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&lt;li&gt;&lt;em&gt;Ca n'a encore une fois pas marché&lt;/em&gt;, 1972&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Octavie&lt;/em&gt;, 1977&lt;/li&gt;
&lt;li&gt;&lt;em&gt;L'Agenda d'Agénor&lt;/em&gt;, 1984&lt;/li&gt;
&lt;li&gt;Poèmes publiés dans les revues et ouvrages collectifs&lt;/li&gt;
&lt;li&gt;Poèmes apparaissant dans les pièces de théâtre et publiées dans Les Soirées d'Anvers.&lt;/li&gt;
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                <text>A la mémoire de "Grand", l'ensemble de sa poésie, minutieusement réunie par ses fils Luc et Thierry.</text>
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                <text>Contient les poèmes suivants :&lt;br /&gt;&lt;ul&gt;&lt;li&gt;&lt;em&gt;Message&lt;/em&gt;, 1941&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Inutilités&lt;/em&gt;, Dessins de Léon Spilliaert, 1941&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Le secrétaire d'acajou&lt;/em&gt;, 1946&lt;/li&gt;
&lt;li&gt;&lt;em&gt;La joueuse d'Ocarina&lt;/em&gt;, Dessins d'Alice Frey, 1947&lt;/li&gt;
&lt;li&gt;&lt;em&gt;L'Herbier magique d'Uphysaulune&lt;/em&gt;, Dessins d'Herman Denkens, 1949&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Les Archives du Prieuré&lt;/em&gt;, 1954&lt;/li&gt;
&lt;li&gt;&lt;em&gt;La Draisienne de l'Incroyable&lt;/em&gt;, 1959&lt;/li&gt;
&lt;li&gt;&lt;em&gt;La carillon de Carcassonne&lt;/em&gt;, Couverture de Gianni Bertini, 1961&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Le Cirque Amaryllis&lt;/em&gt;, Dessins de Jean-Jacques Gailliard, 1963&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Les Poivriers de Boétie&lt;/em&gt;, Dessins de Jan Vaerten, 1965&lt;/li&gt;
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      <tag tagId="2846">
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                <text>Contient les poèmes suivants : &lt;br /&gt;&lt;ul&gt;&lt;li&gt;&lt;em&gt;La Source et l'Infini&lt;/em&gt;, illustrations de Paul Joostens, 1914&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Loin du Tumulte&lt;/em&gt;, préface de Max Elskamp, 1919&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Le Canari et la Cerise&lt;/em&gt;, 1921&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Le Zèbre handicapé&lt;/em&gt;, portrait de Paul Neuhuys par Floris Jespers, 1923&lt;/li&gt;
&lt;li&gt;&lt;em&gt;L'Arbre de Noël&lt;/em&gt;, 1927&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Le Marchand de Sable&lt;/em&gt;, 1931&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Naissance d'Adonis&lt;/em&gt;, 1932&lt;/li&gt;
&lt;li&gt;&lt;em&gt;La Fontaine de Jouvence&lt;/em&gt;, 1936&lt;/li&gt;
&lt;li&gt;&lt;em&gt;Fables&lt;/em&gt;, Frontispice de Yetta Nyssens, 1939&lt;/li&gt;
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                <text>Pour Alain Borer, la poésie a explosé historiquement avec les « Illuminations » de Rimbaud en 1886, puis en chaîne avec le mouvement Dada pour ne plus exister en tant que poésie habituelle mais avec des sens très variés et très éloignés les uns des autres d’où son idée de la renommer et de l’appeler « poétrie », base de ses cours aux USA. Puisque la pensée poétique a des formes particulières accessibles à tous, Alain Borer a choisi de considérer ses écrits poétiques comme des « noèmes ». Il aime à dire que « la poésie est oxymorique » c’est-à-dire qu’elle peut signifier deux sens opposés côte à côte sans que cela soit une erreur.&#13;
&#13;
1984 est une année féconde pour Alain Borer car en plus de ses deux livres cultes sur Rimbaud, il publie un livre de poésie personnelle « Zone bleue » constitué de deux parties, « La chevelure de Bérénice » et « Le Nuage de Magellan, extrait III ». Par la magie du voyage, il faut tourner le livre d’un quart de tour pour le lire, effectuant notre envol pour ainsi dire et le gardant tout au long de ce voyage. Alain Borer, l’amoureux des voyages, se retrouve bien ici. Des phrases concrètes, inattendues, se pressent au fil des pages comme la deuxième ligne :&#13;
&#13;
« Il neige sans arrêt dans mon téléviseur et j’ai trop attendu au bureau des longitudes »</text>
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&#13;
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                <text>&lt;p&gt;Le 13 décembre 1880, à vingt-sept ans, Arthur Rimbaud arrive à Harar, aux confins désertiques de l'Est éthiopien, pays qui était alors appelé Abyssinie. Quelques voyages précédents (Java, Chypre, entre autres) n'avaient fait qu'annoncer le dernier départ de Rimbaud, "l'homme qui fuit" et qui devait désormais devenir la plus haute hantise de la littérature occidentale.&lt;/p&gt;
&lt;p&gt;Quatre-vingt-dix-sept ans plus tard, un jeune écrivain français, également âgé de vingt-sept ans, arrive à Harar. Il sillonne le pays, interroge partout les gens, pousse même, sur les traces de Rimbaud, jusqu'en Egypte où l'on sait qu'un grand bloc, très haut sur l'un des murs du temple de Louqsor, porte l'inscription RIMBAUD, en grandes lettres majuscules creusées dans la pierre, seule trace laissée (peut-être, peut-être pas) par le poète.&lt;/p&gt;
&lt;p&gt;Alain Borer rapportera de ce voyage un livre inclassable, autant qu'on puisse dire "inclassable" une obsession littéraire aussi belle, et portée avec rigueur (celle du rimbaldien et de l'exégète qui se livre à la critique des textes et des correspondances) jusqu'à l'emportement, jusqu'à l'extrême fantaisie, décidé en somme à tout dire de cette course fabuleuse.&lt;/p&gt;
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                <text>&lt;p&gt;Au début de notre ère, un terrible ouragan dévaste ces hautes vallées du Caucase que l'on appelait le «Ventre du monde». Pour se venger du Vent, un bûcheron géorgien, Koba, chef des Abreks, décrète l'extermination des dieux, de tous les dieux, où qu'ils se trouvent.&lt;/p&gt;
&lt;p&gt;Alors commence cette chasse insensée : les «Insoumis», ainsi s'appellent-ils eux-mêmes, déferlent sur les hauts plateaux d'Arménie, installant partout, jusque dans les chemins de neige, des pièges à dieux. Koba s'écrie : «Que les dieux nous blâment à leur guise ! Laissons-les pousser des cris de rage ; même s'ils se lèvent contre nous, nous serons vainqueurs !»&lt;/p&gt;
&lt;p&gt;Pour se rendre plus effrayants, les Abreks s'enduisent de glu et se roulent dans les chardons. Massacres, viols et pillages s'enchaînent : Ninive est en flammes, Babylone mise à sac. Dans les déserts de Syrie, des juifs leur parlent d'un certain Elohim, un dieu qui passe dans la brise et qui chuchote. Qu'à cela ne tienne : Jérusalem investie, les chercheurs de dieux dévorent et mâchent les rouleaux de la Torah. Le Sinaï franchi, Koba et ses hordes ensanglantées dévastent les rives du Nil, «le Nil couleur de carnage et d'incendie»... puis rageusement s'embarquent pour la Grèce, à destination du mont Olympe, le repaire des dieux inaccessible aux hommes.&lt;/p&gt;
&lt;p&gt;On le sait, c'est surtout à mi-chemin des mythes et de l'Histoire que les dieux ont tendance à pulluler : c'est donc là que Koba inscrit sa guerre personnelle - une guerre totale par laquelle le Guide, à la recherche du Grand Coupable, pourchassant dieux et hommes jusqu'au dernier, devient dieu lui-même. En ce sens, Koba est au-delà de Prométhée, il est lui-même l'injure définitive, l'injure bariolée, hoquetante et inépuisable qu'on fait aux dieux.&lt;/p&gt;</text>
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                <text>Le roman à reçu le prix Kessel.</text>
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              <text>Quarante exemplaires sur vergé d'Arches numéroté de 1 à 40 comportent en frontispice une lithographie originale signée Jean-Paul Chambas et vingt exemplaires numérotés de I à XX ont accompagnés d'une épreuve à grandes marges signée de la lithographie.</text>
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                <text>&lt;div style="text-align:center;"&gt;&lt;strong&gt;Le Poème exacerbé&lt;/strong&gt;&lt;/div&gt;
&lt;br /&gt;Pour bien comprendre les Éléments de Géométrie, son dernier recueil publié, il est bon d’avoir lu d’abord &lt;em&gt;Le Poème exacerbé&lt;/em&gt;, recueil des quatre conférences qu’il a prononcées à l’Université de Louvain-la-Neuve en 1991, lorsqu’il y occupait la Chaire de Poétique.&lt;br /&gt; Il y décrit avec une grande lucidité ses préoccupations philosophiques, souvent douloureuses. Cette lecture fait réfléchir sur la nature de cet humour que la plupart des commentateurs soulignent chez lui, et qui en ferait une sorte d’amuseur anodin, dont les affirmations paradoxales ou choquantes se ramèneraient à des taquineries.&lt;br /&gt; Son appartenance au groupe &lt;strong&gt;&lt;em&gt;Phantomas&lt;/em&gt;&lt;/strong&gt; semble en effet justifier cette affirmation, mais selon moi il n’y a plus de doute : cet humour-là est bien celui dont Freud disait qu’il est l’épargne du sentiment. Sous lui, il n’y a que détresse, désarroi, impuissance, terreur et même épouvante. Cet humour est l’élégance du désespoir. &lt;br /&gt;&lt;br /&gt;Dans &lt;em&gt;Le Poème exacerbé&lt;/em&gt; apparaissent les grands thèmes sous lesquels se groupent ses réflexions. Réflexions qui sont des fragments, dans la tradition des philosophes présocratiques qu’il admirait tant, et reprise par Cioran, un autre auteur qu’il appréciait. &lt;br /&gt;Ces thèmes sont : le rejet du rationnel, en corollaire : le rejet des effets littéraires ou rhétoriques, la méfiance à l’égard du langage, la transe devant la nature, en corollaire : l’association beauté/nature/épouvante</text>
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                <text>Poésie à quatre mains&#13;
&#13;
Jacques Izoard et Michel Valprémy se rencontrent autour de 80 textes poétiques. L'un répond à l'autre, dans une élégante harmonie de mots mais aussi dans une rupture des styles et une vivacité plaisante de l'esprit de répartie.&#13;
A la fin prend place un dialogue entre les deux. Valprémy se fait interrogateur, Izoard répond et lui renvoie la balle à sa façon.&#13;
Paysages, mots, couleurs, corps... autant d'émotions décrites par les deux auteurs à travers ce questionnaire initialement paru dans la revue "Décharge" en 2005.&#13;
&#13;
Le risque était réel, dans un recueil à quatre mains, de voir Izoard ou Valprémy prendre l'ascendant sur son interlocuteur. Ce n'est heureusement pas du tout le cas ici et plutôt que s'affronter, les textes se complètent. Valprémy se glisse avec subtilité à la fin ou à l'intérieur des poèmes d'Izoard, leur donnant un écho très particulier, une nouvelle lecture. Les deux plumes sont pourtant très dissociables, aucune imitation n'est esquissée. Un travail de comparaison bien agréable à mener, mettant en valeur les caractéristiques d'une écriture par rapport à une autre, associant le minimalisme au lyrisme, l'évocation au réalisme, entre autres, pour disséquer toutes les facettes du corps.&#13;
&#13;
&#13;
"Cahin et Caha ne se mentent jamais, s'étreignent ou s'étripent, mais mille soleils font éclater leur coeur qui bat sans battre, en ignorant le pour" (page 13).</text>
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