Bloodaxe Contemporary French Poets - Böcker

Yves Bonnefoy (1923-2016) was a central figure in post-war French culture, with a lifelong fascination with the problems of translation. Language, for him, was a visceral, intensely material element in our existence, and yet the abstract quality of words distorts the immediate, material quality of our contact with the world. This concern with what separates words from an essential truth hidden in objects involved him in wide-ranging philosophical and theological investigations of the spiritual and the sacred. But for all his intellectual drive and rigour, Bonnefoy's poetry is essentially of the concrete and the tangible, and addresses itself to our most familiar and intimate experiences of objects and of each other.In his first book of poetry, published in France in 1953, Bonnefoy reflects on the value and mechanism of language in a series of short variations on the life and death of a much loved woman, Douve. Douve, though, is the French word for a moat, that uncrossable body which separates us from safety and from danger. With this undercurrent at work we read the poems as if they are about the divide between us and death as much as they are about the divide between us and the untouchable reality of text. This is dangerous writing, fulfilling Derrida's "fatal necessity" by making us substitute the textual sign for reality.In his introduction, Timothy Mathews shows how Bonnefoy's poetics are enmeshed with his philosophical, religious and critical thought.

René Char (1907-88) is one of the most important modern French poets. Admired by Heidegger for the profundity of his poetic philosophy, he was also a hero of the French Resistance and in the 1960s a militant anti-nuclear protester. Associated with the Surrealist movement for several years and a close friend of many painters – notably Braque, Giacometti and Picasso – he wrote poetry which miraculously, often challengingly, confronts the major 20th century moral, political and artistic concerns with a simplicity of vision and expression that owes much to the poet-philosophers of ancient Greece.Les Matinaux (1947-49) is perhaps his greatest collection. Published after the War, it looks forward to a better and freer world, whilst also bearing the marks of a deep-seated hatred of all fascisms. It includes some of the most beautiful love poems ever written in French. Michael Worton’s translations convey the essence of Char’s poetry (which says difficult things in a simple, traditional way), and his introduction suggests why Char is one of the vital voices of our age.

Paul Éluard’s poetry is concerned with sexual desire and the desire for social change. A central participant in Dada and in the Surrealist movement, Éluard joined the French Communist Party and worked actively in the Resistance in Nazi-occupied Paris. Caught between the horrors of Stalinism and post-war, right-wing anti-communism, his writing sustains an insistent vision of poetry as a multi-faceted weapon against injustice and oppression. For Éluard, poetry is a way of in?ltrating the reader with greater emotional awareness of the social problems of the modern world. Unbroken Poetry II, published posthumously in 1953, pays tribute to Dominique Éluard, with whom Paul spent the last years of his life. It traces the internal dialogues of a passionate relationship as well as of his continuing re-evaluation of the poetic project it-self. It centres on political commitment and places it at the heart of the lovers’ desire.

Henri Michaux (1899-1984) is one of the notable travellers of modern French poetry: not only to the Amazon and the Far East, but into the strange hinterland of his own inner space, the surprises and shocks of which he has never ceased to explore as a foreign country in their own right, and a language to be learned. Fired by the same explorer’s appetite, he has delved into the realm of mescaline and other drugs, and his wartime poetry, part of a private “resistance” movement of extraordinary density and energy, has advertised his view of the poetic act as a form of exorcism. His insatiable thirst for new artistic expressions of himself made him one of the most aggressive and disquieting of contemporary French painters. If he is close to anyone, it is to Klee and Pollock, but he was as much inspired by Oriental graphic arts.Déplacements Dégagements (1985), though the experience of an octogenarian, has all the hallmarks of Michaux’s most dynamic work: poetry testing itself dangerously at the frontiers, acutely analytical, linguistically versatile and full of surprising insights into previously undiscovered movements of the mind.

French-English bilingual edition. André Breton called Césaire's Cahier 'nothing less than the greatest lyrical monument of this time'. It is a seminal text in Surrealist, French and Black literatures - published in full in English for the first time in Bloodaxe's bilingual Contemporary French Poets series. Aimé Césaire (1913-2008) was born in in Basse-Pointe, a village on the north coast of Martinique, a former French colony in the Caribbean (now an overseas departement of France). His book Discourse on Colonialism (1950) is a classic of French political literature. Notebook of a Return to My Native Land (1956) is the foundation stone of francophone Black literature: it is here that the word Negritude appeared for the first time. Negritude has come to mean the cultural, philosophical and political movement co-founded in Paris in the 1930s by three Black students from French colonies: the poets Léon-Gontran Damas from French Guiana; Leopold Senghor, later President of Senegal; and Aimé Césaire, who became a deputy in the French National Assembly for the Revolutionary Party of Martinique and was repeatedly elected Mayor of Fort-de-France. As a poet, Cesaire believed in the revolutionary power of language, and in the Notebook he combined high literary French with Martinican colloquialisms, and archaic turns of phrase with dazzling new coinages. The result is a challenging and deeply moving poem on the theme of the future of the negro race which presents and enacts the poignant search for a Martinican identity. The Notebook opposes the ideology of colonialism by inventing a language that refuses assimilation to a dominant cultural norm, a language that teaches resistance and liberation.

Philippe Jaccottet’s poetry is meditative, immediate and sensuous. It is rooted in the Drôme region of south-east France, which gives it a rich sense of place. This book brings together his re?ections on landscape in the prose pieces of Beauregard (1980) and in the poems of Under Clouded Skies (1983), two thematically linked collections which are remarkable for their lyrical restraint and quiet power.Jaccottet’s poetry is largely grounded in landscape and the visual world, pursuing an anxious and persistent questioning of natural signs, meticulously conveyed in a syntax of great inventiveness. His work is animated by a fascination with the visible world from which he translates visual objects into verbal images and ultimately into figures of language. His poems are highly attentive, pushing the eye beyond what it sees, enacting a rich hesitation between meaning conferred and meaning withheld.Poetry Book Society Recommended Translation. French-English bilingual edition.

First known for his war-time poems written from a German labour camp – notably his sombre reworkings of the myth of the Magi – André Frénaud (1907-1993) is one of the most searching of French poets. His work is structured by a sense of quest, which gives it its labyrinthine patterns, underground tensions and fractured, inventive forms. His poetry has an epic and tragic dimension: spurred by an urge for transcendence, it refuses false paradises, arrivals and notions of reconciliation. Rome the Sorceress (1973) is Frénaud’s richest and most disturbing confrontation with the hidden life of myths and the sacred, probing the themes of time, inheritance, revolt, illusions of divinity, father-?gures, mother-?gures, and the insatiable monuments of language which pretend to grapple with this weight of experience. Poetry Book Society Recommended Translation.

One of France’s most important modern poets, Eugène Guillevic (1907-97) was born in Carnac in Brittany, and although he never learned the Breton language, his personality is deeply marked by his feeling of oneness with his homeland. His poetry has a remarkable unity, driven by his desire to use words to bridge a tragic gulf between man and a harsh and often apparently hostile natural environment. For Guillevic, the purpose of poetry is to arouse the sense of Being. In this poetry of description – where entire landscapes are built up from short, intense texts – language is reduced to its essentials, as words are placed on the page ‘like a dam against time’. When reading these poems, it is as if time is being stopped for man to ?nd himself again. Carnac (1961) marks the beginning of Guillevic’s mature life as a poet. A single poem in several parts, it evokes the rocky, sea-bound, un?nished landscape of Brittany with its sacred objects and its great silent sense of waiting. The texts are brief but have a grave, meditative serenity, as the poet seeks to effect balance and to help us ‘to make friends with nature’ and to live in a universe which is chaotic and often frightening. Introduction by Stephen Romer. French-English bilingual edition. Bloodaxe Contemporary French Poets: 9

Gérard Macé's work challenges the barriers between poetry and the essay. This play between and within genres is essential to his writing – which has been called essai merveilleux – and derives from a questioning of language in its broadest sense. He is equally interested in the seductive musicality of words and in the remembered gestures which traced the hieroglyphs of Egypt and the calligraphic writing of the Far East. His fascination with dictionaries, grammars and glossaries leads him off on journeys in which the real and the imaginary are fused, but without being confused. He slips between words like a marvelling child constantly hoping that one day the world might be read like an open book.This edition brings together three series of prose poems, Le Jardin des langues (1974), Le balcon de Babel (1977) and Bois dormant (1983). Other books by Macé have as their subject literary figures such as Rimbaud, Corbière, Nerval and Champollion, while Rome et le firmament and Leçon de chinois evoke places heavily charged with culture and history. Macé's other books include Vies antérieures (1991), which takes up the relationship between memory and writing, in the form of Lives (as in the Lives of saints or illustrious men), and La mémoire aime chasser dans le noir (1993), which develops his fascination with the image – the poetic image, dream image and photographic image. Timothy Mathews took over as Gérard Macé's translator for this edition following the death of David Kelley who had started work on the book.Jean-Pierre Richard was one of Europe's foremost literary critics. He has written not only on French poets but also on Stendhal, Flaubert and Proust. He has a wide following throughout Europe and the USA, and is admired particularly for his approachable and sensuous accounts of French writers.Bloodaxe Contemporary French Poets: 8