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2 And on stage finally is a vacuous traveller ‘à qui rien ne suffit, ni wagon ni vaisseau’. 108. 122. 62 In the flesh of the text savoir pas demeurer en repos dans une chambre’3. ’4. The title connects, therefore, with questions of movement or stasis: not only in the sense of a fixed position in an enclosed compartment, sedentary in essence, subjected to a bombardment of passing perceptions and the challenge of a speeding landscape, but also as an invitation to speculate on progress, on whether, in their successive probes and overall advance, lives are heading somewhere or nowhere.

41)? 60). 104)? For it is at that extreme point of selfobliteration that the title Mémoire d’abolie assumes its full significance. 118) and which, if it can still dream, may also be a beginning. 179). OPPORTUNITÉ DES OISEAUX (1986) Trains Seule entre la grande neige et l’homme assis une vitre que mange un arbre au passage. Des souvenirs, des ombres sur le train, la hiérarchie d’un monde profondément gelé sous l’eau sèche qui serre les racines. La terre tourne avec ses planètes solidifiées. Dedans dehors multiples de cristaux.

10. On the other hand, as the poetic probe sounds a new space, language can seem shot through with a new time, by which it is ‘aerated’ and able to experience itself in a new mix, as if turned inside out. 67), says the voice of D’une fougère bleue les veines. 130. 94. 111). 134). To speak of hearing the sun consummating its curve suggests a voice of time. It is only one step to see in poetry the exercise of a time-language endowed with parabolas of energy, a rise and fall of utterance in figures, and forms of sound.

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