A01=Yves Bonnefoy
Author_Yves Bonnefoy
Category=DSC
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eq_biography-true-stories
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forthcoming
Product details
- ISBN 9781803097022
- Weight: 454g
- Dimensions: 108 x 178mm
- Publication Date: 05 Aug 2026
- Publisher: Seagull Books London Ltd
- Publication City/Country: GB
- Product Form: Paperback
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A short, critical text by poet Yves Bonnefoy on the fraught relationship between poetry and photography, masterfully translated by Chris Turner. The international community of letters mourns the recent death of Yves Bonnefoy, universally acclaimed as one of France’s greatest poets of the last half-century. A prolific author, he was often considered a top candidate for the Nobel Prize and published a dozen major collections of poetry in verse and prose, several books of dreamlike tales, and numerous studies of literature and art.
This volume introduces Bonnefoy's seminal essay on the intricate connections between poetry and photography as they play out against a background of major works in the history of literature. The activity of the photographer has a direct—and sometimes profound—influence on what poetry is seeking to be. And poets, in turn, are duty-bound to understand what that activity consists of and to express their reservations, worries, or approval when confronted with the varied and perhaps contradictory forms photography has taken since the days of the daguerreotype or of Nadar preserving the gaze of Gérard de Nerval, Marceline Desbordes-Valmore, or Charles Baudelaire.
Bonnefoy's compact essay focuses on one of the disturbing effects of the earliest photographs: their introduction of a notion of non-being—if not, indeed, nothingness—into the world of images. But it also foregrounds a tale which seems to have picked up figuratively on this effect and examined its dangers with a sense of horror: Guy de Maupassant’s extraordinary short story “The Night,” one of the nightmarish works of his last period of conscious creation.
This volume introduces Bonnefoy's seminal essay on the intricate connections between poetry and photography as they play out against a background of major works in the history of literature. The activity of the photographer has a direct—and sometimes profound—influence on what poetry is seeking to be. And poets, in turn, are duty-bound to understand what that activity consists of and to express their reservations, worries, or approval when confronted with the varied and perhaps contradictory forms photography has taken since the days of the daguerreotype or of Nadar preserving the gaze of Gérard de Nerval, Marceline Desbordes-Valmore, or Charles Baudelaire.
Bonnefoy's compact essay focuses on one of the disturbing effects of the earliest photographs: their introduction of a notion of non-being—if not, indeed, nothingness—into the world of images. But it also foregrounds a tale which seems to have picked up figuratively on this effect and examined its dangers with a sense of horror: Guy de Maupassant’s extraordinary short story “The Night,” one of the nightmarish works of his last period of conscious creation.
Yves Bonnefoy (1923–2016) was a poet, critic, and professor emeritus of comparative poetics at the Collège de France. In addition to poetry and literary criticism, he published numerous works of art history and translated into French several of Shakespeare’s plays. Chris Turner is a writer and translator who lives in Birmingham, England. He has translated Jean-Paul Sartre’s The Aftermath of War, Portraits, and Critical Essays and André Gorz’s Ecologica and The Immaterial.
