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377 books match the query 'French' and 8 start with w
Watchfiends and Rack Screams
Artaud’s Last Unpublished WorkAntonin Artaud
Diaphanes, 2024
Antonin Artaud’s last large-scale work, published in its complete form in English for the first time.
Drawings on texts and letters dating from 1946, some of them written while he was still confined at the Rodez psychiatric hospital, Artaud devoted the months of November 1946 to February 1947 to completing his book through a long series of vocal improvisations titled Interjections, dictated at his pavilion on the edge of Paris. He cursed the assassins he believed were on their way there to steal his semen, to make his brain go “up in smoke as under the action of one of those machines created to suck up filth from the floor,” and finally to erase him. The publisher who had commissioned the book, Louis Broder, was horrified at reading its incandescent, fiercely obscene, and anti-religious manuscript and refused to publish it. Ambitious and experimental in scale, fragmentary and ferocious in intent, it was not published until 1978, in an edition prepared by Artaud’s close friend Paule Thévenin. Artaud commented that it was an “impossible” book, and that “nobody has ever read it from end to end, not even its own author.”
Clayton Eshleman, together with his translation collaborators such as David Rattray, began to work soon after 1978 on an English-language edition, with extracts appearing especially in Eshleman’s poetry magazine, Sulfur. This volume presents his translations with additional ones by Paul Buck, and Catherine Petit it in its complete form in English for the first time.
What Now Is Now Is Now
Selected PoemsNóra Ružicková
Seagull Books, 2025
A selection of poems that blend raw imagery with experimental forms, offering a vivid exploration of the body, language and shifting identities.
Nóra Ružičková’s poetry merges bodily experience with linguistic experimentation, evolving from self-reflection to an exploration of the complexities of gender and Central European identity. Her work deftly weaves personal narratives with political and social commentary, forging poems that are both intellectually provocative and deeply embodied.
This selection spans nearly 25 years, tracing her work from a late-millennium debut to her latest, most socially engaged collection, which explores novelty within the grand narratives of modern history and critiques humanity's obsession with progress. Through her poems, she challenges the boundaries of language, blending physicality with abstraction through a combination of potent imagery and philosophical reflection. Her poetry treats the body as a space where meaning is simultaneously created and dismantled, probing themes of identity, existence and the instability of interpretation. By experimenting with materiality, bodily experience and the ever-changing mediascape, Ružičková captures the complexities of contemporary human life and dissolves the divide between language and physical reality. In its concluding section, the selection confronts pivotal historical moments and humanity’s relentless pursuit of progress, making for a powerful, thought-provoking engagement with the present.
White Decimal
Jean Daive
Omnidawn, 2017
Women Together/Women Apart
Portraits of Lesbian ParisLatimer, Tirza True
Rutgers University Press, 2005
What does it mean to look like a lesbian? Though it remains impossible to conjure a definitive image that captures the breadth of this highly nuanced term, today at least we are able to consider an array of visual representations that have been put into circulation by lesbians themselves over the last six or seven decades. In the early twentieth century, though, no notion of lesbianism as a coherent social or cultural identity yet existed.
In Women Together/Women Apart, Tirza True Latimer explores the revolutionary period between World War I and World War II when lesbian artists working in Paris began to shape the first visual models that gave lesbians a collective sense of identity and allowed them to recognize each other. Flocking to Paris from around the world, artists and performers such as Romaine Brooks, Claude Cahun, Marcel Moore, and Suzy Solidor used portraiture to theorize and visualize a "new breed" of feminine subject. The book focuses on problems of feminine and lesbian self-representation at a time and place where the rights of women to political, professional, economic, domestic, and sexual autonomy had yet to be acknowledged by the law. Under such circumstances, same-sex solidarity and relative independence from men held important political implications.
Combining gender theory with visual, cultural, and historical analysis, Latimer draws a vivid picture of the impact of sexual politics on the cultural life of Paris during this key period. The book also illuminates the far-reaching consequences of lesbian portraiture on contemporary constructions of lesbian identity.
Women and Discourse in the Fiction of Marguerite Duras
Love, Legends, LanguageSusan D. Cohen
University of Massachusetts Press, 1993
One of the most famous living French writers, Marguerite Duras is renowned for her provocative and hauntingly beautiful works of fiction, drama, and cinema. This book offers the first comprehensive study of the narrative and stylistic characteristics of Duras's fiction. Susan D. Cohen examines the entire range of Duras's works, combining close textual analyses with a more general discussion of narrativity and its connections with gender, class, and race. The focus throughout is on language, representation, and difference, which Duras explores on every structural level.
Cohen shows how Duras's writings, even the controversial “erotic” works, expose and subvert the repression of women in traditional, dominant discourse and at the same time present an alternative, nonrepressive discursive model. She formulates a concept of creative “ignorance,” which she identifies as the generative principle of Duras's textual production and the approach to language it proposes. Cohen also explores the distinctive features of Duras's prose, describing how the writer achieves the ritual, legendary aura that characterizes her work.
Writing It Twice
Self-Translation and the Making of a World Literature in FrenchSara Kippur
Northwestern University Press, 2015
Though the practice of self-translation long predates modernity, it has found new forms of expression in the global literary market of the late twentieth and early twenty-first century. The international renown of self-translating authors Samuel Beckett, Joseph Brodsky, and Vladimir Nabokov has offered motivation to a new generation of writers who actively translate themselves.
Intervening in recent debates in world literature and translation studies, Writing It Twice establishes the prominence and vitality of self-translation in contemporary French literature. Because of its intrinsic connection to multiple literary communities, self-translation prompts a reexamination of the aesthetics and politics of reading across national lines. Kippur argues that self-translated works should be understood as the paradigmatic example of world literature and, as such, crucial for interpreting the dynamics of literary circulation into and out of French.
Writing Japonisme
Aesthetic Translation in Nineteenth-Century French ProsePamela A. Genova
Northwestern University Press, 2016
Writings of Resistance
Angélique de Saint-Jean Arnauld d’Andilly
Iter Press, 2015
An erudite abbess of Port-Royal, Angélique de Saint-Jean Arnauld d’Andilly (1624 – 1684) resisted the demands of church and state to condemn the Jansenist theological doctrines which the convent had long upheld. In her autobiographical Report on Captivity, Angélique de Saint-Jean recounts her personal methods of spiritual resistance as she and her fellow nuns underwent waves of persecution resulting in exile, house arrest, interdict, and excommunication. Her voluminous theological writings present the theoretical basis for this resistance, limiting the claims of political and ecclesiastical authorities over the conscience of the individual. In particular, she defends the right of women to refuse to surrender their convictions due to specious appeals to obedience and humility.