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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
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The Central Laboratory (Paperback)
Max Jacob; Introduction by Alexander Dickow; Translated by Alexander Dickow
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R553
R517
Discovery Miles 5 170
Save R36 (7%)
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Ships in 18 - 22 working days
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'Advice to a Young Poet' is an English translation, first published
on the centenary of the author's birth in 1967, of Max Jacob's
posthumous 'Conseils a un jeune poete'. This was Jacob's last major
statement on poetry, the culmination of a lifetime's reflection on
and practice of the art. This book makes his great personal as well
as literary influence on many poets and writers easier to
understand. The translator, John Adlard, supplies an introduction
which is a valuable contribution to the understanding of Jacob. The
book is completed by a deeply personal preface from the pen of
Edmond Jabès, and a historically important afterword by the "young
poet" himself, Jacques Evrard, the first time he had expressed
himself on the subject. "In 'Advice to a Young Poet' Max sets out
to answer a question posed by the young man's father: 'What is a
lyrical line?' It is his last major statement on poetry, the final
development of the thinking of twenty-five years. 'Men used to
believe,' he wrote in the 1916 preface to 'Le Cornet a Des', 'that
artists are inspired by angels and that there are different
categories of angels.' By 1941, after the years of prayer and
contemplation at Saint-Benoit-sur-Loire, this is no longer what
'men used to believe', but a fact in the interior life of a poet,
the interior life without which a poet cannot be permeable. Only in
a mind that is permeable is that conflagration possible ('the
conflagration,' he called it in his 'Art Poetique' of 1922, 'after
the encounter of a harmonious man with himself') which produces the
lyrical line, the 'consecrated line' identified by its euphoria and
its euphony." —from John Adlard's introduction
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