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These poems are not only closer to the surrealist preference for shorter poems, they lend themselves better to a possible reprint. The same will apply to the small additions to the versions of the Cahier that make their appearance in Tropiques. This is also the case for our drama, which will see three excerpts published in Tropiques and reprinted elsewhere between and Another letter tells us that Breton also imagined a French-only edition at some point.

The picture that emerges is of a larger edited volume with the Cahier as a centerpiece, followed by poems from Tombeau du soleil and Colombes et menfenils.

As we pointed out above, the poems will be published not with the Cahier , but with Et les chiens se taisaient. Publier un recueil. Although Breton was affiliated with the librarie Gallimard 35 as far back as the s and after the Liberation became a reader for them Histoire , the collection, as we know it, did not come about because of his efforts. Undoubtedly, the different conditions of publication and the new collaborator will allow for a new arrangement of the poems, a difference that is evident when we compare the published version with the Tombeau and Colombes documents.

The rest of the genetic portfolio also recommends we should proceed with caution. From their early beginnings until the end result, the poems belonging to Les Armes miraculeuses are kept separate from the text belonging to Et les chiens se taisaient. This is not to say that both sets of texts, the poems and the drama, do not bear the mark of shared editorial horizons and poetic imaginaries. One of the striking features of the arrangement of poems in the Gallimard edition in relation to the relative arrangement of everything that precedes it is the seeming lack of continuity between the two.

At first, everything seems to have been rearranged. However, careful analysis reveals the intimation of a pattern. If all the fragments combined were a deck of cards, we could say that the contents of Tombeau du soleil and Colombes et menfenils have been shuffled once—a bad, lumpy shuffle. The two original sequences remain almost intact as they become enmeshed in each other. While we can claim that the new collection undoes the contiguities of the Tombeau and Colombes assemblages, the new collection preserves their original sequences almost intact.


PDF Le manuscrit de Port-Ebène (Littérature Française) (French Edition)

Figure r below represents this shuffle as a legogram. Click for the full graph. All three are a result of the unique editorial environment of the war period. We now turn to them, before tackling the larger set of shuffles from typescript to print in a later chapter. We return now to the study of Et les chiens se taisaient proper, informed by the complex dynamics described above.

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The title is as ambiguous as the titles we examined above, referring to an absent whole without clarifying its whereabouts. This date is as questionable to me as August for Tombeau du soleil and Colombes et menfenils. For the sake of this study, I will work under the assumption that the manuscript in the Doucet library predates the publication of the Tropiques text. These fragments appear in a different relative sequence between p. The interlude does not read like an Intermezzo to be inserted between acts of an opera seria , but rather like a reformulation of the action of Acte I.

The words of the Master of Ceremonies have been omitted, and the visions of the oracles and the fetishes of the birth of a nation now become intertwined with the transfigured vision of the blind rebel and his chorus. These four categories are related to bibliography in one way or another: a is related to the headings that tell us who is speaking; b and c are both related to sequence, what is adjacent to what; d is perhaps the more complex case, and on the surface it seems to belong solely to hermeneutics, but if we stop a second, we realize that in the drama-as-text, the action is marked by specific stage directions.

In other words, the main transformations come about through sequence, headers and the use of bibliographic markers to indicate or not stage directions. The content remained, modular and adaptable. While the loose network of journals led to a fragmented poetic production, where the identity of textual bodies remained flexible enough to adapt to the exigencies of international collaboration, the pre-published components of the drama emulate this behavior. The catalyst for this purported shift in poetics is the unstable identity of textual blocks called to serve different functions depending on the occasion.

We have already seen many examples of this phenomenon above. That a minuscule interlude doubled as an advertisement for a forthcoming drama should have come as no surprise to a Tropiques audience, or an international one for that matter. As we saw above, many fragments were published as promises of larger things to come during this period. He simply references the work, leaving ambiguous how the full text will be made public or whether it has been made so already elsewhere.

This innocuous bit of information can only have one function in the absence of a clearer connection to a parent text: to instruct an editor of the play where to place the fragment. The end result is a textual unit of dubious identity: an advertisement? The text that we read next to the original typescript can only be placed there by an act of remediation or transposition from the vantage point of hindsight.

You will assimilate to me

In this sense, the speculative versions of Chapter 2 participate in the same process as the networked relations of fragments, blocks, poems, collections, published or unpublished, authorial, editorial or infrastructural, in the broken record of all textuality. The next pre-publication of a fragment associated with the drama adds another layer of misdirection. Acte I. Read this way, the passage by Breton seems to prefigure the transition from the typescript to the text. Se laisser dominer par ses images.

Read bibliographically: To achieve these emancipatory poetic ambitions, stage directions had to blend with the poetry, the identity of speakers had to be confounded, textual sequence had to resist linear history, etc.

PDF Le manuscrit de Port-Ebène (Littérature Française) (French Edition)

Blocks of text were dislodged from one context to adapt to another without allegiance. The incredible fragmentation and reorganization that led to the text could not but generate the oneiric effect, which was there only in potentia in the typescript. Two of the fragments are typographically continuous, while the third is separated by a dotted line. Mais nu. Without the acceptance of death to frame it, the text now reads like a poetic manifesto.

Cobbled up after the letter to Breton, the freedom from constraints called for by the fragment reinforces the missive to Breton. This sliver of textual evidence suggests that the major reorganization had not begun in full force in May of The text is reprinted almost exactly from the Tropiques version, to the point of preserving the dotted line used by the Martinique journal. From this point forward, the erstwhile teacher, editor and poet will divide his attention to politics for decades to come.

Its variants also approach the later text. This fact reinforces the announcement to Breton that indeed at this stage the text is approaching its form. The words mostly belong to La Recitante, with a few culled from the Chorus. In short, the original plot does not help us make sense of the condensation. Where the original ashes belonged to the beginning of the slave revolt, they now reflect on a Europe in ruins.

Chronique d'Histoire, de Géographie et de Littérature de la Bretagne

Where the slave and the master are buried in the mock ceremony of the Chorus in the typescript, they now join the ranks of the senseless dead. Where the traps and illusions of the crafty French negotiators threatened to lead astray the crowd of Haitian rebels, they now refer to the political confusion that follows the war.

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In the typescript this block belongs to the second wind of the revolution lead by Dessalines; here, it stands alone as a statement of universal hope. The appeal for an audience coming out of World War II, for which the fragment is adapted, can be imagined. Following the same logic that made his earlier texts available for reprint, this new text has the potential to be well received by the mourning, hopeful, vulnerable public of post-Liberation France.

The reading also confirms that the surrealist agenda that would divorce poetry from historical reference—by bracketing it in a dream world—becomes reabsorbed by the historical conditions of its appearance. The text assimilates despite itself. The reorganization of the fragments around one recurrent word is, of course, a brilliant poetic and editorial feat. Nevertheless, these debates have concentrated for the most part on what Zadi-Zaourou would call symbolic and rhythmic functions. Though order of composition does not belie or support any of these assessments, repetition clearly served an editorial function in addition to any purported symbolic or rhythmic function.

In enough cases to give us pause, poetic segments were bound together by repetition after they were individually composed. In Chapter 5 we explore this conversation that text has with itself, away from the historical and geographical considerations of this chapter, to study, at the most inhuman, abstract level, the topology of all text. In the next, though, we prepare ourselves for such cold imaginaries with an earthy divertimento: the tale of the High Noon ghost.

His work was also known in other francophone countries under the reach of surrealist circuits. Seligmann, Katerina Gonzalez.

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And my ear reckons the chilling silence of Man in the Caribbean. I hear the cry of steel, the battle drums in the bush, the temple prayers among the Banyan trees. And I know it is Man who speaks. Hitherto and forever, and I listen. But here the monstrous atrophy of the voice, the secular decrepitude, the prodigious mutism. No city. No art. No poetry. If we strive to be more than mere spectators of the human adventure, if we believe that we must make a personal offering simply to participate in a true humanity, if we are convinced that it is not to comprehend, but to make what really matters, we know what is our task, and what way leads to its realization.

Martinique 20 juillet Sadly, the blog only records front covers. These, already, reveal a movement towards cleaner, less cluttered layout, which Tropiques exemplifies. Computer generated geo-temporal visualizations should help us visualize these relations in the near future. I have not been able to recover the book. A word culled from Spengler to signify what others now call hegemony.