Valérie Rouzeau’s Pas revoir (1999) is a collection of poetry written shortly after the death of her father.
Over the last forty years, contemporary French poetry has been living in a state of crisis. Pronounced dead – or worse, irrelevant – it has sought to reassert its value, define its current specificity, and delineate its difference from the poetic practices of the past.
If any twentieth-century French poet invites a methodical, quasi-mathematical approach to their work, it is Raymond Queneau, co-founder of the Oulipo and author of the proto-algorithmic Cent mille milliards de poèmes (1961).
Taking Deleuze and Guattari’s notion of ‘déterritorialisation’ as a point of departure, this article explores how certain forms of literature dismantle or disrupt dominant linguistic codes
In the mid-20th century, poets and artists started taking existing texts and images and then redacting and erasing them to form new ones.
This article argues that the term ‘minor poetry’ gains an additional relevance for experimental twentieth-century poetry which grapples with its own generic identity, deterritorializing established conceptions of poetry, and making ‘minor’ the major poetic discourses on which it is contingent.
Among the cats and sunsets and carefully curated cappuccino shots, Instagram finds itself home to a new literary phenomenon: Instagram poetry.
The book’s three-part structure, moving from “End” and “Middle” to “Beginning,” marks a departure from the well-trodden path of the broken-hearts poets club.