Functioning as an atelier, it forecasts the writing of a novel, which does not materialize as such; the journal itself -- a mausoleum of lovers -- comes to take its place. The sensual exigencies and untempered forms of address in this epistolary work, often compared to Barthes' A Lover's Discourse, use the letter and the photograph in a work that hovers between forms, in anticipation of its own disintegration.

    Carlile's translation of RIMBAUD:THE WORKS. ""These are the best renditions of Rimbaud in English since Wallace Fowlie's nearly forty years ago, and many of them surpass that high standard. These poems have been wrestled with, which is the very least they demand, and successfully brought back home. Carlile gets the difficult switches and swoops of tone mostly right, and the linguistic detail is impressive-- for 'un voix etraignait mon coeur gele' you can't get much better than 'a voice would hobble my frostbitten heart'.""This new translation of Rimbaud is the first in English to include the fragments and a ""Found Poem"" in English. Notes and commentary along with a life-chronology and ""selected further media"" assist the reader in delving into these darkly brilliant visions. RIMBAUD: THE WORKS is the first new English version of this poet’s work in 25 years. It contains all of his extant work from 1869 to 1875.The book is laid out in four parts. PART ONE contains ""A Season In Hell"" (1873) along with Delmore Schwartz’s perceptive introduction (out of print for over half a century). PART TWO contains all the poetry and prose pieces composed between 1869 and 1875, including THE DRUNKEN BOAT, the ""Album Zutique"" and the fragments called “Bribes” first published by Gallimard in 1954. PART THREE consists of ""Illuminations"" (c. 1872–74) with a brief preface culled from Enid Starkie´s ARTHUR RIMBAUD. ""Illuminations"" is lineated according to the author’s manuscript (published in facsimile with facing print text by Editions Bibliothèque de l’Image 1998) and the order of the text is that of the manuscript.A set of notes for each section defines obscure geographic, linguistic, historical, and mythological allusions found in the text.PART FOUR presents a chronology of the poet’s life, followed by selected commentary from Aldous Huxley, William H. Gass, Marie-Louise von Franz, Paul Verlaine, Jefferson Humphries, Bertrand Mathieu, Sean Lennon, and Ralph Vaughan Williams, among others. A guide to selected further media (books, music, CD-ROM, video, and film) is also included.[Aside from ""Illuminations,"" which is based on the manuscript copy, the French texts utilized for the translation were those of Gallimard (ed. Forestier) and Flammarion (ed. Steinmetz).]Cover portrait and frontispiece of Rimbaud plus three illustrations by Alexia Montibon."

    This edition includes a new foreword by Pierre Manent, Professor of Political Science at the Centre de Recherches Politiques Raymond Aron in Paris.As the twenty-first century begins, the relationships this book explores are as relevant as they were in the last century, when French poet and essayist Charles Péguy addressed them in “Memories of Youth” and “Clio I”, the two essays in this volume.The brevity, beauty, and timeless relevance of Péguy’s prose make this volume attractive for historians, scholars, and laymen.

    He took great pride in his writing, and he loved literature and language-French most of all. When he arrived in Paris in 1924, Brassaï began teaching himself French by reading Proust. Captured by the sensuality and visual strategies of Proust's writing, Brassaï soon became convinced that he had discovered a kindred spirit. Brassaï wrote: "In his battle against Time, that enemy of our precarious existence, ever on the offensive though never openly so, it was in photography, also born of an age-old longing to halt the moment, to wrest it from the flux of duration in order to 'fix' it forever in a semblance of eternity, that Proust found his best ally." He quoted Proust in his own writing, and from the annotated books in his library, we know that he spent a lifetime studying and dissecting Proust's prose, often line by line.Drawing on his own experience as a photographer and author, Brassaï discovers a neglected aspect of Proust's interests, offering us a fascinating study of the role of photography both in Proust's oeuvre and in early-twentieth-century culture. Brassaï shows us how Proust was excessively interested in possessing portraits of his acquaintances and how the process by which he remembered and wrote was quite similar to the ways in which photographs register and reveal life's images. This book-beautifully translated by Richard Howard-features previously obscure photographs from Brassaï's High Society series and offers a rare glimpse into two of France's most fascinating artistic minds.

    Delcourt’s beautiful novel, translated from the Quebecois French by Eugene Vance, reveals a childhood murder and almost stifled memories of Gabrielle.

    His series of dazzling hits match high-speed action and dialogue with ingenious plotting. Reaching the heights of farcical lunacy, his plays nevertheless contain touches of barbed social comment and allowed him to mention subjects which would have provoked outrage in the hands of more serious dramatists. This volume of new, sparkling translations by Kenneth McLeish contains his two masterpieces, Heart's Desire Hotel (L'Hotel du libre echange) and Sauce For the Goose (Le Dindon), with three other plays from the peak of his career, The One That Got Away (Monsieur Chasse!), Now You See It (Le System Ribadier) and Pig in a Poke (Chat en poche).