Crosscut Universe: Writing on Writing from France by Norma Cole

By Norma Cole

This can be my scan.


Norma Cole has combed via books, little magazines, and correspondence to assemble an exhilarating physique of writing by way of our French contemporaries. There are letters, poems, interviews, serious items, and texts that can't be labeled. The authors comprise Anne-Marie Albiach, Jöe Bousquet, Danielle Collobert, Jean Daive, André Du Bouchet, Dominique Fourcade, Liliane Giraudon, Emmanuel Hocquard, Claude Royet-Journoud, Jacques Roubaud, Agnès Rouzier.

The texts (whether excerpted or entire) have been chosen for his or her curiosity as writing and for the dialog they input into by means of showing jointly. a talk that creates new contexts for every person textual content, but additionally widens the point of view during which loads of writing imported from France, for example poésie blanche -- the writing of the "blank page" -- will be learn. This dialog, rigorous and vigilant, addressing concerns reminiscent of biographical and old situations, and the relation of writing to different writing (reading), has been happening for your time. listed below are a few items of it, such a lot of them showing for the 1st time in English.

Introduction, Norma Cole

"Par ces rappels, je n'entends rien prouver, mais seulement orienter l'attention."

--Maurice Blanchot, L'entretien infini

There are conversations embedded in those pages, a type of cross-talk via time and house. Texts, interviews, severe items, magazine entries, letters, worknotes and not less than one basic checklist make seen and audible an openwork of embodied voices in dialog, within the planned breaking open of intentionalities, keeping apart unmarried parts at one extremity, a number of folds, advanced rhythmic architechtonics within the strategy of being developed and deconstructed on the different. almost all these items were released in France in literary journals, as books or as elements of books, even if at the least one has been circulated privately as a "report." One textual content, a visitor turning into ghost, was once revoked whilst the writer, even though proud of the interpretation, determined his personal textual content had to be thoroughly rewritten. the various writing the following will expand the to be had paintings of writers formerly translated and now widely used to North American readers, whereas a few texts will introduce new paintings and new names.

Dialogic threads echo and reverberate via concerns of physique and ebook, silence as either restraint and construction of that means, the neuter or impartial because the unassigned on the subject of sociopolitical complexities of tackle, the sentence of syntax and precedent. units of references point out issues of orientation and query assumptions of task. Their generosity and hospitality are impressive as is their rigor of research. Writing is motion, the phenomenological self coming into language, already a particular set of stipulations inside of stipulations. Writing and its silences are made of particular concrete judgements. situations and occasions (such as global wars and the Algerian fight for independence), from element to aspect, date thus far, aren't backdrop yet making a choice on evidence showing at assorted focal lengths, from naming to silence, trying out the orders of apprehension in addition to of writing.

Here is more than a few writing at various levels of entering being, self-aware, featuring a stance very diverse from the taxonomy of "text/paratext." In Beginnings, Edward acknowledged asserts, "One of the severe differences of contemporary literature is the significance given through the author to his personal paratexts -- writings that discover his operating difficulties in creating a text." the other impulse is at paintings the following, for what's of curiosity is how the texts learn jointly deliberately or inadvertently, addressing one another and writing past the boundaries of this or any unmarried volume.


Norma Cole lives in San Francisco. her books of poems comprise Mars, Moira, Contrafact, wish and its Double, & The Vulgar Tongue. Her translations of French poets have seemed in lots of guides.

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Extra info for Crosscut Universe: Writing on Writing from France

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A-MA: That's not at the first level. I don't want to reveal it. But I know what I'm referring to. I'm referring to my father. I'm referring to .... There are biographical references which are sublimated by fiction. JD: By fiction? A-M A: By fiction. JD: By theatricality, you mean? A-M A: Yes, by a fiction. By a fiction. JD: Those notes were written before your reading? A-M A: Before. JD: And afterwards? A-M A: I read this morning. And took no notes after. JD: None .... 32 A-M A: I only noticed that there are also repetitions in the text, too.

I stretch into the transparency of my disappearance. * poem leaving on this fault like a light illuminated at the ends of the earth * alone what is extreme is entitled to air * 55 ... the altitude of poetry above regular life. But I don't lose sight of what annihilates me. * It isn't a particular memory that moves me. It isn't those feet in the snow, but something that has not yet arrived and which pushes us on. * Baudelaire seeks the singularly different, the Invariable: that which stays the same, and which he can only conceive as particularly different from what he is .

A-MA: And that terror, it often comes back in my text, terror. A very powerful word. from a difficulty with attention, and then don't forget that there was a threat. There is a permanent threat all along... 35 JD: ... A-M A: When I speak in another text of a "chain," it's a chain that isn't decoration, I am trying to give the body magical power. ) Those ornaments are magic. JD: And they protect from what? A-MA: They are protection from terror. I must say that I am very attracted to equations, number, geometry, it seems to me that verse coheres there, the verse you spoke of.

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