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Whatever may have been the immediate causes of the war, expansionism and empire-building have played a considerable part in subsequent, as yet more localised, wars. But what was already very evident was the predatory commercial and political stance of America across consumer product fields, and particularly in the film industry.

Cinema was a passion of French intellectuals, many of whom wrote in film magazines and tried their hand at filmmaking. Ever since , across western Europe there had been attempts, through the negotiating of quota systems, to prevent American films flooding national markets.

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This excerpt from an internal memo written in by an executive of the Motion Picture Producers and Distributors of America MPPDA shows that Europeans were right to believe that their markets needed defending:. Motion pictures were not arbitrarily selected to be particularly discriminated against. They faced a general condition in Europe that affected the import to that Continent of a long and varied list of products They [motion pictures] are all-persuasive.

They color the minds of those who see them. They are demonstrably the greatest single factors in the Americanization of the world and as such fairly may be called the most important and significant of America's exported products. Toomer's article must have been of considerable interest to the readers of Bifur , who would undoubtedly have been encouraged to find expressed their own concerns about American society.

In fact, it was followed up in the next issue by an even more trenchant article by the highly respected author William Carlos Williams, even more relevant to the present day, against the increasing authoritarianism and secrecy of the United States Government, and the crushing of all disagreement:.

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We are all in the hands of a mysterious power which betrays us. All: doctors, lawyers, priests, businessmen, farmworkers, whatever we may be. We are all suspects until we can prove our innocence. Above all, the Government considers us all evildoers, and spies on us through its agents. It was Nino Frank's task to source the illustrations, and here the value can be seen both of the articles he had written for Lucien Vogel's journal Vu , for which most of these photographers had also worked, and of his closeness to Pierre Mac Orlan, who also had good contacts in the photography world.

Indeed, the illustrations remained one of the strongest aspects of the journal, throughout its life.


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The two final features of each issue were also both devised by Frank. Here is one of these 'events', from the first issue:. Five condemned prisoners in Sing-Sing have been informed that their execution will be postponed until after Christmas.


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Si tu peux rester, reste; Pars, s'il le faut. Il y a de la place sur ses joues Et je te vois L'Autre s'en va.


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Utterly different is the gentle Sonnet Ronsard which is as lovely a piece of time-travel as one could wish; long before pastiche was the last refuge of bad film music composers, Bizet evokes the sixteenth century with haunting archaisms which match the grave beauty of the text to perfection. Pour ne pas vivre inutile. Yes, that's it, I'm writing. Chez Paul Ollendorff, Paris. This measure has been taken because these prisoners are members of the prison choir, and the Christmas concert performance will not be possible without their participation. A 'Glossaire' at the end of the issue included a short description of each contributor.

Here is his description of his editor, Georges Ribemont-Dessaignes:. Anarchy at the heart of the revolution is what he demands. While he waits, his books seek out the weak point of the world, to dig down and drill tunnels of madness, poetry and death. The first issue was received with interest, and sold well. But the journal, with its photos, its chronicles and its poems, exists now.

It is alive; it contains some perfect pages, and we can count on Ribemont-Dessaignes, as its editor, to give it before long the underlying purpose and sense of direction which as yet it lacks. The following issues continued with the verve, the high quality, and the international range demonstrated in the first. As well as the expected established and upcoming French-language writers, there was a wealth of names from other countries and continents, listed here for the record:.

The list is impressive, and the articles can be read in full in the facsimile edition in good academic libraries. From so many, it is difficult to select a few for further comment, so I will mention just three, all undoubtedly sourced by Nino Frank, and following on from the earlier revue "". Bontempelli was powerless to help Frank to return to Italy, but he was happy to contribute to the new French journal, which he saw as a successor to his own revue "".

He sent a short story, 'Voyage sur l'arc-en-ciel', which appeared in the third issue of Bifur. This story is a fine example of Bontempelli's signature 'magic realism', in both style and content, and is worth examining in some detail. In introducing his earlier magazine, "" , he had explained that his purpose was to draw on imagination to see the ordinary everyday world in a marvellous, 'magical' light.

Thus: "The imaginary world will constantly enrich and fertilize the real world," and "we thirst for adventure; for life, even the most everyday and the most banal, to be viewed as a miraculous adventure, as a perpetual risk. This ideal translated, in his writing, to the deadpan presentation of events impossible in the real world, but with an underlying psychological truth, generally to do with the relationship between a man and a woman. In this particular story the man and the woman, out walking after a shower, come to an olive-tree which has a romantic significance for them, and find a rainbow which begins at its trunk.

The man cannot resist walking up the rainbow, but insists that the woman must stay behind. Matter-of-factly, he begins to climb as if up a staircase, and the colours appear in turn, each more dramatic than the last.

Henry Bauchau : cinq entretiens avec Catherine Pont-Humbert (À voix nue / France Culture) [2009]

He has entered totally, and with no thought of danger, into this new, exciting world, so stimulating and vivid and real :. To the left, through the yellow, I saw foaming waves of orange and red; to the right, through the blue, one after the other, vapours and veils of indigo and violet Tacking towards the left, suddenly I found myself enveloped in orange-coloured clouds which blurred my sight as if I were drunk.

When my foot landed on the red, it seemed to me to tread among flames, as happened to the poet Dante after he greeted Arnauld Daniel; but these flames did not burn, on the contrary they wrapped me round in a tender caress.

Then, just as he feels he is reaching the summit of the arc, the ground begins to shift beneath his feet. K, Tshitenge. Miller, Bart. Ojo-Ade, Femi. London, Karnak House, Being Black, Being Human.

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New Jersey, Africa World Press, Rosemont, Franklin, Robin D. Kelley, eds. Texas, Texas University Press, Seghers, Pierre. Paris, Marabout, Seghers, Colette. Pierre Seghers, Un homme couvert de noms. Wiliams, Zachery R. University Press of Missouri, Outre-Atlantique Damas est-il mieux connu aux Etats-Unis? Gallimard, Colette Seghers, Pierre Seghers, un homme couvert de noms , Ed.

Seghers, Propositions de lecture. Syros, Glissant, Edouard, Le discours antillais , op. Eds Pierre. Brunel, J.

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