Ogden Nash’s “They Don’t Speak English in Paris”, ca. 1935, with his reactions to the increasing
fame and acceptance of Gertrude Stein’s writing (including a crude reference to the all African-American cast
of “Four Saints in Three Acts”)
The seamans doleful farewel or, The Greenwitch lovers mournful departure : see here the pattern of true love, which absence cannot stain : and nothing shall his mind remove, till he returns again : this may be printed, R.P. : tune of, State and ambition. [London] : Printed for J. Deacon at the sign of the Angel in Gilt-Spurr Street without Newgate, [between 1685 and 1688].
Cover and dedicatory pages from Jean L’Anselme’s Poèmes à la sourieuse rose [Poems to the smiling rose]
(Genève : L.E.C., 1948), a group of pieces written by L’Anselme with his “unschooled” left hand,
in an exercise drawing on the tenets of Art Brut, the school of artistic and linguistic
experimentation defined by Jean Dubuffet, a champion of L’Anselme
and the dedicatee of this volume.
Selected poems and images from a privately distributed volume from 1935:
Noailles, Anna Elisabeth de Brancovan, Philippe Gonin, and Jean Berque. 1935.
“Les jardins”: Poèmes de la Comtesse de Noailles. Paris: Frères Gonin.
An 1829 poem on Leigh Park, a suburb of Hampshire, England, when it was still a bucolic estate.
With a tenderly enlightening footnote.