In the Flesh of the Text: The Poetry of Marie-Claire by Peter Broome

By Peter Broome

This heavily centred learn of the internal hobbies, dynamic tensions and tactile richness of an intensely sensual yet deeply looking out poetry, is the 1st full-length monograph dedicated to one among France's most popular modern girl poets. Marie-Claire Bancquart's paintings explores, essentially in the course of the vulnerabilities and sensitivities of the physique (hence this book's 'carnal' title), the potential of liberating a cry: a salvation of language and spirit from indifference, abstraction and dehumanisation, a party of a moment's reunion with the recreative power of the actual universe, an act of affection in its such a lot inner most but cosmic expression. Bancquart has defined her language as a 'braille of the living': minimum, interrupted and riddled with obscurities and gaps of the unsayable, yet apprehending the area and composing its value in a singularly tactile translation. This research will attract these willing to find the most unique voices of present-day eu poetry, the precise poetic resonances of 1 of its such a lot self-aware and colourful lady sensibilities, and the provocative orientations of 'new writing' traversed via the dilemmas and paradoxes of our personal period.

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184), one reads in Prise: a phrase which marks a turning-point in the text, quelling the over-emphatic exclamatory mode of the opening lines to make way for a tableau closer to that of Définition, involving a land which is a cryptic double, with effects of half-and-half light, a joy permeating time, and a liquid union with aspects of the natural world: Le miel commence à caresser les écorces. La joie n’est pas de l’an prochain. Elle se fait reconnaître au gris empli et désempli du ciel, sur un pays secret dont celui-ci est la doublure.

18), where the pronoun resembles a blockage of identity, caught in a narcissistic minimalism which gathers in nothing from beyond its frontiers. 25), grappling with the nature of selfgiving and the prickly hybrid which is the moi / autre, has the same symptom showing through the tense stitching of the verse: Toutes mes figures sur les autres Je leur crache à la figure. A poetic line could hardly leave a syllable more isolated, as a oneword question of its own function. 20), the ‘Je’ is iterated and reiterated as its own struggling replica: Je superpose Je renâcle J’attise au discours de l’homme Je détourne J’absente Je croise un visage buté.

It is a word which recurs with an insistent significance. 53). The emphasis is again on the translation of inner space into an expanding ‘outer’ space: a foreign land, like poetry, intricately woven to unscroll as words (or a painter’s strokes) emerge from a mental hinterland into the spreading realm of visible signs. The ‘pays’ of Définition may not be a promised land but more a place of unfulfilled glimmers. 76). 140). It is as if that ‘outspread’ were the rupturing of a cocoon, the cocoon here being the containing bubble of the words ‘Je suis…’, a first sheath left behind as alternative colours begin to flourish.

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