Poèmes à déplier
As it always has been and ever will be, it is again (and again) time to think about what a poem can do and mean in the present — both one's person present and the present of the wider world.
To detail how these projects came to be would be tedious and probably fruitless, but there are a few observations I would like to make about the way they behave together, which may guide interested readers.
The first three texts — Ghost Nets / Filets fantômes, Baisers chromatiques, and How a White Butterfly — were completed in the final three months of 2016 and all take the form of an unfolding chapbook. I'm not exactly sure why this is the case, but my intuition is that it is important: perhaps, a spatial stand both in and against the way poetry has become enfolded (or flattened, as it were) in the digital ecosystem.
Another element that ties these texts together is the conceptual frame of translation. That is, at least two of them (Nets and Butterflies) are inscribed in a poetic critic of contemporary theories of translation. In the same way, two (Baisers and Butterflies) think directly about authorship, as they are signed by a heteronym: Hyacinthe.
The final project, Chassis, is still in preparation. It will not fold in its final form, but it appears to me — at least, in the way I conceive it now — as a sort of completion of the previous ones.
Ghost Nets / Filets fantômes
How a White Butterfly
In Preparation for Chassis