Darkscapes – Anne-Sylvie Salzman



by Anne-Sylvie Salzman
Translated by William Charlton
Tartarus Press, 2013

“Narrative and story can lead us to visions of that which is impossible — that which can drive us mad, or make us feel as if we already are mad. The horror story in particular offers the possibility of a temporary release from sanity and safety. The fifteen stories in ‘Darkscapes‘ by Anne-Sylvie Salzman, translated from the French by William Charlton, offer a literary taste of madness, an intense inversion of reason that is powerful, sometimes unknowable, and almost always unforgettable. Salzman is the perfect 21st-century bride for Edgar Allen Poe. ” (Rick Kleffel)
Anne-Sylvie Salzman (aka Anne-Sylvie Homassel) is a Paris-based writer and translator. She co-directs Le Visage vert, a literary magazine and small press devoted to supernatural fiction. She is the author of Sommeil (José Corti), Au bord d’un lent fleuve noir (Joëlle Losfeld) and Lamont (Le Visage vert). Amongst other novels and collections, she translated Max Beerbohm’s Seven Men, Lord Dunsany’s The Sword of Welleran, Ernest Bramah’s Max Carrados and Arthur Machen’s Three Impostors—and some of W.S. Graham’s poetry, feats she is inanely proud of. She is currently working on a science-fiction novel.

‘Flesh’ – Paul Stubbs

Paul Stubbs
introduction by Ingrid Soren
Black Herald Press, 20 May 2013
130×170 – 54 pages – 10 € / £ 8.50 / $13
ISBN  978-2-919582-05-1

Order the book / Commander l’ouvrage

‘Stubbs is no slave to conditioning or convention: inventor as well as seer, and ignoring regulation, he stands far off looking over time and space from the perspective of an unimagined cosmology, his mastery evident as he remaps our little created world, its ideas and its faiths, with hallmark imagery.’—Ingrid Soren





An evening of poetry with Rufus books

This poetry reading will be featuring Michael L. Rattigan, Gill Gregory, Will Stone and Matthew Francis at the Senate House Library, London, on 30 May 2013.


rufus books reading

The 37th issue of The Bitter Oleander

The 37th issue of The Bitter Oleander (Volume 19, Number 1, Spring 2013) features a poem by Paul Stubbs, ‘The Ascetic Attempts to Speak’ (this poem is part of his forthcoming third collection, The End of the Trial of Man, to be published by Arc Publications in the UK).

This issue also features the work of the Faroese poet and artist Tóroddur Poulsen (translated, introduced by Randi Ward), translations from the poetry of Karl Krolow (Germany) by Stuart Friebert, Lorenzo Calogero (Italy) by John Taylor, Ernst Halter (Switzerland) by Marc Vincenz, Eugenia Toledo (Chile) by Susan Sosa and Anne Greeott, Sara Uribe (Mexico) by Toshiya Kamei, Carmen Váscones (Ecuador) by Alexis Levitin and Yang Chian (China) by Ye Chun and Gillian Parrish. Original poetry by Alan Britt, Rob Cook, Sean Thomas Dougherty, Rich Ives, Shannon Salter, Anthony Seidman, Patty Dickson Pieczka among others and new short fiction by Nicole Bell, John Robinson, Brandi Wells as well as the Mexican writer Donají Olmedo translated from the Spanish by Toshiya Kamei.

To read an interview with Paul B. Roth, editor of The Bitter Oleander:


To purchase a copy of the magazine:



“So to the tombs we must go…”

“The Etruscans, as everyone knows, were the people who occupied the middle of Italy in early Roman days and whom the Romans, in their usual neighbourly fashion, wiped out entirely in order to make room for Rome with a very big R. They couldn’t have wiped them all out, there were too many of them. But they did wipe out the Etruscan existence as a nation and a people. However, this seems to be the inevitable result of expansion with a big E, which is the sole raison d’être of people like the Romans.

Now, we know nothing about the Etruscans except what we find in their tombs. There are references to them in Latin writers. But of first-hand knowledge we have nothing except what the tombs offer.

So to the tombs we must go: or to the museums containing the things that have been rifled from the tombs.

Myself, the first time I consciously saw Etruscan things, in the museum at Perugia, I was instinctively attracted to them. And it seems to be that way. Either there is instant sympathy, or instant contempt and indifference. Most people despise everything B.C. that isn’t Greek, for the good reason that it ought to be Greek if it isn’t. So Etruscan things are put down as a feeble Greco-Roman imitation. And a great scientific historian like Mommsen hardly allows that the Etruscans existed at all. Their existence was antipathetic to him. The Prussian in him was enthralled by the Prussian in the all-conquering Romans. So being a great scientific historian, he almost denies the very existence of the Etruscan people. He didn’t like the idea of them. That was enough for a great scientific historian.

Besides, the Etruscans were vicious. We know it, because their enemies and exterminators said so. Just as we knew the unspeakable depths of our enemies in the late war. Who isn’t vicious to his enemy? To my detractors I am a very effigy of vice. À la bonne heure!

However, those pure, clean-living, sweet-souled Romans, who smashed nation after nation and crushed the free soul in people after people, and were ruled by Messalina and Heliogabalus and such-like snowdrops, they said the Etruscans were vicious. So basta! Quand le maître parle, tout le monde se tait. The Etruscans were vicious! The only vicious people on the face of the earth presumably. You and I, dear reader, we are two unsullied snowflakes, aren’t we? We have every right to judge.

Myself, however, if the Etruscans were vicious, I’m glad they were. To the Puritan all things are impure, as somebody says. And those naughty neighbours of the Romans at least escaped being Puritans.”

Etruscan Places, D.H. Lawrence

Etruscan Places

“Une belle voyageuse”, Jean-Pierre Longre

Une belle voyageuse. Regard sur la littérature française d’origine roumaine.
Jean-Pierre Longre
Éditions Calliopées, mars 2013.

une belle voyageuse

Une belle voyageuse


Universitaire et critique, Jean-Pierre Longre a enseigné la littérature française et francophone du XXe siècle à l’Université Jean Moulin de Lyon. Collaborateur de diverses revues, il a publié plusieurs études sur des écrivains contemporains. Il s’intéresse aussi bien aux écrivains français d’origine roumaine qu’à la littérature roumaine contemporaine traduite en français.


Autres parutions de l’auteur : http://jplongre.hautetfort.com/about.html

L’éditeur : http://www.calliopees.fr/

L’auteur dédicacera son ouvrage au Salon du Livre de Paris le samedi 23 mars 2013 de 15h à 16h, stand K 83. 
En marge du Salon du Livre : France-Roumanie : passages, conférence de Jean-Pierre Longre le samedi 23 mars à 18h, Bibliothèque Georges Brassens, 38 rue Gassendi 75014 Paris


Emil Botta, aux éditions Hochroth

“Le pendu a porté la nuit sur ses épaules,

il s’est rempli les poches de joyaux froids

et il a détalé comme un lévrier, tirant la langue parmi les cieux.”


extrait de L’aurore me trouvera les bras croisés, Emil Botta

recueil bilingue, traduction du roumain par Nicolas Cavaillès

(Hochroth, Paris, 2013)


Chez le même éditeur : Heureuse peine et longue mort,  Pernette du Guillet / Maurice Scève

Pour commander les ouvrages :
(également disponibles dans certaines librairies : http://www.paris.hochroth.eu/fr/presentation/)


‘Tusitala of White Lies’ – Iain Britton

Iain Britton a poet from New Zealand, who had poems published in the 2nd and 3rd issues of The Black Herald, has a new pamphlet out entitled ‘Tusitala of White Lies published by the new independent press LikeThisPress which is based in Manchester (UK) and edited by Nikolai Duffy.

Other publications include Cravings (Oystercatcher Press, 2009) and Punctured Exprimental (Kilmog Press, 2010). Some of his poems have also been published by Red Ceiling Press (2011).


The future is (flavoured)

hybridised in small transparent segments

to be rationed out every day





Iain Britton

Outlines for submissions

Due to the great volume of uninformed and inappropriate submissions that we keep receiving, please read our submission guidelines more carefully as well as the following pieces of advice:

1. If you wish to submit either a gardening poem or a tourist article, then submit it to either a gardening-friendly poetry magazine or a tourist magazine. The same applies to children’s poetry, poetry that should stay in a diary, film reviews, etc. etc. So as to understand what we actually publish, see below.

2. Please read at least one issue of the magazine before submitting work. How can some writers expect an editor to get interested in their work if they are basically uninterested in the magazine they’d like to be published in and/or indifferent to its contents? Baffling.

In the same way, we take it as the height of rudeness that some people submitting work to the magazine cannot even be bothered to take 5 minutes to check who they are writing to. Amongst the laziest and most annoying messages are those beginning with “To whom it may concern” (for it may not concern us), “Hi there!”, “Hello folks”, or with a copied and pasted bio.

3. It is not necessary to mention any writing workshops, poetry ‘surgeries’ or creative classrooms you might have participated in: our viewpoints on such practices are clearly stated in the Editorials, which can be read online.

4. In the same vein, long lists of magazine appearances are of no interest to us. So please keep it short and send a short factual biography/bibliography (not more than 4 lines).

5. Do not send fifty pages of a work enquiring if “esteemed editors” want to publish you in their “publishing firm”. We are not a publishing “firm” and we do not accept unsolicited manuscripts.

The Black Herald, issue 3

The Black Herald, issue 3


“Louis Calaferte – Un lieu, une mémoire”

Louis CALAFERTE – Un lieu, une mémoire, n° 0, Editions Tarabuste, 2012

L’essentiel des contributions de ce numéro est le fruit des interventions qui eurent lieu à l’occasion des premières rencontres Louis Calaferte à Blaisy-Bas en 2011.

Avec des essais de Gilbert Lascault, Jérôme de Missolz, André Not, Patrick Pelloquet et John Taylor – ce dernier propose un texte passionnant intitulé “En traduisant Le Sang violet de l’améthyste ; un extrait du Sang violet de l’améthyste, accompagné de sa traduction en anglais (par John Taylor), a paru dans le numéro 3 du Black Herald.


Un lieu, une mémoire

Le Visage Vert, n° 21

Le 21e numéro du Visage Vert est disponible.

Pour le commander et/ou s’abonner à la revue


Pour suivre le blog du Visage Vert
(revue et éditeur) 



Le Visage Vert, n° 21, novembre 2012

Une chronique en ligne 


Au Sud de Nulle Part

Les éditions Au Sud de Nulle Part viennent de publier trois ouvrages de poésie.

Angkor, de France Bourgeois

Décompte de fées, d’Adrian Pearron

Sombre et muses, de Thierry Acot-Mirande

“Les poètes reviennent. Ils ont le temps de leur côté. Ils ne se hâtent pas. Laisser faire le poème, puis s’en défaire en écrivant ce qui s’en approche le plus, à défaut de savoir ce que c’est.”  (source)


à découvrir également, le blog de la maison :


Le salon de l’Autre Livre, Paris

L’autre LIVRE organise le 10e Salon des éditeurs indépendants du 16 au 18 novembre 2012 à l’Espace des Blancs Manteaux, 48 rue vieille du Temple, PARIS IVe (M° Hôtel de ville).


Entrée gratuite

Ce salon fait découvrir, sur 1000 m² au cœur de Paris, les livres de 150 éditeurs français ou étrangers dont la production originale contribue activement à la « bibliodiversité ».

Les ouvrages de Black Herald Press seront accueillis sur le stand du Visage Vert (revue et éditeur), dont le dernier numéro, le 21e, paraîtra début novembre.

Michael Lee Rattigan’s ‘LIMINAL’

Michael Lee Rattigan‘s poetry collection LIMINAL (Rufus books, October 2012) will be launched on November 3rd in London at the Poetry Café (22 Betterton Street London WC2H 9BX)


‘Cacophony of tongues’ – Paul Stubbs reviews ‘Liminal


Before The Inside: a review of ‘Liminal’ by Andrew O’Donnell




The Black Herald in New York

The Black Herald 3 is available at

Book Culture
536 West 112th Street, New York


McNally Jackson Bookshop
52 Prince Street, New York


and to purchase it online


The Bitter Oleander – latest issue

The Autumn issue of THE BITTER OLEANDER, a journal of contemporary international poetry and short fiction edited by Paul B. Roth, features the Swiss Francophone poet José-Flore Tappy with a selection of her work and an interview with her translator, John Taylor.

This issue also includes short fiction pieces by John Abbott, Nilanjan Bhowmick, Chase Derringer and Kenny Gordon. More contemporary international poetry by Dina Bellrham (Ecuador), Alberto Blanco (Mexico), Erika Burkhart (Switzerland), Martín Camps (Mexico), Anne Perrier (Switzerland), Tóroddur Poulsen (Faroe Islands), Silvia Baron Supervielle (France), Sara Uribe (Mexico), Yang Jian (China) & Yang Zi (China). Among other poets in this issue are Alan Britt, Lara Gularte, Rich Ives, Duane Locke, Elizabeth McLagan, Lisa D. Schmidt, Randi Ward and Anthony Seidman





Librairie Point D’encrage

Une nouvelle librairie vient d’ouvrir à Lyon !
Point D’encrage
73 rue Marietton 69009 LYON
On y trouvera très prochainement nos ouvrages ainsi que le BLACK HERALD.
pour en savoir plus, petite présentation sur le blog de Romain Verger
et pour suivre les actualités de la librairie sur Facebook



à découvrir/lire sur D-Fiction

Une ébauche sur l’accointance entre l’espace littéraire et l’espace criminel, le temps propre à l’écriture et la Révolution. Avec en post-scriptum un « J’accuse… » contre la mauvaise équation établie par Richard Millet entre la littérature et le mal.

“Lues et relues vingt fois les premières pages de La Condition humaine de Malraux. Obsessionnel retour sur les lieux du crime par lequel s’ouvre le roman avec cette phrase de Rimbaud en tête : « Voici le temps des assassins », que Henry Miller associe à l’exigence de formes nouvelles en littérature – lesquelles chez le poète ne sont pas étrangères à une refonte politique et morale des âmes et des corps, lui qui vers dix-sept ans écrivit une Constitution qui fasse honneur aux revendications de la commune.” – G. Mar 


Paul Stubbs reviews ‘Rilke in Paris’


Maurice Betz (Translated from the French by Will Stone, Hesperus Press, 2012)



“Rilke, on earth, lived a life akin to a pre-natal being, one whose sensations in existence remained as homogenous and pure as his time spent in the womb. He rejected birth and death as a consequence for existence, determining that this paradox was the reason behind which he would discover the absolute, i.e. through his own modifications of reality. Jean-Paul Sartre writing of Kierkegaard said ‘The beginning of the thinker’s existence is analogous to a birth. This is not a rejection but a displacement of the beginning. Before birth there was non-being; then comes the leap…’. Every morning in Paris, amid the ash-heaps of dreams, Rilke awoke to the metaphysical and limbless stump of his own still absent body. He saw the world as if between the parenthesis of each new death, whether one of his own or that of another human being.” (Paul Stubbs)

read the review


Greer Mansfield interviews Paul Stubbs, poet & editor of The Black Herald / Bookslut, Oct. 2012

“Glancing at my map of current English-language poetry, one of the most tantalizing regions is one that — at least in my school of cartography — is centered around a magazine called the Black Herald. Edited by poets Paul Stubbs and Blandine Longre, it is a concourse for strong and original English-language poetry, publishing interesting new poets like Will Stone, Mark Wilson, and Siddhartha Bose. It has also published more established writers (Clayton Eshleman being an example), and it maintains a constant dialogue with the dead. Or perhaps more accurately: the “dead,” because in its pages the likes of Hart Crane, W.S. Graham, Cesar Vallejo, Georges Rodenbach, Osip Mandelstam, August Stramm, and James Joyce are blazingly alive in the company of the newer writers. (…) In addition to editing a quality literary magazine and publishing interesting writers new and old, Stubbs happens to be one of our day’s most striking and original English-language poets. His poems are metaphysical but visceral; they are often written in a jagged syntax, but they carry themselves in a rich, full-voiced music.”

(Greer Mansfield, Bookslut, October 2012)

To read the interview


L’écume des pages

Le numéro 3 du Black Heraldrevue de littérature,

est en vente à L’ÉCUME DES PAGES

174, boulevard Saint Germain, Paris VIe

la librairie est ouverte tous les jours de 10h à minuit (22h le dimanche).


The Black Herald 3 –

The Black Herald
Literary magazine – Revue de littérature

Issue #3 – September 2012 – Septembre 2012
190 pages – 15€ / £13 / $19 – ISBN 978-2-919582-04-4

Poetry, short fiction, prose, essays, translations.
Poésie, fiction courte, prose, essais, traductions.

With / avec W.S. Graham, Gregory Corso, Andrew Fentham, Louis Calaferte, Iain Britton, Jos Roy, Tristan Corbière, Michael Lee Rattigan, Clayton Eshleman, Denis Buican, John Taylor, César Vallejo, Anne-Sylvie Homassel, Cécile Lombard, Gary J. Shipley, Rosemary Lloyd, Bernard Bourrit, Mylène Catel, Nicolas Cavaillès, Ernest Delahaye, Sébastien Doubinsky, Gerburg Garmann, Michel Gerbal, Allan Graubard, Sadie Hoagland, James Joyce, João Melo, Andrew O’Donnell, Kirby Olson, Devin Horan, Dominique Quélen, Nathalie Riera, Paul B. Roth, Alexandra Sashe, Will Stone, Anthony Seidman, Ingrid Soren, August Stramm, Pierre Troullier, Romain Verger, Anthony Vivis, Elisabeth Willenz, Mark Wilson, Paul Stubbs, Blandine Longre et des essais sur / and essays about Charles Baudelaire, Francis Bacon. ImagesÁgnes Cserháti, Olivier Longre, Will Stone, Devin Horan. Design: Sandrine Duvillier.

The Black Herald is edited by Paul Stubbs and Blandine Longre
Comité de Rédaction : Paul Stubbs et Blandine Longre

 Now available / Disponible 

Imagination – Gaston Bachelard


« On veut toujours que l’imagination soit la faculté de former des images. Or elle est plutôt la faculté de déformer les images fournies par la perception, elle est surtout la faculté de nous libérer des images premières, de changer les images. S’il n’y a pas changement d’images, union inattendue des images, il n’y a pas imagination, il n’y a pas d’action imaginante. Si une image présente ne fait pas penser à une image absente, si une image occasionnelle ne détermine pas une prodigalité d’images aberrantes, une explosion d’images, il n’y a pas imagination. »

— Gaston bachelard, L’Air et les Songes, Essai sur l’imagination du mouvement, 1943.


“We always think of the imagination as the faculty that forms images. On the contrary, it is a faculty that deforms the images that we perceive; it is, above all, the faculty that frees us from immediate images and changes them. If there is no change, or unexpected fusion of images, there is no imagination; there is no imaginative process. If the image that is present does not make us think of one that is absent, if an image does not determine an abundance—an explosion— of atypical images, then there is no imagination.”

—Gaston Bachelard, Air and Dreams: An Essay on the Imagination of Movement, 1943.





‘Cacophony of tongues’ – Paul Stubbs reviews Michael Lee Rattigan’s ‘Liminal’

Michael Lee Rattigan
Rufus books, September 2012


‘Poetry’, wrote Octavio Paz, ‘is the other voice. Not the voice of history or of anti-history, but the voice which, in history, is always saying something different’. He was of course talking of what is re-created in silence, beyond History and of what governs its conversations and logical discourse. Michael Lee Rattigan also is seeking to pinpoint that ‘other’ voice, for everything that he writes it seems exists only to advance silence, or at least our unmediated access to it—while consciousness is no more than a fine vessel of flesh and blood stretched over the diaphanous musculature of each word; for this poet does not produce a merely verbal language, no, rather he is writing the syntax of listening, the anti-aesthetics of un-naming and sucking back into the lungs the protean impulse of a visible mind. In this collection, Rattigan is in many ways attempting to cross what the French poet Philippe Jaccottet described as ‘the unique uncrossable space’, that which constitutes our ‘elsewhere’, the incongruously familiar place that occurs when our reality-horizons are wheeled out of the mind. It is in fact the logocentric destination that a writer like Rattigan would like one day to return from.
Paul Stubbs

To read the review

‘The Eternal Procession’ – Paul Stubbs reviews Yves Bonnefoy’s ‘The Arrière-pays’

The Arrière-pays
Yves Bonnefoy

Translated by Stephen Romer – Seagull Books, 2012

‘Yves Bonnefoy is first an abstract form, then a poet. Therefore a work such as The Arrièrepays is but a shadow giving notice of his shapes still to locate a sundial. He is what Jean-Paul Sartre said of  Baudelaire, that he had the posture of ‘a leaning man’ (‘d’un homme penché’); one acutely adrift of the comet of his own flesh and who, burning up in the drag of his own sentences, holds within his fist only the shredded remains of each exploded space. When Rimbaud wrote ‘To every being, several other lives seemed to me to be due’ he opened up in knowledge and in poetry the first true terror-pores of gnosis, allowing a poet like Bonnefoy to access his own unpurged mind, to conceive of what Yeats revealed in Vision—‘all things dying each other’s life, living each other’s death’. To witness the mirage of this elsewhere in time and space (this place which Bonnefoy names ‘the arrière-pays’ i.e. an imaginary hinterland born of what he calls the ‘unknown feeling’), this poet has first to return to Eden, to locate the one tree in which the fruit is still flesh, and whose bark, if peeled back, reveals only his own still unused bone.’
Paul Stubbs

To read the review

Chaos in Poetry – D.H. Lawrence

“Poetry, they say, is a matter of words. And this is just as much true as that pictures are a matter of paint, and frescoes a matter of water and colour-wash. It is such a long way from being the whole truth that it is slightly silly if uttered sententiously.

Poetry is a matter of words. Poetry is a stringing together of words into a ripple and jingle and a run of colours. Poetry is an interplay of images. Poetry is the iridescent suggestion of an idea. Poetry is all these things, and still it is something else. Given all these ingredients, you have something very like poetry, something for which we might borrow the old romantic name of poesy. And poesy, like bric-à-brac, will for ever be in fashion. But poetry is still another thing.

The essential quality of poetry is that it makes a new effort of attention, and “discovers” a new world within the known world. Man, and the animals, and the flowers, all live within a strange and for ever surging chaos. The chaos which we have got used to we call a cosmos. The unspeakable inner chaos of which we are composed we call consciousness, and mind, and even civilisation. But it is, ultimately, chaos, lit up by visions, or not lit up by visions. Just as the rainbow may or may not light up the storm. And, like the rainbow, the vision perisheth.


What about the poets, then, at this juncture? They reveal the inward desire of mankind. What do they reveal? They show the desire for chaos, and the fear of chaos. The desire for chaos is the breath of their poetry. The fear of chaos is in their parade of forms and techniques. Poetry is made of words, they say. So they blow bubbles of sound and image, which soon burst with the breath of longing for chaos, which fills them. But the poetasters can make pretty shiny bubbles for the Christmas-tree, which never burst, because there is not breath of poetry in them, but they remain till we drop them.”

DH Lawrence, “Chaos in Poetry, published in Exchanges, December 1929

The Black Herald – 3

Le numéro est disponible en pré-commande.

The issue is now available for pre-order.


The Black Herald 3

The Black Herald

Literary magazine – Revue de littérature

Issue #3 – September 2012 – Septembre 2012

190 pages – 15€ / £13 / $19 – ISBN 978-2-919582-04-4


Poetry, short fiction, prose, essays, translations.

Poésie, fiction courte, prose, essais, traductions.



Forthcoming / à paraître

The Black Herald

Literary magazine – Revue de littérature
Issue #3 – September 2012 – Septembre 2012
185 pages – 15€ / £13 / $19 – ISBN 978-2-919582-04-4

Poetry, short fiction, prose, essays, translations.
Poésie, fiction courte, prose, essais, traductions.

With / avec W.S Graham, Gregory Corso, Andrew Fentham, Louis Calaferte, Iain Britton, Jos Roy, Tristan Corbière, Michael Lee Rattigan, Clayton Eshleman, Denis Buican, John Taylor, César Vallejo, Anne-Sylvie Homassel, Cécile Lombard, Gary J. Shipley, Rosemary Lloyd, Bernard Bourrit, Mylène Catel, Nicolas Cavaillès, Ernest Delahaye, Sébastien Doubinsky, Gerburg Garmann, Michel Gerbal, Allan Graubard, Sadie Hoagland, James Joyce, João Melo, Andrew O’Donnell, Kirby Olson, Devin Horan, Dominique Quélen, Nathalie Riera, Paul B. Roth, Alexandra Sashe, Will Stone, Anthony Seidman, Ingrid Soren, August Stramm, Pierre Troullier, Romain Verger, Anthony Vivis, Elisabeth Willenz, Mark Wilson, Paul Stubbs, Blandine Longre et des essais sur / and essays about Charles Baudelaire, Francis Bacon. ImagesÁgnes Cserháti, Olivier Longre, Will Stone, Devin Horan. Design: Sandrine Duvillier.

The Black Herald 3

The Black Herald is edited by Paul Stubbs and Blandine Longre

Comité de Rédaction : Paul Stubbs et Blandine Longre


The Arrière-pays, Yves Bonnefoy / Stephen Romer

The Arrière-pays
Yves Bonnefoy

Translated by Stephen Romer – Seagull Books, 2012

Since the publication of his first book in 1953, Yves Bonnefoy has become one of the most important French poets of the postwar years. At last, we have the long-awaited English translation of Yves Bonnefoy’s celebrated work, L’Arrière-pays, which takes us to the heart of his creative process and to the very core of his poetic spirit.
Enriched by a new preface by the poet, this volume also includes three recent essays in which he returns to his original account of an ethical and aesthetic haunting, one that recounts the struggle between our instinct to idealize—what he deems our eternal Platonism—and the equally strong need to combat this and to be reconciled with our nature as finite beings, made of flesh and blood, in the world of the here and now.



about Stephen Romer



Absinth & The Song of Synth

Just published

a double novel by Sébastien Doubinsky

PS Publishing, 2012

More information / to order a copy:


Les Carnets d’Eucharis, projet d’un numéro papier

Les Carnets d’Eucharis
Projet d’un numéro annuel en version papier pour Février 2013

Les Carnets d’Eucharis, créés sur internet depuis 2008, sont un espace numérique sans but lucratif, à vocation de circulation et de valorisation des œuvres littéraires, de langue française et/ou étrangère, inédites ou tombées dans le domaine public. Faire partie d’un vaste projet de recherche et de reconnaissance dans les domaines des écritures contemporaines et des expressions visuelles (photographie, peinture, sculpture…). Publier, diffuser et promouvoir. Telles sont les principales visées des Carnets d’Eucharis, dontle rayonnement et la notoriété sur internet semblent être des éléments favorables à la création d’une revue imprimée : la publication d’un numéro annuel viendrait en complément des 4 carnets saisonniers gratuits et téléchargeables depuis


Le lancement de cette première édition annuelle est prévu pour février 2013 (pour un tirage de 250 à 300 exemplaires, et un volume d’environ 120 pages).

La création de cette revue papier entend fidéliser et élargir le lectorat internaute, et ainsi permettre une plus large accessibilité, autrement que par la lecture numérique.

Pour en savoir davantage :


Rilke in Paris

Rilke in Paris
by Maurice Betz, translated from the French by Will Stone, Hesperus Press, 2012

In the summer of 1902, a young unknown German-language poet named Rainer Maria Rilke, arrived in Paris with the intention of writing a monograph on the famous sculptor Auguste Rodin. From then on, Paris proved both a reliable base and an irresistible source of inspiration for Rilke. He was by turns arrested, appalled, tormented and inspired by the raw reality of the Parisian street, and the life he witnessed there gradually entered his writings, prefigured by prodigious letters and notes. These formed the basis of his prose masterpiece The Notebooks of Malte Laurids Brigge, published in 1910. Maurice Betz was Rilke’s foremost translator into French and knew the poet personally. In 1941 he published an insightful essay around Rilke’s artistic relationship with Paris, concentrating on the fascinating and difficult evolution of The Notebooks. Already translated into other European languages, Rilke in Paris is now available in English translation for the first time.



La librairie éphémère, printemps 2012

Du 31 mai au 10 juin 2012
la librairie éphémère présente, à la Halle Saint Pierre, Paris.
la production de plus de cinquante éditeurs peu présents en librairie.
en semaine de 10 heures à 18 heures, 
le samedi de 10 heures à 19 heures, le dimanche de 11 heures à 18 heures.

quelques rencontres (parmi d’autres) :

Jeudi 31 mai, à partir de 18 heures : vernissage
chant & contrebasse avec le duo Poly Tiktok, apéritif et signatures sauvages. 

Dimanche 3 juin, à 15 heures auditorium
Carte blanche aux éditions Le Visage vert autour de la littérature fantastique, 
lectures surprises, projections possibles, bizarreries assurées.

La librairie éphémère, organisée par les éditions l’oeil d’or et Passage Piétons, présente la production de plus de cinquante éditeurs indépendants.

Halle Saint Pierre, Librairie Ephémère , 2 rue Ronsard, Paris XVIIIe.

Will Stone reviews ‘Ex Nihilo’

Ex Nihilo, by Paul Stubbs
Black Herald Press, 30 september 2010
120×160 – 46 pages – 8 euros
ISBN  978-2-919582-01-3

Order the book / Commander l’ouvrage

To read an excerpt / Pour lire un extrait


Paul Stubbs’s Ex Nihilo is a pocket sized rumble of literary thunder, the first feelers of a language storm that makes the susceptible reader who first opens it, look up at the sky ominously. Holding a copy of Ex Nihilo, the reader is obliged to repeatedly take new bearings, constantly rechecking a mental compass whose needles quiver wildly in all directions, for the long poem within is unlike anything else found on the bookshelf of a smugly stocked Waterstones. In fact it won’t be found on the shelf of Waterstones at all, because it is far too radical and incendiary to sit alongside the bloated dignitaries and carefully positioned courtiers of the Bloodaxe, Faber and Carcanet fiefdoms. The infernal heat given off by Stubbs’s constantly firing cannons means this book must be held in a secure area, away from the carefully tended prize beds and gentle rustling of self assurance inherent to the poetry ‘business’, the poetry ‘society’, the poetry ‘school’, the poetry ‘prom’, poetry ‘please’, the increasingly predictable production line of the poetry ‘industry’ in the United Kingdom. No, it must be held in the head only, and from there a realisation of Ex Nihilo’s importance departs and like a flaming beacon lit from peak to peak, communicates from one reader to another. This is an underground book because it does not seek to flatter tastes already established, rather it seeks to leave a skin even as it grows a new one, to lift the bark suddenly, catastrophically, so the creatures beneath are forced to run madly, blindly into the new light that interrupts their slumber, and that’s the way Stubbs wants it. Stubbs’s is a restless deception-proof poetry that keeps moving on from the page, or indeed off the page, as if this white space is a laughable plot on which to establish a permanent settlement. ‘Only a word thin fragility, this page, bearing again only my own footprints…’ For here passes a tireless vagrant with a weighty sack of religious doubt and existential horror knocking at door after door, where he has been assured a meaningful response will be forthcoming, but behind which only an icy wind blows…


The poet Stubbs has two significant previous collections to his name. The Theological Museum, 2006 (Flambard) and The Icon Maker, 2008 (Arc). In these works Stubbs cemented his reputation for unconventional ‘unscripted’ unremittingly challenging forms. These sometimes sublime sometimes disturbing poetic architectures, over which deep space blizzards seem to continually rake, cast a sometimes majestic sometimes bitter beam into a future void of darkness, a beam whose exact trajectory and final target defies any coherent conclusion. Ex Nihilo should be passed from hand to hand and by word of mouth. It should go under cover of the night in which it was born, so as to avoid being stopped and searched by the poetry society police. This book is so far from the habitual workshop ‘facilitated’ fare, with their deathly diamond precision and priestly obedience to nurture a language they know and feel safe in, which in fact screams to be let loose and to turn savagely on its creator. Paul Stubbs states with visionary confidence and an absence of pretension at the outset of his poem, ‘I begin alone, waiting for my eyeball, like a sun, to rise, and cast out my own shadow from the shape of everything…’ and he ends thus ‘And so imagining how my slack breathing it still sways the grass of a world I no longer have access to, I think on…’ For Paul Stubbs is above all else helplessly corporeally integrated with his poetic utterances. His body and his mind are locked in a fusion that has somehow through virtual existential annihilation constructed a fantastic makeshift raft of language, a useful object to support his mind for the duration, with branches felled from the forest of eventual silence, a platform on which to lie exhausted and drift through whatever remains, after the sanctioned insanity and myopia of his epoch finally give way. One can only think of Klaus Kinski as the jungle inexorably closes in during the finale of the Herzog film ‘Aguirre Wrath of God’, staggering about his half drowned raft and holding up a tiny monkey in his gloved hand to heaven. Paul Stubbs is one of the few genuinely original poets operating at the moment, and his work deserves a wider distribution. Stubbs’s next collection of poems concerns the paintings of Francis Bacon as interpreted through Stubbs’s vision. An enthralling prospect indeed.

Will Stone, first published in Agenda, Vol 46 No 3 (April 2012)


Will Stone reviews ‘Clarities’

Clarities, by Blandine Longre
Black Herald Press, 30 september 2010
120×160 – 48 pages – 8 euros
ISBN  978-2-919582-00-6

Order the book / Commander l’ouvrage

To read excerpts / pour lire des extraits 


Blandine Longre is a distinguished French translator of English texts, but here in her first collection Clarities, she has turned to poetry. But interestingly and crucially, Longre has not chosen to write in her native tongue, but in the English language, which therefore is one thing, but not the only thing that makes this poetry significant and worthy of English scrutiny. How many of our native English poets of either sex can even begin to attempt to hold a conversation in a foreign language, let alone write poetry? A handful at best. Of course Rilke famously wrote some four hundred poems in French, but none of them are considered to be amongst his most revered and celebrated works. But Rilke was a spectacular exception, a manifest aberration lodged in an impossible to locate space between objectivity and inwardness, whose true nature has still not been properly established, despite the prodigious amount of secondary literature devoted to him.


For most poets there is no recourse but to launch forth in the language they first mewled as, armed with their embryonic calling, they exited the womb. But Longre has other ideas. She rejects French as the vehicle for her unconscious linguistically screened utterances and produces a collection of poems of extraordinary imposition and depth in the Anglophone. She is as Anne Sylvie Homassel suggests, ‘A gifted intruder into a language which is not her own…’ Furthermore these poems seem to owe little to modern English poets, but take their cue rather from the likes of John Donne, a reverence for whom Longre makes no secret of. She includes at the opening a quote which is perhaps most prescient in terms of her own poetic. ‘For his art did express a quintessence, even from nothingness…’ On the rear of the book there are two blurbs, one from Paul Stubbs who states ‘Her ‘subject’ is only the incontrovertible will to spew forth the chippings of a language not yet fully realised…’ Yes and we might well say the same about him! (see above). But what Stubbs means in his mechanical shredder metaphor, is that Longre takes the neat and complete language bricks as they are offloaded at Calais and deliberately smashes them, then reconstructs them to make another kind of brick which will better advance her own personal structure. Instead of following documented paths in the construction of this language, she has it work hard for its expressive credentials, goading it to make it perform in ways it could never imagine, to make it perform with authenticity for her alone. Words end up trussed, bound together and thrown mercilessly into the sea of the page. Sink or swim instructs the poet. ‘Notimeness’, ‘clock-mauled’ ‘steel-etched’ ‘oughts-to-be’ and the wonderful ‘twitchy-thorny’, are all thrown over the side. Either they adapt or die. In this sudden and treacherous struggle for survival, a new language forces its way through the shell to the initial distrust of the page and a metaphysical breakthrough of a kind is achieved.

Longre does not want to express herself with someone else’s borrowed voice or appear on the stage of her feelings dressed in hand me down clothes. Therefore she always makes and dons her own haunting attire. ‘I am a field, a realm and a route / an expanse of everdark crops / awoken and unadorned and brambled / yet hardly maimed by the too still rivulets of reality…’ From ‘Avoiding the Blackest Eye of Might’. Longre seeks to transmogrify the ardours and ecstasies of the flesh into language. Within this ambition is attendant pain, loss and a grim awareness of the scraps of transcendence that may be gathered in, despite relationship implosion. In ‘Épouvante’, ironically a poem titled in French, she writes the morbidly majestic and almost phantasmagorical line, ‘Wreck-born snakes refusing to embrace their wet doom…’ and later in the same poem the uncanny ‘Aside a vertigo, the secret pledge of their cluttered selves: / built on an acridity of presages and their own / bisecting truth – horrendous.’ What is one to make of this? The inevitable response to Longre’s poetry from a UK audience would be that it is ‘difficult’ and ‘hermetic’, or that it is ‘surreal’, ‘chaotic’, ‘confusing’, ‘delirious’ etc. But this shuffling of the dreary pack of suspicion should be music to Longre’s ears, because it is wholly predictable and perhaps necessary. These are all traditional knee-jerk protective mechanisms that the island nation employs to quickly face its pointed stakes out to anything that may cause it to lose equilibrium.

Longre’s poetry, if it was allowed entry, would be a French fox with Anglo-Saxon teeth, let loose in an English henhouse. Confusion and panic must ensue when lines like ‘Alien to its own words (meaning-gouged, spewed out, led astray) / a gorgoned mouth turns its clammy / stares beyond my charred eyeballs, / at the flying dampness of / those medean tears of mine.’ peer hungrily around the door. But the power here is not so much in the horror soaked central section which almost shreds itself to vacancy in the combines of inner rage, but in the indefinable beauty of the last line ‘at the flying dampness of / those medean tears of mine’ which seems to soften and slow like a brake in its alliteration and rhythm the harsh imagery that precedes it. There is something lurking within this seemingly brazen poetry, which is tender and precious, like an injured bird you kept in a cardboard box that you hide from others and desperately hope will not die. Though there are influences of Sexton and Plath here and these poems could be said to be aligned to a woman’s pain and toil endured by the blundering machinations of the opposite sex, these poems are more about a wider broken trust, the disintegration of promises and aspirations, which could apply to anyone. Therefore they are for everyone. So it is to be hoped that these white hot poems, which resist, with good reason, categorisation or critical platitude, will find readers who can appreciate their unorthodoxy and existential agility. Or will the Anglophone reader once again revert to type and hold the foreigner at the turnpike for deigning to ‘re-speak’ their hallowed language? Perhaps Longre herself has glimpsed a possible future in that regard in the acerbic ‘heroism’ of the poem ‘Shame-faced’.

Will Stone, first published in Agenda, Vol 46 No 3 (April 2012)


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