A special example of the French 'livre d'artiste' tradition, which represents the culmination of a series of imaginary and real travel accounts. --Moving Parts Press. Elizabeth R. Jackson's faithful and intelligent translation is presented ... with Michaux's 13 lithographs interleaved. This is just the way such book should be done, with printing as asthetic as the images. ... --Mary Ann Caws.

The first critical study of the key role that modern French literature played in the formation and development of the oeuvres of the major American Beat writers in the mid-20th century.

Life in the Folds, originally published in French in 1949, is the Belgian-born author and artist Henri Michaux's (1899-1984) most direct exploration of the many forms of suffering, a laboratory of fantastical, destructive energies in which the poet presents his methods for dealing with the world around him. The first two sections offer such items as the Slapping Gun and the Man Sling (in the section "Freedom of Action") to the scenarios that call for defensive measures such as the "Constellation of Jabs" and the visceral "Blow of Fatigue" (in the section "Apparitions"). Also included is one of Michaux's more complex fantastical-anthropological travelogues, "Portrait of the Meidosems," an account of the ways and manners of a population of vague ectoplasmic figures, anguished filaments of sorts that struggle to exist but are never allowed to sit still. This volume charts a turning point in Michaux's life and in the world, where his earlier depictions of visualized psychology and suffering found representation in a traumatized Europe. Imbued by the war years, the Occupation and the horror of the concentration camps, Life in the Foldsbears the scars of Michaux's own personal catastrophe--the loss of his wife, who had died of "atrocious burns" the previous year--and concludes with the autobiographical text, "Old Age of Pollagoras," a wearied testament uttered before a haunted "plain of death."

As the figure of Wallace Stevens (1879-1955) becomes so entrenched in the Modernist canon that he serves as a major reference point for poets and critics alike, the time has come to investigate poetry and poetics after him. The ambiguity of the preposition is intentional: while after may refer neutrally to chronological sequence, it also implies ways of aesthetically modeling poetry on a predecessor. Likewise, the general heading of poetry and poetics allows the sixteen contributors to this volume to range far and wide in terms of poetics (from postwar formalists to poets associated with various strands of Postmodernism, Language poetry, even Confessional poetry), ethnic identities (with a diverse selection of poets of color), nationalities (including the Irish Nobel Laureate Seamus Heaney and several English poets), or language (sidestepping into French and Czech poetry). Besides offering a rich harvest of concrete case studies, Poetry and Poetics after Wallace Stevens also reconsiders possibilities for talking about poetic influence. How can we define and refine the ways in which we establish links between earlier and later poems? At what level of abstraction do such links exist? What have we learned from debates about competing poetic eras and traditions? How is our understanding of an older writer reshaped by engaging with later ones? And what are we perhaps not paying attention to-aesthetically, but also politically, historically, thematically-when we relate contemporary poetry to someone as idiosyncratic as Stevens?

This anthology is the companion volume to The Appreciation of Modern French Poetry, the aim of which was to give detailed preliminary help with the problems of poetic appreciation. The fourteen poets represented here provide a varied and exciting introduction to what is probably the richest century of French poetry, from 1850 to 1950. Hugo, the colossus of the nineteenth century, whose work gives new resonance and vitality to imaginative vision, opens the anthology, and Michaux, the most individual and 'modern' of twentieth-century poets in that he bridges the gap between poetry and contemporary science, closes it. Almost all the major poets of the period are included: Nerval, Baudelaire, Mallarmé, Verlaine, Rimbaud and Laforgue from the second half of the nineteenth century; Valéry, Apollinaire, Supervielle and Eluard in the twentieth. The lesser known Cros and Desnos, fresh and spontaneous poets with an immediate appeal, invite a new look at the lyric traditions of french verse and offer an attractive new avenue for study. The choice of poems, dictated above all by their individual poetic value, reflects also the trends of recent criticism and the tastes of present-day readers. The texts are all accompanied by full notes, which not only explain local difficulties of vocabulary, syntax and expression, but lead the reader directly into the heart of the richness of theme, style and interpretation. These will prove of value not only to the student who is grappling with the basics of french verse, or is anxious to give depth to his familiarity, but to the general reader seeking to rekindle his enjoyment of French poetry. In addition, there are introductions to each poet summarizing the essence of his art, useful suggestions for further reading, and groups of dicussion topics to stimulate comparative insights and a wider responsiveness.

Critics have compared the work of French writer Henri Michaux (1899-1984) to such diverse artists as Kafka, Goya, Swift, Klee, and Beckett. This anthology contains substantial selections from almost all of Michaux's major works, most never before published in English, and allows readers to explore the haunting verbal and pictorial landscape of a 20th-century visionary. 30 photos.