Text beneath poem by Jean Seberg displayed in exhibit of Love Letters at the Museum of Letters and Manuscripts in Paris
L’atrice américaine Jean Seberg incarne un ideal féminin pour toute une generation mais cache sous sa beauté une âme inquiète. Ses felures intimes, sa sensibilité— mais aussi sa lucidité— se révèlent dans ce très rare poème d’amour qui evoque l’homme qui dort a ses cotes… Poeme du renoncement, ce texte affirme paradoxalement Jean Seberg comme un écrivain a la sensibilité a vif, pour qui l’écriture n’a rien d’un passe-temps, mais engage tout l’etre.
I know this all may be a little confusing. Being a human is messy, so proceed with caution. This site started years ago out of a dangerous bet of sorts and it remains destructive and instructive, least of all for you, reader. One of these days I might disappear from here. For now, the real work is taking place where you can’t see me, behind my desk. I share these images and words because it can be fun and I’m not so brave as to vanish all together from the conversation. Still, proceed with a sense of humor. I have one about myself. Do you like my shoes today? Take solace from the film Eden et Apres
What are you looking for?
And I found it.
“The high-stakes emotional and ideological growth of Margot in Chereau’s film is mostly the director’s fantasy. What is compelling and true in it is that Margot confronts her powerlessness through passion that ignites her secular spiritual development. It is no longer about two religions, alike in dignity, but loosely about unequal foundations. Betraying first her aristocratic mother (in saving the Protestants) and then her royal husband (in romancing a soldier), Margot twice “leaves the side of the oppressors to side with the oppressed,” as Chereau put in his notes for the film. For a queen, this is unusual, but what happens in turn is not.”
click here to read full story from The New Inquiry