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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 ...