Fleurs du Mal Magazine
Or see the index
Guerre
Rameau central de combat
Contact par l’écoute
On tire dans la direction ‘ des bruits entendus ‘
Les jeunes de la classe 1915
Et ces fils de fer électrisés
Ne pleurez donc pas sur les horreurs de la guerre
Avant elle nous n’avions que la surface
De la terre et des mers
Après elle nous aurons les abîmes
Le sous-sol et l’espace aviatique
Maîtres du timon
Après après
Nous prendrons toutes les joies
Des vainqueurs qui se délassent
Femmes Jeux Usines Commerce
Industrie Agriculture Métal
Feu Cristal Vitesse
Voix Regard Tact à part
Et ensemble dans le tact venu de loin
De plus loin encore
De l’Au-delà de cette terre
Guillaume Apollinaire
(1880 – 1918)
Guerre
• fleursdumal.nl magazine
More in: *Concrete + Visual Poetry A-E, Apollinaire, Guillaume, Archive A-B, Archive A-B, Guillaume Apollinaire
Naoko Fujimoto translates her poems (that are written in English on flat paper) into words and images to create a contemporary picture scroll.
The picture scroll in Japanese is Emaki (eh-MA-kee) and the style has been popular since the 7-16th centuries in Japan. It is still a widely recognized art style in Japan and the rest of the world. Emaki is akin to a current graphic novel / poetry / comic. One of the most famous Emaki is the Tale of Genji, which is a fictional (perhaps gossip) story about a handsome son of the emperor.
The graphic poetry project is also meant for the viewer to transport their senses from the flat paper and bridge the gap between words and images that will connect with their physical counterparts. Like a historical Emaki, there are side stories hidden behind some of the main graphic narratives— be they comedic or serious— for audiences to interpret. All of the details (choice of words, origami paper, or styles) have a specific meaning to contribute to the whole.
In June, 2016, Naoko Fujimoto decided to take a year off to be a full-time poet and artist. People around her asked why she was leaving a stable job, and if she was going to be a starving artist. She wanted to find out how far she can succeed as a poet and artist. After all, if she gets lost, she can just come back to what worked before.
During the year, she had opportunities to not only read books, but also explore and live with classic and contemporary works, such as the Massachusetts Museum of Contemporary Art, Metropolitan Museum of Art, San Francisco Museum of Modern Art, Art Institute of Chicago, Tokugawa Museum, and Museum of Contemporary Art Tokyo. There, she revisited her idea of how she could create an effective melding of poetry and art; perhaps, words and images.
The following, entitled “The Duck’s Smile”, was her first attempt. She wrote an original poem for a project named, “Killing Sally McHill”, which was a protest against common violence hidden around the house, school, office, and society. “The Duck’s Smile” was specifically written about a hierarchy in a small community between the narrator and Sally. Her first graphic poem adapted a written poem into a graphic narrative. The poem started from the top left corner and progressed to the bottom right. It took a simple black and white art approach, but did not quite embody how she wanted it to be represented.
Naoko Fujimoto researched art works of inclusions of “word” and “image” such as László Moholy-Nagy, Hiroshige Utagawa, William Blake, Francisco Goya, and many other writers and artists. Then when she observed works by a German painter and sculptor, Anselm Kiefer, she understood that poetry must have explosions of creativity. Coincidentally, she had the chance to attend a workshop with Robin Coste Lewis, who critiqued the poems to be tight in structure, but reminded to forget about grammar and rules from time to time to experiment freely.
So she chose to adapt a traditional Japanese Emaki style (an illustrated narrative art). The original poem was carefully scattered specific phrases or implied images were selected, with the rest being ignored (like the poetry erasure technique). She traveled to find paper and objects, such as supermarket advertisements, birthday gift wrapping, postcards, origami, magazines, and other materials rich in color and texture. She wrote about relatable life conflicts, so using common objects in turn grounded her graphic poetry.
Naoko Fujimoto was born and raised in Nagoya, Japan. She studied at Nanzan Junior College and received BA and Master’s degrees from Indiana University. Recent work appears or is forthcoming in POETRY, Kenyon Review, Seattle Review, Quarterly West, North American Review, Hayden’s Ferry Review, Prairie Schooner, Crazyhorse, and The Arkansas International. She is the author of Glyph:Graphic Poetry=Trans. Sensory (Tupelo Press, 2021), Where I Was Born (Willow Publishing, 2019), and three chapbooks. She is an associate & outreach translation editor at RHINO Poetry. (naokofujimoto.com)
Glyph: Graphic Poetry=Trans. Sensory
by Naoko Fujimoto
Published: June 2021
ISBN: 978-1-946482-52-5
Publisher: Tupelo Pess
1st edition (June 1, 2021)
Language : English
Paperback
64 pages
ISBN-10 : 1946482528
ISBN-13 : 978-1946482525
$21.95
# new poetry
Naoko Fujimoto
Glyph: Graphic Poetry=Trans. Sensory
• fleursdumal.nl magazine
More in: #Archive Concrete & Visual Poetry, *Concrete + Visual Poetry K-O, - Book News, Archive E-F, Archive E-F, Art & Literature News, AUDIO, CINEMA, RADIO & TV, MUSEUM OF LOST CONCEPTS - invisible poetry, conceptual writing, spurensicherung, Visual & Concrete Poetry
Elke zomer slaat het Kunstenfestival Watou haar tenten op in het gelijknamige kunstdorpje net voorbij Poperinge, tegen de Franse grens aan.
Dichters en beeldend kunstenaars, aanstormend talent en gevestigde waarden, uit binnen- en uit buitenland zorgen telkens weer voor een wonderlijke ervaring in karaktervolle tentoonstellingsplekken: een verlaten herenhuis, de kelder van een brouwerij, … Een unieke kunstbeleving ontstaat uit het samengaan van beeldende kunst en poëzie in verrassende, karaktervolle ruimtes
De 40ste editie van het Kunstenfestival Watou staat voor beweging, meerstemmigheid, menselijkheid en intensiteit. ‘Watou 2021’ nodigt het publiek uit om te kijken, te lezen, te voelen, te reflecteren en te verbinden. Met de kunst, de poëzie, de natuur en met elkaar. Bezoekers bewegen zich tussen de drie hoeken van het parcours: Watou, het kunstdorp zelf, de Gasthuiskapel in het centrum van Poperinge en de nieuwe locatie, het Kasteel De Lovie, daartussen.
Kunst en poëzie dringen volgens de curatoren altijd meervoudige perspectieven op: “Heel wat vormen en inhoudelijke visies bestaan gelijktijdig en zonder hiërarchie. Er is geen groot gelijk, er is geen waarheid, er is alleen meerstemmigheid en die meerstemmigheid is een rijkdom.”
‘Watou 2021’ presenteert werk van 40 kunstenaars uit binnen- en buitenland, van verschillende generaties en met diverse achtergronden. De focus ligt op creaties, verrassende samenwerkingen en werk dat nooit eerder in Vlaanderen te zien was. De selectie poëzie weerspiegelt eenzelfde meerstemmigheid. Er is werk te lezen én te horen van 40 dichters: van overleden dichters tot gevestigde namen en jonge dichters en debutanten. Een aantal gedichten wordt ingelezen door ondermeer Wannes Cappelle, Zwangere Guy, Charlotte Adigéry en Lander Gyselinck.
Het programma bevat onder andere optredens en performances van Esther Kläs & Gustavo Gomes, Stefan Hertmans, Catharina van Eetvelde en Claron McFadden, IKRAAAN, CHVE / Colin H van Eeckhout, Fulco, Les Âmes Perdues, Marieke Lucas Rijneveld én Wannes Cappelle en Nicolas Callot en Koen Vanmechelen, curator van het experimentele traject Patchwork.
Als de wereld onder onze ogen aan het veranderen is en we nog niet kunnen benoemen wat we zien. Als alles wat we al decennia denken en voor waar aannemen onder druk staat. Als we ons, beroofd van onze zekerheden, onveilig voelen. Als de wereld complex is geworden, dan is er één plek waar al die onzekerheden, al dat geweld, al die onrust, al die complexiteit, en ook al die schoonheid en al dat verlangen samenkomen: de kunst. Daar is het dat we intens leven, tijdens het maken van kunst, het ervaren van kunst, en het herinneren van kunst. ‘Watou 2021’ is een uitnodiging om poëzie en beeldende kunst te ervaren met hersenen, zintuigen en gevoelens. Om vervuld te worden van die complexiteit, van die meerlagigheid.
‘Watou 2021’ vertrekt vanuit de mens zelf. Wat is onze rol en positie in deze wereld? Wat is de impact van de recente transformaties op ons menszijn? Door de aanwas van technologie en artificiële intelligentie, maar ook door de crisis die we meemaken, leunen we niet alleen op onze rationele, maar ook op onze emotionele, spirituele, intuïtieve en biologische intelligentie.
Het vertrouwde werd vervangen door het confronterende en het oncomfortabele. Het daagt ons uit om onze blik open en dynamisch te houden. Met beweging als constante. Naar de ander en het andere.
Kunst en poëzie dringen altijd meervoudige perspectieven op: heel wat vormen en inhoudelijke visies bestaan gelijktijdig en zonder hiërarchie. Er is geen groot gelijk, er is geen waarheid, er is alleen meerstemmigheid en die meerstemmigheid is een rijkdom.
W A T O U 2 0 2 1
Kunstenaars
Arocha & Schraenen – Sarah & Charles – Leyla Aydoslu – Blauwhaus – Melanie Bonajo – Peter Buggenhout – N. Dash – Michael Dean – Lieven De Boeck – Ella de Burca – Anouk De Clercq – Edith Dekyndt – Bram Demunter – Tracey Emin – Bendt Eyckermans – Mekhitar Garabedian – Gijs Van Vaerenbergh – Nadia Guerroui – Esther Kläs – Margaret Lee – Bart Lodewijks & Jan Kempenaers – Ariane Loze – Ives Maes – Mark Manders – Neo Matloga – Vincent Meessen – Lucy Skaer – Socle – Joris Van de Moortel – Catharina Van Eetvelde – Luca Vanello – Johan Van Geluwe – Eva Vermandel – Leon Vranken – Ugo Rondinone – Zhang Yunyao
Dichters
Anellie David – Anna Enquist – Anne Vegter – Armando – Bernke Klein Zandvoort – Cees Nooteboom – Charlotte Van den Broeck – Chris Lomans – Dean Bowen – Dominique De Groen – Erwin Mortier – Estelle Boelsma – Geert Buelens – Gerrit Kouwenaar – Gertrude Starink – Hester Knibbe – J.V. Neylen – Jan Arends – Jan de Roek – Jos De Haes – Lamia Makaddam – Lara Taveirne – Laurine Verweijen – Levina van Winden – M. Vasalis – Marieke Lucas Rijneveld – Mattijs Deraedt – Miriam Van Hee – Nele Buyst – Paul Van Ostaijen Piet Gerbrandy – Poli Roumeliotis – René Van Gijsegem – Roelof ten Napel – Sanne Kabalt – Sasja Janssen – Stefan Hertmans – Thomas Möhlmann – Tonnus Oosterhoff – Yousra Benfquih
M E E R I N F O R M AT I E
en tickets
www.kunstenfestivalwatou.be
KUNSTENFESTIVAL WATOU
een organisatie van de stad POPERINGE
Grote Markt 1, 8970 Poperinge (BE)
kunstenfestival@poperinge.be
• fleursdumal.nl magazine
More in: #More Poetry Archives, - Book Lovers, Armando, AUDIO, CINEMA, RADIO & TV, Berger, Karl, Gerrit Kouwenaar, Historia Belgica, Literary Events, Marieke Lucas Rijneveld, Paul van Ostaijen, Paul van Ostaijen, Performing arts, Photography, Street Art, STREET POETRY, Street Poetry, Vasalis, M., Watou Kunstenfestival
Sérgio Monteiro de Almeida
Poema visual: Pair of vases #1
Sérgio Monteiro de Almeida, Curitiba, Brazil (1964).
Intermedia visual poet and conceptual artist
Sérgio Monteiro de Almeida cv:
Curitiba, Brazil (1964). Intermedia visual poet and conceptual artist. – He has published in numerous anthologies and specialized magazines in Brazil and outside; participated in exhibitions of visual poetry as International Biennial of Visual and Alternative Poetry in Mexico (editions from 1987 to 2010); Post-Art International Exhibition of Visual / Experimental Poetry, San Diego State University-USA (1988); 51 and 53 Venice Biennial (2005 and 2009). – He published in 2007 the book Sérgio Monteiro de Almeida with a global vision about his work as a visual artist and poet. – This book was incorporated into the “Artist Books” collection of the New York City Library (USA). – Author of the CD of kinetic visual poems (EU) NI/IN VERSO (still unpublished). – He presented urban interventions in Curitiba, San Diego, Seattle, New York, Paris, Rome. – In 2014 and 2015 visual poems published in the Rampike experimental literature magazine of the University of Windsor, Canada. – He recently had his poems published in Jornal Candido (n. 64) and Relevo (2015 and 2016), and in 2017 in: fleursdumal.nl magazine for art & literature (www.fleursdumal.nl).
More about his work:
Livro eletrônico http://issuu.com/boek861/docs/sergio_monteiro_libro;
Enciclopédia Itaú Cultural de artes visuais www.itaucultural.com.br;
Videos no Youtube: http://www.youtube.com/user/SergioMAlmeida
Sérgio Monteiro de Almeida
Curitiba – PR – Brazil
email: sergio.ma@ufpr.br
• fleursdumal.nl magazine
More in: #Editors Choice Archiv, *Concrete + Visual Poetry P-T, Archive M-N, Archive M-N, Sérgio Monteiro de Almeida
Sérgio Monteiro de Almeida
Poema visual: Pair of vases #1
Sérgio Monteiro de Almeida, Curitiba, Brazil (1964).
Intermedia visual poet and conceptual artist
Sérgio Monteiro de Almeida cv:
Curitiba, Brazil (1964). Intermedia visual poet and conceptual artist. – He has published in numerous anthologies and specialized magazines in Brazil and outside; participated in exhibitions of visual poetry as International Biennial of Visual and Alternative Poetry in Mexico (editions from 1987 to 2010); Post-Art International Exhibition of Visual / Experimental Poetry, San Diego State University-USA (1988); 51 and 53 Venice Biennial (2005 and 2009). – He published in 2007 the book Sérgio Monteiro de Almeida with a global vision about his work as a visual artist and poet. – This book was incorporated into the “Artist Books” collection of the New York City Library (USA). – Author of the CD of kinetic visual poems (EU) NI/IN VERSO (still unpublished). – He presented urban interventions in Curitiba, San Diego, Seattle, New York, Paris, Rome. – In 2014 and 2015 visual poems published in the Rampike experimental literature magazine of the University of Windsor, Canada. – He recently had his poems published in Jornal Candido (n. 64) and Relevo (2015 and 2016), and in 2017 in: fleursdumal.nl magazine for art & literature (www.fleursdumal.nl).
More about his work:
Livro eletrônico http://issuu.com/boek861/docs/sergio_monteiro_libro;
Enciclopédia Itaú Cultural de artes visuais www.itaucultural.com.br;
Videos no Youtube: http://www.youtube.com/user/SergioMAlmeida
Sérgio Monteiro de Almeida
Curitiba – PR – Brazil
email: sergio.ma@ufpr.br
• fleursdumal.nl magazine
More in: #Archive Concrete & Visual Poetry, *Concrete + Visual Poetry P-T, Archive M-N, EXPERIMENTAL POETRY, Sérgio Monteiro de Almeida
Sérgio Monteiro de Almeida
Poema visual: Scissors
Sérgio Monteiro de Almeida, Curitiba, Brazil (1964).
Intermedia visual poet and conceptual artist
Sérgio Monteiro de Almeida cv:
Curitiba, Brazil (1964). Intermedia visual poet and conceptual artist. – He has published in numerous anthologies and specialized magazines in Brazil and outside; participated in exhibitions of visual poetry as International Biennial of Visual and Alternative Poetry in Mexico (editions from 1987 to 2010); Post-Art International Exhibition of Visual / Experimental Poetry, San Diego State University-USA (1988); 51 and 53 Venice Biennial (2005 and 2009). – He published in 2007 the book Sérgio Monteiro de Almeida with a global vision about his work as a visual artist and poet. – This book was incorporated into the “Artist Books” collection of the New York City Library (USA). – Author of the CD of kinetic visual poems (EU) NI/IN VERSO (still unpublished). – He presented urban interventions in Curitiba, San Diego, Seattle, New York, Paris, Rome. – In 2014 and 2015 visual poems published in the Rampike experimental literature magazine of the University of Windsor, Canada. – He recently had his poems published in Jornal Candido (n. 64) and Relevo (2015 and 2016), and in 2017 in: fleursdumal.nl magazine for art & literature (www.fleursdumal.nl).
More about his work:
Livro eletrônico http://issuu.com/boek861/docs/sergio_monteiro_libro;
Enciclopédia Itaú Cultural de artes visuais www.itaucultural.com.br;
Videos no Youtube: http://www.youtube.com/user/SergioMAlmeida
Sérgio Monteiro de Almeida
Curitiba – PR – Brazil
email: sergio.ma@ufpr.br
• fleursdumal.nl magazine
More in: #Archive Concrete & Visual Poetry, *Concrete + Visual Poetry P-T, Archive M-N, EXPERIMENTAL POETRY, Sérgio Monteiro de Almeida
Sérgio Monteiro de Almeida
Poema visual: Pair of vases #2
Sérgio Monteiro de Almeida, Curitiba, Brazil (1964).
Intermedia visual poet and conceptual artist
Sérgio Monteiro de Almeida cv:
Curitiba, Brazil (1964). Intermedia visual poet and conceptual artist. – He has published in numerous anthologies and specialized magazines in Brazil and outside; participated in exhibitions of visual poetry as International Biennial of Visual and Alternative Poetry in Mexico (editions from 1987 to 2010); Post-Art International Exhibition of Visual / Experimental Poetry, San Diego State University-USA (1988); 51 and 53 Venice Biennial (2005 and 2009). – He published in 2007 the book Sérgio Monteiro de Almeida with a global vision about his work as a visual artist and poet. – This book was incorporated into the “Artist Books” collection of the New York City Library (USA). – Author of the CD of kinetic visual poems (EU) NI/IN VERSO (still unpublished). – He presented urban interventions in Curitiba, San Diego, Seattle, New York, Paris, Rome. – In 2014 and 2015 visual poems published in the Rampike experimental literature magazine of the University of Windsor, Canada. – He recently had his poems published in Jornal Candido (n. 64) and Relevo (2015 and 2016), and in 2017 in: fleursdumal.nl magazine for art & literature (www.fleursdumal.nl).
More about his work:
Livro eletrônico http://issuu.com/boek861/docs/sergio_monteiro_libro;
Enciclopédia Itaú Cultural de artes visuais www.itaucultural.com.br;
Videos no Youtube: http://www.youtube.com/user/SergioMAlmeida
Sérgio Monteiro de Almeida
Curitiba – PR – Brazil
email: sergio.ma@ufpr.br
• fleursdumal.nl magazine
More in: #Archive Concrete & Visual Poetry, *Concrete + Visual Poetry P-T, Archive M-N, EXPERIMENTAL POETRY, Sérgio Monteiro de Almeida
Sérgio Monteiro de Almeida
Poema visual: AR_dor (Air_ ache= ardor), for me this is the summary of these pandemic times
Sérgio Monteiro de Almeida, Curitiba, Brazil (1964).
Intermedia visual poet and conceptual artist
Sérgio Monteiro de Almeida cv:
Curitiba, Brazil (1964). Intermedia visual poet and conceptual artist. – He has published in numerous anthologies and specialized magazines in Brazil and outside; participated in exhibitions of visual poetry as International Biennial of Visual and Alternative Poetry in Mexico (editions from 1987 to 2010); Post-Art International Exhibition of Visual / Experimental Poetry, San Diego State University-USA (1988); 51 and 53 Venice Biennial (2005 and 2009). – He published in 2007 the book Sérgio Monteiro de Almeida with a global vision about his work as a visual artist and poet. – This book was incorporated into the “Artist Books” collection of the New York City Library (USA). – Author of the CD of kinetic visual poems (EU) NI/IN VERSO (still unpublished). – He presented urban interventions in Curitiba, San Diego, Seattle, New York, Paris, Rome. – In 2014 and 2015 visual poems published in the Rampike experimental literature magazine of the University of Windsor, Canada. – He recently had his poems published in Jornal Candido (n. 64) and Relevo (2015 and 2016), and in 2017 in: fleursdumal.nl magazine for art & literature (www.fleursdumal.nl).
More about his work:
Livro eletrônico http://issuu.com/boek861/docs/sergio_monteiro_libro;
Enciclopédia Itaú Cultural de artes visuais www.itaucultural.com.br;
Videos no Youtube: http://www.youtube.com/user/SergioMAlmeida
Sérgio Monteiro de Almeida
Curitiba – PR – Brazil
email: sergio.ma@ufpr.br
• fleursdumal.nl magazine
More in: #Archive Concrete & Visual Poetry, *Concrete + Visual Poetry P-T, Archive M-N, EXPERIMENTAL POETRY, Sérgio Monteiro de Almeida
C’est Lou
Qu’on La Nommait
Il est des loups de toute sorte
Je connais le plus inhumain
Mon cœur que le diable l’emporte
Et qu’il le dépose à sa porte
N’est plus qu’un jouet dans sa main
Les loups jadis étaient fidèles
Comme sont les petits toutous
Et les soldats amants des belles
Galamment en souvenir d’elles
Ainsi que les loups étaient doux
Mais aujourd’hui les temps sont pires
Les loups sont tigres devenus
Et les Soldats et les Empires
Les Césars devenus Vampires
Sont aussi cruels que Vénus
J’en ai pris mon parti Rouveyre
Et monté sur mon grand cheval
Je vais bientôt partir en guerre
Sans pitié chaste et l’œil sévère
Comme ces guerriers qu’Epinal
Vendait Images populaires
Que Georgin gravait dans le bois
Où sont-ils ces beaux militaires
Soldats passés Où sont les guerres
Où sont les guerres d’autrefois
Guillaume Apollinaire
(1880 – 1918)
C’est Lou Qu’on La Nommait
• fleursdumal.nl magazine
More in: Apollinaire, Guillaume, Archive A-B, Archive A-B, Guillaume Apollinaire
Automne Malade
Automne malade et adoré
Tu mourras quand l’ouragan soufflera dans les roseraies
Quand il aura neigé
Dans les vergers
Pauvre automne
Meurs en blancheur et en richesse
De neige et de fruits mûrs
Au fond du ciel
Des éperviers planent
Sur les nixes nicettes aux cheveux verts et naines
Qui n’ont jamais aimé
Aux lisières lointaines
Les cerfs ont bramé
Et que j’aime ô saison que j’aime tes rumeurs
Les fruits tombant sans qu’on les cueille
Le vent et la forêt qui pleurent
Toutes leurs larmes en automne feuille à feuille
Les feuilles
Qu’on foule
Un train
Qui roule
La vie
S’écoule
Guillaume Apollinaire
(1880 – 1918)
Automne Malade
(Alcools – 1913)
• fleursdumal.nl magazine
More in: Apollinaire, Guillaume, Archive A-B, Archive A-B, Guillaume Apollinaire
Con Large Comme Un Estuaire
Con large comme un estuaire
Où meurt mon amoureux reflux
Tu as la saveur poissonnière
l’odeur de la bite et du cul
La fraîche odeur trouduculière
Femme ô vagin inépuisable
Dont le souvenir fait bander
Tes nichons distribuent la manne
Tes cuisses quelle volupté
même tes menstrues sanglantes
Sont une liqueur violente
La rose-thé de ton prépuce
Auprès de moi s’épanouit
On dirait d’un vieux boyard russe
Le chibre sanguin et bouffi
Lorsqu’au plus fort de la partouse
Ma bouche à ton noeud fait ventouse.
Guillaume Apollinaire
(1880 – 1918)
Con Large Comme Un Estuaire
• fleursdumal.nl magazine
More in: Apollinaire, Guillaume, Archive A-B, Archive A-B, Guillaume Apollinaire
Crépuscule
Frôlée par les ombres des morts
Sur l’herbe où le jour s’exténue
L’arlequine s’est mise nue
Et dans l’étang mire son corps
Un charlatan crépusculaire
Vante les tours que l’on va faire
Le ciel sans teinte est constellé
D’astres pâles comme du lait
Sur les tréteaux l’arlequin blême
Salue d’abord les spectateurs
Des sorciers venus de Bohême
Quelques fées et les enchanteurs
Ayant décroché une étoile
Il la manie à bras tendu
Tandis que des pieds un pendu
Sonne en mesure les cymbales
L’aveugle berce un bel enfant
La biche passe avec ses faons
Le nain regarde d’un air triste
Grandir l’arlequin trismégiste
Guillaume Apollinaire
(1880 – 1918)
Crépuscule
• fleursdumal.nl magazine
More in: Apollinaire, Guillaume, Archive A-B, Archive A-B, Guillaume Apollinaire
Thank you for reading Fleurs du Mal - magazine for art & literature