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                <text>KIRKUS REVIEW&#13;
That most modern sensibility, R. D. Laing, returns with poems that show a continuing attentiveness to the everyday exchanges (some would say epiphanies) of existence. As in Knots (1970) there are dialogues that conjure up the repeated themes of therapy sessions--family tangles, lovers' snarls--but there are also shorter. more conventional forms, even some with quizzical rhyme. Sometimes the language is playful (""I was discontented/ with girls that were rented/so I had invented/ my own"") or echoes sunnier times (""Daisy, Daisy/ what are we going to do?/ I'm half crazy/I'm in love and in hate with you""). And there are the expectable sexual allusions (""Mummy'll scream/if you have a wet dream"" or ""I liked to eat mice/ that was when/ I was ten/now it's men/they're not as nice""). Frequently they seem poised on the edge of some great profundity, some measure of insight but, given the orientation, they stop short of pronouncements. Laing's earlier work has been defended by admirers, disputed by critics; this treads the same symbolic ground, presumably for the same devoted supporters.</text>
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&#13;
This book continues and deepens Laing's research into how the other defines one's personality. Knots was not written in a more formal academic style, but is more poetic and playful. The publishing companies in England as well as the USA did not know whether to classify it as poetry, philosophy, or psychology.&#13;
&#13;
Unlike some of his other writing, Knots appealed to a wide audience and won immediate acceptance with the American audience. Within the first few weeks of its release in America, it sold 75,000 copies. Laing was pleased that this book appealed to people in the mental health community, as much as it did to the average intelligent reader. Knots later became a play, radio show, and a film.&#13;
&#13;
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                <text>Pour Marcel Lecomte (1900-1966), la poésie est l'art le plus riche, le plus difficile et le plus périlleux qui soit : une alchimie qui permet au poète d'établir son miroir magique. Lecomte est un contemplatif ; il cherche le réel sous les apparences de la réalité, et fait du poème « un réel hors du réel ». S'il prend part au premier groupe surréaliste apparu en Belgique – avec Camille Goemans et Paul Nougé –, il est aussi le premier à s'en éloigner. Cette aventure collective aura donné des individualités, celle de Lecomte étant à deviner dans Le Spectateur effacé et Le Voyageur immobile. Proche de Franz Kafka, de Jean Paulhan, Lecomte est aussi l'ami de René Magritte dont il a – aux dires mêmes de celui-ci – orienté la peinture. Du reste, il règne dans de nombreux poèmes de Lecomte le même climat de mystère que celui qui définit les oeuvres de Magritte et de Giorgio de Chirico.&#13;
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                <text>Bruxelles, A l’Enseigne du Paradis Perdu(1936) ; in-4, broché, couverture grise ornée en rouge et noir. 53 pp., 1 f.&lt;br /&gt;&lt;br /&gt;ÉDITION ORIGINALE très rare, qui ne fut tirée qu’à 250 exemplaires. Elle est ornée de 3 bois gravés hors-texte par Elisabeth Ivanovsky, peintre russe, née à Kitchineff en 1910. &lt;br /&gt;&lt;br /&gt;Elle vécut en Belgique, mariée au poète René Meurant. Elle fut élève à l’Académie de Kitchineff et aux Beaux-Arts de la Cambre.&lt;br /&gt;&lt;br /&gt;Recueils de proses poétiques du grand poète belge Marcel Lecomte (1900-1966) dont Paulhan disait : “avec lui, c’est comme si la vie courante avait cessé de courir”.&lt;br /&gt; Dans les années 20 C. Pansaero lui aviat fait connaître Dada, puis Magritte et ayant formé le groupe Correspondance en 1924, il en fut exclu l’année suivante.&lt;br /&gt;&lt;br /&gt;Lecomte vécut à l’écart à Bruxelles, comme disait P. Seghers “mystérieusement lent, massif, évoluant avec une sorte de componction dans une chambre envahie de livres (...) Sa poésie chargée de secret et de présence était celle d’un contemplatif.” &lt;br /&gt;&lt;br /&gt;Pour Fauchereau, Lecomte évoque souvent Chirico, Kafka et Hoffmannstahl.&lt;br /&gt;&lt;br /&gt;Le poète Norge, quand il vivait encore à Bruxelles était un ami très proche de Marcel Lecomte. Sa femme, le peintre Denise Périer, avait réalisé un portrait à l’huile de Marcel Lecomte.‎</text>
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1961</text>
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