Nowhere is this more apparent than in the writings of Marcel Duchamp, who fashioned some of the more joyous and ingenious couplings and uncouplings in modern art. This collection beings together two essential interviews and two statements about his art that underscore the serious side of Duchamp. But most of the book is made up of his experimental writings, which he called ”Texticles,” the long and extraordinary notes he wrote for The Bride Stripped Bare By Her Bachelors, Eben (also known as The Large Glass), and the outrageous puns and alter-ego he constructed for his female self, Rrose Sélavy (”Eros, c’est la vie” or “arouser la vie”—“drink it up”; “celebrate life”). Wacky, perverse, deliberately frustrating, these entertaining notes are basic for understanding one of the twentieth century’s most provocative artists, a figure whose influence on the contemporary scene has never been stronger.

    Jacques Derrida writes (in Deconstruction and Criticism) of The Madness of the Day that it is "a story whose title runs wild and drives the reader mad.la folie du jour, the madness of today, of the day today, which leads to the madness that comes from the day, is born of it, as well as the madness of the day itself, itself mad..La folie du jour is a story of madness, of that madness that consists in seeing the light, vision or visibility, to see beyond what is visible, is not merely 'to have a vision' in the usual sense of the word, but to see-beyond-sight, to see-sight-beyond-sight..The story obscures the sun.with a blinding light."

    Trained as a surgeon and Chinese interpreter, he wrote prolifically in a variety of genres. With this highly original collection of prose poems in French and Chinese, Segalen invented a new genre--the "stele-poem"--in imitation of the tall stone tablets with formal inscriptions that he saw in China. His wry persona declaims these inscriptions like an emperor struggling to command his personal empire, drawing from a vast range of Chinese texts to explore themes of friendship, love, desire, gender roles, violence, exoticism, otherness, and selfhood. The result is a linguistically and culturally hybrid modernist poetics that is often ironic and at times haunting. Segalen's bilingual masterwork is presented here fully translated, in the most extensively annotated critical edition ever produced. It includes unpublished manuscript material, newly identified sources, commentaries on the Chinese, and a facsimile of the original edition as printed in Beijing in 1914. Volume 2 of this work is available online at www.wesleyan.edu/wespress/segalen2 and www.steles.org.

    

    The Historical Background.2. The Authorities.3. William of Poitiers.4. The Bayeux Tapestry: Description of the tapestry The history of the tapestry The importance of the tapestry The plates5. The Plates (in colour)6. Select Bibliography.Set in 13 point Poliphilus leaded 1 point with Libra type for display.Text printed letterpress by W&J Mackay Ltd, transparancies by Michael Holford printed in four colours by photo-litho by Jarrold & Sons Ltd using Wintex cloth and Opal Tyvek paper.

    S. Pritchett here gives us a penetrating full-scale portrait of the most extravagant of all the great novelists - the massively gifted, massively human Balzac, who was so profoundly a man of his times that his own life - as much as his monumental La Comédie humaine - uniquely embodies the experience of France from the rise of Napoleon to the fateful Revolution of 1848. "[from the inside cover]