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Sample text

Vertical (the height of ‘encolure’) interplays with horizontal (the spread of a country ‘étalé Mémoire d’abolie 37 sur la nuit’). Something which was an unvarying state (‘longtemps ténébreux’) becomes shot through with an endless vitality of halflight, (‘croisé une fois pour toutes par le crépuscule’). The uniform blanket of the ‘ténébreux’ is not the same as the pliable ‘betweenness’ which is twilight. ‘Croisé’, suggesting a criss-cross of exchange, implies also entry and departure, penetration and passage: the passage being, among other things, that of transmissive light.

102): ‘À boire, le coup du cœur périssable qui vire en tournesol’, where the spurt of refreshment and mortality go hand in hand, nurtured from seed to sun and translating into a radiant natural form. 113). 118). 120). The avidity of the bodily language in Bancquart’s poetry is often startling. Scents and tastes burst in on the text, tug at its resources, dictate new shapes and reroute it. Toute clairière étend l’espace de mon corps […] Ouverture ou dévoration par odeur d’humus? 173), is a question which hangs gaping, between options, at the heart of Vie.

The avidity of the bodily language in Bancquart’s poetry is often startling. Scents and tastes burst in on the text, tug at its resources, dictate new shapes and reroute it. Toute clairière étend l’espace de mon corps […] Ouverture ou dévoration par odeur d’humus? 173), is a question which hangs gaping, between options, at the heart of Vie. 54). 167), as though the difficulty in question had been afforded a provisional unity Mémoire d’abolie 47 allowing the temporary closure of the act of words, is ‘Greffe de notre corps sur des odeurs et le poil des étoffes’: body, scents and touch conspiring as one organism.

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