Dans la conjoncture des choses observables sur l'état de la relation entre les diverses catégories ou entités sociales et internationales qui fondent les sociétés et les nations, il n'est de place, et il n'en a presque jamais eu dans toute l'Histoire, pour aucun discours, aucune pensée qui ne s'articule pas autour de la nécessité d'une combativité guerrière. Cet ouvrage, baptisé Poétique de la Nécessité, propose une vision qui fera taxer son auteur de bien d'épithètes désobligeantes ; on l'affublerait même de prêcher la résignation ou la lâcheté. Mais y a-t-il un seul modèle de pensée antagonique à l'ordre établi qui ait jamais réussi à reverser l'Ordre des relations ?

This book contains the memoirs of Stendahl or in his own words the 'chatter about his private life' between 1821 and 1830. It was between these dates that he moved to Paris and here looks back on his life as an eccentric bachelor. 'As well as Beyle the clairvoyant self-investigator, the sardonic analyst of Parisian salon society and deliberate cultivator of wit, here emerges Beyle the despairing lover, the shakespearean enthusiast, whose romantic sentiment run always parallel with his eighteenth-century logic'. Marie-Henri Beyle - better-known by his pen name, Stendhal - was born in Grenoble, France in 1783. He turned to writing after the final defeat of Napoleon in 1815, notable works include A Life of Rossini (1824), A Life of Napoleon (1929) and The Red and the Black published in 1830. A number of works were published posthumously, including Lamiel (1889), Memoirs of an Egotist (1892) and Lucien Leuwen (1894). Stendhal is now regarded as one of the earliest and foremost practitioners of literary realism.

"When her long-estranged daughter disappears in Quebec, famous actress Flora Fontanges returns home from Paris and experiences a devastating confrontation with the past."

Through a careful allusive poetic composition process, the poet takes on the aberrant oppression that a mad egocentric individual at the helm of a train forces upon his passengers and not without their complicity, and who while boarding the train are fully aware the train is one of doom. The poem comes across as the poet's reconstruction of the wrong turn in world politics from the wreckage and random distemper of a particular irate ruler with neither political modicum/wit nor understanding of the true functioning of democracy. The poem memorializes the chaos and contemporizes America in a bid to arm the oppressed with the powerful weapon that is memory.

Intentions By Oscar Wilde was published in 1891 when Wilde was at the height of his form, these brilliant essays on art, literature, criticism, and society display the flamboyant poseur's famous wit and wide learning. A leading spokesman for the English Aesthetic movement, Wilde promoted art for art's sake against critics who argued that art must serve a moral purpose. On every page of this collection the gifted literary stylist admirably demonstrates not only that the characteristics of art are "distinction, charm, beauty, and imaginative power, but also that criticism itself can be raised to an art form possessing these very qualities. In the opening essay, Wilde laments the decay of Lying as an art, a science, and a social pleasure. He takes to task modern literary realists like Henry James and Emile Zola for their "monstrous worship of facts" and stifling of the imagination. What makes art wonderful, he says, is that it is absolutely indifferent to fact, invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment.

Because of the climate crisis and declining ocean health, humans are increasingly in a liminal space between this world and imaginary, alien worlds to come. The poems raise the issue of climate change by foregrounding the centrality, beauty, and significance of the ocean, and of marine life to humanity. They suggest that all species live 'between worlds': between fantasy and reality, dreaming and wakefulness, intuition and consciousness, water and air. We need all worlds to survive. Serendipitously, the poems were composed between dusk and dawn. They are both part-thoughts and whole thoughts that come to inspire my ethnographic writing.