Paul Claudel

#2

1994

How to reconcile the necessary loneliness of the creator and the need to build a community of spirits that are close to the neighboring requirements? For Yves Bonnefoy, sharing is the meaning of the poetic experience, in his eyes different from mere literature. One of the moments is that of writing a letter. The edition of his Correspondence associates the letters he has written with those he has received. It brings out the fabric of a life of man and poet, with its network of friendships, constant or mobile, according to alliances, chances and crumples. This first volume, begun with the collaboration of Yves Bonnefoy, brings together more than nine hundred letters exchanged in the second half of the twentieth century, to which are added some e-mails.^ The dialogues, with forty-nine correspondents, are organized around two axes: on the one hand, links from surrealism - André Breton, Pierre Alechinsky, Gilbert Lely, Christian Dotremont, George Henein, Raoul Ubac, Jacqueline Lamba, André Pieyre of Mandiargues, Hans Bellmer, Jean Brun; on the other hand, the friendships which after fifteen years led to the creation of L'Éphémère (1967-1972), the magnificent magazine published by the Maeght editions: André du Bouchet, Jacques Dupin and Gaëtan Picon , Louis-René des Forêts and Paul Celan.^ The other authors of the letters are in no way secondary characters, neither in themselves, nor by the place they occupied in the world of Bonnefoy: Gaston Bachelard, Jean Wahl and Andre Chastel, his masters; then Gilbert Lely, Salah Stétié, Pierre Jean Jouve, Gabriel Bounoure, Christiane Martin du Gard, Philippe Jaccottet, Boris Schloezer, André Frenaud, Michel Butor, Emil Cioran, Monique Wittig, Paul Benichou, Jean-Pierre Richard or Henry Corbin, for to name only them. Here you will find a wealth of information about the poet's work and the sensibility of an era, with notes enriched with excerpts from the writer's Chronology by himself, also unpublished.--Translation of page 4 of cover by Fabula.

#3

World-renowned historian Howard Zinn has turned to drama to explore the legacy of Karl Marx and Emma Goldman and to delve into the intricacies of political and social conscience perhaps more deeply than traditional history permits. Three Plays brings together all this work, including the previously unpublished Daughter of Venus, along with a new introductory essay on political theater, and prefaces to each of the plays.“The first act of ‘Emma,’ Howard Zinn’s play about Emma Goldman, is a small miracle. Here is a drama that holds down the heroics, polemics and didacticism to which works about heroes and heroines are prone. True, Emma is idealized; she is loving, honest, selfless, daring, but she is also human and believable.”—Walter Goodman, New York Times“[Marx in Soho is] an imaginative critique of our society’s hypocrisies and injustices, and an entertaining, vivid portrait of Karl Marx as a voice of humanitarian justice — which is perhaps the best way to remember him.” —Kirkus Reviews“[Daughter of Venus’s] central concerns — personal and social ethics; the balance of obligations to ourselves, our families, and our fellow citizens; the uses and abuses of political and scientific power — remain as timely as ever. . . . Zinn not only displays a fluid and passionately committed style but also is attempting to do something interesting with it: to interweave a story of familial tensions and national politics, and in doing so to remind us that the way we live our lives on the small, local, day-to-day scale of family life can have repercussions and implications for the life of the nation at large.”—Louise Kennedy, Boston Globe