In the Flesh of the Text: The Poetry of Marie-Claire by Peter Broome

By Peter Broome

This heavily centred learn of the internal hobbies, dynamic tensions and tactile richness of an intensely sensual yet deeply looking poetry, is the 1st full-length monograph dedicated to one in all France's ideal modern lady poets. Marie-Claire Bancquart's paintings explores, basically in the course of the vulnerabilities and sensitivities of the physique (hence this book's 'carnal' title), the potential for freeing a cry: a salvation of language and spirit from indifference, abstraction and dehumanisation, a party of a moment's reunion with the recreative energy of the actual universe, an act of affection in its so much deepest but cosmic expression. Bancquart has defined her language as a 'braille of the living': minimum, interrupted and riddled with obscurities and gaps of the unsayable, yet apprehending the area and composing its importance in a singularly tactile translation. This examine will entice these prepared to find some of the most unique voices of present-day eu poetry, the unique poetic resonances of 1 of its such a lot self-aware and colourful lady sensibilities, and the provocative orientations of 'new writing' traversed by means of the dilemmas and paradoxes of our personal period.

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It is a rereading and a rewriting, a retrieval and a relaunch. It is an attempted reconciliation of ‘times’ (and speeds of experience) not always easily brought to unity. ‘Trouver une langue’11, writes Rimbaud. 109) and pushes into alien territory towards the strange sonorities and semantics of its own définition. How does one pin down and define, for example, the dubious leakage of linguistic possibilities, like genetic perspiration in the pores of the mind, which occurs in that back-room of consciousness which is sleep and makes its inroads with no respect for territorial order: J’ai peur de mon sommeil […] quand les mots sortent pour envahir la peau des autres, madrépores.

67. 115). The ‘pays’ has declared its hand as a country of sound in the speed of an image: ‘et qui entend les soleils’. Vision and its linear forms become sound, synaesthetically synchronized. Correspondingly the ‘je’ discovers itself, in its widening self-definition, as overlapping functions in a single body. As Rimbaud yields to the celebratory explosion of his being beauteous and its ‘cercles de musique’, he dons a new corporal (corporate) identity: ‘Oh! nos os sont revêtus d’un nouveau corps amoureux’.

43). Again one notes the juxtaposition of identity as a woman and the legacy of a half-alien domain. 30). The word ‘pays’ sprouts profusely in the sub-soil of these cartographic texts. 98) one is left in no doubt that such ‘lands’ open widely on time as well as space, while confusing tracks and frustrating clarity of direction: C’est dans tout vieux pays que l’homme difficilement arpente, et le chemin s’arrête où il s’arrête, la piste disparaît quand il tourne la tête. 12). 11) begins by emphasising, not only the ‘space within’ or what Michaux calls his lointain intérieur, but the extent to which one is a foreign body setting off into the itineraries of one’s own self, which unroll as starkly as any external expanse with its forks and crossroads: Je promène au-dedans de moi Une route.

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