L'orthographe, 9e edition by Nina Catach

By Nina Catach

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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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