ludovic Janvier, Alain Jouffroy, Luis Mizon, Leon Robel, Jean-Pierre Siméon, Kenneth White, editor CHEYNE, 2007.
- Letter from a poet to actors and a few other smugglers , Jean-Pierre Simeon, editor CHEYNE, 1997, 2006
- The site of the Spring of Poets : It includes a record " poetry at school "and many ideas for projects to be undertaken with its establishment, association, friends ...

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companion Poetry in Korea, a tautology?

"A fossil skull of opportunities to laugh, alas, it lacks the muscle." (Yi Sang)

Korean poetry was featured in the first show of the year "that rhymes with what. On the occasion of the film "Poetry", Sophie Nauleau welcomed Patrick Maurus Maurus Patrick is a professor at INALCO, editor of the series "Letters Korean" Actes Sud and Review Tan'gun editions of the Harmattan. I suggest you listen to this too short program that gives an overview of the importance of poetry in Korea.

an aside from me: I am sorry that the show has been moved an hour later on the air and does not have an extra half hour. At a time when the information itself is buffeted from all sides, could not be expected to be given time to poetry, even on France Culture.

Korean poetry is incredibly rich because it feeds both narrative traditions in the most remote and Western poetry introduced by Japan in Korea. Poetry is indeed a very important place in Korean society and as the guest says Sophie Nauleau, Koreans familiar poems and poets read their texts in a stadium filled. It would be quite unable to explain the poetic power but you could say that the political and social difficulties of Korea have strengthened poetry as a weapon of resistance. This fact goes against all those who cry at the death of poetry or consider it unnecessary. Looking more closely at the history of Korea, we see that poetry has never been as strong as when freedom of expression was threatened or absent. In the years 70-80 Kim Soo-Young, Shin Dong-Yeop gave new impetus to the Korean literature.

I recommend a very good last issue of the journal Poetry / First (No. 46) entitled "Korean Modernities", featuring articles and poems translated very well (and how!) Of major Korean poets.

And a very interesting site that traces the history of Korean poetry: Poetry Korean

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Lehavim

What Gets Rid Of Internal He

Lehavim

Suburbs torn yellow shade under the palms dry, 45 ° c outside, warm air surrounds the members, the wet fringe of sweat, paralyze movement.
The landscape around is shrinking. Trees around awkwardly asphyxiated a picnic area abandoned more than a dead city. The trees disappear along the highway that it will plunge into the wilderness where only the streetlights resist.
Silence is a deafening din. Impossible to know if people are holed up in their air-conditioned lounge or simply deserted the subdivision mummified.
Even more barking dogs when I pass.
The degrees we hide behind closed shutters, it saves every move until evening, until a semblance of air slowly comes to raise us.

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Abdellatif Laâbi, the Reign of barbarism

"I utter

; edifying to insubordination
                                                                         kingdom " (p. 25)

The Reign of barbarism includes Abdellatif Laâbi first poems, written between 1965 and 1967, composed of six parts," Eye of talisman, "" Marasmus " "State Violence," "Glory to those who torture us," "Life urgent" and "race".

The section entitled "Eye of talisman" suggests that the poet sees the poem as something attracting beneficial influences. The image of the talisman is significant because it evokes the magic rituals - the words of the poet would be a way to exorcise evil and a means to resist. But the talisman also derives its power of images engraved on it. Thus, one eye is usually the strong image. Like the poet whose strength and range from as images. The first movement of the poet is that of revolt, insubordination to the official order:

Died

logos cited
(p. 23)

For the poet, he is speaking for the people who have no voice:

Now
I'm looking at my tribe
language .

Like many poets of resistance against any order (I think Césaire against the colonial order in particular, whose poetry is not without similarities with that of Abdellatif Laâbi) Laâbi think the poet is can and should be the voice of the oppressed, the illiterate. This poetry is primarily a poetry fellowship, willing to speak for others and for others:

"My face
multiplied in all the faces
shouting "
(p. 35)

Laâbi's poems are violent, consisting of fractures, lightning, extremely strong internal tensions between the rebellion, anger and celebration. Therefore the kingdom of barbarism denounces a given time, one of colonization, that of power against self-determination of Morocco while celebrating the world. Probably because poetry is a talisman, a piece of clarity in the dark times.

This affirmation of the role of the poet in the world is marked at the beginning of the collection:

"and I retrace my parchment
a new cosmogony
in total harmony elements
hear the clash of idioms
in my mouth "
(p. 25)

Poetry of the Reign of Barbary is violent, powerful, very complex. It is quite clear that this is an activist who speaks, a man engaged in combat. The work of the poet is thus regarded as a radical liberation, absolute "then I will come / you spit in mouth / burst your tumors / expel your aches atavistic" (p. 26).

The first part responds to the desire to put a powerful voice and total. But it is primarily the destruction that will occupy the poet, particularly in the second part "Marasmus , "Where he discusses the moral and political dryness of his country. These "doldrums" refer to the miserable state of a country lean like a sick, weakened, exhausted, on the verge of exhaustion. Laâbi mentions in the pages that follow the action of the poet. If writing is a pain, an effort, however it is a weapon: "the word ton / I am the first victim / but I extract / propels him / to you" (p. 33 ). This power is both poetic as the word regularly likened to a bomb, a sharp blade, and that of a tree ineradicable forces invisible "I have roots / underground route signs / a blast of unknown elements" (p. 32).

Writing Laâbi is marked by ruptures, the saccade and especially the lack of punctuation. So the poem progresses block rhythmic, phonic, reconciliations of ideas and images. Playback is only possible if we remain sensitive to the strength of the oral poem, beyond the question of meaning. Enumerations, syntactic breaks punctuate this epic poetry. J'emplois "epic "Advisedly since poetry Laâbi is carried by a powerful blast of anger, one breath at a time destructive of order and manufacturer of brotherhood.

"down then
is the street
and backfire
; to the verge of a burst
pagan
bellicose
; ; and stiff
uproots lichen
lichen off
slain suckers
tendons limestone "
(p. 39)

It was in this that I compare his work from that Césaire. As Césaire Laâbi hollow common language, tore the power to dispossess and to appropriate it. Cesaire fought against colonialism in deconstructing the language of the colonizer, ruining the Western symbols, with playing the usual connotations. It is also like this that makes Laâbi Abdellatif, snapping the tongue like bullets from a gun - a word-utterance, a word that forces the reader's voice, even her cry. Finally, just as Cesaire Laâbi evokes the reality of his country with an eye devoid of any complacency, combing his land and his people in the images of sickness, death, sexual violence. Before the real delight, he dissects reality with sustained attention, denounced for what it is. The floor is littered with this reality, even supports: "is a dialect / I speak / pustular an idiom of signs / poles node / arches / and bullets / demeaned all know me / for his / I spoke " (p. 46). The ugliness and disgust have a place elsewhere in size in the poems of Laâbi, and that the violence of some images of mutilated and enslaved land is part of the poet's revolt, destroying the bucolic images but also condemning the passivity of his own people. He criticized his country, his ignorance cowardice, his confinement in the sterile nationalism "fraternity of exclusion," and designated officials of this "state violence" (derived from the third party where "state "refers to both the state system, power up, and the political, economic and moral of the country) colonizers, their gaze generator blocks. Nothing like this, understandably, that the uncompromising evocation of his native land to reverse the gaze of another. Laâbi in this respect is far from the idea of patriotism for her favorite fraternity.

The revolt of the poet goes through a sharp irony as outlined in the title of Part Four "Glory to those who torture us"

"make the wheel my small country of Cato and Brutus
we will make artistic picture
you have your portrait in a living museum
well supported
with scientific legend
not cry my little country legends
mouth do not see your hunger
[...]
Gentiles tourists are coming " (p. 42)

Laâbi repeatedly denounced the negative effects of colonization. Noting he has before him his "body and frame of nothingness" (p. 83), he adds "you knew Fanon." This reference to Frantz Fanon is critical because it proves that evokes Laâbi - otherwise than by a psychiatrist and a literary device-the consequences of colonialism on human beings. For Laâbi, the result is a self-dispossession, suffering major named as "Indelible trap" and "scuffle outside memory" (p. 83). It may seem paradoxical to speak of and indelible mark "beyond memory", in reality, the thing is resolved if one thinks of a scar. Off memory, so this is the body itself which bears the indelible traces of the past. Laâbi speaks twice of "atavism" in his body "osmosis millennium." The legacy of the colon but also by years of submission and reconciliation is the subject of poetic battle.

A movement of destruction and deconstruction succeeds in the last two parts construction. The poetic word causes the birth of something else: the power of resistance. The poet is defined elsewhere as a "Bard-crocodile" (p. 75) Hope is not a given in this very first book, call the loudest is that of the insubordination. The appeal of this warlike poetry subside over the collections of the poet, but these first poems as a young man asserts the need disorder, a necessary war to regain the "urgent life" (title of Part Five): "if I arm myself to the teeth / this is to kill the frame of dogmas" (p. 63). This fight both political and poetic leads to the emergence of a new state of rebellion and a unit of men in "race". "Race" is the title of the last part and it noted that it is singular. The poetic word can only find this universality. Unit of men who have no voice with the poet, men oppressed by a social and political

"instinctively say we're allergic to manuals For
are deifying Intelligence
say that we do not follow those who succeed Those who know
Those who order and magic talking robots Eject cited
The equations supermen. " (p. 71)

At the end of the collection, the poet's birth causes something else. The word actually becomes a weapon of struggle erupts:

"to create the image of a just and violent
namely
genesis
the cry
biology sidereal
body mine
will live
spread
defend
unalterable
in his first gesture " (p. 91) This writing

shine, almost hallucinatory, will be more sober and more intense by the on. Mahmoud Darwish explained that for him poetry was a response to the war precisely because it transcends it. And he expressed his desire to describe the almond blossoms, to evoke the beauty of the world in a lucid language, a language of peace, a language that does not sparkle the violence and weapons. In this, he believed that poetry is powerful: because it goes against the language of the enemy. This view differs greatly from that of Laâbi whose work on language is more like a tear. But the man of struggle as the man of peace come together because they both poetry a means of action essential. For acting, it's also talk and write is to forge a language that would suggest otherwise than under the system set up. The reign of barbarism seeks to give words to those who have no voice, no doubt because the poet knows, writes Clement Rosset in Choice of words that "power action depends to a large extent the vocabulary we have. "

References:

All quotes are taken from the poetry (Volume I) Abdellatif Laâbi, Editions de la Différence, preface by Jean-Luc Wautier, 2006.

Clément Rosset, the Choice of Words , Editions de Minuit, 1995.

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Cheyne, 30 years of publishing poetry

A rare and exceptional for a publishing poetry Independent, The Orangery Senate presents an exhibition devoted to the publishing house of Jean-François Manier and Martine Mellinet, Cheyne. It tells the inspiring story of thirty years of publishing poetry.

publishing house of poetry, which is more independent, JF. Mr. Mellinet handle and succeeded their daring challenge: balancing economic demands and quality publication without yielding to the market and the rapid commoditization and increasingly poor overall book. Such an undertaking would have been possible without the personality of JF Manier, who received second at HEC, left school after one semester, took the route to China and decide later to return to learning of printer to Montlucon. That's what courage and passion for poetry and the book that lead to settle in Upper Cheyne Loire where it will create with his girlfriend. The process itself is already not trivial and deserves be shown as an example, at a time when entrepreneurship is especially valued for its importance in the "growth" of the country at a time when disaffected young people prefer the comfort of a school, prestige of a name, daring to make choices more dangerous.

Located in Ardèche, Cheyne also enjoys independence geographical capital. The house now holds every summer "reading under the tree", which meets outdoor lovers of poetry. The meeting is intended as alive as possible and land, cleared the shelves of libraries, open to the world and a very diverse audience. I note also that poetry is alive outside the Paris region and particularly in certain regions Ardèche, Lot, Lozère, Cévennes, probably because they are lands still protected from large groups of laborers editorial who seek more than profitability. Without doubt this is also related to the fact that these lands are still preserved, authentic. Far from idealizing these regions, JF. Manier said that the land "do not cheat." For the love of Lozere I am, I know he is not mistaken. To be independent, to defend the slowness, the meeting be to be, art, fraternity, we must find another place. JF. Manier has managed to build strong relationships with readers and booksellers across France, a living poetic canvas.

In his book, Money and Words (La Fabrique, 2010) André Schiffrin discusses the birth of this publisher: "I recently visited editions Cheyne, a leading Publishers of contemporary poetry in France but, one suspects, is not a highly profitable company. Its founders were able to start with help from the village of Chambon-sur-Lignon, Auvergne, to them attributed premises of a disused school. They are now beautiful offices with workshops housing the old presses which are printed on most books in the house. After thirty years of financial difficulties, the editions Cheyne, who have now paid all their debts, have provided their turnover to 65% by sales of the fund, which is rare in publishing. Admittedly, this result is the sum of a lot of work, but using the village has been instrumental ... " (p. 32). One can only rejoice at the success of this gamble of poetry against the money ...

I encourage everyone to take the time to go see this show very well done, in a nice clear space where you can stroll, go back, flip books. You will discover the art of publishing, the various collections of the editor, you will understand what values are supported by Cheyne: "An editor ," said Jean-François Manier, must refuse to be guided blindly by rates rotation of stock and sales forecasting. " This thought risk is relatively rare in times when security is law and deserves to be applauded and supported. Celebrating the adventurous body and mind ...

Practical Information: exhibition at the Orangerie of the Senate Park (Luxembourg), from 12 to 31 July 2010, from 10am to 20pm daily, admission free. Every evening at 18h, go to the Orangerie to attend a reading of a vote of Cheyne.

Read: Article World of July 8, 2010

Sightseeing: Cheyne editor

Is Implsnration Bleefing When Period Due Too Late

On the shoulder of the angel, Romanès

"When I entered

in the hospital with daughter

in the arms I thought

My God, do

it so alive.

Do not make me

to become the greatest poet. "

From poem to life there is only one step, if although the poem itself may disappear behind the strength of a smile or a meeting. This is the trace left by short poems - the pearl-Alexander Romanes.

From poem to the aphorism, there is only one breath. Phrases of remarkable simplicity, naked, completely naked. This apparent destitution which really is not one, at least for its author, fascinated, perhaps because we are most often abroad.

On the shoulder of the angel novel testifies to essential experiences, life, death, love, light a few lines if you do not know if have worms, or notes sentences.

novel is so often on the verge of poetic writing in the sense where it shows rather what needs to be considered poetic by man: the eyes of a child, the life of a loved one, the passage of time. The poet here is the extreme opposite of his contemporaries and he picks the most accurate notes of his life and sends rain drop by drop. The first part of the collection is also the aptly named "Pieces for Lute." In light of this title, we can say that each poem is novel does with the other, forming a musical composition. To read novels, he must learn to change my opinion of scale and give the words any place particular the extent of a text to another they are echoes resound or pose a counterpoint. The collection was probably all that can displease a contemporary poet by the simplicity that reaches to the disappearance of the poem. And the poem is absent before the poem does not need ... This pervasive sense while playing is deeply troubling to the writer, but he will touch the heart, I think, people least likely to hear words sing. Whatever one thinks of the value of this poetry, one can not but acknowledge that this collection is more admirable for its purpose and its content, because he does share poetry by erasing almost the poem.

Reference: Alexander Romanes, S ur shoulder of the angel , Gallimard, 2010. A replay
: "Alexander Romans" in the show "what's the point" of June 12, 2010 on France Culture.

Is It Possible To Get A Brush Burn On Your Penis

Tel Aviv Tel Aviv 4 5

I went to the Avenue de Clichy Paris, a quiet street in Tel Aviv,
swapping traffic noise continues for a little dangerous crossroads
(no priority right, then everybody rushes)
which I mean all day car brake with a jerk, get a fright,
avoid the worst, well, not always: two accidents already;
and after yet another crunching of tires today, I
wonder how this possibility of accidents invades my day,

my writing, what is the unconscious influence This constant apprehension speed
I hear approaching as we feel it coming.

360 Wireless Controller On Pc Hack

Alexander Award for Poetry from the Fondation Marcel Bleustein Blanchet Notes

Today, June 15, 2010, has held the award for poetry vocation of the Fondation Marcel Bleustein Blanket on the terraces of Publicis, Paris. Lucky winner of this promotion for my book of poems Mornings, I would like to thank the Foundation, Nathalie Royer and members of the jury prize for poetry: Fabienne Courtade (poet), Louise Herlin (poet) , Claire Malroux (poet and translator), Jacques Mogenet (Bookseller, "La Librairie des Prés"), Jean-François Manier (Cheyne editions editor), Peter Oster (poet and publisher) and Jean-Pierre Simeon (poet, "the Poets' Spring ")

Finally, I thank especially my parents, my sisters and Philippe Renault.

I hope that this blog is the place that reflects my future work and a reminder of poetic adventure on which the Foundation provides a tremendous boost.

[http : / / www.fondationvocation.org/component/content/article/98-prix-litteraire-et-prix-de-poesie-2010.html ]

Foundation Marcel Bleustein Blanchet:

http://www.fondationvocation.org/

Cheyne Editions:
http : / / www.cheyne-editeur.com/

Spring of Poets:
http://www.printempsdespoetes.com/

Imagenes De Disney Cinderella

I read on the beach when I noticed a plane
drew a circle in the sky above the water.
I followed his white curve without taking his eyes for a moment, suspended
denouement to come from this unexpected course.
Here, what is strange or out of the ordinary just
quickly becomes worrisome sign each unknown can not be anything
a bad prediction.
The aircraft eventually traced its wake
precise drawing of a lowercase e,
then disappeared suddenly at the end of the loop, leaving a mystery
fill assumptions.

Mexicanas Follando En Acapulco

Down

Uti Smelly Urine Infant

Topography streets of Tel Aviv through the random encounters


I met Adi Street Melchett
I met Iva Street Yona Anavi
j ' I crossed Yotam Street Lincoln Square
I met Roy Masarik
I met Eric Street Dizingoff
I met Dror coffee Hanassi hakatan
I met Eran Rashi Street
I met Mari Street HaHashmona'im
I met Olga on the Promenade Shlomo Lahat
I met Sarah Ben Ami Street
I met Yael Simta Ploni
impasse I ran into William Street I crossed the Allenby
Honi Street Rambam
I crossed the Moa Shasa
I met Dave Street King George
I met Björn and Tarik Street Nahmani
Raz I met at Ben Gurion University
I met a stranger who recognized me in my Florentine
cross Lirhone Sheinkin Street
I Noah Cross Street Ge'ula
I met Matthias Street Hakirshon
I walked with people who crossed others
I met some foreigners who have become familiar to force to pass.

Cute Dresses For A Dance

Drink at edge.

It's the middle of the night in the old city of Jaffa,
the Arab part of Tel Aviv.
Inside the club, the DJ night rhythm.
On the terrace, we toast with a hundred others,
we nibble shrimp on skewers
enjoying the view at night on the coast.

Between sips of champagne, I asked him why
his girlfriend is not there.
He told me that it's over. After three years
to resist against the family, that's it's over.
She is Jewish. It is Arab, Palestinian, Christian.
He told me I could be a Christian American French, from anywhere,
everything would have been different,
it's not even about religion, I'm just
Palestinian, I am the enemy.

Ironically he now lives in a 'Jewish settlement'
with his mother in Jerusalem
one occasion, it was cheap, they had little choice.
They do not put their name on the mailbox.
They live there, two minutes from their old home,
invisible now behind the wall.
He showed me when we went together to Ramallah
there, there was an intersection, and my house was on the corner.
We had to ensure there was a jar, we could not stay.

It is almost resigned. He told me I try to meet other girls, but it is
luck?
My Hebrew is perfect, nobody can know
I am not Israeli
but this does not change my name. Upon
hear, they know that's impossible.
And in Israel, there are 1, 6% of Arab Christians.
How about that number are girls my age
that I am likely to meet and love? Unfortunately I do not
much to answer that.
Another friend joins us, the conversation stops:
this scenario was his three years earlier, it made him bitter.
It's better not rekindle the ashes. We
crush cigarettes and empty our glasses
to join the dance.

Beyond Gaza and the stories embedded
fleets in many and various interpretations, there are other lives
nipped in the bud
whose testimony did not make the headlines.

Number Lock Suitcases

Nearby elsewhere.

Wadi Musa, Jordan.

Theater of Petra, Jordan, built in the 1st century

Between the two, the wall.

Can You Eat Hot Cheetos While Pregnant

Frontier Israel / Lebanon : Rosh Hanikra

Ramallah, Palestine

Ramallah, Palestine

Ramallah, Palestine

Sunrise over the mountains of Jordan, ince of Masada, Israel.
Between the two, the Dead Sea.

Nice Dickies In Singapore

poetic plays, Mahmoud Darwish

The dice thrower
Who am I to tell you
what I'm saying
me that was polished by stone water
to become face
or reed pierced by wind
to become flute ..
I am the dice roller.
I win sometimes I lose other times.
I'm like you
or a little less ...

"It rhymes what "paid homage to Mahmoud Darwish, and presented the publication of his last-known poems in the Arab world-and he had read in July 2008 during a recital. The show is interrupted by two readings of the poet, the one in a stadium, the other extremely intimate. One way to reach the two faces of the poet and understand the scope of his voice: Mahmoud Darwish has forged a political voice, a voice launched the world that can come and go between the heart and Palestine, between the heart and the earth.

podcast: franceculture. com "that rhymes with what.

How Does Fluid Before Period Look Like

Web poetic Marc Laumonier

Poetry is a solitary adventure, but it is possible to share it: the Internet is one way that can be opened to the world. Last Saturday, a poet and blogger, Marc Laumonier did a brief stint in the show Nauleau Sophie, "it rhymes with what?". This love of poetry is a blog where he brings both his own texts and those other. His work is of great generosity, he even claims that "others" are more interesting than him. This modesty and the patient work away from publishers must be rewarded, "frenchpeterpan" (the name of the blog) contains beautiful lyrics that are worth reading, poetry notes a very high accuracy. Marc Laumonier publishes appetizer snow , a collection that brings together the texts published on his blog. Share his writings on a blog does allow readers to multiply, but as the author puts it himself, does not provide the poem. The paper can donate what is produced. This adventure illustrates perfectly one of the major problems of poetry today, that of diffusion. Should we try to get published? Should he deliver his lyrics with multiple routes to the canvas? Creative work alone and can make it available to all Sir internet: the paradox questions anyway. Marc Laumonier claims not be a great poet in his wording, he puts the word "poems" in quotation marks. These are many poems without quotes he gives us yet to read. Build a readership on the Internet is not an easy thing, he was able to do and that is a great merit. Small publishers can not afford to publish. And among the big publishers, poetry is not the master: it is impossible to ask an author to produce a work every two or three years. Writing is an experience with its own temporality, its own space. Wandering or whirling, hard work or a state of grace, whatever, the mechanisms of the circuits of consumption is open to artists. Writing poetry becomes a real lifestyle choice, an adventure even more lonely. We must find ways to give to see and hear through other means. The Internet is a useful path, a thoroughfare wonderful. In recent years, the poetry also flows through this one (I will soon facebook and I like poetry reviews). But it would be unfortunate if the book does not take over all these beautiful poetic initiatives on the web. A word ...

The site of Marc Laumonier: http://www.frenchpeterpan.com/

The show on Saturday "that rhymes with what" is downloadable for a week http://www.franceculture.com/podcast/1233661