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Food poetry

Preface

 

Certain prejudices have nine lives. The one who asserts that the literary activity would produce only famished people is a part of it. And within the disciplines of the literary activity, the poetry is supposed to be in the first rank. To summarize in brief: the poetry does not feed his man (or his woman, that is the same thing).
This maxim was the point of departure of the work presented here. It is always pleasant to try to demolish false certainties. And prove that the poetry can feed his man promises to be a interesting exercise. How to arrive there? Very simply by using an edible poetic material: shortbread biscuits which have fragments of combinable sentences between them. The poetic language which we can develop with such a material is a little limited (in the style of the one used by the regretted Noël Arnaud in its Poèmes Algol) but it allows a certain wealth of variations within a theme imposed by the fragments of sentences themselves.
The collection proposed here was realized with a vocabulary of 30 fragments: a baby, a kiss, a summer, are you thirsty, be cheerful, be kind, be quiet, be wise, Gaetan, goodbye, hello, I like that (I love that), I love you, in a train, I want it, immoderately, in the sea, keep quiet, miaow miaow, of course not, Rose, see you tomorrow, smile to me, think of me, this afternoon, to laugh, you dad, you dream, you mom, you owe.. These fragments were used at least once in the collection. All the written poems constitutes a story.
This collection is only one of the possibilities offered by the poetic basic material. Other numerous poems can be compose. Moreover–and it is an advantage that do not offer the other methods of composition–if we are a little hungry, during or after a session of poetic writing, we can nibble at its work. A new way is found for the survival of the sort homo poeticus. We can now assert without big risk of mistake that the poetry will be food or will not be.

 
 

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