See you soon!

See you soon!
Taking some time off now, a handful of posts in July-August and I will probably be back on a full schedule in September.

Summer vacation! Yes, it still exists in Europe, but slowly fading away.

on Blogger, Diaspora, Ello, Google+, Medium, Path, Tumblr, Twitter.


Georges Limbour/ Soleils bas

Georges Limbour/Soleils bas
Faux château
Les forteresses des Karpathes

étaient de grands châteaux de pâte.

Les princesses y étaient de sprectres oppressées

mais qui étaient là-haut la ronde de nos pensées.
A cause d’un Seigneur aux épais favoris

nous rêvions la beauté fragile et sans patrie

et cette voix bourrue d’un bourreau podestat

fit cette mélodie qui tout bas nous hanta.
Mais les Karpathes étaient courbes comme faucille

et dans la nuit leur ombre lentement s’avançait

pour faucher dans la plaine barrée de longs fossés

nos cœurs qui avaient osé
contmplet presque à leur hauteur ses forts branlants 

par le regard oblique de leurs maints cerfs-volants.
(Gallimard, 1972, 1930)
Georges Limbour was an early ‘adopter’ of Surrealist poetry and prose, shortly after World War I.

He was a member of the Surrealist Movement in Paris during the 1920s, but was expelled in 1929. Before his association with André Breton and the Surrealists, Limbour co-edited, along with Roger Vitrac and René Crevel, the avant-garde review Aventure (1921–22). Later, he contributed to Georges Bataille’s journal Documents (1929–30), and, with a number of other dissident ex-surrealists, signed the anti-Breton pamphlet Un Cadavre.

This pamphlet was arranged by a number of disaffected surrealists, sharply criticizing the movement’s leader, André Breton, in response to criticism Breton made in his Second Surrealist Manifesto. The manifesto, published in December 1929, directly criticized certain members of the movement and attempted to set the course for future group activities.

The Second Manifesto attacked individuals who were already moving away from Breton, and can be regarded both as his way of formalizing the break and attacking Georges Bataille, who he feared was starting an anti-surrealist movement. The pamphlet Un Cadavre contained short essays by a number of those Breton criticized, many of whom he had formally expelled from the movement for reasons seemingly contrary to its goals, which in hindsight appear to be more a result of his famously imperious pride. For example, according to the Second Manifesto, the prose writer Georges Limbour was expelled for “literary coquetry in the worst sense of the word,” a reason that emphasizes Breton’s rigid disdain for literature, as opposed to poetry. Another major reason for division in the group was its increasingly politicized position, which tended toward Marxism.


Guillaume Apollinaire/Alcools-Le Bestiaire

Guillaume Apollinaire/Alcools suivi de Le Bestiaire
Incertitude, ô mes délices

Vous et moi nous nous en allons

Comme s’ent vont les écrevisses,

A reculons, à reculons.
“Le Bestiaire ou Cortège d’Orphée” is a series of short poems adorned by wood paintings by Raoul Dufy.

It dates back to 1911, so it precedes the famous “Alcools” and “Calligrammes” collections. It is part of my 1975 Gallimard-Poésie copy.

One of the photos shows Apollinaire’s grave in the famous Père Lachaise cemetery in Paris.
(Gallimard, 1975, 1920)
Guillaume Apollinaire (26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish descent.

Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. He is credited with coining the first term in 1911 for the new art movement, and of coining the latter in 1917 to describe the works of Erik Satie. Finally the term Orphism (1912) is of his. Apollinaire wrote one of the earliest works described as Surrealist, the play The Breasts of Tiresias (1917), which was used as the basis for the 1947 opera Les mamelles de Tirésias.

Two years after being wounded in World War I, he died in the Spanish flupandemic of 1918 at age 38.


H.G.Wells/ The First Men in the Moon

H.G.Wells/ The First Men in the Moon

The Last Message Cavor sent to the Earth

And that is all.

It may be he made a hasty attempt to spell “useless” when his fate was close upon him. Whatever it was that was happening about that apparatus we cannot tell. Whatever it was we shall never, I know, receive another message from rhe moon. For my oen part a vivid dream has come to my help, and I see, almost as plainly as though I had seen it in actual fact, a blue-lit shadowy dishadishevelled Cavor struggling in the grip of these insect Selenites, struggling even more desperately and hopelessly as they press upon him, shouting, expostulating, perhaps even at last fighting, and being forced bakwards step by step out of all speech or sing of his fellows, for evermore into the Unknown – into the dark, into the silence that has no end.
H.G. Wells was born in Bromley, Kent, in 1866. Graduating from London University in 1888, he taught science fir a short while until beginning a career as a journalist and novelist. He explored the fantastic and the marvellous, creating much of the groundwork for what we now understand as science fiction. Later on, he adopted a more realistic, socially-conscious approach in both fiction and non-fiction.

He died in 1946.

(Fontana, 1978; first published in 1901)


J.G.Ballard/The Crystal World

J.G.Ballard/ The Crystal World
Part Two: The Illuminated Man

14.The Prismatic Sun
Half an hour later, as they moved off up-river, Sanders leaned back in his seat when they passed the central wharves. In the choppy water the spray broke unevenly, the fallen rainbows carried away in the dark wake behind them. In the street between the arcades an old Negro was standing in the dust with a white shield in his hand, waiting for the boat to go past. On the police jetty Louise Peret stood next to Max Clair. Her eyes hidden by the sun-glasses, she watched Sanders without waving as the boat sped on up the deserted river.
(Panther Books,1978; first published 1966)
Final paragraph in “The Crystal World”.
The West African jungle starts to crystallize. Trees are metamorphosed into enormous jewels. Crocodiles encased in second glittering skins lurch down the river. Pythons with huge blind gemstone eyes rear in heraldic poses. Most men flee the area in terror, But some, dazzled and strangely entranced remain to drift through this dream-world forest.
J.G.Ballard is one of the few writers in the SF genre whose work can be appreciated by a much wider audience as literature of the highest standard.