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                <text>La vie passe comme une pièce de théâtre dont nous sommes à la fois les acteurs et le public. Les rituels (sacrilèges) en exposent la mise en scène et les didascalies textuelles. Ils proposent de jouer, d’enjouer, et de se laisser mettre en joue comme en joie.&#13;
&#13;
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                <text>&lt;p&gt;En artisan du Langage le poète « &lt;em&gt;bricole&lt;/em&gt; » dans l’inquiétude solitaire qui habite et hante probablement tout poète (là pour dire comme le monde ne va pas de soi), en demandant qu’on le laisse tranquille. Que l’on respecte la quiétude qu’il souhaite pour son art d’écrire, en l’occurrence exercer son travail de poète ; qu’on le laisse en toute quiétude bricoler avec l’inquiétude.&lt;/p&gt;
&lt;p&gt;On retrouve cette forme de respect à l’origine de tout geste rituel qui ponctue notre appartenance sociétale. Dans ces &lt;em&gt;Petits rituels sacrilèges&lt;/em&gt;, les grands thèmes existentiels se déclinent dans une mise en scène et didascalies textuelles qui agissent chacun de nos actes de vie, que l’on en soit les acteurs ou aussi les spectateurs. Le rituel &lt;em&gt;Des&lt;/em&gt; &lt;em&gt;funérailles…&lt;/em&gt;, &lt;em&gt;Des&lt;/em&gt; é&lt;em&gt;pousailles…&lt;/em&gt;, &lt;em&gt;Des&lt;/em&gt;&lt;em&gt;victuailles…&lt;/em&gt;, &lt;em&gt;Des&lt;/em&gt;&lt;em&gt;relevailles…&lt;/em&gt;, &lt;em&gt;Des jouvençailles…&lt;/em&gt;, &lt;em&gt;Des fiançailles mystiques…&lt;/em&gt;, &lt;em&gt;Des retrouvailles…&lt;/em&gt;, se jouent à l’avant-scène de textes plus réflexifs que dramaturgiques mais de même tonalité liturgique sur &lt;em&gt;De la merveille…&lt;/em&gt;, &lt;em&gt;De la conscience…&lt;/em&gt;, &lt;em&gt;Du couple…&lt;/em&gt;, &lt;em&gt;Des hommes et des femmes…&lt;/em&gt;, &lt;em&gt;De l’éveil…&lt;/em&gt;, dont les titres renvoient à une sorte de (livre de) sagesse philosophique.&lt;/p&gt;
&lt;p style="text-align:right;"&gt;L’image du « &lt;em&gt;temple&lt;/em&gt; » de l’amour fait résonner celui-ci de ses pierres luisantes depuis ses fondations. Temple vivant, sans cesse grandi par l’appel et le don de ses offrandes, l’édification et les ramifications de sa « &lt;em&gt;merveille&lt;/em&gt; » dans &lt;em&gt;l’éternité&lt;/em&gt;, ce &lt;em&gt;battement de cils&lt;/em&gt;. Sa force et sa fragilité, sa temporelle durabilité, que chante le poète, sont condensées par cette assertion aux accents liturgiques : « &lt;em&gt;Ceci est la merveille&lt;/em&gt; ».&lt;br /&gt;&lt;br /&gt;[...]&lt;br /&gt;&lt;em&gt;&lt;strong&gt;&lt;span&gt;Murielle Compère-Demarcy&lt;/span&gt;&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;</text>
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                <text>1956 : Henri Lhote organise la première expédition destinée à étudier les peintures préhistoriques découvertes par hasard dans le Tassili en 1933. On savait que le Sahara n'avait pas toujours été un désert. Mais qui eut cru que le Tassili renfermait de tels trésors archéologiques ? Au cours de longs mois, Henri Lhote et son équipe ont procédé au relevé de milliers de fresques produites entre 5000 et 2500 avant notre ère. &#13;
&#13;
Ce livre est aussi le récit d'une aventure : avec des moyens extrêmement réduits, vivant le plus souvent à la touarègue, l'expédition a été soumise aux rigueurs du climat et aux rigueurs du climat et aux aléas du ravitaillement. </text>
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              <text>Ce volume, le deuxième de la collection &lt;em&gt;Propositions&lt;/em&gt;, a été tiré à 2 520 exemplaires dont 20 sur Vélin L.B.M. Voiron numérotés de 1 à 20 et achevé d'imprimer le 20 mai 1946 sur les presse des impressions Rivade (Paris).</text>
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        <name>Poésie</name>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="26492">
                <text>Lassalle, Jean-Pierre</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="26493">
                <text>Temps Mêlés </text>
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            <name>Date</name>
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            <description>An account of the resource</description>
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                <text>Avec des dessins de l'auteur</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Ouvrage imprimé</text>
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          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="26499">
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        <name>Louis Pierard</name>
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        <name>Oiseau</name>
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              <text>Métamorphoses</text>
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          <name>N° dans la collection</name>
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          <name>Dépôt légal</name>
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            <description>A name given to the resource</description>
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                <text>Les rapports absolus</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="26479">
                <text>Lambrichs, Georges</text>
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            <name>Publisher</name>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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            <description>A language of the resource</description>
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            <description>The nature or genre of the resource</description>
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                <text>Ouvrage imprimé</text>
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            </elementTextContainer>
          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="26485">
                <text>89 p.</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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            <name>Provenance</name>
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          <name>N° dans la collection</name>
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            <name>Format</name>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="26472">
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            <name>Provenance</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="26455">
                <text>Paulhan, Jean</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="26456">
                <text>Mercure de France</text>
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          <element elementId="40">
            <name>Date</name>
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              <elementText elementTextId="26457">
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          <element elementId="41">
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                <text>Dans ce journal de bord tenu à la faveur d’un séjour dans l’Ile d’Emeraude, il y a tout ce que l’on aimerait conserver en soi de précieux souvenirs et, d’abord, les détails qui rendent la vie si différente du continent. Voici l’Irlande telle qu’en elle-même, portraiturée avec tendresse, ironie douce, gravité, enchantement. Voici sa sauvage beauté, et c’est l’essentielle qualité de ces poèmes, leur beauté. Ceci n’étant pas à démontrer : beaux parce que justes, point final. Lisez-les, c’est urgent. Pour donner sens nouveau à vos vieilles habitudes. Pour nourrir vos rêves. Pour redécouvrir l’ombre et la lumière des choses. Pour ponctuer votre prochaine escapade irlandaise.&#13;
« Ici&#13;
sur un tertre&#13;
des mégalithes de plusieurs tonnes&#13;
ont su garder&#13;
l’âme et l’esprit volatils des morts&#13;
&#13;
On peut leur parler pour peu qu’on&#13;
accepte que ce soit&#13;
l’herbe&#13;
qui réponde ou le ciel dans la flaque&#13;
d’eau »&#13;
&#13;
Evocations précises et ouvertes, réalistes et magiques, appuyées par le caractère celtique de la typographie. Géopoésie dont l’être est le centre secret. Werner Lambersy adore l’Irlande, et cela se devine à son regard plein d’empathie humaine, à sa langue poétique légère quoique enracinée, allumant, chez le lecteur, des images qui font danser la pensée.&#13;
&#13;
Chez cet Irlandais de coeur,&#13;
« les étoiles lisent&#13;
silencieuses le livre des toits&#13;
Et (...) le ciel&#13;
est un doux marbre de suies. &#13;
&#13;
(...)&#13;
la marée&#13;
à cause de son grand âge&#13;
grogne&#13;
en remontant&#13;
les plages de galets noirs »&#13;
&#13;
Emotions, sensations palpables, non loin, parfois, d’une Guinness qui reprend de l’avance sur/ la nuit. Poème du bonheur simple et grave d’exister, loin des péripéties loufoques, matérialistes et barbares de notre pauvre époque.&#13;
&#13;
On aime qu’un muret / de pierres sans ciment / couve le jardin. On apprend que l’Irlandais aime dieu / parce que c’est  un bon conteur / d’histoires. (...) L’eau amère / de l’exil nous rappelle le passé tourmenté de cette nation, fière et sage, qui s’enorgueillit de plusieurs Prix Nobel, en plus du splendide Livre de Kells et autres merveilles à admirer.&#13;
&#13;
Abbaye, horizon, pluie, chevaux, océan, estuaires, Armada, tours et thé, pop corn et phoques,...  Infiniment, un monde s’esquisse sous les doigts de ce conteur né qui excelle à recréer un pan d’éternité dans le présent continu de ses verbes comme à nous faire voyager à dos d’île, avec l’allant et le naturel d’une embellie déposant son présent sur le bord du monde.&#13;
&#13;
Béatrice Libert&#13;
Cointe, ce 30 décembre 2006&#13;
&#13;
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                <text>Le poète américain Robert Lowell est né le 1er mars 1917 à Boston d’un père officier de marine et d’une mère originaire d’une vieille famille de Nouvelle Angleterre. Il fait ses études d’abord à Harvard mais il rencontre le poète Allen Tate en 1937 et au lieu de retourner à Harvard,  il poursuit ses études au Kenyon College dans l’Ohio pour étudier avec le critique John Crowe Ransom, mentor de A.Tate. En 1940, il épouse sa première femme, la romancière et nouvelliste Jean Stafford et se convertit au catholicisme. En 1943, il devient objecteur de conscience à la suite des bombardements par les Alliés des villes allemandes et il fera une partie de son service dans les prisons. Il finit et publie à ce moment-là son premier livre, Land of Unlikeness. A partir de là sa réputation va grandir. Il divorce en 1949 et se marie avec Elizabeth Hardwick, une jeune écrivain originaire du Kentucky. Ils passent une partie de leur temps en Europe, notamment en Italie mais c’est aussi à ce moment-là que se manifestent de nombreux épisodes de la maladie bi-polaire (maniaco-dépressive) dont il a souffert toute sa vie. Sa réputation qui avait faibli un moment se trouve de nouveau bien établie après la publication de son livre Life Studies, livre paru en même temps que Heart’s Needle de W.D. Snodgrass, ces deux livres étant considérés comme fondateur du mouvement dit « confessionnel ». Dans les années 60, Robert Lowell s’implique beaucoup en politique et devient ami des Kennedy et de Eugene McCarthy. En 1965 il refuse une invitation de Lyndon Johnson à la Maison Blanche à titre de protestation contre la guerre du Vietnam. En 1969, il publie Notebook, 1967-68, un journal en vers. Après un second divorce, il épouse Caroline Blackwood en 1972 et il vivra plusieurs années avec elle en Angleterre&#13;
Il obtient deux fois le Prix Pulitzer de poésie, en 1947 et en 1974 ainsi que le National Book Award de poésie, en 1960. Il meurt le 12 septembre 1977, d’une crise cardiaque, dans un taxi, à New York.</text>
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                <text>13 X 21 cm</text>
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                <text>Cantiques pour le temps présent&#13;
&#13;
Comment écrira-t-il ? Comment, cette fois, nous surprendra-t-il ? A lire les livres successifs de Werner Lambersy, l'éblouissement ne peut que se répéter : dans chacun de ses grands recueils, le poète paraît se soumettre à un défi rhétorique nouveau, paraît s'imposer, pièce par pièce, bribe par bribe, la construction d'un édifice poétique sans faille, d'une rare cohérence — d'un vaste théâtre où placer les accents de son drame. Déjà dans Maîtres et maisons de thé nous fai­sait-il partager une parole savante, éminem­ment concertée. A travers le plus commun et le plus élaboré des rites — la cérémonie du thé — , le sujet franchit une à une les portes de l'existence. Découvrant le regard de l'autre et la peau de l'autre, il appré­hende le rôle qui, finalement, sera sien : du rituel, écrire la geste, avec ses codes et ses délits, ses acteurs et son aède, ses déchire­ments d'amour et de mort.</text>
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                <text>Marcel Lecomte</text>
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                <text>Editions Seghers</text>
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                <text>Une étude de Marie-Thérèse Bodart avec un choix de poèmes, 24 illustrations, une chronologie bibliographique : "Marcel Lecomte et son temps"</text>
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              <elementText elementTextId="26023">
                <text>191 p.</text>
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                <text>FPPB-BOD-M-0 001 762</text>
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            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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        <name>Marcel Lecomte</name>
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        <name>Poésie</name>
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                <text>Les minutes insolites</text>
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                <text>Ivanovsky, Elisabeth</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>l'enseigne du Paradis-Perdu</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="26007">
                <text>Illustrations de Elisabeth Ivanovsky</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="26008">
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              <elementText elementTextId="26009">
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          <element elementId="79">
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            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="26011">
                <text>53 p.</text>
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                <text>Bruxelles, A l’Enseigne du Paradis Perdu(1936) ; in-4, broché, couverture grise ornée en rouge et noir. 53 pp., 1 f.&lt;br /&gt;&lt;br /&gt;ÉDITION ORIGINALE très rare, qui ne fut tirée qu’à 250 exemplaires. Elle est ornée de 3 bois gravés hors-texte par Elisabeth Ivanovsky, peintre russe, née à Kitchineff en 1910. &lt;br /&gt;&lt;br /&gt;Elle vécut en Belgique, mariée au poète René Meurant. Elle fut élève à l’Académie de Kitchineff et aux Beaux-Arts de la Cambre.&lt;br /&gt;&lt;br /&gt;Recueils de proses poétiques du grand poète belge Marcel Lecomte (1900-1966) dont Paulhan disait : “avec lui, c’est comme si la vie courante avait cessé de courir”.&lt;br /&gt; Dans les années 20 C. Pansaero lui aviat fait connaître Dada, puis Magritte et ayant formé le groupe Correspondance en 1924, il en fut exclu l’année suivante.&lt;br /&gt;&lt;br /&gt;Lecomte vécut à l’écart à Bruxelles, comme disait P. Seghers “mystérieusement lent, massif, évoluant avec une sorte de componction dans une chambre envahie de livres (...) Sa poésie chargée de secret et de présence était celle d’un contemplatif.” &lt;br /&gt;&lt;br /&gt;Pour Fauchereau, Lecomte évoque souvent Chirico, Kafka et Hoffmannstahl.&lt;br /&gt;&lt;br /&gt;Le poète Norge, quand il vivait encore à Bruxelles était un ami très proche de Marcel Lecomte. Sa femme, le peintre Denise Périer, avait réalisé un portrait à l’huile de Marcel Lecomte.‎</text>
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Deux dessins de René Magritte</text>
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                <text>Knots was published in 1970 and its title was inspired by a sutra dubbed 'Knots,' that Laing came across while perusing Sufi literature. Laing had already been jotting down his observations and insights into relational 'knots' for years and kept them in a folder. The image 'knots' appealed to Laing's phenomenological sensibility, and that proclivity for taking something common, teasing out certain qualities, thus bringing forth a new way of relating and understanding the phenomenon in question. He notes that knots are "strangely familiar" and tend to be associated with "tangles, fankles, impasses, disjunctions, whirligogs, binds." The dynamic twists, turns, and convolutions inherent in relationships are played out in the dialogue-scenarios of the characters Jack and Jill.&#13;
&#13;
This book continues and deepens Laing's research into how the other defines one's personality. Knots was not written in a more formal academic style, but is more poetic and playful. The publishing companies in England as well as the USA did not know whether to classify it as poetry, philosophy, or psychology.&#13;
&#13;
Unlike some of his other writing, Knots appealed to a wide audience and won immediate acceptance with the American audience. Within the first few weeks of its release in America, it sold 75,000 copies. Laing was pleased that this book appealed to people in the mental health community, as much as it did to the average intelligent reader. Knots later became a play, radio show, and a film.&#13;
&#13;
Writing this book was a gamble for Laing and he knew that it would either be very positively received or not a success at all. At the time, he felt that he had done enough research into schizophrenia and families, and Knots allowed him more creative expression and a bridge out of psychiatry. In R.D. Laing: A Biography, Laing's son, Adrian, notes that Laing spent more time on Knots than any other book, noting that his father had painstakingly worked through eight handwritten drafts.</text>
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That most modern sensibility, R. D. Laing, returns with poems that show a continuing attentiveness to the everyday exchanges (some would say epiphanies) of existence. As in Knots (1970) there are dialogues that conjure up the repeated themes of therapy sessions--family tangles, lovers' snarls--but there are also shorter. more conventional forms, even some with quizzical rhyme. Sometimes the language is playful (""I was discontented/ with girls that were rented/so I had invented/ my own"") or echoes sunnier times (""Daisy, Daisy/ what are we going to do?/ I'm half crazy/I'm in love and in hate with you""). And there are the expectable sexual allusions (""Mummy'll scream/if you have a wet dream"" or ""I liked to eat mice/ that was when/ I was ten/now it's men/they're not as nice""). Frequently they seem poised on the edge of some great profundity, some measure of insight but, given the orientation, they stop short of pronouncements. Laing's earlier work has been defended by admirers, disputed by critics; this treads the same symbolic ground, presumably for the same devoted supporters.</text>
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Lais­ser le temps au temps ?&#13;
Cet essai aborde l’une des plus grandes énigmes qui fut, et qui sera pro­ba­ble­ment encore long­temps : celle du temps… D’une clarté à faire pâlir plus d’un phi­lo­sophe, d’une luci­dité à toute épreuve face à ce démon qui hante nos esprits, sorte de malin génie que l’homme a per­son­na­lisé au point d’en faire un dieu, Les tac­tiques de Chro­nos nous rap­proche des rivages d’un océan d’interrogations, là où se repose et se repaît ce dieu mali­cieux. En effet, toutes sortes de ques­tions sub­sistent : le temps est-il un être, une sub­stance ? Demeure-t-il iden­tique à lui-même en deçà des chan­ge­ments qui affectent l’univers ? Est-il com­pa­rable à un fleuve qui cou­le­rait inexo­ra­ble­ment ? Autant d’interrogations qui nous taraudent depuis la nuit des temps sur les­quelles Étienne Klein, phy­si­cien au com­mis­sa­riat à l’énergie ato­mique (CEA), ensei­gnant à l’école nor­male, et doc­teur en phi­lo­so­phie des sciences, s’attarde ici en expert plus qu’éclairé. Nous savons à quel point la phy­sique (rela­ti­viste et quan­tique) a révo­lu­tionné nos concep­tions étri­quées de l’espace, du temps, de la masse, de l’univers en tant que tota­lité indi­vis, et com­bien nos évi­dences (ces notions si simples qu’elles récla­maient l’adhésion de tout un cha­cun dans la phi­lo­so­phie car­té­sienne) sont sans cesse remises en cause aujourd’hui, l’approche du réel sol­li­ci­tant la créa­tion de nou­veaux concepts dont le plus célèbre est sans nul doute celui d’espace-temps.&#13;
./..&#13;
Nous l’avons vu, rien n’est simple, mais que d’invitations à l’étonnement, à la rêve­rie lucide après lec­ture de cet essai, où poé­sie et science se côtoient dans une sorte d’osmose que l’on vou­drait éternelle…&#13;
&#13;
patrick raveau&#13;
&#13;
internet : http://www.lelitteraire.com/?p=720</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="25231">
                <text>Lettera Amorosa</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="25232">
                <text>1973</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="25233">
                <text>Les lithographies, tirées sur vélin d'Arches, ont été exécutées en l'atelier Il Trifoglio d'Attilio Severgnini, à Milan, en juin 1973; lequelles lithographies ont été ensuite aquarellées, sous la direction de l'artiste, par Paolo Spano, à Milan. &lt;br /&gt;&lt;br /&gt;Lithographies originales aquarellées de Vanni Viviani.&lt;br /&gt;&lt;br /&gt;Dédicace de l'auteur à Pierre Puttemans.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="25234">
                <text>17 X 17 cm</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="25235">
                <text>fr</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="25236">
                <text>Ouvrage imprimé</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="25237">
                <text>np</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="25238">
                <text>FPPB-KOE-S-0 001 749</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="25239">
                <text>Fonds Pierre Puttemans</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="15">
        <name>Poésie</name>
      </tag>
      <tag tagId="372">
        <name>Théodore Koenig</name>
      </tag>
      <tag tagId="2478">
        <name>Vanni Viviani</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
