Jean Lescure (September 14th 1912, Asnières-sur-Seine - October 17th 2005, Paris) is a writer and Poète French.

Biography

Born on September 14th, 1912 with Asnières, where his/her parents transformed their bar-room of ball into cinema, the Alcazar, Jean Lescure is of 1921 to 1928 intern with the college of Saint-Germain-in-Bush hammer where it côtoie Mounir Hafez and Armel Guerne. After studies of Philosophy to the Sorbonne (Etienne Gilson, Leon Brunschvicg, Andre Lalande) and of psychopathology with Holy-Anne (Georges Dumas), it forms part in 1934 of the Comité of vigilance of the intellectuals antifascists. The following year it takes part in the first excursion with the Contadour proposed with its readers by Jean Giono. He becomes his secretary, works out the project of the Cahiers of Contadour and directs from there into 1936 the first two numbers.

In 1938, Lescure takes the direction of the poetic review Messages of which it recalled the history in Poésie and freedom . After a first book around William Blake, the second, prepared with the assistance of Jean Wahl, has as a title Métaphysique and Poetry . Of this Lescure occasion of Gaston Bachelard a text requires who will direct the reflection of the philosopher towards the imaginary poetic one, meets Rene Char, binds with Rene Daumal and Benjamin Fondane and ties a “fraternal affection” with Pierre Emmanuel.

In 1942, Lescure urges Messages in literary resistance to make of it with the support of Jean Paulhan “anti NRF” of Drieu La Rochelle. The first book appears in March (texts of Pierre Emmanuel, Eugene Guillevic, Jean Follain, Raoul Ubac…). After prohibition, the two following (Claudel, Jean Tardieu, Francis Ponge, Paul Éluard, Raymond Queneau, Loys Masson…) are antedated. The fourth (Bachelard, Andre Frénaud, Michel Leiris, Queneau, Jean-Paul Sartre, Battle…) is published in Brussels. Jean Lescure takes part simultaneously in the diffusion of the clandestine press, collaborates in the “French Lettres” of which he is deputy manager, fact part of the National committee of the writers and the group armed “Those with Resistance”.

French Field (Messages, 1943) , gathering an about sixty the great names of writers, expresses a collective insubordination of the literature : François Mauriac, Paul Claudel, Andre Gide, Valéry, Georges Duhamel and Romain Roland côtoient there Henri Michaux, Albert Camus and Jean-Paul Sartre. In the office of Paulhan at Gallimard, Lescure prepares in parallel with Éluard, of which it passes for the “lieutenant”, the clandestine publication in July, with the Éditions of Midnight, of the first anthological volume of “the Honor of the Poets”, in which it collaborates under the name, selected by Éluard, of Jean Delamaille, then of the second volume “Europe”. In April 1944 Jean Lescure meets André Malraux and clandestinely records with Éluard the poems of “the Honor of the Poets” to the Club of Test of Pierre Schaeffer. With Camus, Sartre and Frénaud, it is denounced in a leaflet, therefore with the Gestapo.

With the Release, Lescure is called in August 1944 by Jean Guignebert and is indicated by the National center of the writers to take the direction of the literary Service of Broadcasting, where it introduces Raymond Queneau and Jean Tardieu, Pierre Desgraupes and Pierre Dumayet. While it continues the publication of Messages until in 1946 it starts to tie durable friendships with the painters of the news École of Paris. Having to leave the Radio in 1946 he is briefly general secretary of the Éditions of Midnight near Vercors from May to December. He writes in the following years for the theater, in particular for the Comedy of Saint-Etienne of Jean Dasté, takes part in the International meetings of Geneva (1945-1958), in the creation and the assemblies of the European Company of culture (1950-1960).

Joining in 1956 his/her father to direct the cinema the Alcazar of Asnières, it does of it one of the first rooms of Banlieue devoted to the cinema of Article With the assistance of Andre Malraux, it prepares the conditions of the operation of the “French Association of the cinemas of Art and Essai” of which he will be the president of 1966 with until 1992, becoming later president of the international Confédération of the cinemas of art and test (1981-1986). Literary director of the “Theater of the nations” of 1957 to 1960, Member of the Commissions Painting, purchases of the State, and Decoration of the public buildings, it takes part in the choice of decorations of the Faculty of Science of Jussieu whose Malraux entrusted the resumption of the project to the architect Edouard Albert. From 1960 to 1965 It is to advise with the Research center of ORTF of Pierre Schaeffer then of Pierre Emmanuel to the National institute of audio-visual the of 1975 to 1977.

Lescure is in 1960, following one decade with Cerisy which it directs with Georges-Emmanuel Clancier on Queneau and in which take part in particular Maurice de Gandillac, François Lionnais, Albert Memmi, the Morel abbot, Jacques Bens, Jean Follain, André Frénaud, Eugene Guillevic, Michel de Smet, one of the founding members of the Oulipo, the inventor of the method S + 7 and the author in 1964 of the first Histoire of Oulipo . It appears thus constantly in the minutes of the meetings of Oulipo written by Jacques Bens). He is simultaneously “Regent of Anabathmologie” of the Collège of 'Pataphysique. One must in addition with Jean Lescure of many books, articles and forewords on his friends the painters of the Nouvelle School of Paris who illustrated his poems of their engravings or lithographies.

Jean Lescure received in 1984 the Price Valéry Larbaud and the Price Audiberti, in 1992 the Grand Prix Poncetton of the Company of the men of letters for the whole of his work. Its last work, a antibiography of the author of Antimémoires , is devoted to André Malraux. It also held as from 1928 a Journal which it wished to be preserved at IMEC with the files that it had deposited there since 1998, but not to be published before fifty years. Jean Lescure died on October 17th, 2005 in Paris.

Poetic work

Poems, tests, forewords and articles on poetry, painting, the cinema or the philosophy even of creation, the work of Jean Lescure, in which still several film plays and texts appear, of the translations or adaptations, extends on more than two hundred titles. The poetic writing constitutes the fundamental vein of it, more especially as for Lescure it is with its presence that a text, whatever it is, owes its literary quality. The work more specifically poetic of Jean Lescure developed of 1939 to 2002 with the length of a dozen collections, composed for the majority of long poems or continuation of poems which represent each one several months or years of work.

A exercise of silence

That silence names me , written Jean Lescure with last the worms of the one of the poems of Drailles (1968) and, in the last page of the Gnomides (1999), Entre silence. You will hear . This allusion to “silence” is as frequent in its poems as in the tests as it devoted to the poetic writing and in 1942 Exercice of silence was already the title which it gave to a number of its review, Messages . A silence, not given but conquered, would be well the essential climate, the fundamental ground of its poetry. “Poetic of Not” is spread there, similar to the “Philosophy of Not” that did not cease analyzing in the developments of the scientific spirit his/her friend Gaston Bachelard.

At every moment, for Jean Lescure, “homo loquens” saw only well little of what the world of the language even proposes to him of access to the world. Expressing one of the most demanding faces of the modern anti-romanticism, refusal of the exaltation of subjectivity, its poetry undertakes to challenge narration, description, memory or fiction, speech, rational or emotional. The poetic experiment could not constitute the only consequence of experiments passed, the transcription of feelings, passions or ideas which would preexist to him. Trop a long time what one called the poetry was only the more or less convincing vehicle of a thought which was former for him, of an experiment which was foreign for him , observed Lescure since 1945.

It will thus be a question for him of purifying the poetic conscience, to release it from what could distract it, to deteriorate it, to prohibit to him to realize in its own capacities. The poet must thus learn how with to be delivered of sound expensive personality . It is necessary for him initially in itself to establish a deserted . Movements of the language which a voice in him has to be able to accommodate and which it does not dare any more to recognize for his, of the objects which are there to be constituted, he accepts its obliteration. He prefers to discover the reality which they inaugurate rather than to find in them the illusory reflection of moods and opinions of his private existence.

Language and reality

Like Malraux, the poet is hardly interested: in its “attentive inculture of ego” (“the Temptation of the Occident”), “little imports to him what imports” only with him (“Antimémoires”). Very other is indeed the object of its waiting and its discovery. “Poetry does not express something which remains to him foreign. There is no poetry previous to the act of the poetic verb. There is no reality previous to the literary image”, analyzed Bachelard similarly. And Frénaud could just like note that poetry was “enemy poem”, the “word spoken”, according to Merleau-Ponty, about authentic “the speaking word”.

Reality, in the poetry of Jean Lescure, coincides thus with its nomination. In the voice whose poet is the place more than the Master , are given to test, like obliquely, of the fugitive experiments of the things and the beings which the words evoke. The poetic word becomes there the expression of an approach of the world which could not be carried out before this expression, which will not be able to be carried out out of this expression. Far from being the simple tool for a transmission, the poetic language constitutes at Jean Lescure the vector of relations new to reality, invécues and intolerable differently or elsewhere than in the words which form them by communicating them, of the exclusively poetic experiments since contemporary and indissociable of their expression.

What is concerned in the writing is thus primarily for Jean Lescure the human capacity to cause reality by the word . Verbal concretions which compose the poem create their own phenomena and of this capacity extreme Jean Lescure the condition even its poetry undertakes to make. You will be born if you lose yourself , writes it in a poem of Drailles . Making conceal the din of the voices that assembles the daily existence, evacuating its “I”, the loser at the edge of silence in a transitory and dubious, indistinct reality of the language which names it, it is an asceticism relationship of the mystical advance which the poet practices and which it will claim of his reader. The active silence of which is born its poetry and who accompanies it, wavering to be whom she faces, its reader will have to divide them.

“Mornings of the word”

While in the daily communication the words do not cease escaping towards their direction; in poetry, for Lescure as for Valéry, these is the direction which does not cease crumbling in front of them. The language achieves the different vocation there to constitute objects which are not abolished in their significances. Poetic word, they are not therefore absent but, unceasingly being born and reappearing, they cannot, hardly emerged, that to flicker and dissolve or die out. About to always impose itself, they, in the writing of Jean Lescure, are interminably retained of it by the irreducible presence of the words, like impatient refusing them and reaching, by concealing them, with a different existence.

A continual advent of direction starting from the words and, in return, of the words in their significant savor on the ruin of their direction, such would be the experiment offered to the reader by the poet. These verbal concretions operating in the middle of silence, that the logic of any speech does not connect, even replace in the beginning to be it speaking. Making contemporary of the language and world one by the other being born, it is with the giddiness, stupor, the fascination of the beginnings which they lead.

From there this climate particular to the poems of Jean Lescure of a language and a world of an extreme transparency and a plugging opacity. Morning without end of the things , writes it: with the length of the daydreams of whiteness, slowness and waiting frays, it is very often in this hour without hours that its poems are enracinent. The trees and the stones, the plants and the animals, the wind, the dune or the pond, the houses and the bodies appear to emerge there, in front of the anonymity “I” of the poet or from his reader simultaneously reappearing, in the middle of the life, of the love, the triumph of death. You did not see the things which leave the night at dawn if you saw them wet and as not soaked of a mysterious birth , entrusts Jean Lescure in his Journal . The “mornings of the word” which rise in its poems are all at the same time mornings of the things suspended in their secret birth and mornings of the presence even.

Potential literature

This obliteration of the poet in front of the weight of his words, one finds it in a form different in the poems from an often humorous inspiration that Jean Lescure joint with his collections, the Breton Marseillaise (of which extracts are published since 1942) for the Thirteen poems (1960) or the square Poèmes for Drailles (1968).

Lescure told itself in the Beautiful flower stand (1988) how had simultaneously decided in 1943 the writing of the prose poems of the Wound does not close that it publishes in 1949 and that of the “Exercices of style” which Queneau in 1947 makes appear. Raymond says to me “you should write poems with words not current as in the motionless Voyage (...) I give you ten words, you want? ” (...) Me I say to him: “you write the same history in ten different ways”. He will write it later in one hundred manners . In this pre-oulipienne vein, it would still be necessary to classify the many acrostics of an anatomy of the secrecy (1948).

Oulipo created in 1961, the major contribution of Lescure to its activities is the development of famous “the method S + 7”. Starting from an unspecified text, it makes it possible to produce new texts by replacing each substantive (but also each adjective or verb) by the seventh (or xième) which follows it in a rather reduced dictionary so that the operation overflows the family of the initial word. To the oulipotages to which will not cease being exerted Jean Lescure are attached the whole collection of the Beautiful flower stand as many poems of the Satyre is idiot (1998) and of the Gnomides (1999).

the language able to speak all alone appears by no means absurd to us, notes Lescure, it is the man who appears naive to us to be himself believed the center of the world and the Master of the words. We check that its modesty is its size. Thrown in the middle of the language, he sees around him, as he makes conceal in him the small been obstinated voice of his science and his bodies mixed to be agitated and emerge from the innumerable figures. He notes that it was him which prevented them from being formed and to appear. He learns that techniques summon the language to constitute its figures, that the constraints that it is necessary are full with virtues and force unsuspected combinations to be formed. What one believed obstacle in the inspiration is workman of reality.

Selective bibliography

Poetry

  • the motionless Voyage , Jean Flory, Paris, 1939.
  • an anatomy of the secrecy , Ides and Calendes, Neuchâtel and Paris, 1946.
  • the Wound does not close , with a lithography of Maurice Estève, Charlot, Paris, 1949.
  • Thirteen followed poems the Breton Marseillaise , Gallimard, Paris, 1960.
  • Black partners of my walls , with 8 drawings (Roger Chastel, Jean Coulot, Marcel Fiorini, Leon Gischia, Charles Lapicque, Mario Prassinos, Raoul Ubac and Jean Villeri), Florentin Mouret, Avignon, 1961.
  • Drailles followed Small poetic meccano n°00 , Gallimard, Paris, 1968.
  • Routes of the night , Clancier-Guénaud, Paris, 1982.
  • It trionfo beyond dead , Clancier-Guénaud, Paris, 1984.
  • the Beautiful Flower stand , followed by the Gardener of Empédocle with some receipts of oulipotage of which Died to the element ground , Clancier-Guénaud, Paris, 1988.
  • the Satyr is idiot, Préludes to the afternoon of a Satyr & Fugues , 26 linos and drawings of Leon Gischia, Éditions Proverb, Marchainville, 1998.
  • Gnomides (Three small Treaties) , Editions Proverb, Marchainville, 1999.
  • Newspaper of Mud , Editions Proverb, Marchainville, 2001.
  • Feuilles of trembles , Éditions Proverb, Marchainville, 2001.
  • Poems metaphysics (1938-1946) , Editions Proverb, Marchainville, 2002.

Illustrated editions

  • Cliffs of Taormina , with engravings of Ubac, Limoges, Rougerie, 1949.
  • Apology for the blind man , in " With the glory of the main" , Paris, Bookstore Auguste Blaizot, 1949.
  • a Rose de Vérone , with two etchings of Fiorini, Paris, 1953.
  • the Crown of Laure , with an engraving of Fiorini, in " Painted words I" , Paris, Editions O. Lazar-Vernet, 1962.
  • an Herbarium of the dunes , 20 boards of Fiorini, Paris, Jeanne To rough-hew, 1963.
  • Midsummer's Day of Été , with 11 wood engraved of Gischia, Paris, Galanis, 1964.
  • It Trionfo beyond dead , with 4 etchings of Bruno Pulga, Bergamo, Lorenzelli, 1969.
  • the Pond , with 8 etchings and aquatintes of Zao Wou-Ki, Paris, Galanis Editions, 1972.
  • 13 proverbs smyrniotes , with 13 engravings of Dayez, Izmir, sultanas (Edmond Charlot), 1973.
  • the Blazon of the wounded body , with 18 lithographies of Singier, Company of the Bibliophiles of Normandy, 1974.
  • deserted Gardens perhaps , with 10 dry points of Zoran Music, Braunschweig, Schmücking Editions, 1976.
  • Procession of the mounts , with 3 dry points of Music, Paris, François Bénichou, 1976.
  • Opera-Fellini , in " Fellini, Homage of 9 painters of Paris to Federico Fellini " , texts of Helene Parmelin, Georges Boudaille and Jean Lescure, 9 lithographies of Crow, Kijno, Labisse, Lindstroem, Messagier, Pinion, Prassinos, Singier and Zao Wou-Ki, Roma, Grégory, 1976.
  • Of the Tree to the Mask , with 3 engravings of James Coignard, Paris, François Bénichou, 1977.
  • Malignant Saltworks , poems autographiés with 17 drawings of the author, Paris, Editions of Orycte, 1977.
  • Treated colors , poems autographiés with 51 drawings of Singier, Sigean, Orycte, 1980.
  • 7 poets and Aristide Caillaud (Rene Tank, François Dodat, Jean-Marie-Drot, Jacques Lacarrière, Jean Lescure, Henri Pichette, Jean Rousselot), engravings of Caillaud, except trade, Jaunay-Clan, 1980.
  • Ultra crepidam or Died with the element ground , followed of a postface, portrait of Jean Lescure by Calder in cover, Sigean, Editions of Orycte, 1981.
  • the friend , in Raymond Moretti illustrates Malraux , foreword of Jacques Chaban-Delmas, texts of Alain Malraux, Jean Lescure, Pierre Lefranc, Antoine Terrasse and Olivier Germain-Thomas, Editions Armand and Georges Israel, Paris, 1988.
  • 17 Drailles , drawings of Jean Coulot to accompany the first Continuation by Drailles of Jean Lescure, Marchainville, Editions Proverb, 1997.
  • Gnomides (12 extracts), 11 engravings and a sculpture assembly of Marie-Paule Lesage, Olwisheim, 2001.

Tests

  • Exercise of the purity , text of Jean Lescure and five photographs of Raoul Ubac followed by the back of the face , Messages 1942, 3rd book, Paris, 1942.
  • Charles Lapicque , Flammarion, Paris, 1956.
  • Drawings of Charles Lapicque, the sea , Galanis Editions, Paris, 1964.
  • Images of images , illustrations according to Leon Gischia, Galanis Editions, Paris, 1964.
  • Of an obscure clearness, Jean Bertholle , with a point dries of Bertholle, Villand and Galanis, Paris, 1966.
  • a summer with Bachelard , first edition, Luneau Ascot editors, Paris, May 1983. New modified edition, September 1983.
  • Album Malraux , iconography selected and with accompanying notes by Jean Lescure, Library of the Pleiad, Gallimard, Paris, 1986.
  • Bachelard today , presented by Jean Lescure, Clancier-Guénaud, Paris, 1986.
  • Gischia or reasons of the color , with two drawings, the portrait of the author by Leon Gischia and the portrait of Leon Gischia by Edouard Pinion, Editions of Orycte, except trade, Paris, 1987.
  • Gustave Singier, Heat wave with Patmos , Guitardes and Galerie Arnoux, Paris, 1988.
  • the Same one is always another, Georges Dayez , introduction of George Schwab, Collection Ground of the Painters, Editions Jean-Pierre Joubert, Paris, 1991.
  • Poetry and Liberté, History of Messages, 1939-1946 , Editions of IMEC, Paris, 1998.
  • By listening to Fautrier , the Graver, Paris, 1998.
  • Fondane, the pit and the wall followed What? Eternity and of Monique Jutrin, a discussion with Jean Lescure , Editions Proverb, Marchainville, 1999.
  • Leon Gischia, Sketchbook, Of a intention of drawings to the intentions of the drawing , 21 drawings of Gischia, Editions Proverb, Marchainville, 2000.
  • Andre Malraux, For a antibiography (two extracts), Editions of Orycte, except trade, Paris, 2004.
  • Mario Prassinos , Editions of Orycte, except trade, Paris, 2005.

Translations

  • Shakespeare, Measurement for Measurement, translation and adaptation of Jean Lescure, Comedy of Saint-Etienne (Jean Dasté), Saint-Etienne, 1949.
  • Giuseppe Ungaretti, the Five Books , Editions of Midnight, Paris, 1953.
  • Paul-Emile Victor, Ah! how the world is beautiful! , poems Inuit put in French worms by Jean Lescure, Editions Proverb, Paris, 1994.

Cinema

  • Mario Prassinos , film of Lucien Clergue, comment of Jean Lescure, Production Pierre Braunberger, Films of the Pleiad, 1969.
  • Georges Directs or different time , film of Frederic Rossif, text of Jean Lescure, Prod. Hachette, Paris, 1974.
  • Reynold Arnould , film of Martine Lancelot, text of Jean Lescure, 2001.

Forewords and postfaces

Literature
  • Introduction to poetic of Bachelard , postface with Gaston Bachelard, " Intuition of the instant" , Gonthier, Paris, 1966.
  • Postface in Michel-Georges Bernard, " According to the pierres" , Editions of Orycte, Sigean, 1979.
  • Yesterday tomorrow always , foreword with Lucien Scheler, " The Great Hope of the poets, 1940-1945" , Current Times, Paris, 1982.
  • Claude Aveline or poetic of prose , postface with Claude Aveline, " Night stories and fantastiques" , Editions HMSO, Paris, 1989.
  • Foreword in Jacques R.E. Pear tree, " The Giraffe has a length cou" , Fanlac, Périgueux, 1992; Editions of Cat-like, Kiron Spaces, Paris, 2003.
  • Foreword in François Lachenal, " Editions of the Three Hills, Geneva-Paris" , Editions of the IMEC, Paris, 1995.

Painting

  • Roger Chastel , Gallery Drouant-David, Paris, 1942.
  • Raoul Ubac , Bookstore Francis Dasté, Paris, 1943.
  • Maurice Estève , Louis Square, Paris, 1945.
  • Roger Chastel , Gallery Aime Maeght, Paris, 1946.
  • Jean Bertholle , Jeanne Galleries To rough-hew and Castling, Paris, 1956.
  • Roger Chastel , Numaga Gallery, La Chaux-de-Fonds, 1959.
  • Jean Coulot , Gallery Pierre Domec, Paris, 1961.
  • Francoise Gilot , Coard Gallery, Paris, 1961.
  • Roger Chastel , Rath Museum, Geneva and Musée House of the Culture, Le Havre, 1962.
  • Andre Beaudin , Museum House of the Culture, Le Havre, 1962.
  • Andre Beaudin , Gallery Louise Leiris, Paris, 1963.
  • Prassinos, Singier, Tourlière , the Residence, Paris, 1963.
  • Olivier Debré , New Museum of the Art schools, Le Havre, 1966.
  • Pierre Lesieur , Coard Gallery, Paris, 1968.
  • Jean Villeri , Castle-Museum, Cagnes-sur-Mer, 1968.
  • Jacques Lagrange , Galanis Gallery, Paris, 1971.
  • Michel Moy , municipal Museum, Sand-with Olonne, 1971.
  • Georges Bauquier , Center of international art, Paris, 1971.
  • Aristide Caillaud , Houses of the Culture of Bourges and La Rochelle, Museum of the Art schools of Nantes, Museum of Art and Industry of Saint-Etienne, 1971.
  • Gustave Singier , Museums of the Art schools of Caen and Rennes, 1973.
  • Michel Moy , Museum of Decorative Arts, Castle of the dukes of Brittany, Nantes, 1977.
  • Edouard Pinion , House of the Culture, Nevers, 1977.
  • Jacques Lagrange , Villand Gallery and Galanis, Paris, 1978.
  • Aristide Caillaud , Museum Holy-Cross, Poitiers, 1978.
  • Jean Villeri , Old royal convent, Saint-Maximin, 1980.
  • Roger Chastel , royal Horse-gear, Saint-Germain-in-Bush hammer, 1984.
  • Leon Gischia or reasons of the color , Paris Art Center, Paris, 1985.
  • Edouard Pinion , national Galleries of the Large-Palate, Paris, 1985.
  • Coulot , Thibaud Gallery, Paris, 1992.
  • Jean-Claude Janet , Town hall of the Life, Paris, 1996.

On Jean Lescure

  • Jean Lescure, the poet and the color , scenario and realization of Martine Lancelot (52 minutes), High Speed Films - Seven Arte, Paris, 1998.
  • Jean Lescure, the poet & the color , text of film carried out by Martine Lancelot, Editions Proverb, Marchainville, 1999.
  • Homages to Jean Lescure (texts of Sylvestre Clancier and Jean-François Perraudin), in " Bulletin of the Association of the friends of Gaston Bachelard" , n° 8, Dijon, 2006 (pp. 36-55).

Quotation

the poetic exercise reveals soon with the poet a kind of capacity to change themselves that the words have, and that arrangements revive to what it subjects them. He sees that the words await its operations that they animate them of an unforeseen life. If he is wary of the direction which he feels to be born in them, it is that he intends to preserve the chances that they have to still escape worms from them from the discoveries. (…) Heedless of the significances, the poet delivers to the function imprudence of the language. He does not make sure of the help of any promised land of which he would have the revelation. He awaits of the assistance only words that he handles. He is the ground and the promise. In him to be it achieves itself. “”
Jean Lescure, Of the calculation of improbabilities , 1964.

Judgment

“What captivates initially in all the work of Jean Lescure, it is the extreme quality of a writing combining a heat and a transparency raciniennes in the modern search of a language which becomes place and source of enigma - that always new to be it. Fluidity, music, equalize light with the language, one finds them throughout his work (…). It seems that one day without traps nor threats, a water limpid and smooth bathe each page, each stanza, each worms. And yet this transparency proves to be that of a secrecy; it is comparable with that of a crystal so pure that one is astonished to run up against it, to be able to reach the object perceived in and through him…”
Georges-Emmanuel Clancier, In the adventure of the language , " Écriture" , University Presses of France, Paris, 1987.

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