One leaf with small printing flaw affecting a handful of words without loss of sense; three leaves at back with small semi-circular areas of worming touching a few letters, also without loss of sense. Pages very clean and type very clear.
A scarce and desirable volume. L'Espine, Jean de. Excellens discours de I. La Rochelle: Hierosme Haultain, Here L'Espine also known as Delespine, de Spina, and Spinaeus expounds on avarice, ambition, anger, envy, lechery, curiosity, and fear. First published in , this popular work found an audience among both Protestants and Catholics, and went through a number of editions in not only the original French, but also several other European languages as well as Latin.
The present early French printing is handsomely accomplished, with nice head- and tailpieces and decorative capitals. WorldCat finds no U. Signed binding done by Hans Asper , with Asper's minute rubber-stamp on the front free endpaper. Most recently in the library of American collector Albert A.
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In Paris, he had introductions, from Max and from Pierre Mac Orlan, to Georges Charensol at Paris-Journal , and significantly for his own future, at that paper he met a fascinating group of people who would become his friends and colleagues. I dashed up to Paris-Journal with my first articles Martin-Chauffier was there, drawing sardonically on a strange pipe with a lidded bowl, Philippe Soupault, flashing a magnificent pair of cream gloves, and others.
I heard talk of a hearse, and asked timidly if someone had died A young man with eyes like an owl and a profile as sharp as a knife-blade, at least as elegant as Soupault, turned round and looked me over with a half-smile. He had just directed Entr'acte , and had not yet cut his umbilical cord to journalism.
The actors in the funeral procession of Entr'acte were his friends from Paris-Journal , led by Marcel Achard and Charensol. He knew instinctively that Paris was where he wanted to be, and when he had to return to Italy to consolidate his journalistic connections there, he was determined to return. Before leaving, he arranged a meeting — promised for some time — which would lead to a stimulating friendship between his "due Massimi": Massimo and Max. They all met in Paris at the house of Armand Salacrou at the beginning of April, where Jacob, who had left his convert's hairshirt behind along with his Breton clogs, was in skittish Parisian form:.
The two Italians returned to Milan in May, by now close friends. Now, having laid the foundations for literary cross-fertilization between Italy and France, it was time for Frank to concentrate seriously on building up a reputation in Italy as a commentator with a wide knowledge of the contemporary literature of both countries, but most especially as a supporter of 'modern' ideas. Late in life, he rationalised what were no doubt still the muddled aims of his younger self:.
Rejecting the classicism of Leopardi so admired by [the journal] La Ronda — as was natural at his age — it was in Bontempelli that he discovered his modernist hero; and at the same time, developing a passion for French writers, he fixed his admiration on a certain line of descent from Rimbaud — Max Jacob, Apollinaire, Cendrars and co — with a kind of annexe in the Bateau-Lavoir [Picasso, and other artists]. From this followed a kind of cross-fertilization between the two discoveries, and the need to communicate them to the world.
Thanks to Il Mondo , he had already found a niche for himself in reviewing French avant-garde works and giving Italian readers a flavour of French cultural life, and he began to try to place translations from French mainly done by himself in Italian journals. But his greatest loyalty was reserved for Max Jacob. The two corresponded regularly during this period, and it only needed a cry of pain from Jacob for Nino to spring to his defence. Thus Jacob, in October Did you know that the Surrealists have invented the calembour, hallucinations, poems written in sleep, in short, everything which has come down from me — whose name they are careful never to mention any more.
Reverdy has done the same, when anyone has asked him which writers it came from. Long live joy!
La vitrine numérique du travail des Têtes Chercheuses
Then in April , in an issue of Il Baretti devoted to French poetry, he was given generous space for his article 'Cubist poets', in which he was able to make the full-blooded claim that Max was the cubist poet par excellence, and was writing cubist poetry long before Picasso's cubist paintings. This article, which had disappeared from general view but has now become available on-line, is of considerable interest in demonstrating the importance, within certain French intellectual circles of the time, of the concept of cubism in poetry.
Frank's opinions here are derived from his contacts with French writers and critics, and he was attempting to explain the concept to an Italian audience largely unaware of, or indifferent to, the idea. He began by listing the nucleus of poets who after years of critical debate were deemed qualified to be considered cubists:. Birot and Pierre Reverdy who remains, until further notice, the honorary emperor of the Surrealists , then a few younger writers springing later from the same source, Jean Cocteau, Blaise Cendrars, Paul Morand, P.
Cubism taught us: we need to return to the primitive forms, which are geometric forms; let colour be a function of form; let the work of art have its own interior life, be hermetic, without useless padding from the soul of the artist; let it be a spectacle for the mind, and a solid construction of the mind; let us fully digest reality, then represent it as we see it within ourselves; and if for this we need to break up planes, to destroy what is not reflected in us, to modify reality, then let us break up, destroy, modify.
Relatively brief paragraphs were devoted to most of the poets listed, and it is evident that the main purpose of the piece was to ram home the idea that Max Jacob was a more complete cubist than any of his contemporaries or later followers:. This would show that cubist poetry was born before cubist painting, and that Picasso was influenced by Max Jacob; and people in France are already beginning to think this, watching — without surprise — the sure rise of Max Jacob and the unexpected decline of Picasso.
Evidently the teaching absorbed by Nino had come from Jacob himself; but he added his own critical voice in order to sum up Jacob's contribution:.
Thus, an art which is totally intellectual, circular and — through its insistence on concrete form — launched on a plane of dangerous abstraction. The campaigning for recognition for Jacob in Italy was paralleled by Nino's efforts on behalf of Bontempelli in France. For him, Bontempelli represented — indeed, was the key writer within — an Italian avant-garde which he was seeking to define, and promote across Europe: parallel with the trends in France and elsewhere, but with its own unique Italian character.
By the time he returned to Italy in May he had already placed articles on Bontempelli in one journal in Belgium and two in Paris, all the articles highly complimentary, and all focusing on the originality and 'fantasy' in his subject-matter and treatments. Thus, in January, in the Belgian Renaissance d'Occident :.
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These books have the strange landscapes of the realm of the Absurd Bontempelli: it is hard to understand why a writer of this calibre is unknown — or almost so — in France; he is an important poet he writes novels and short stories , constantly preoccupied with moving ahead to something new A poet: he has created a new world; a fixed, frozen world — in which vibrates the atmosphere of a fairyland without colour, or grey-green, resonating to infinity: the noises, the echoes are from Elsewhere — described with an incomparable musical mastery.
Beings live there, ill-assorted, supposedly human — yet there is something discomfiting, disquieting about them; it is the Absurd: a gratuitous Absurd, without aim, without reason: the author is drawn into it by his fantasy. Bontempelli himself felt that his work epitomised 'novecentismo' as opposed to 'ottocentismo' twentieth-century rather than nineteenth-century writing , thereby expressing the idea that most current Italian writing was firmly grounded in the previous century.
Others credited him with having brought the Fourth Dimension — mainly debated in artistic circles of the time in relation to painting — into literature, through the strange twists of his imagination, as noted by Frank in November of the same year: he had managed to place an article in the internationalist Berlin journal, Der Querschnitt , in which he wrote of Pirandello and Bontempelli as the only writers showing the way forward for Italian writing:. Pirandello dealt the sharpest blow Proust does not come near to the deceptive cult of personality: his is the creation of a new atmosphere, the naked recognition of the absurd Modern, the most original style since Nietzsche We call Pirandello a genius; but alongside him we can speak of Bontempelli, this delightful composer of prose, who is perhaps the most advanced writer we have in Italy; he has understood how to lead us towards the "fourth dimension"; his latest book, Eva ultima , a modern fable in a loosely-woven style, offers us the motor we need to move forward.
However, Nino's trenchant criticisms of established Italian writers — which he often intended as support for Bontempelli — were about to cause him trouble, now and, more seriously, for the future. Indeed, soon after they first met, Max Jacob had already written to Jean Cocteau that "Nino is deplorably frank But his regular column in Paris-Journal , 'Chronique d'Italie', certainly was noticed and angered Ungaretti.
Only Italian authors approved by him would be accepted by that journal, and later also by Commerce. Along with most of the Italian literary establishment, he considered himself a patriot and a classicist.