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Robert Desnos/ Corps et Biens


Robert Desnos/ Corps et Biens
L’Aumonyme (1923)
(…)

Vingt fois buvez ce vin.

L’or est hors de nos mains

qui demain

palperont les cinq seins

d’une femme plus belle que

la qui bêle.
Timide { à nos portes

humide{ ”

on la porte en ville

(la beauté est vile)

civile.
Mille grains de mil

pour les gringalets
ricochez sur la vie.
(…)
(Gallimard, 1953, 1968)
In 1919, Robert Desnos met the poet Benjamin Péret who introduced him to the Paris Dada group and André Breton, with whom he soon became friends. While working as a literary columnist for Paris-Soir, Desnos was an active member of the Surrealist group and developed a particular talent for automatic writing. He, together with writers such as Louis Aragon and Paul Éluard, would form the literary vanguard of surrealism. André Breton included two photographs of Desnos sleeping in his surrealist novel Nadja.[2] Although he was praised by Breton in his 1924 Manifeste du Surréalisme for being the movement’s “prophet”, Desnos disagreed with Surrealism’s involvement in communist politics, which caused a rift between him and Breton. Desnos continued work as a columnist.
“Corps et Biens” was published in 1930, at a time when French Surrealism in literature (and in painting and movies) was, so to say, on the way back. Breton, Soupault, Aragon, Péret, Artaud and Desnos himself had already published their most significant writings in the past decade. 
I bought this book way back in the sixties, when I was a student at the Univerity of Leuven, Belgium.

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