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&lt;br /&gt;Pour bien comprendre les Éléments de Géométrie, son dernier recueil publié, il est bon d’avoir lu d’abord &lt;em&gt;Le Poème exacerbé&lt;/em&gt;, recueil des quatre conférences qu’il a prononcées à l’Université de Louvain-la-Neuve en 1991, lorsqu’il y occupait la Chaire de Poétique.&lt;br /&gt; Il y décrit avec une grande lucidité ses préoccupations philosophiques, souvent douloureuses. Cette lecture fait réfléchir sur la nature de cet humour que la plupart des commentateurs soulignent chez lui, et qui en ferait une sorte d’amuseur anodin, dont les affirmations paradoxales ou choquantes se ramèneraient à des taquineries.&lt;br /&gt; Son appartenance au groupe &lt;strong&gt;&lt;em&gt;Phantomas&lt;/em&gt;&lt;/strong&gt; semble en effet justifier cette affirmation, mais selon moi il n’y a plus de doute : cet humour-là est bien celui dont Freud disait qu’il est l’épargne du sentiment. Sous lui, il n’y a que détresse, désarroi, impuissance, terreur et même épouvante. Cet humour est l’élégance du désespoir. &lt;br /&gt;&lt;br /&gt;Dans &lt;em&gt;Le Poème exacerbé&lt;/em&gt; apparaissent les grands thèmes sous lesquels se groupent ses réflexions. Réflexions qui sont des fragments, dans la tradition des philosophes présocratiques qu’il admirait tant, et reprise par Cioran, un autre auteur qu’il appréciait. &lt;br /&gt;Ces thèmes sont : le rejet du rationnel, en corollaire : le rejet des effets littéraires ou rhétoriques, la méfiance à l’égard du langage, la transe devant la nature, en corollaire : l’association beauté/nature/épouvante</text>
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                <text>Connaissant la discrétion et la rareté du poète François Jacqmin (1929-1992), on pouvait s'attendre à voir surgir quelque inédit, comme c'est le cas avec ce recueil dont on espère qu'il inaugure une série de publications nouvelles.&lt;br /&gt;&lt;br /&gt; Le titre et le thème de ce livre ne surprennent pas non plus : la rigueur et le sens du trait n'étant pas les moindres qualités du poète, rien d'étonnant à ce que nous soit ainsi proposé un ironique manuel de mathématiques paradoxales. La poésie de Jacqmin est assurément une poésie d'altitude. Poésie philosophique, poésie de la pensée ou poésie verticale (pour faire référence à Juarroz, elle ne dédaigne pas l'aridité du concept et aborde les grandes questions métaphysiques tout en étant obsédée par son impuissance à les résoudre, dans une sorte de lucidité noire et d'humilité enragée (on songe à Pessoa). Sa morale philosophique est un mélange de stoïcisme (la résignation est la vertu cardinale) et de scepticisme absolu. &lt;br /&gt;&lt;br /&gt;Suite:&lt;a target="_blank" rel="noreferrer"&gt; http://pierre.campion2.free.fr/albarracin_jacqmin.htm&lt;/a&gt;</text>
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Ce n'est point par hasard que l'acrostiche de Iessous Christos Theou Yios Sôter compose le mot poisson (Ichtys) : l'eau sera donc Esprit. Mais, aussi bien, puisque pneuma signifie souffle, le Saint-Esprit sera colombe. Ainsi la parole du poète demeure-t-elle préhensive, compréhensive, toujours sentie, toujours sensible, toujours moins conçue que vécue, bref : symbolique. Son essence est la mimésis. Elle parle par ressemblance : la répétition du rythme, l'écho de la rime, les rappels de l'assonance, les doublets du calembour, les reflets du pastiche, etc. Son jeu verbal est masque, enchantement, défense, agressivité, séduction, pudeur, triomphe. On retiendra surtout l'effet de ce langage naturel. Comme il a pour principe la ressemblance et non la contiguïté, il rompt avec les habitudes de la parlerie quotidienne et il nous prend à l'imprévu de l'invention. L'invention se fait devant nous, en nous, un dieu nous gagne : enthousiasme. Le poète, qui souhaite une poésie accessible à tous, nous offre de participer à ses propres surprises.» &#13;
Yvon Belaval.</text>
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                <text>Composé par Marie de France à la fin du xiie siècle, ce lai est un pur conte de fées. Son héros vit au temps mythique des chevaliers de la Table Ronde, à la cour du roi Arthur. Mais le roi l’a oublié dans ses largesses et il se trouve dans la misère. Il quitte les siens, en quête d’un autre monde plus favorable, et rencontre une femme mystérieuse, éblouissante de beauté, qui lui offre son amour et sa protection : « Lanval, mon ami, c’est pour vous que j’ai quitté ma terre, je suis venue de loin pour vous chercher. Si vous vous montrez valeureux et courtois, ni empereur, ni comte, ni roi ne pourront prétendre à votre bonheur car je vous aime plus que tout ! » Amoureux au premier regard, Lanval accepte toutes les propositions de la belle inconnue, qui ne sera jamais nommée. C’est une fée, qui offre au héros son amour et toutes les richesses du monde à une seule condition, qu’il accepte aussitôt : il devra toujours garder le secret sur leur union. Mais cet amour sera contrarié par la société humaine. Lanval et son amie ne trouveront le bonheur qu’au pays des fées, le monde rêvé où l’amour peut s’épanouir sans entraves. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Mélusine ou La Noble Histoire de Lusignan&lt;/em&gt; Le roman de Jean d’Arras, Mélusine ou La Noble Histoire de Lusignan, terminé en 1393, fait entendre pour la première fois dans la littérature les « cris de la fée » Mélusine, que son époux, manquant à sa parole, a surprise sous sa forme de serpente. Roman foisonnant, qui mêle récits de croisades, chroniques historiques, livre d’éducation des princes, épisodes épiques et contes de fées. Roman qui prête au conte universel des amours impossibles entre un mortel et un être surnaturel les traits propres à la culture princière du Moyen Age flamboyant, son amour du livre, son souci dynastique. Roman qui, comme tant d’autres récits médiévaux, recourt simultanément aux histoires les plus fabuleuses et aux faits les plus concrets pour affronter la grande question des relations entre les sexes et entre les mondes. Cette nouvelle édition fait appel à l’ensemble de la tradition manuscrite de Mélusine de Jean d’Arras ; elle en offre, pour la première fois, une traduction intégrale.</text>
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                <text>Reproductions de peintures acryliques sur toiles de l'auteure.&#13;
Dédicace de l'auteure à Pierre Puttemans.&#13;
Préface de Stephan Levy Kuentz.</text>
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                <text>FPPB-JAC-C-0 001 736</text>
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                <text>Dans ce recueil de lettres plus ou moins imaginaires suivies de commentaires, Max Jacob trace un portrait satirique de la société en général, de la vie de province, de sa bourgeoisie parfois sordide. Mais la dernière lettre est la bulle d'un pape du IXe siècle, ce qui lui permet de parler de l'abbaye de Saint-Benoît-sur-Loire, où la gestapo vint l'arrêter.</text>
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Photos de Lionel Koenig.&#13;
Traduction de l'avertissement de Sarenco par Carla d'Angelo-Bordoni.&#13;
Dédicace de l'auteur à Pierre Puttemans.</text>
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                <text>Théodore Koenig a vécu seulement quelques années à Montréal. Il a quand même publié quatre recueils chez Erta, dont un en collaboration avec Roland Giguère. (Voir Les éditions Erta) C’est un voyage sur le Saint-Laurent qui aurait inspiré Le jardin zoologique écrit en mer.&lt;br /&gt;&lt;br /&gt; Un Saint-Laurent rêvé, il faut bien le dire, car on ne retrouve rien de près ou de loin qui puisse nous faire voir notre fleuve. À moins que nous n’ayons jamais su voir… Ce recueil est d’abord un voyage dans les mots. On pourrait penser à Gauvreau, mais non, rien à voir avec l’exploréen. Koenig compose un bestiaire — le titre et les dessins de Tremblay nous aident à le comprendre — qui donne dans le merveilleux. Rien d’agressif dans le ton, on est plutôt dans la fantaisie et l’humour. &lt;br /&gt;&lt;br /&gt;Le recueil ne véhicule pas vraiment une vision du monde, peut-être une vision artistique, mais encore. Mots inventés, mots-valises, mots dérivés, mots tronqués, jeux de mots, clichés, les mots deviennent des objets qui permettent toutes les dérives. Dès le premier poème du recueil, intitulé « Avertissement de l’auteur », on a droit à « l’oiseau Courvite » au « pupiaire Hyppobosque », au « mollusque Circé », à « l’antilope Sing-Sing », à la « raie Pastenague », au « lézard Sauvegarde ». Drôle de ménagerie, vous l’admettrez. Et le plus souvent, ce sont les associations lexicales et sonores plutôt que le sens qui guident l’avancée du poème. « Ane ou bien cheval / ce nerf tout bouc tout cerf O confrères / ce couvreur couvert / pustules rondes et carrées / fond les dociles chèvres aux douces montagnes de Bièvre » (L’Hicorcerf). &lt;br /&gt;&lt;br /&gt;Pour peu qu’on accepte le jeu, on parcourt un monde qui n’existe pas, qui a encore moins de consistance que celui des contes merveilleux. Koenig jette les mots sur le papier comme certains peintres le font pour la peinture. Dadaïsme, surréalisme, automatisme, dripping, le recueil de Koenig appartient à cette époque et s’en nourrit. On a parlé jusqu’ici de l’écriture, mais chaque poème est accompagné d’une illustration de Conrad Tremblay. Et quelles illustrations! Je vois peu de recueils où texte et image soient aussi nécessaires l’un à l’autre. Ils s’interpellent davantage qu’ils se répondent et il y aurait une étude savante à tirer de leurs relations, ce dont je me garderai. Chose sûre, il serait absurde de re-publier ce recueil sans les images de Tremblay.&lt;br /&gt;&lt;br /&gt;Extrait de : &lt;a href="https://laurentiana.blogspot.com/2018/01/le-jardin-zoologique-ecrit-en-mer.html" target="_blank" rel="noreferrer"&gt;https://laurentiana.blogspot.com/2018/01/le-jardin-zoologique-ecrit-en-mer.html&lt;/a&gt;</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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