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                <text>Fausta Squatriti remercie André Balthazar pour la réalisation de la Poquette volante.&#13;
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                <text>Le 1er janvier 1915, dans le train qui le ramène de Nice à Marseille, Guillaume Apollinaire rencontre Madeleine.&#13;
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«Madame,&#13;
Madeleine vous a parlé de moi. Je l'adore, elle m'aime. Je veux la rendre heureuse.&#13;
J'ai l'honneur de vous prier de m'accorder sa main.&#13;
[...] J'attends votre réponse avec une très grande anxiété, bien facile à comprendre puisque, étant donné nos sentiments et nos goûts et aussi tout ce qui est la raison de vivre pour Madeleine et pour moi, il n'y a pas, je crois, de par le monde et même avant nous, d'union qui soit mieux assortie [...]»</text>
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                <text>Edition présentée, établie et annotée par Michel Décaudin.&#13;
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                <text>Apollinaire (1880-1918) avait publié en 1910 des contes, L'Hérésiarque et Cie, qui avaient été retenus pour le prix Goncourt. C'est en 1913 qu'il songe à un nouveau recueil, mais la guerre en retarde la publication. Cet ensemble offre une grande diversité apparente de sujets et de tons, mais est dominé par quelques thèmes récurrents: les souvenirs personnels (naissance illégitime, rapports avec sa mère), le mythe du poète mort et éternel (voir L'Enchanteur pourrissant), la création d'un monde imaginaire, l'échec amoureux, la solitude. La dernière nouvelle peut donc, à cause de cette unité, rassembler tous les personnages des récits antérieurs. Le conte le plus développé, éponyme de l'œuvre, présente, sur le mode picaresque, la destinée de Croniamantal, dont le nom fait penser à Chronos (thème du temps) et à "mental". Poète maudit, il fréquente l'Oiseau du Bénin (Picasso) et souffre de son amour pour Tristouse Ballerinette (Marie Laurencin) qui le trahit avec le Fopoîte (faux poète) et appelle la mort sur lui. Celle-ci permet son apothéose. Il renaît dans le dernier conte comme s'il avait présidé à tous les récits intermédiaires. Son double est le Roi-Lune, Louis de Bavière, régnant sur un monde souterrain fantastique, vivant éternel au-delà de la mort.&#13;
&#13;
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                <text>La Galerie Antoinette informe André Balthazar d'un prochain envoi d'argent via un ami de Bruxelles en s'excusant du retard.</text>
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                <text>Les Mamelles de Tirésias est un drame « surréaliste1 » en deux actes et un prologue de Guillaume Apollinaire, créé au conservatoire Maubel le 24 juin 1917 dans une mise en scène de Pierre Albert-Birot2, décor de Serge Férat et costumes d'Irène Lagut. La musique était de Germaine Albert-Birot.&#13;
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                <text>Anatole Jakovsky s'excuse auprès d'André Balthazar de son retard de correspondance. Il évoque maladie et convalescence pour justifier son retard.&lt;br /&gt;&lt;br /&gt;Il indique être capable de concocter un texte sur Van der Steen. &lt;br /&gt;&lt;br /&gt;Anatole Jakovsky propose un autre texte pour une prochaine parution au Daily-Bul. Il fait référence à un ensemble de texte sur les cartes postales. Il laisse libre choix à André Balthazar d'éditer ou non ce genre de texte.&lt;br /&gt;&lt;br /&gt;La correspondance est accompagnée d'une enveloppe ( AEDB-0012/06-0 15-0 000 642 )</text>
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                <text>Anatole Jakovsky fait part à André Balthazar du choix du titre pour sa Poquette volante ainsi que celle de Van der Steen.&#13;
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Il propose de les publiées avant le 15 mars, date de vernissage de l'exposition Van der Steen dans une Galerie parisienne.</text>
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                <text>Ce petit roman peint, dans un charmant désordre, des scènes de la vie de Montparnasse. Écrit pendant la guerre de 14-18, il ressemble à une promenade de permissionnaire, pressé de retrouver tout ce qu'il aime : la ville, les femmes, les mystifications, les gaillardises.</text>
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      <elementSet elementSetId="1">
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            <name>Title</name>
            <description>A name given to the resource</description>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Bauwens, Claude</text>
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          <element elementId="45">
            <name>Publisher</name>
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          <element elementId="42">
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            <description>A language of the resource</description>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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          <element elementId="79">
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        <name>Poésie</name>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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            <description>An entity responsible for making the resource available</description>
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                <text>Fonds Pierre Puttemans</text>
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                <text>Fonds Luc Rémy</text>
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            <name>Description</name>
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                <text>FLRB-BAU-D-0 000219 : dessin et dédicace de l'auteur à Luc Rémy</text>
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        <name>Claude Bauwens</name>
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        <name>Poésie</name>
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                  <text>Bibliothèque de Pierre Puttemans - FPPB</text>
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              <text>2-930188-20-0</text>
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                <text>Mini Cry</text>
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                <text>Bernimolin, Jacques</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Atelier de l'Agneau</text>
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            <name>Date</name>
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                <text>Ouvrage imprimé</text>
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                <text>57 p.</text>
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                <text>FPPB-BER-M-0 000 826</text>
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                <text>« Jeux de mots, calembours, cut-up, détournement de sens, faux lyrisme, humour décapant, sentimentalisme à rebrousse-poil. Grand amateur de jazz, Bernimolin transmettait ses paroles à un rythme souvent effréné (…)&lt;br /&gt; Il n’est plus question ici de bon goût mais d’une approche du texte à l’état brut (…) &lt;br /&gt;Les travaux de Jacques Bernimolin apportent enfin rages, fureurs, sarcasmes et jubilation dans nos pâles contrées poétiques. »
&lt;div style="text-align:right;"&gt;Jacques Izoard, Le Carnet et les instants.&lt;/div&gt;
&lt;br /&gt;Extrait : &lt;br /&gt;SANTA SANGRE – never let me go! le corps nu de l’alchimiste et tutti quanti la procession des cinq sens : l’âme du papier mâché le toucher, le coucher, l’esprit de cellophane cuisinée les ruisseaux de fruits défendus, le pot de colle à peindre les trous noirs pelouse secours pelote la perle et la tempérance (arcane majeur) d’outre-culture balance le sirop écologique lamine la prière d’insérer</text>
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            <name>Provenance</name>
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        <name>dessins</name>
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        <name>Jacques Bernimolin</name>
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        <name>Poésie</name>
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