Being content with "looking like nothing" deserves a long exercise in imprecise science. Namely, poetry. We must gather our strength. For unity makes farce, and Tristan Felix knows it. Completely naked under her masks, she becomes a clown but also a tragedian. She electrifies the Electra, whom she transports to Spain via Calvino's Nonexistent Knight, something Sancho never thought of. All the texts in this work are called "Come back!" For the one who becomes our Pessoa by multiplying heterosexuals to the point of anonymity like so many mimes, never ceases to amaze and astound us. I consider her the greatest of living, non-vain writers, and artists of the same pipe tobacco that I have been practicing for over fifty years now. Jean-Paul Gavard-Perret >>>Details

This audacious fiction, Joguet, Joguette, in a collection, cleverly named The Writer's Diagonal in that it allows the authors solicited to open their wings and entrails to us, is a slope that a brother and a sister boldly descend towards the depths of their human disinheritance. Joguet and Joguette, without origin or descendants, an island detached from the great continent of the inept species, compose, as in the theater, a Beckettian duo (for the perspective of a Cape to the worst), Rabelaisian (for the plunge into the meat of language) and Boschian (for the infernal invention), a couple whose tragic truculence is orchestrated more by the health of a writing than by the behavior of the characters - Tristan Felix >>>Details

Carole Mesrobian's writing is a journey into an imaginary world that traces the line of an infinity of no return, to plunge into the shifting sands of life... where indifferent passersby trace their invisible history... where writing gives its face to destiny that strikes without listening to the moans of words... where a woman's cry plunges into the remains of a writing to be remade and lived outside the deadly tunnel of otherness called man... "I am a woman elsewhere... where neither women nor men exist anymore." Davide Napoli Carole Mesrobian inscribes her journey in a breathless book, mixed as life is mixed; she happily mixes the observations and effects of her intense inner life with her academic work. The study of epigraphs, vehicles of the profound thought of authors confronted with their texts (notably those of Stendhal), naturally refers to her personal approach. Philippe Thireau Carole Merobian is a poet and doctoral student. She co-directs, with Marilyne Bertoncini, a major French digital literary magazine: Recours au poème. >>>Details

I don't believe in chance, I only believe in encounters, said René Char. Billie Holiday, Emilie Dickinson, Malala Yussafzai are encounters. So, bringing together these three portraits of women I love and respect in a book is to reaffirm my attempts to no longer dissociate intimate desire from artistic becoming, to inscribe my path in what it reveals of twists and turns, of wanderings too, and to share it in an unexpected "diagonal." And that's very good. A raw diagonal, a sensitive bifurcation that offers me the possibility of bringing together some of my own fragments, of affirming an identity open to becoming, to movement – and therefore to the unexpected, to the imaginary. >>>Details

A book by Dominique Preschez never arrives by chance; it needs a breeding ground, a desire, a heart condition for the unthinkable to happen: for a masterful wave carrying away the words and all the music of the world to submerge our temporality, that of the reader whom Preschez summons to the debate. As he writes, by dint of always being alive. To hold on, because death has always been visible. In search of the lost I in the aftermath of a stroke and clinical death in 1992, Dominique Preschez writes a collection of reunions with the memory buried in that of others, precisely where I might be found. Parlando naturally takes its place after the memorial sum that represents The Devil's Trille, a work published by Tinbad in 2018. >>>Details

Pasolini, speaking of his work as a director and theoretician, said that he was making a Cinema of Poetry. Following him, modestly but confidently, I maintain that I am writing a Poetry of Cinema (of – and not of the). This poem to give an image of it: The poetry of cinema is a complaint This complaint is absolute Namely that it has neither address nor foundation. The form of the complaint is the broken heart The particularity of this breakage is that the heart wants it. >>>Details

Who better than Alain Marc can personify this collection "The Writer's Diagonal" charged with revealing the "making" of an author? To dive into "Actes d'une recherche", notebook 1986 - 2019, is to immerse oneself in the poet's fantastical, analytical, dreamy, criminal (for literature) daily life: his notes, fragments, selected pieces transgress the rules of writing, elevate intellectual outbursts to the status of a work of art. Let no one be surprised by an immoderate use of commas, sometimes; then breathing becomes panting, choppy, ideas that one thought were established fly joyfully from one punctuation mark to another to end in a... comma precisely, escaped at the bottom or top of the page, as if to say: "This is where the truth lies, in this apostrophe outline." "Listen to write" Alain Marc, here, now. >>>Details

Murielle Compère-Demarcy escapes from herself, painfully, to accompany "Saint Artaud" in his fragile, delirious, monstrous, sharp, loving poetry. Artaud, an aerial monument visible in the invisible. How to seize the invisible? Murielle Compère-Demarcy indulges, in Alchemist of the Pulverized Sun, the fifth opus of The Writer's Diagonal, in an exercise in adoration, fascination: she takes a hallucinatory path to raucous, profound, sometimes cerebral poetry, devastated by the stakes. But poetry masterfully established in the enveloping movement of this "canvas stretched on the easel of the soul" - sublime verse of her composition, in which she dresses herself to cross Artaud's stupor. >>>Details

Pose for Jacques Cauda in his painter's studio, and die to reality. Geneviève with her blue eyes—they are the paragon of the only true blue—is literally placed on the palette-stall, naked, exploded, cooked, devoured, before being reborn on the canvas and the book. Each line and word of the work is a revealing-recovering: the painter's syntax, murderer of the light bursting from the foundations, made of second thoughts, disrupts that of the writer. What is overfiguring, according to Husserl, quoted by Cauda: "The intended past can be overfigured, and the image produced, forming itself intuitively, overlaps with what is intended." Thus, the act of creating, Art, can only be an approach to the elusive truth. >>>Details

Robert McLiam Wilson wrote: "All stories are love stories." Pierre Barachant's life is not only that of a writer, it is also a love story. Yes, but... well-watered in the mists of the big city, very bloody, and so tender too! And full of extenuating circumstances. "Because it's hard to write at night in Berlin, two or three hundred pages. It's hard. Or even ten. Or just one, mind you! And yet it's nothing. It happens all by itself. Go figure it out!" Pierre Barachant's prose is spirited, it's that of the street but refined by more than thirty years of work. The result? A dense, breathless writing, which doesn't let go of the reader until the last page is read. >>>Details

A journey into the depths of time. Gilbert Bourson takes us by the hand and guides us through the labyrinth of his fertile thought. Fécond is the poet who offers us the opportunity to stage his own excess, that of royal childhood woven from all the ancient troubles. What is poetry for Gilbert Bourson? "Language is energy. A poem is tension, a surge toward a destabilization of the correct and the conventional; it is a permanent insurrection of meaning." We should therefore not be surprised by the syntactic delight that accompanies On the Bank Where the Line of Doors Yawns. The revolution of words and phrasing adorns Gilbert Bourson's literary journey. >>>Details

This book is based on the text of two lectures given by Philippe Thireau. The first, entitled The Dark Sound of Water, was given at the family farm in Flagey – Pôle Courbet, on July 30, 2017. It describes the author's approach to the photographs of Florence Daudé published in their joint work: Soleil se mire dans l'eau (Z4 editions). The second lecture, entitled Flamme vive, given at the Cercle suisse in Besançon at the invitation of the association Défense de la langue française on March 15, 2016, puts into perspective the epistolary and romantic relationship woven between Benjamin Constant and Isabelle de Charrière at the end of the 18th century. This relationship is recounted in a book by the author published in 2015 by the Swiss publisher Cabédita under the title: Benjamin Constant and Isabelle de Charrière, Hôtel de Chine et dépendances. >>>Details