Commentaire d’un exorcisme
€620.00
A rare offprint from the Cahiers de la Pléiade (Spring 1950) centred on the troubled production of Poésie pour pouvoir. The texts recount a near-superstitious chain of mishaps: copies that split, participants who fell ill, a fabrication deemed “cursed.” Michaux writes with a blend of irony and gravity; Michel Tapié records the episode as an “ordeal–exorcism.” Later bound in burgundy morocco by Miguet, this copy gains a durable skin that belies its fragile origins. The Cahiers act as a laboratory for experiment and self-commentary. For bibliophiles, it documents material risk, print technique, and the myth around a book resisting its own birth.
Quantity
Michaux, Henri
Tapié, Michel
ILLUSTRATORS
ILLUSTRATORS
ILLUSTRATORS
Commentaire d’un exorcisme
1950 | Paris | Cahiers de la Pléiade
A rare, focused document turning failure into form and lucidity; sealed by a Miguet binding.
A rare offprint from the Cahiers de la Pléiade (Spring 1950) centred on the troubled production of Poésie pour pouvoir. The texts recount a near-superstitious chain of mishaps: copies that split, participants who fell ill, a fabrication deemed “cursed.” Michaux writes with a blend of irony and gravity; Michel Tapié records the episode as an “ordeal–exorcism.” Later bound in burgundy morocco by Miguet, this copy gains a durable skin that belies its fragile origins. The Cahiers act as a laboratory for experiment and self-commentary. For bibliophiles, it documents material risk, print technique, and the myth around a book resisting its own birth.
€620
Condition Report:
In-Depth Study
References & Bibliography
Format
In-4 (Quarto) approx. 25 × 32 cm
Edition Particulars
Offprint from the Cahiers de la Pléiade (Spring 1950); very few preserved; provenance Jacques Dauchez.
Paper
vélin
Inscription
No inscription
1
Edition Particulars:
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Print Run:
Condition Report:
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Product DETAIL
Michaux and Tapié offer three pieces: poetry as power, an essay on ‘curses’, and a chronicle of the technical fiasco. The booklet reflects on making and mishap, with language domesticating superstition. Exorcism is tied to the workshop’s concretes: paper, glue, fold. The voice is fevered yet controlled, humour as antidote. The whole reads like a rite to bring the text into the world after all.
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