Mary Ann Caws

An anthology of writings by legendary poet Tristan Tzara (1896-1963). It includes a critical introduction, an account of variants, and an essay setting the context for the poem.

This volume provides a wide-ranging collection of the writing of noted Bloomsbury figure Vita Sackville-West. One of the most well known lesbian authors of the 20th century, Sackville-West was a central figure among the Bloomsbury modernists, and had a torrid love affair with Virginia Woolf. She wrote in an astounding variety of genres, including travel writing, poetry, fiction, and essays, and is probably best known for her novels, "The Edwardians" and "All Passion Spent", and aristocratic writings about English country gardens. This book collects a wide variety of her works, over half of which, including her travel notebooks, her diaries, some short stories, and her intimate dream notebook, have never been published.

First Published in 1991. Knowing any real city, and still more so, knowing what it is to know a city, may be as much about passive as about active experience. What we read in the field-that field of the city in all its bizarre mixture of culture and nature-is bound to determine, to some non-fictional extent, what we know of it, what we imagine it could be, what we fear it may be, or become. These essays are meant to be, albeit in their critical mode, the recountings of knowing something through something else: they are the projected imagination, through reading, of the reading by the self and/or others (a wide range of each) of a city, or cities as such, of what city-knowing or city-thinking is. The city as stage, market, and labyrinth, variously trafficked and aestheticized, dreamt and politicized, as passionately written by authors from Cicero to Kazin, from Wordsworth, Dickens, Whitman, and Woolf, to Williams, Ashbery, and Bonnefoy, is the place the essays play themselves out, through architecture and metaphor.

Rene Char est l'auteur d'une oeuvre poetique colossale, moins par sa quantite que par sa nature. Composee minutieusement au fil des decennies du XXe siecle, elle se pose desormais comme une pyramide d'airain, resistant aux plus rudes atmospheres, qu'elles soient de balles tirees ou de mollesse mortifere. Chaque pierre - aux aretes vives, parfois coupantes comme une lame - est un poeme, c'est-a-dire un fragment. Rene Char, considere par son ami Albert Camus comme "le plus grand poete" depuis le Rimbaud des Illuminations ou l'Apollinaire d'Alcools, privilegia cette forme breve, directe comme un coup de poing et nimbee de l'aura mysterieuse d'Heraclite. Peut-on cependant reperer une coherence dans cet ensemble a priori eclate? C'est la question a laquelle s'efforce ici de repondre Mary Ann Caws. En somme, quel est le ciment de la pyramide? La resistance ? Reponse sans doute trop facile, la resistance etant plutot l'effet de la soudure que la substance elle-meme. Mary Ann Caws ne se contente donc pas d'ecouter le son rendu par les pierres; elle cherche, trouve puis suit pas a pas, dans une obscurite souvent profonde, le fil menant au coeur de l'edifice.

No detailed description available for "Surrealism and the literary imagination".