Quarter book of recognitions.
Fata Morgana| N° d'inventaire | 23578 |
| Format | 14 x 22 |
| Détails | 96 p., paperback. |
| Publication | Saint-Clement-de-Rivière, 2021 |
| Etat | Nine |
| ISBN | 9782377920815 |
Better than we could, Jacques Réda defines the contours of this book in his moving afterword: The four Books of Recognitions were never the subject of a plan. We should therefore not see in them a sort of anthology a little more incomplete than most of the others, nor even a reflection of my personal tastes alone. All these texts were composed, so to speak, by surprise and by chance during a rereading or a recollection. They very rarely responded to a project that was generally rather vague, except in this very volume, where, not without gaps, I tried to evoke the evolution of French verse. After which, in fact, it was the French language which, gradually and naturally moving away from itself, forced the verse, henceforth without structure, to grope, sometimes brilliantly, towards the new language that Rimbaud had desired and which, far from being a poetic meta-language, will perhaps one day be the one that the classicism of our very distant descendants will have fixed.
In other words, those we call "great poets" represent a particular state of language where, randomly but inevitably, from this mixing of waves, crests so remarkable that they are given a name - an author's name - as we attribute to these great accidents of terrain or to these forms that water takes in seas, lakes, torrents and rivers. But, from one region to another, and despite scrupulous cartographers, we forget the names of the hills, gorges and streams that have contributed to the glory of the Himalayas and the Amazons.
With the highly acclaimed What Future for the Cavalry? which completes them, these Books establish the geography of Redasian poetry, as they forge its compass.
Better than we could, Jacques Réda defines the contours of this book in his moving afterword: The four Books of Recognitions were never the subject of a plan. We should therefore not see in them a sort of anthology a little more incomplete than most of the others, nor even a reflection of my personal tastes alone. All these texts were composed, so to speak, by surprise and by chance during a rereading or a recollection. They very rarely responded to a project that was generally rather vague, except in this very volume, where, not without gaps, I tried to evoke the evolution of French verse. After which, in fact, it was the French language which, gradually and naturally moving away from itself, forced the verse, henceforth without structure, to grope, sometimes brilliantly, towards the new language that Rimbaud had desired and which, far from being a poetic meta-language, will perhaps one day be the one that the classicism of our very distant descendants will have fixed.
In other words, those we call "great poets" represent a particular state of language where, randomly but inevitably, from this mixing of waves, crests so remarkable that they are given a name - an author's name - as we attribute to these great accidents of terrain or to these forms that water takes in seas, lakes, torrents and rivers. But, from one region to another, and despite scrupulous cartographers, we forget the names of the hills, gorges and streams that have contributed to the glory of the Himalayas and the Amazons.
With the highly acclaimed What Future for the Cavalry? which completes them, these Books establish the geography of Redasian poetry, as they forge its compass.