THE LIFE OFTHE POOR, it is the sixth book of poems, each of us will have the opportunity to provide, to all those of you who do not know the suffering of others, I think of you today. I do not want you to be in this situation. The others who are ANBA TENTS are not good for human beings to live in this circumstance... We are not inhuman to live, but life push us one way or another to learn the right way. I ask nothing of anyone, but Iwant that we are united to each other by low. Give if you have the courage to bear brothers and sisters suffering in one way or other by painful disasters such as: War, Cyclone, Earthquake, Sick people, to those who suffer without help give the hands them today, tomorrow and future years. We are all the same. THE LIFE OF THE POOR, this is my six book of poetry. Iwant to separate you my friends worldwide.

« De retour au camp après une journée de bois, de glace et de faim, notre seule pensée tournait autour de la bouffe du soir, cette fameuse soupe à l'eau, quelquefois suivie de pommes de terre en robe des champs servies avec une sauce douteuse, une petite cuillerée par Maid, toujours sous l’œil vigilant de la Führerin. Un jour, celle qui apportait la sauce en ayant renversé un peu sur la table, toutes les filles assises autour se précipitèrent sur cette sauce gluante qu'elles léchèrent et lapèrent à même la table graisseuse et spongieuse, comme des chiots. Je crois que c'est ce jour-là que je pris conscience pour la première fois de la fragilité du vernis que nous donnent l’éducation et la culture, face à la nécessité toute nue de la survie. À peine un an auparavant, une bonne vêtue de satin noir m'avait servi une tranche de brochet à la sauce de raifort, sur une assiette de porcelaine, et me voilà, moi aussi, affalée sur une table branlante et dégoûtante, en train de lécher une sauce infecte. » Waldtraut Helene Treilles

Originally published in 1919, this book contains the French text of J. J. Jusserand's book on nomadic life in the fourteenth century in England. Arthur Wilson-Green includes a series of exercises in French at the conclusion of the text, as well as extracts from texts in English that cover similar topics.

Through its readings of Charles Baudelaire's collection Le Spleen de Paris and other prose poems from the nineteenth century, this book considers the practice of reading prose poetry and how it might be different from reading poetry in verse. Among the numerous factors that helped shape the nascent modernity in Baudelaire's poetic prose are the poems' themes, forms, linguistic qualities, and modes. The contradictions identifiable at the level of prose poetry's discourse are similarly perceptible in other aspects of Baudelaire's poetic language, beyond the discursive: in the poems' formal considerations, which retain recognisable traces of verse despite their prose presentation; and, with respect to both poetic form and thematics, in the sights and sounds that contribute to their poeticity. With a focus on what makes prose texts poetic, this study sheds light on Baudelaire the practitioner of the prose poem, as he navigated and complicated the boundaries between verse, prose, and poetry. Rather than rejecting those categories, Baudelaire forges a poetic space in which the notions of poetry and prose are recast, juxtaposed in a delicate balance in a textual space they manage to share. This coexistence of poetry and prose—previously thought of as incompatible—is the underlying tension and framework that contributes importantly to the modernity of his prose poetry. In turn, this new mode of poetry calls for new modes of reading poetry and new ways of engaging with a text.