One of France's most important modern poets, Eugene Guillevic (1907-97) was born in Carnac in Brittany, and although he never learned the Breton language, his personality is deeply marked by his feeling of oneness with his homeland. His poetry has a remarkable unity, driven by his desire to use words to bridge a tragic gulf between man and a harsh and often apparently hostile natural environment. For Guillevic, the purpose of poetry is to arouse the sense of Being. In this poetry of description - where entire landscapes are built up from short, intense texts - language is reduced to its essentials, as words are placed on the page 'like a dam against time'. When reading these poems, it is as if time is being stopped for man to find himself again. Carnac (1961) marks the beginning of Guillevic's mature life as a poet. A single poem in several parts, it evokes the rocky, sea-bound, unfinished landscape of Brittany with its sacred objects and its great silent sense of waiting. The texts are brief but have a grave, meditative serenity, as the poet seeks to effect balance and to help us 'to make friends with nature' and to live in a universe which is chaotic and often frightening. Introduction by Stephen Romer. French-English bilingual edition. Bloodaxe Contemporary French Poets: 9

This bilingual collection of Eugene Guillevic's work, chosen from six of his books published between 1942 and 1966, and translated by the poet Denise Levertov, introduces American readers to a highly-acclaimed French poet. Guillevic was born in Carnac in 1907 of peasant stock. He sees the profoundly austere Breton landscapes (and all else in life) not as incidental backgrounds, but as elemental, living presences. His poems embody his indignation at the use and misuse of some human beings by others--as well as his cold and clear understanding of historical process. Like William Carlos Williams, he has a sharp eye, and as Miss Levertov points out in her introduction, "the simplicity of diction, the plain and hard meaning of things without descriptive qualification, reverberates, in the highly charged condensation of Guillevic's poems, with the ambiguity, the unfathomable mystery of natural objects." In translating these poems, Denise Levertov has drawn upon the affinity that exists between her own style and Guillevic's. She has attained comparable effects of concision and clarity and has reproduced with great subtlety the characteristic rhythm and cadence patterns of the French originals.