Le Potomak, précédé d'un Prospectus 1916 by Jean Cocteau, Serge Linarès
By Jean Cocteau, Serge Linarès
« Les Eugènes, le Potomak, le papillon, je n’ai pas su pourquoi je les créais, ni quel rapport pouvait au juste s’établir entre eux. structure secrète. “Que préparez-vous ?” me demanda Canche. Je rougis.
Impossible de lui répondre. »
De ce livre singulier Jean Cocteau déclara : « Mon oeuvre start avec Le Potomak ; c’est une sorte de préface. » En effet, cette oeuvre hybride, alternant dessins et textes, d’une liberté absolue de forme, fut composée à l’aube de l. a. Première Guerre mondiale, et l’artiste los angeles tiendra toujours pour son authentique superior livre. On y retrouve d’ailleurs le célèbre aphorisme dont il aurait pu faire sa devise : « Ce que le public te reproche, cultive-le, c’est toi. »
Fondé sur l’édition définitive établie par l’auteur en 1924, cet ouvrage surprenant et divertissant recueille de nombreuses illustrations tels les méconnus « Eugènes », et, bien sûr, le « Potomak », monstrueux pensionnaire d’un aquarium à Paris, porteur de poésie et de messages allégoriques.
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Extra info for Le Potomak, précédé d'un Prospectus 1916
Somewhat beyond what the assignment intends, we are feeling what every parent feels at one time or another: overwhelmed, clueless, and (needlessly) alone. I tell Meredith what I think we should do and reluctantly she nods her head. I pop the voice box from the doll’s plastic back. Like an image out of Poe, the box continues wailing in my hand as I stare at it dumbfounded. Wanting to stomp the thing under my boot, I pull the ribbon that expels the batteries and the noise finally stops. But the simulation continues, at least for one deathly moment.
Ferguson (1896), the Supreme Court decision that sanctioned racial segregation in public facilities, started from a test case in New Orleans that backfired, he added. Voodoo and gumbo were the clichés of a stagnant city. New Orleans was a has-been kind of place, drunken and violent. My mother continued to loathe Super Bowl “The Ushers” (1996), by Keith Calhoun, from the series Gone and part of the traveling exhibition Right to Return, featuring photographs by Keith Calhoun and Chandra McCormick that were damaged in the flooding following Hurricane Katrina.
I am scared,” I said. The director appeared to think over the situation. “Use your fear,” he concluded. ” The director had studied theater anthropology. His thesis had been on tarantismo, the culture of curing tarantula bites by dancing the tarantella. He divided up the canto between us, to read in turns. I, with my innocence, got all the lines spoken by the starving children: Gaddo’s “O father, why won’t you help me,” Anselmuccio’s “You look so strange, father! ” “Emphasize ‘you,’ ” the director said.