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In this companion poetry book to her sizzling memoir, Meet Me in Paris, Juliette Sobanet gives readers a heartbreaking look into the raw emotions of a romance novelist as she loses her own happily ever after. From the impossible pull of forbidden love to the devastating loss of her marriage, and finally, to rebuilding life anew, Sobanet’s courageous poems expose the truth behind infidelity and divorce and take readers on a passionate journey of love, loss, and ultimately, hope.

Francois Villon is one of the great enigmas of French medieval history. A lyric poet of beauty and depth, he was also a murderer, pimp, thief and denizen of the underworld of 15th-century Paris. The book describes a riotous and debauched student life in medieval Paris and Villon's first steps on a life of crime when he was publicly flogged for writing a scurrilous ballad and later involved in a scuffle which ended with his killing a priest. The rest of his short life was a round of arrests, imprisonment and torture, which is contrasted with his time at the court of Charles, Duc d'Orleans at Blois, one of the most magnificent French chateaux and one of the most civilized and artistic courts in Europe. He was finally implicated in a killing of which he was probably innocent, reprieved by Louis XI in a general amnesty designed to restore Paris' dwindling population but disappeared in the winter of 1463, never to be seen again.

Book by Gosetti-Ferencei, Jennifer Anna

Listen to "An Electronic Cabaret: Paris Street Songs, 1748–50" for songs from Poetry and the PoliceAudio recording copyright © 2010 by the President and Fellows of Harvard College. All rights reserved.In spring 1749, François Bonis, a medical student in Paris, found himself unexpectedly hauled off to the Bastille for distributing an “abominable poem about the king.” So began the Affair of the Fourteen, a police crackdown on ordinary citizens for unauthorized poetry recitals. Why was the official response to these poems so intense?In this captivating book, Robert Darnton follows the poems as they passed through several media: copied on scraps of paper, dictated from one person to another, memorized and declaimed to an audience. But the most effective dispersal occurred through music, when poems were sung to familiar tunes. Lyrics often referred to current events or revealed popular attitudes toward the royal court. The songs provided a running commentary on public affairs, and Darnton brilliantly traces how the lyrics fit into song cycles that carried messages through the streets of Paris during a period of rising discontent. He uncovers a complex communication network, illuminating the way information circulated in a semi-literate society.This lucid and entertaining book reminds us of both the importance of oral exchanges in the history of communication and the power of “viral” networks long before our internet age.

Book is in NEW condition. 1.72

Buy with confidence! Book is in new, never-used condition 0.36

Inscribed to J. Hillis Miller and his wife Dorothy by the author John Irwin, dust jacket in very good shape with some light rubbing, black boards, bright white pages, sturdy binding.

All Roads Lead To Home is a debut collection of memoirs, poetry, paintings and photography, by Reema, about the experience of traveling, depression, displacement, identity, and home. As Reema traveled through Paris, France and Marfa, Texas U.S.A. for an art residency, uplifting and heart wrenching memories of home were rediscovered in the unlikeliest of places. This cathartic story tale takes you on an immersive journey around the world and deep into the author's soul, sometimes it’s not a pretty place.

Offers a complete survey of the French May Events of 1968 through narrative, analysis, and documents.More than a history, this book is a passionate reliving of the French May Events of 1968. The authors, ardent participants in the movement in Paris, documented the unfolding events as they pelted the police and ran from the tear gas grenades. Their account is imbued with the impassioned efforts of the students to ignite political awareness throughout society. Feenberg and Freedman select documents, graffiti, brochures, and posters from the movement and use them as testaments to a very different and exciting time. Their commentary, informed by the subsequent development of French culture and politics, offers useful background information and historical context for what may be the last great revolutionary challenge to the capitalist system.

During the 1940s and 1950s, the Affichistes appeared in Paris with a new andrevolutionary artistic format: the tearing down of posters. In the resulting lootedrandom images, they created a radical contradiction to the dominant abstractpainting of the postwar period. This catalog, accompanying the exhibition byMuseum Tinguely and the Schirn Kunsthalle Frankfurt, provides a comprehensivelook at activities spanning two decades (1948-68) by an important postwaravant-garde in France including artists Raymond Hains, Jacques Villeglé, FrançoisDufrêne, Mimmo Rotella, and Wolf Vostell. Highlighting their backgrounds indecollage, action and happening, this handsome oversized book allows forbeautiful reproductions of their complex collaged works, which appear stillfresh and radiant today. A full chronology and timeline of the movement is includedin the back along with interviews or writings about the artists by curatorsEsther Schlicht and Roland Wetzel plus Bernard Blistene, Fritz Emslander,Didier Semin and Dominique Stella.

With an Introduction by Fred Chappell. Selections from 3,465 nominations made by editors of 364 other small independent literary presses and magazines, including college and university ones, of work they had published. Work from The Paris Review, BOA Editions, Curbstone Press, Ploughshares, The Literary Review, Firebrand Books, The Caribbean Writer, Tia Chucha Press, Tribe: An American Gay Journal, Thunder's Mouth Press and sixty-six others. The previous Editor's Choice volumes span the period from 1965 to 1978, and consist of 837 pages combined.

Taxi drivers, street sweepers, a bouquiniste, unsuccessful prostitutes, a menaced bicycle rider, noisy children, an old woman shunted aside in a crowd, and some disgruntled animals at the zoo populate these poems. Unreeling like a series of clips recorded during a stroll through Paris, the book is wickedly funny, but it is also a bittersweet meditation on how "the river of forgetfulness carries away the city." This is the poet's love letter to Paris—a Paris that is always in the process of becoming superannuated. Rachel Galvin’s lively, idiomatic version is the first complete translation available in English.

The early career endeavors of Harry Leith-Ross (1886-1973) took him on a circuitous path. He studied engineering, worked for his uncle's coal-mining business, and pursued an advertising and commercial art career with a printing and engraving company. In 1909, he traveled to Paris to study painting, which would become his life's work.After study in Europe, Leith-Ross moved to New York and began to exhibit his paintings at the National Academy of Design and the Pennsylvania Academy of the Fine Arts. His work from this period demonstrates bold broken brushwork and thick rich impasto. It was during this time that he met John Folinsbee, a noted painter of the Pennsylvania Impressionist school. Leith-Ross moved to Pennsylvania in 1935, where he quickly became an integral member of the New Hope arts community, settling with his wife in Solebury.Throughout his career he encouraged his students not to fear painting from memory. He also cautioned them to focus their efforts on conveying a mood as well as distilling their ideas into a single concept before beginning to paint; as he said, a canvas must express "just one thing." His work shows a great emphasis on visual design, and he was critical of Impressionist paintings that relied on only light and shadow. Along with his vibrant, carefully composed oil paintings, he became renowned for his transparent watercolor technique in the tradition of eighteenth-century painters.Poetry in Design gathers together Leith-Ross's work from major museums and private collections for the first time, in a richly illustrated volume that showcases an artist who was one of the most decorated and prolific Pennsylvania Impressionists.

1572-1588: années «venteuses et tracasseuses» où catholiques et protestants continuent de s'entredéchirer. Quittant de nouveau son château périgourdin, le huguenot Pierre de Siorac retrouve Paris où il devient le médecin, puis l'agent secret d'Henri III.Mûri, mais non vieilli, Pierre va découvrir, au cours de périlleuses missions, les menaces qui guettent le royaume, à l'heure où l'ambitieux Philippe II d'Espagne, mettant à profit nos discordes, arme contre le roi de France le bras du duc de Guise, chef redouté de la Ligue...Tableau saisissant d'un roi au milieu de ses grands féaux, des « quarante-cinq » qui le protègent contre les dagues, du Paris fanatique et rebelle qui le chassera du trône, Le Prince que voilà nous mène parmi les complots, les rivalités, les intrigues qui semblent bien devoir anéantir la « fortune de France ». Pourtant ni l'amitié ni le bonheur de vivre ne perdent leurs droits. Ni l'entrain inépuisable et fécond d'un romancier plus captivant que jamais.

A beautifully illustrated investigation of Neo-Impressionism in late 19th-century Paris and Brussels This stunning catalogue explores the creative exchange between Neo-Impressionist painters and Symbolist writers and composers in the late 1880s and early 1890s. Symbolism, with its emphasis on subjectivity, dream worlds, and spirituality, has often been considered at odds with Neo-Impressionism’s approach to portraying color and light. This book repositions the relationship between these movements and looks at how Neo-Impressionist artists such as Maximilien Luce, Georges Seurat, Paul Signac, and Henry van de Velde created evocative landscape and figural scenes by depicting emptiness, contemplative moods, Arcadia, and other themes. Beautifully illustrated with 130 color images, this book reveals the vibrancy and depth of the Neo-Impressionist movement in Paris and Brussels in the late 19th century.

During the 1940s and 1950s, the Affichistes appeared in Paris with a new andrevolutionary artistic format: the tearing down of posters. In the resulting lootedrandom images, they created a radical contradiction to the dominant abstractpainting of the postwar period. This catalog, accompanying the exhibition byMuseum Tinguely and the Schirn Kunsthalle Frankfurt, provides a comprehensivelook at activities spanning two decades (1948-68) by an important postwaravant-garde in France including artists Raymond Hains, Jacques Villeglé, FrançoisDufrêne, Mimmo Rotella, and Wolf Vostell. Highlighting their backgrounds indecollage, action and happening, this handsome oversized book allows forbeautiful reproductions of their complex collaged works, which appear stillfresh and radiant today. A full chronology and timeline of the movement is includedin the back along with interviews or writings about the artists by curatorsEsther Schlicht and Roland Wetzel plus Bernard Blistene, Fritz Emslander,Didier Semin and Dominique Stella.

The early career endeavors of Harry Leith-Ross (1886-1973) took him on a circuitous path. He studied engineering, worked for his uncle's coal-mining business, and pursued an advertising and commercial art career with a printing and engraving company. In 1909, he traveled to Paris to study painting, which would become his life's work.After study in Europe, Leith-Ross moved to New York and began to exhibit his paintings at the National Academy of Design and the Pennsylvania Academy of the Fine Arts. His work from this period demonstrates bold broken brushwork and thick rich impasto. It was during this time that he met John Folinsbee, a noted painter of the Pennsylvania Impressionist school. Leith-Ross moved to Pennsylvania in 1935, where he quickly became an integral member of the New Hope arts community, settling with his wife in Solebury.Throughout his career he encouraged his students not to fear painting from memory. He also cautioned them to focus their efforts on conveying a mood as well as distilling their ideas into a single concept before beginning to paint; as he said, a canvas must express "just one thing." His work shows a great emphasis on visual design, and he was critical of Impressionist paintings that relied on only light and shadow. Along with his vibrant, carefully composed oil paintings, he became renowned for his transparent watercolor technique in the tradition of eighteenth-century painters.Poetry in Design gathers together Leith-Ross's work from major museums and private collections for the first time, in a richly illustrated volume that showcases an artist who was one of the most decorated and prolific Pennsylvania Impressionists.

The Poetry of Ink: The Korean Literati Trad ition 1392-1910 is the catalogue of the Spring 2005 exhibition of Korean literati painting and calligraphy at the Mus,e Guimet, the French Nation al Asian Art Museum, in Paris. Described by TI ME Asia as A Brush With Perfection: A dazzling exhibition of Korean art recalls a lost

Winner of the Harold Morton Landon Translation Award (2001)César Vallejo was born in Peru in 1892. In 1921 he spent three months in prison where he wrote some of the poems in Trilce. In 1923 he left for Paris, where he co-founded a cell of the Peruvian Communist Party. He traveled to Russia, and to Spain during the Spanish Civil War. He died in Paris in 1938, in absolute poverty, devastated by the fall of the Spanish Republic.Trilce, published the same year as Eliot's Waste Land and also masterpiece of early modernism, is a ground-breaking work that has had an indelible effect on all subsequent poetry in its language. It contains 77 poems considered to be Vallejo's most complex and radical work.

Richard Crashaw was an English poet born in London in 1612. Crashaw was educated at Charterhouse in London and at Pembroke College, Cambridge, but his religious views ended his academic career. He went into exile in Holland and Paris. After converting to Roman Catholicism in 1646, he was introduced to the Pope who granted him an ecclesiastical post at the shrine of Loreto. Crashaw died there August 21, 1649. In 1634 his Latin epigrams, Epigramatum Sacorum, were published. His first English work was Steps to the Temple With Other Delights of the Moon, published in 1646 and expanded in 1648. The title was a tribute to George Herbert whose sacred verse, The Temple, was written in 1633. Herbert's puritan style was very different from that of Crashaw's sensuous imagery, exclamations, and loose structure. A revision of earlier religious poems, Carmen Deo Nostro was published after Crashaw's death.