Cover

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Title Page, Copyright Page

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Contents

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pp. vii-viii

Les Collines / The Hills

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pp. 2-25

Les Fen

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pp. 26-29

Le Musicien de Saint-Merry / The Musician of Saint-Merry

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pp. 30-39

Arbre / Tree

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pp. 40-45

Oc

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pp. 46-47

Lundi Rue Christine / Monday in the rue Christine

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pp. 48-53

A Travers l'Europe / Across Europe

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pp. 54-57

Un Fant

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pp. 58-65

Souvenirs / Mementos

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pp. 66-67

La Petite Auto / The Little Car

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pp. 68-75

Le Départ / The Departure

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pp. 76-77

Fus

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pp. 78-81

La Nuit d'Avril 1915 / 1915 April Night

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pp. 82-85

Merveille de la Guerre / Marvel of War

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pp. 86-91

F

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pp. 92-95

Un Oiseau Chante / A Bird Is Singing

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pp. 96-99

Chant de l'Horizon en Champagne / Song of the Horizon in Champagne

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pp. 100-107

Toujours / Always

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pp. 108-109

Les Soupirs du Servant de Dakar / Sighs of the Dakar Gunner

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pp. 110-115

II y a / There's

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pp. 116-119

Ombre / Shadow

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pp. 120-121

La Victoire / Victory

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pp. 122-131

La Jolie Rousse / The Pretty Redhead

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pp. 132-138

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Translator's Afterword

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pp. 139-142

In 1913, having finished Alcools, having touched the scars of the nineteenth-century as though they were harp strings, Guillaume Apollinaire was the poet of international modernism. Europe seemed older than ever, and culture was a ragbag of displaced fetishes ("All the gods on earth are decrepit," from "Tree"), forces without form or outlet. Having, in the last line of his ...

About the Authors

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