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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;
Writing this book was a gamble for Laing and he knew that it would either be very positively received or not a success at all. At the time, he felt that he had done enough research into schizophrenia and families, and Knots allowed him more creative expression and a bridge out of psychiatry. In R.D. Laing: A Biography, Laing's son, Adrian, notes that Laing spent more time on Knots than any other book, noting that his father had painstakingly worked through eight handwritten drafts.</text>
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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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                <text>&lt;em&gt;FlipchArts &lt;/em&gt;&lt;span&gt;présente un ensemble important d'oeuvres de Benoit Piret réalisées sur des feuilles de Flipchart récupérées en fin de séminaires d'entreprise.&lt;br /&gt;&lt;br /&gt;L'ouvrage s'articule autour des grands thématiques de la démarche de l'artiste : nature, détresses du monde, illustrations et portraits d'artistes. &lt;br /&gt;Le livre se termine par les derniers travaux de Benoit Piret : "Tondos" : un ensemble de tableaux ronds reprenant la figure de personnalités vis-vis desquelles se positionne l'artiste : ceux qu'il apprécie et ceux qu'il honnit.&lt;/span&gt;</text>
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                <text>&lt;span&gt;Plasticien, performer, cinéaste belge. Après une introduction sur la transgression et sur l'esthétique, Jan Bucquoy raconte à Alain de Wasseige son parcours. &lt;br /&gt;&lt;br /&gt;Un livre qui donne à voir les peintures, collages, performances, films et bandes dessinées de l'artiste et rapelle les débats et procès auxquels son oeuvre a donné lieu. &lt;br /&gt;Un livre complété par des points de vue de François Coadou, Théophile de Giraud, Paul Ilegems, Corinne Mayer et par l'émission &lt;/span&gt;&lt;em&gt;Hep Taxi&lt;/em&gt;&lt;span&gt; (RTBF) consacrée à l'artiste.&lt;/span&gt;</text>
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                <text>Un classique de l'histoire du mouvement ouvrier en Belgique. Marcel Liebman retrace de manière extrêmement critique la création du Parti Ouvrier Belge en 1885 et les premiers choix politiques et organisationnels de la jeune formation. L'auteur met le doigt sur les incohérences d'un parti qui pratique un discours révolutionnaire et une phraséologie radicale tout en mettant en place les conditions de la collaboration avec le régime bourgeois. Indépendamment de l'engagement de l'auteur, dont les convictions d'extrême gauche apparaissent d'un bout à l'autre de l'ouvrage, Les Socialistes belges décrit minutieusement les premières années du POB, la fédération des différents groupes socialistes, syndicats, coopératives, organes de presse, l'entrée au Parlement en 1894 et les premiers compromis nécessaires à la consolidation du mouvement.</text>
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                <text>notes et essais</text>
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                <text>Le nom du poète Paul Neuhuys (1897 - 1984) sera toujours lié à la revue anversoise d'avant-garde Ca ira (1920 - 1923) et maison d'édition (1920 - 1984).&lt;br /&gt;Les éditions Ca ira publièrent en janvier 1922 son premier livre en prose qui rassemblait les articles parus dans la revue : Poètes d'aujourd'hui. Orientation actuelle de la conscience lyrique. Il y parlait avec autant de chaleur que de perspicacité des jeunes poètes de son temps, d'Apollinaire à Pansaers. Le livre fut accueilli par la critique, tant française que belge, comme une des études les plus pénétrantes de la poésie contemporaine et lui valut l'amitié de Max Elskamp, d'André Salmon, de Blaise Cendrars, de Jean Cocteau, de Pascal Pia, de Franz Hellens et du Dada belge Clément Pansaers.&lt;br /&gt;&lt;br /&gt;Ce cahier reprend intégralement cet essai, aujourd'hui introuvable. Il comporte en outre des portraits incisifs de Maurice Maeterlinck, de Max Elskamp, de Michel de Ghelderode, de Franz Hellens ... ; des notes sur la peinture ; sur le manque d'intérêt du public dans les années vingt pour la littérature contemporaine ; sur les poètes flamands post-expérimentaux.&lt;br /&gt;&lt;br /&gt;Neuhuys analyse aussi l'influence de Saint-Jhn Perse, Francis Ponge et René Char sur la génération actuelle, et évoque des figures marquantes telles que Antonin Artaud, Auguste Borms, Floris Jespers et Paul Dewalhens.&lt;br /&gt;&lt;br /&gt;Tous les textes de ce recueil, dont certains inédits, concernent le secret de la poéie, inlassablement recherché par Paul Neuhuys.</text>
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