<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><!--StartFragment--><p class="MsoNormal" align="right" style="text-align: right; font-size: 13px; "><span style="font-family: Baskerville; font-size: 16px; ">French School Boy:<span> </span>"<i>What do you think about when you write a poem?</i></span><span style="font-family: Baskerville; font-size: 16px; ">"</span></p><p class="MsoNormal" align="right" style="text-align: right; font-size: 13px; "><span style="font-family: Baskerville; font-size: 16px; ">Michel Deguy:<span> </span>"<i>About the poem, and more precisely, about the poem I'm writing."</i></span></p><p class="MsoNormal" align="right" style="margin-left:.5in;text-align:right; text-indent:.5in"><span style="font-size:8.0pt;font-family:Baskerville; color:black"><a href="http://www.dailymotion.com/video/x8u4t8_metropolis-michel-deguy_news">http://www.dailymotion.com/video/x8u4t8_metropolis-michel-deguy_news</a><o:p></o:p></span></p> <div class="MsoNormal"><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></span></div> <div class="MsoNormal"><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p style=""></o:p></span></font></span></div> <div class="MsoNormal" style=""><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Cher Tous,</span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></span></div> <div class="MsoNormal" style=""><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></span></div><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">On Friday, May 1, 2009, the WGCP met with Adelaide Russo to discuss a segment of her book-in-progress on the French philosopher and poet, Michel Deguy. The chapter under consideration is provisionally entitled "La poésie limitrophe: Michel Deguy's </span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Gisants</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">" which, as the title says, develops a consideration of the trope (linguistic figure) as limit or boundary in, among other texts, Deguy's prize winning collection, </span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Gisants</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> (1985) which is available in Wilson Baldridge's English translation by Wesleyan University Press (2005)--some of these poems were circulated prior to the session, in French and in English.</span></font><span><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font></span><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">The essay/chapter in question may eventually take part in Adelaide's next book, a much-needed, English language monograph on the works of Deguy, the working title of which, is _</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Michel Deguy's Perspicacity</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">_.</span></font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Discussing the work-in-process of a regular group member provided those unfamiliar with Deguy an opportunity to gain some entrance to his complex work. And, for Adelaide, the session served as a sounding off, a testing out of the problems and questions she is encountering in reading Deguy, and in presenting his work to an exclusively Anglophone audience. By the end of the session, in a gesture that nicely encapsulated the dialogue we shared, it was proposed that the challenge of presenting Deguy's work to an American audience was three-fold: one needs to account for Deguy's position and evolution as philosopher; one needs to account for Deguy's craft and investments as a poet; one needs to contextualize and give relief to the historical implications of Deguy's contributions to French (indeed, global) intellectual culture throughout his lifetime (he was born in 1930).</span></font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Very briefly, some of the important contributions highlighted in the introductory segment of our session included : Deguy's longstanding role as a reader for Seuil (one on France's most prestigious publishing houses); his founding and continued editorial role in the influential journal _</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Po&sie_</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">; his early collaboration with </span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Les Temps Modernes</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> and later with the journal </span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Critique</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">; his presidency of the Collège International de Philosophie; his collaboration with J. Roubaud in anthologizing translated American poetry (_</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Vingt poètes américains_</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">, Seuil, 1980); his numerous books of poetry (only two of which have been translated into English, the aforementioned, and _</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Donnant donnant_</span></font></i></span><span style="font-family: Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> [_</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Given Giving_</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">, trans. Clayton Eschleman, intro. Kenneth Koch] U California Press, 1989]); his numerous books of philosophy (none of which have been translated into English; one must mention, at the very least, _</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">La poésie n'est pas seule_ </span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">(1987)</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font></i></span><span style="font-family: Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">[Poetry is not alone] and _</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">La raison poétique</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">_ (2000) [Poetic Reason]).</span></font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Another way of accounting for the Deguy's influence and evolution is to think critically about various modes of correspondence and exchange present in his work as well as in his biography. In addition to mentioning his frequent visits to the States (and dialogues with writers in Buffalo, NYC, and elsewhere), Adelaide was careful to insist on Deguy's early admiration for, and direct appropriation of, the poetic legacies of Joachim du Bellay, Charles Baudelaire, Stéphane Mallarmé and Paul Valéry; these allegiances betray a concerted effort by Deguy to inscribe for himself a place in the canonical pantheon of French poetry, and precisely in such a way as to take cognizance of his historicity as a poet and, perhaps even more importantly, to inscribe into his becoming as poet the traces of this tradition, elements of which Deguy sets in relation to the limits of figuration, often informed by questions in phenomenology. Deguy's volume of poetry entitled _</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Tombeau de du Bellay</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">_, for example, might be approached as a kind of recapitulation not only of the defense and illustration of a new poetic language (French was just coming into its own 1549 when du Bellay championed its merits), but also of the </span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">tombeau</span></font></i></span><span style="font-family: Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">, the touchstone elegiac genre recursively reworked by Baudelaire, Mallarmé and Valéry, having since become the test-piece most capable of registering poets on the ledger of the singularly distinguished.</span></font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">This remark led to a inquiry of the </span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">tombeau</span></font></i></span><span style="font-family: Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">-poem as a peculiarly French literary genre. Does American writing have any comparable tradition?</span></font><span><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font></span><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">We have plenty of elegies, but with few exceptions (e.g., the heavily French-influenced Hart Crane), American poets seldom write poems on the subject of tombs per se.</span></font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">One of the central problems Adelaide presents in the chapter we considered is the importance of</span></font><b><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> the recumbent (</span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">le gisant</span></font></i></b></span><span style="font-family:Baskerville"><b><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">)</span></font></b></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> as a poetic genre, or modality of lyrical expression: Or, to cite the questions directly from Prof Russo's essay, </span></font><span style="color:#333333"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">"</span></font><span style="letter-spacing:.1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> what are </span></font></span><span style="letter-spacing:.2pt"><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">gisants, </span></font></i></span><span style="letter-spacing:.1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">and, if there are not enough thematic and formal constants to propose a generic designation and description, what do these poems have in common?" </span></font></span></span><span style="letter-spacing: .1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">A second citation may also be useful, if only to indicate the extent to which the seven poems entitled 'Recumbents' (en)act in concert thanks to their very name; here are the terms in which Adelaide explains and contextualizes the title itself: </span></font><span style="color:#333333"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">"The word </span></font></span></span><span style="color:#333333;letter-spacing:.2pt"><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">gisant, </span></font></i></span><span style="color:#333333;letter-spacing:.1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">a substantive derived from the verb </span></font></span><span style="color:#333333;letter-spacing:.2pt"><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">gesir, </span></font></i></span><span style="color:#333333;letter-spacing:.1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">refers to a funerary effigy which shows a figure in a reclining posture, distinguishing it from an </span></font></span><span style="color:#333333;letter-spacing:.2pt"><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">orant </span></font></i></span><span style="color:#333333;letter-spacing:.1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">or </span></font></span><span style="color:#333333; letter-spacing:.2pt"><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">priant, </span></font></i></span><span style="color:#333333; letter-spacing:.1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">funerary statues in which the subject is depicted kneeling. Through the ages the representation of death in </span></font></span><span style="color:#333333;letter-spacing:.2pt"><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">gisants </span></font></i></span><span style="color:#333333;letter-spacing:.1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">has changed. In the thirteenth century, they were idealized visions depicted as living, their eyes open, waiting for resurrection. After the scourge inflicted by the Plague in the late fourteenth century, they became images of the passage from life to death, 'le gisant transi,' emaciated skeletons that suggest destruction instead of the hope of rebirth."</span></font></span><span style="letter-spacing:.1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> While we were not able to discuss all seven "Recumbents" during the session, it was suggested that mourning and intimacy are elements that unite these poems, and that serve as a unifying thread throughout this collection poetry, if not also as emblems of the boundary line demarcating life and death, presence and absence, presentation and representation that is recursively figured in Deguy's writing, if not most fundamentally, in his thinking of and through the poem at each instance of its composition.</span></font></span></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville; letter-spacing:.1pt"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Among the many biographical correspondences we highlighted in Deguy's corpus, none piqued so much the interest of our group as his conversation with translators, or our conversation with Deguy in—and against—translation. Translation, in the metaphoric sense, that is, in the sense of bridging the distance between two worlds, appears to be a central concern for Adelaide in writing her monograph, not only because she, as critic, has taken on the task of interpreting a French poet for an Anglophone audience, but also because the inquiry of transposing thought in poetry (and vice versa?) is a perpetual movement for Deguy. In addition, the more grounded, literal sense of translation, is also omnipresent in the work and has, according to Adelaide, long animated Deguy's thinking not only about poetry, but also about the very condition of being (a poet) in a global (and multi-lingual, multi-cultural) context. To this end, much heated discussion erupted around an anecdote mentioned in passing in the poem "Traduction" : reportedly, while attending an international poetry festival about translation, Deguy asks a Bengali poet if she's been translated into the conference's lingua franca (English, of course) to which she replies: "what matters to me is that my poem be read by millions in Bengali."</span></font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">A number of group members raised various issues concerning Deguy’s seeming enthusiasm for the (still nameless) Bengali woman’s position:</span></font></span></p><p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.25in; "><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">-</span></font><span style="font: normal normal normal 7pt/normal 'Times New Roman'; "><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font></span></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">To what degree does this rejection of globalization or this defense of cultural “specificity” entail an implicit (and potentially problematic) attachment to an explicit (or implicit) nationalism?</span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></span></p><p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.25in; "><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">-</span></font><span style="font: normal normal normal 7pt/normal 'Times New Roman'; "><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font></span></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">How is such a national-languague-ism complicated by the relative hierarchy of various world languages (French, we needn't be reminded, is also a colonial language) … comparison between the use of French in former colonies (e.g. Algeria) and the current international dominance of English as the language of globalization</span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></span></p><p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.25in; "><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">-</span></font><span style="font: normal normal normal 7pt/normal 'Times New Roman'; "><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font></span></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">The French language has many speakers (as does Bengali, for that matter), but what about poets working in languages with very few speakers, such as Nahuatl? For those poets, translation might take on a different kind of importance.</span></font></span></p> <div class="MsoNormal" style=""><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">If Deguy sees translation as deeply problematic, it is particularly in the context of international poetry festivals, where poets have to provide versions of their poems that can be easily translated into English for the benefit of the judges--like Roubaud, one of his concerns is the erasure of difficulty and singulrity. He sees this process as fatal to poetry… and thus, in the poem "Translation" Deguy ominously meditates (and finger points): "Will America carry off the earth into its dream, in its Funeral Protection, into its after life"?</span></font></span></div><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Returning then to “Translation,” it was suggested that prior to dealing with national identity, like Deguy's </span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Gisants</span></font></i></span><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">, this poem resituates the problem of alterity and, taking that a bit further, we might figure Deguy as poet of difference.</span></font><span><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font></span><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Opting to leave "difference" aside, Adelaide preferred the figure of "distance" in talking about Deguy, for to her mind it better characterizes the space between an original and a translation, and would be useful in figuring other forms of the liminal in Deguy's work.</span></font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Baskerville"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Reflecting on what the discussion was showing her, Adelaide characterized herself as a close reader by nature; but, she observed, the nature of translation problematizes the </span></font></span><span style="font-family:Didot"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">issue of “close reading,” particularly in the case of Deguy’s works. When asked to say what particularly engaged her in Deguy's poetry, what constitutes him as a major French poet of his generation, Adelaide spoke of the metaphysical stakes of his writing and an energy based on despair that is, somehow, paradoxically (or not) a testimony to, or a conjugated echo of, a "harmony one might call divine."</span></font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><font class="Apple-style-span" face="Didot" size="5"><span class="Apple-style-span" style="font-size: 18px;"><br></span></font></p><p class="MsoNormal" style="text-indent: 0.5in; "><span class="Apple-style-span" style="font-family: Didot; "><font class="Apple-style-span" size="5">Jean-Jacques Poucel </font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span class="Apple-style-span" style="font-family: Didot; "><font class="Apple-style-span" size="5">& Caitie Barrett, compilers of notes</font></span></p><p class="MsoNormal" style="text-indent: 0.5in; "><span style="font-family:Didot"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font></span></p> <div class="MsoNormal" style=""><span style="font-family:Didot;color:black"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></span></div> <div class="MsoNormal" style=""><span style="font-family:Didot;color:black"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">The Beinecke Library / Whitney Humanities Center Working Group in Contemporary Poetry and Poetics meets every other Friday at 3:00pm in room 116 at the Whitney Humanities Center at Yale University, 55 Wall Street (the corner of Church and Wall). To receive announcements about the WGCP’s meetings and events via e-mail, subscribe to the group’s list-serv at : </span></font><o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family:Didot;color:black"><a href="http://beineckepoetry.wordpress.com/working-group-in-contemporary-poetry/">http://beineckepoetry.wordpress.com/working-group-in-contemporary-poetry/</a><o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family:Didot"> <o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family:Didot"> <o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family:Didot"><u>A couple more links: <o:p></o:p></u></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family:Didot">"Prose" <span class="Apple-style-span" style="font-size: 18px; "><a href="http://france.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=2133">http://france.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=2133</a></span></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family: Didot; font-size: 18px; "> <o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 20px; "><span style="font-family:Baskerville">A Deguy poem translated into English for an international poetry festival : <o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family: Baskerville; color: black; font-size: 18px; "><a href="http://www.festivaldepoesiademedellin.org/pub.php/en/Revista/ultimas_ediciones/71_72/deguy.html">http://www.festivaldepoesiademedellin.org/pub.php/en/Revista/ultimas_ediciones/71_72/deguy.html</a><o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family:Baskerville;color:black"> <o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 19px; "><span style="font-family:Baskerville;color:black">M. Deguy reads and speaks in English</span><span style="font-family:Baskerville"> at the European Gradaute School, with formal introduction by Alain Badiou<o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family: Baskerville; color: black; font-size: 18px; "> <a href="http://video.google.com/videosearch?q=michel+deguy&oe=utf-8&rls=org.mozilla:en-US:official&client=firefox-a&um=1&ie=UTF-8&ei=6PcBSpa9GOSVlAfOpPDmBw&sa=X&oi=video_result_group&resnum=4&ct=title#">http://video.google.com/videosearch?q=michel+deguy&oe=utf-8&rls=org.mozilla:en-US:official&client=firefox-a&um=1&ie=UTF-8&ei=6PcBSpa9GOSVlAfOpPDmBw&sa=X&oi=video_result_group&resnum=4&ct=title#</a></span></div><div class="MsoNormal" style="font-size: 17px; "><br></div> <div class="MsoNormal" style="font-size: 19px; "><span style="font-family:Baskerville;color:black">"Heiddeger said the poet and the philosopher are two brothers living on very distant mountain tops… in Michel Deguy, both are dwelling in the same person" <o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 19px; "><span style="font-family: Baskerville; font-size: 18px; "> <o:p></o:p></span></div> <div class="MsoNormal" style="font-size: 17px; "><span style="font-family: Baskerville; font-size: 16px; "> <o:p></o:p></span></div> <!--EndFragment-->
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