By Stephen Scobie
Stephen Scobie celebrates “the maximum movie director of his age” with poetry exploring forty four of Godard’s movies.
Subtle but profound unities play from poem to poem. Characters, destinations, photographs, and the beneficiant use of citation jump-cut and recur to ship the mind's eye reeling throughout the higher works of either artists. Readers may be seduced to linger in the writing and inspired to hunt past, to Godard's personal oeuvre.
The e-book is sharply expected and thoroughly cadenced with the intention to satisfaction readers who is probably not accustomed to Godard's movies. these already accustomed to Godard's paintings will locate on the restrict of breath a so much profitable event.
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Extra resources for At the Limit of Breath: Poems on the Films of Jean-Luc Godard
Sample text
You want a guardian angel and I’m through being one. I want to do things, not define them — I leave the definitions to you. 42 Commerce. Violence. Humiliation. Above all, humiliation. Show me, show me. Sex on a bizarre assembly line. The orchestra is there, is truly there, in the alley soundtrack for a death. Mother and daughter walking away. Slow motion. 43 Passion Tableaux vivants — the actors, fidgeting a little, unconcerned by nakedness, com/posed in real three dimensions — Old Master paintings, reproduced (Rembrandt, Velasquez, Delacroix) by a younger master — but what does it mean “to reproduce”?
A song stuck in your head for days and weeks. My name is Ferdinand. Poetry means loser wins. Fumbling for the sputter of the fuse. Crazy clown. Painted blue. 17 Masculin féminin Masculine Feminine Nervous, he flips the cigarette onto his lips, then glances sideways, letting the famous lock of hair fall to his forehead. He writes down quotations, and plays the crackling pinball maze, calls for a woman to close the café door before she shoots her husband. He glances again this time at the girl, and asks her name not knowing that this story already has its final scene, and the one to die abruptly, off-screen, in casual dismissal this time will be him.
I’ll explain it to you later. What’s it called, when everything’s lost and we’re still breathing? Mademoiselle, it’s called the dawn. 46 1983 Le livre de Marie The Book of Mary Anne-Marie Miéville 1985 Take One Absolutely lucid light: her balcony gives onto Lac Léman, as clear as any equation in geometry, her father with a tired face tries to explain. Sweet as an apple in a still life bowl: her mother’s face, and the slow wearing away of contempt in the background, family life on a regular schedule of trains.