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Dans le catalogue du seul &#13;
Les symboles étaient exsangues &#13;
Il nous faut perdre la raison &#13;
L'insecte a négligé le lustre &#13;
Oui mes amours perdues &#13;
La réussite est une honte &#13;
Car cette femme nue &#13;
D'un point à n'importe quel autre point &#13;
Cerné par l'abandon &#13;
En ce soir-là j'avais une terrible envie &#13;
C'était bien le premier baiser sincère &#13;
Ce que j'appelle l'arrogance du soleil &#13;
Dieu cherchait ce soir-là &#13;
Mon orgueil n'est que le reflet d'un poignard &#13;
Tomber à genoux ne prouve pas que l'on prie &#13;
La vie est un oiseau qui propage son envol &#13;
Nous parlons poésie &#13;
La maison ne dissimulait &#13;
Quand un oiseau vient à tomber &#13;
La nuit aux lèvres épaisses et brunes &#13;
Etant à tout jamais lié &#13;
Il eut fallu ne pas venir&#13;
Un oiseau et un chien &#13;
Il me semble que je suis immobile  &#13;
Quel homme étais-je encore  &#13;
Peiner comme un insecte &#13;
Plus une étoile à jeter aux pourceaux &#13;
Le temps est un petit morceaux &#13;
Je ne me nourris &#13;
Le vrai styliste du plus grand désert &#13;
Un albatros est tombé dans ma chambre &#13;
Personne encore ne s'est pendu &#13;
Aujourd'hui &#13;
Toutes mes mémoires tombent en ruines douces &#13;
Une forme d'orgueil &#13;
Les graines de la confidence &#13;
La table avait cent mètres de long &#13;
Pour vous les hommes nus &#13;
Anachorète d'un dernier avatar &#13;
L'éternel prélevait sa dîme &#13;
Dans son corsage de fumée &#13;
Il y a toujours une très vielle armoire &#13;
Plus que jamais je peux le dire &#13;
Quand le sexe n'est pas un jeu &#13;
Bien que très las &#13;
Théorème de nudité &#13;
Ami tais-tois tu me connais &#13;
En vidant ma mémoire &#13;
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                <text>Alain Borer est connu pour avoir écrit plusieurs essais sur Rimbaud dont un "Rimbaud en Abyssinie" qui fit date.&#13;
&#13;
J'ai retrouvé une charmante petite plaquette numérotée et gentiment dédicacée par l'auteur, intitulée "Bestiaire" , dédiée à Michel Butor, parue en 1979 en Belgique aux prestigieuses éditions  Daily-Bul dans la collection 'Les Poquettes Volantes". En voici quelques extraits pour passer le temps, les fêtes sont parfois si ennuyeuses....&#13;
&#13;
&#13;
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&lt;ul&gt;&#13;
&lt;li&gt;Ministre des utopies définitives&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état à la connotation&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état au commerce temporaire&lt;/li&gt;&#13;
&lt;li&gt;Premier ministre de la Belgique surnuméraire&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état aux anciens gardes-barrières des langues&lt;/li&gt;&#13;
&lt;li&gt;Sous-secrétaire d'état au niveau&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état aux utopies temporaires&lt;/li&gt;&#13;
&lt;li&gt;Ministre des organes culturels&lt;/li&gt;&#13;
&lt;li&gt;Ministre aux régions subalternes&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état à la diphtongue&lt;/li&gt;&#13;
&lt;li&gt;Ministre du calembour territorial&lt;/li&gt;&#13;
&lt;li&gt;Ministre aux intempéries régionales&lt;/li&gt;&#13;
&lt;li&gt;Sous-secrétaire d'état à la hiérarchie culturelle&lt;/li&gt;&#13;
&lt;li&gt;Ministre des mesures transitoires&lt;/li&gt;&#13;
&lt;li&gt;Ministre des querelles intestines&lt;/li&gt;&#13;
&lt;li&gt;Ministre des anciens combattants culturels&lt;/li&gt;&#13;
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                <text>&lt;em&gt;En 1968, le Daily-Bul interrogeait quatre-vingts personnes pour savoir ce qu'elles étaient (Qui êtes-vous? D-B n°12).&lt;/em&gt;&lt;br /&gt;&lt;br /&gt;&lt;em&gt;Il persiste et s'intéresse aujourd'hui à votre futur (sans doute, pour certains, est-il déjà trop tard ?).&lt;/em&gt;&lt;br /&gt;&lt;em&gt;C'est ainsi que, dans le cadre d'une enquête,&amp;nbsp;il aimerait connaître le type d'habitat que vous souhaitez réserver à votre corps après sa mort. Soit par le texte (limité à une page dactylographiée),&amp;nbsp;&amp;nbsp;soit par le dessin (limité aux traits et aux dimensions 19 x 23 cm),&amp;nbsp;&amp;nbsp;il vous est donc loisible de décrire votre fosse ou votre mausolée,&amp;nbsp;&amp;nbsp;à moins que d'autres possibilités inédites ne répondent à vos voeux. Nous ne doutons pas que l'utilité d'une telle enquête vous apparaisse - les morts sont parfois trop subites - et nous espérons que vous y répondrez.&lt;/em&gt;&lt;br /&gt;&#13;
&lt;div style="text-align: right;"&gt;Pol Bury - André Balthazar&lt;/div&gt;</text>
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&lt;ul&gt;&#13;
&lt;li&gt;La trahison (6.9.39)&lt;/li&gt;&#13;
&lt;li&gt;[Non titré] (4.9.39)&lt;/li&gt;&#13;
&lt;li&gt;Le retour intra maternel (15.10.39)&lt;/li&gt;&#13;
&lt;li&gt;Le poète assassiné (6.9.39)&lt;/li&gt;&#13;
&lt;li&gt;Coquetterie (19.12.39)&lt;/li&gt;&#13;
&lt;li&gt;Impatience (12.1.40)&lt;/li&gt;&#13;
&lt;li&gt;Tombeau (7.10.39)&lt;/li&gt;&#13;
&lt;li&gt;[Non titré] (1.9.39)&lt;/li&gt;&#13;
&lt;li&gt;Le palais (6.9.39)&lt;/li&gt;&#13;
&lt;li&gt;La mère phallique (5.9.39)&lt;/li&gt;&#13;
&lt;li&gt;Après l'amour (5.1.40)&lt;/li&gt;&#13;
&lt;li&gt;Le couple (6.9.39)&lt;/li&gt;&#13;
&lt;li&gt;Puberté (16.12.39)&lt;/li&gt;&#13;
&lt;li&gt;[Non titré] (5.9.39)&lt;/li&gt;&#13;
&lt;li&gt;[Non titré] (8.10.39)&lt;/li&gt;&#13;
&lt;li&gt;Péché mortel (sado-masochiste) (3.1.40)&lt;/li&gt;&#13;
&lt;li&gt;La maison du jardinier (4.9.39)&lt;/li&gt;&#13;
&lt;li&gt;Le complexe de castration (5.9.39)&lt;/li&gt;&#13;
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&lt;p&gt;Originaire d'Avallon, en Bourgogne, Gaston Chaissac (1910-1964) est issu d'un milieu modeste. Il découvre l'art à Paris en 1937 grâce à sa rencontre avec Jeanne Kosnick-Kloss et Otto Freundlich qui l'encouragent à peindre. Sa première exposition personnelle a lieu à Paris, galerie Gerbo, dès 1938. Durant la guerre, à Saint-Rémy de Provence, il rencontre chez Albert Gleizes quelques grands noms du monde de l'art, André Bloc notamment, qui le soutiennent à distance. Chaissac pose les fondements de son engagement artistique dès la fin des années 1930. Il arrive à Vix, en Vendée, en août 1942, puis suit sa femme Camille, institutrice laïque, lors de ses changements d'affectation, à Boulogne tout d'abord (1943-1948), puis à Sainte-Florence de l'Oie (1948-1961) et de nouveau à Vix à partir de juillet 1961.&lt;/p&gt;&#13;
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&lt;p&gt;Gaston Chaissac croise dans son environnement immédiat, son « champ visuel », les matériaux et les personnages bien ordinaires qui sous sa houlette deviennent motifs artistiques. En chroniqueur de l'Oie, il raconte dans son abondante correspondance les menus événements et les rencontres qui rythment son quotidien. En inventeur de la «&amp;nbsp;peinture rustique moderne&amp;nbsp;», il fait des chemins, des bois, des chantiers ou des décharges de la Vendée ses terrains de jeu et y collecte tout un attirail d'objets, quotidiens ou usagés, qu'il métamorphose par ses talents de coloriste hors-pair.&lt;/p&gt;&#13;
&lt;p&gt;Le Musée de l'Abbaye Sainte-Croix conserve la plus importante collection publique consacrée à l'œuvre de Gaston Chaissac. Cette rétrospective, qui accompagne un nouveau dépôt d'une centaine d'œuvres de l'artiste, revient sur l'ensemble de son travail, depuis ses débuts, méconnus, à la fin des années 1930 jusqu'à ses dernières œuvres qui, au début des années 1960, le révélèrent au grand public. Elle en explore toutes les facettes, dessins, peintures, objets, correspondance, en les plaçant sous le signe d'une expérimentation et d'un renouvellement artistique constants.&lt;/p&gt;&#13;
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                <text>Le MASC conserve la plus importante collection publique d'oeuvres de Gaston Chaissac : plus de cent cinquante peintures, dessins, collages et assemblages et quelques cinq cents lettres la constituent. Il accueille également le Centre d'études Gaston Chaissac qui rassemble une documentation de référence sur l'artiste.&lt;br /&gt;&lt;br /&gt;Ces chroniques évoquées de manière chronologique s'appuient sur les collections patrimoniales et documentaires du musée. Elles ont pour but&amp;nbsp; de donner une vue d'ensemble de la vie et de l'oeuvre de Chaissac, au sein desquelles s'entremêlent et résonnent ses activités plastique et littéraire.</text>
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                <text>Un coup de coeur du Carnet&#13;
Pierre MALHERBE&#13;
calonne_malherbeOutre une délicate pièce pour piano de Maurice Ravel, dédiée à Léon-Paul Fargue, il existe une myriade de noctuelles, près de vingt-cinq mille espèces à la surface de la terre, semble-t-il, et qu’on appelle un peu plus anonymement des papillons de nuit. Les chenilles de noctuelles sont la terreur des agriculteurs et des passionnés des jardins, car, polyphages, elles se nourrissent de tout ce qui leur passe sous le nez, et uniquement la nuit bien sûr – la journée, elles digèrent leur festin et se reposent avec nonchalance. Jacques Calonne, né en 1930 à Mons, fait partie de cette grande famille des noctuelles, à ceci près qu’il n’est la terreur de personne ayant les doigts verts.&#13;
&#13;
Au contraire, ce rejeton de Cobra dont il fut l’un des plus jeunes membres, à 19 ans, n’a aucune peine à rassembler autour de sa personne de touche-à-tout, de ses partitions musicales, écrits poétiques, peintures, compositions calligraphiques et joyeuses extravagances artistiques, une imposante myriade d’amis et de connaissances. Composé avec soin et enthousiasme durant plusieurs années par Sylvie Van Hiel Broodthaers, voici que paraît à L’Âge d’Homme un de ces livres-monstres qui font le bonheur des fureteurs d’encyclopédies, et de tous ceux qui souhaiteront découvrir ou approcher de plus près ce lépidoptère lettré et curieux qu’est Jacques Calonne, également connu sous le nom du « Ténor mondain »  – l’une de ses innombrables activités de soirée.&#13;
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Souris, Boulez et Plastic Bertrand&#13;
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Qui est réellement Jacques Calonne ? Près de six cent pages fourmillantes de témoignages, de textes, d’entretiens, de conversations improvisées, de documents, ne permettent évidemment pas de saisir l’insaisissable. Car, fidèle à sa réputation – « personne n’a vécu, ne vit comme lui l’antispécialisme de Cobra », écrivait son ami Dotremont en 1970 – Calonne s’est démultiplié dans le temps, l’espace et les disciplines. La musique y tient une grande place, lui qui, formé/déformé au conservatoire de Bruxelles, et ensuite à l’académie des beaux-arts, rencontra le dodécaphonisme grâce à André Souris. Dès le milieu des années 50, il fréquente durant quinze ans l’école de Darmstadt (Stockhausen, Maderna, Boulez…) puis, plus tard, Bartholomée, Foccroulle, et même Plastic Bertrand. Entre la carrière de compositeur-théoricien d’avant-garde et celle de chanteur de mélodies de salon ou de cabaret, Calonne n’a pas choisi, embrassant les deux. Ce qui donne ce compliment expert du musicologue Harry Halbreich : « Une œuvre de Jacques, c’est comme un diamant. Il aurait pu être le plus grand compositeur du pays. C’est un marginal irrécupérable. »&#13;
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Le goût de l’inachèvement&#13;
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La littérature et les arts plastiques n’en ont pas moins attiré dans leurs filets – à moins que ce ne soit l’inverse ? – l’auteur de Belle que jamais, un roman (et le seul), publié par Dotremont dans sa revue « Strates ». Par Cobra, ce collectionneur de pommes de terre en germes, de boîtes d’allumettes et de disques 78T se lie avec les acteurs de la « Belgique sauvage », le futur créateur des logogrammes, Pierre et Micky Alechinsky, Asger Jorn, mais également Appel, Bury, Reinhoud, André Balthazar ou encore les frères Piqueray. Assez désinvolte pour ne pas vouloir faire œuvre achevée, synonyme de pierre tombale, il laisse s’accumuler de petites choses, objets divers, brèves de comptoir, aphorismes, pastiches poétiques, bêtises entendues, notations légères et mignardises drôles, qui se dégustent ici comme des œufs d’esturgeon : « Dans le bottin de Berlin, en 1972, on trouvait seize Richard Wagner. » Ou : « Lorsqu’un Français tombe sur un mot français qu’il ne connaît pas, il croit que c’est un belgicisme. » Et encore: « Lu sur une affiche. La Tempête de William Shakespeare, spectacle en plein air. »&#13;
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Pas franchement attiré par les surréalistes, il lorgne volontiers du côté des lexico-linguistes. Peut-être pas Hanse ou Grevisse, mais plutôt Schleyer, assez oublié aujourd’hui, créateur du volapük, un langage artificiel cousin de l’esperanto. La version de Calonne du « Corbeau et du Renard » en cet idiome est un chef-d’œuvre d’oralité, tout comme son Petit lexique picard belge qui n’eût pas déplu à Scutenaire. Calonne personnage a encore promené sa silhouette de dandy dégingandé dans des films de Luc de Heusch, Boris Lehman, Jan Bucquoy, Fred Van Besien, Claude François, Noël Godin, et déambulé nocturnement en maints estaminets, en compagnie d’amies et d’amis, connus ou inconnus. Pour un grand nombre d’entre eux, dont Edouard Baer, ils se trouvent en assez bonne situation dans cet ouvrage imparable, aussi inclassable que le reste son sujet. A vos filets !&#13;
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Jacques CALONNE, Noctuelles, orchestré par Sylvie Van Hiel Broodthaers, Lausanne, L’Âge d’Homme, 592 p., 35 €</text>
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        <element elementId="103">
          <name>Collection de l'éditeur</name>
          <description>Collection chez l'éditeur</description>
          <elementTextContainer>
            <elementText elementTextId="58217">
              <text>Envois</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="111">
          <name>Dépôt légal</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="58218">
              <text>1/1997</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="58204">
                <text>Cobra et le bassin parisien</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="58205">
                <text>Alechinsky, Pierre</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="58206">
                <text>L'échoppe</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="58207">
                <text>1997</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="58209">
                <text>11 X 15 cm</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="58210">
                <text>fr</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="58211">
                <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="58212">
                <text>21 p.</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="58213">
                <text>ACDB-ALE-C-0 000 128</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="58215">
                <text>Fonds Centre Daily-Bul &amp; C°</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="1934">
        <name>Cobra</name>
      </tag>
      <tag tagId="299">
        <name>Pierre Alechinsky</name>
      </tag>
      <tag tagId="10844">
        <name>Pierre Dumayet</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
