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the aim is to question the appropriateness of earlier artistic forms to seize the originality and contradictions of the present.What characterizes the work of the poet and the painter is their willingness to experiment with discontinuité, a way of shocking or at least disappointing readers’ expectations and thus forcing them to rethink the work before them. The final section attempts to show that despite numerous variations and innovations, all the artists whose names figure in the title essentially follow this méthode apparentée. Most scholars will be impressed by this ambitious work, but few will be totally satisfied with Geinoz’s sweeping theory. It simply aspires to explain too much and to include too many diverse artists in its purview. Yet questions about the scope of the theory are secondary next to the imaginative, detailed analyses the author presents of both poems and paintings. These analyses are shaped by his theory, but he never allows those considerations to blind him to the subtlety and slyness of the text. Following the elaborations of the theory is sometimes difficult, but reading the thorough evaluations of the poems and paintings is always a pleasure. This is a very good book, but aside from the quibbles about the theory, it would have been stronger if it were shorter, and the author had deleted many of the notes and references which, while not inappropriate, distract from the development of his own arguments. Florida State University William Cloonan James,Alison, et Christophe Reig, éd. Frontières de la non-fiction: littérature, cinéma, arts. Rennes: PU de Rennes, 2013. ISBN 978-2-7535-2898-7. Pp. 226. 18 a. The twelve articles and two interviews that make up this volume are drawn from a 2012 conference (University of Chicago’s Center in Paris). Extraordinarily broad in scope, the collection embraces nothing less than the “vaste champ des discours et des représentations factuels” that represent “l’autre ou l’envers de la fiction” (8), without regard for geographical or linguistic boundaries. In a substantial, well-documented introduction, the editors explain that the ambitious reach of their enterprise is “une tentative d’appréhender la pluralité des modes documentaires, qui n’appartiennent en propre ni à un seul genre ni à une seule forme d’expression artistique” (21). The heterogeneous nature of the compilation is quickly apparent: there are contributions as different in conception as an account of American“cinéma vérité”(Caroline Zéau); a conversation with collaborative filmmakers Robert Cahen et Rob Rombout, followed by a comparison of their work to that of Chantal Akerman (Tiphaine Larroque); a study of the interplay of the personal and the public in autofictional videos (Nadia Fartas); an engaging treatment of a Brazilian documentary, L’île aux fleurs, produced by Jorge Furtado (Marie-Josèphe Pierron-Moinel); an appreciation of the influence of the British literary magazine, Granta (Cécile Beaufils); an analysis of how the “récits réels” of the Spanish author Javier Cercas renegotiate the dynamics between fictional and factual writing (Charline Pluvinet); an overview of documentary strategies in 224 FRENCH REVIEW 89.4 Reviews 225 contemporary theatre (Barbara Métais-Chastanier); and a wide-ranging survey of the potential roles of music in radiophonic documentaries (David Christoffel). Among the offerings likely to be of more direct interest to readers is Alison James’s interview of the contemporary writer, François Bon, whose animated responses make for lively reading. Parrying her repeated invitations to categorize his own work in a definitive manner—literature? non-fiction? document?—Bon finally asserts, with a note of apparent exasperation:“Il faut surtout ne pas donner trop de sérieux à ce que les gens comme moi bricolent” (55). Marie-Jeanne Zenetti proposes the term “factographies” for undertakings such as Georges Perec’s Tentative d’épuisement d’un lieu parisien, which seem to transgress conventional narrative boundaries,whileAngelos Triantafyllou explores in free-wheeling fashion the“poésie documentaire”of Blaise Cendrars. In an interesting presentation, Laurent Véray looks at how Nicole Vedrès retraces, in Paris 1900, the early development of cinema and simultaneously calls into question “les frontières entre le documentaire et la fiction, le réel...

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