Guillaume apollinaire biography brevedad
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Piccolo manuale del perfetto avventuriero
The existence of this book is, quite frankly, bizarre.
The preface introduces Pierre Mac Orlan — an influential but neglected French writer of the early twentieth century. A writer of absurdist tales and adventure novels, personal essays and accordion songs. Under pseudonym, an abundance of flagellation novels. Some of these novels were made into films including the semi-famous Port of Shadows. Yet almost none of his work was translated into English and that which was is all but impossible to find.
All of this is well and good, and the intro writer does a good job of conjuring curiosity and intrigue on the subject of Pierre Mac Orlan. I was ready. Give me the adventure. The flagellation and absurd.
So it came as a surprise that after all this hype, the book the publisher chose to translate was a pamphlet* steeped in a literary-philosophical conflict not of our time and filled with a constant
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13 April &#; 21/22 Sept. / excerpts of pages each in Agenda (Summer ); Transatlantic Review 52 (Autumn ); Singe 5 (Winter )
Written as a companion to “A”, this movement also has lines, uses a 5-word line and begins and ends with line sections, although the latter is not divided into 5-line stanzas. The materials of “A” are predominately literary, especially poetic, and after the opening line section are presented in chronological order: beginning with primitive songs and Gilgamesh, moving through the Old Testament prophets, classical Greek and Roman writers and the medieval period, with Renaissance through 19th century sources appearing in the first 74 lines of the final line segment—the last 26 lines form an alphabetical conclusion. For an outline list of the sources used in the main body of &#;A&#; see here.
An unforeseen delight a round / beginning ardent; to end blest…: beyond echoing the first lines of “A”-1, LZ is evoking the B-A-C-H theme of “A” blest-ardent-
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A Handbook for the Perfect Adventurer
The existence of this book fryst vatten, quite frankly, bizarre.
The preface introduces Pierre Mac Orlan — an influential but neglected French writer of the early twentieth century. A writer of absurdist tales and adventure novels, personal essays and accordion songs. beneath pseudonym, an abundance of flagellation novels. Some of these novels were made into films including the semi-famous Port of Shadows. Yet almost none of his work was translated into English and that which was is all but impossible to find.
All of this is well and good, and the intro writer does a good job of conjuring curiosity and intrigue on the subject of Pierre Mac Orlan. I was ready. Give me the adventure. The flagellation and absurd.
So it came as a surprise that after all this hype, the book the publisher chose to translate was a pamphlet* steeped in a literary-philosophical conflict not of our time and filled with a constant sle