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Privacy can be punished by law UCC 1 and Rome status. Le soir venant, veille de la nuit la plus longue….. Coming October 18, " in the evening coming. In the evening coming, Eve of the longest night What if tomorrow or the day after tomorrow was really the last day of the rest of your life? What would be the questions, what would be the thoughts, what would be the words that would be in you?

Why do we take life so seriously when we all know that no one comes out alive? What regrets? What nostalgia is coming to invade us?

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What images of the past come to us? The apparent posting is only illusion. Everything is attractive and desirable for the one who, soon, Don't go to see the beauty of the world anymore. This is the mystery of this beauty that accompanies the author throughout this poetic and philosophical ambulation.. It is with modesty and height of mind that we are invited to accompany him in the evening His attention later came to the commitments and torments accompanying the process of creation, whether they concern musical, pictorial or literary works.

Here, at the end of this journey of questions, he let these thoughts of the last days of life come to him. Continue Reading. I very long told who wanted to hear it that I would never write a novel, thinking I had no narrative imagination, and feeling above all poet.

e-book Les Gendarmes - Tome 7 - Coffré surprise ! (French Edition)

However, one night I had a dream that I immediately understood, when I woke up, that it was an idea of novel. This certainty was so clear that I had no choice but to write this novel, discovering so with surprise that I not only had narrative imagination, but that romantic writing was a true happiness. What the novel allows and that poetry does not allow - at least in my house -, is the expansion: of the sentence, ideas, patterns.

In my writing, poetry is made of condensation, densification it is the very meaning of the German word that refers to poetry: '. It is about intensify the word and the world in a picked up form, at the very subtle balance, constantly on the edge of collapse. The novel, on the contrary, allows for me a deployment in a larger form, an extension of phrases, a very terriffic expansion.

Although I also weigh every word when writing the novel, the densification that characterizes my poetic writing is less present: it is a kind of liberation, a more extensive momentum, almost as if i follow the characters where they want to Come on. Where poetic writing can be difficult, almost painful, that of the novel is often jubilant. How do you explain this choice, this way of placing yourself out of a filiation that will be more on the side of a "White writing", to take over the word of barthes?

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I don't think it's a conscious choice, but a form of inner necessity: my report to the world is quite far away from the one that seems to me carried by what barthes may call "White writing". I perceive the world and the language in a very sensual, physical way, which means a colorful writing, full of reliefs and nuances. The terms of "beautiful language" hinder me, because I don't think that beauty comes into play: it would rather be pleasure, sensuality, in sum of a carnal relationship to the language that says a to contact with the world , a possibility of meaning by and in literature.

Maybe this work of the language also comes from the fact that I am a poet: I wrote my novel in poet, listening to "listening" over and over the phrases, without pushing images, ascertain, rhythmic and sound work Language. What has the choice of different times and social environments? This diversity allowed me to give, far from any exotic, a narrative momentum to the novel thanks to the narrative, while keeping a time form by the figure of the figure.

Just as for the work of the language, I had the desire for a kind of wealth, the desire for a very romantic novel far away from the autofiction , which "embark" its readers on multiple time and space trips. These places and times are camped with great features, my novel has nothing historical: I wanted the reader to find something of this happiness of romance fiction, from this taste of surprising stories that you can have at the beginning of Our life as a reader, and that we sometimes lose growing. I must also say that the chapters far away by the time and place have been paradoxically much easier to write than those that are happening in France nowadays, probably because they have the aura of what is only known by stories Or by imagination.

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Each of the characters is indeed in a kind of room, either by madness or by the rejection of social conventions or by the external situation in which it is isolation, lack of power I wouldn't have The claim to say that this novel has a political purpose, but it is certain however that this thought of the margins, of the decentration, has for me a strong political meaning, that I only express little in the novel, because I prefer to make this embody By characters rather than formulated it. Very, very limited stock. Extra buttons made when we produced the "petit costume" of coronation.

Very emblematic sample of empire luxury. Used from Louis Philippe royalty till second Empire. No strap lacking. Nice buckle in goldplated brass "Honneur et Patrie". Very small part of leather lacking at base of grip. Main branch slightly bumped.

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Weight: g. Total length: mm, blade mm. Very interesting inscriptions. Imp le was erased and replaced by Rle during first restoration, you can see that metal is slightly thinner at this place. So this sabre was surely used during first restoration, then " jours" and then second restoration!

T7 - Les Gendarmes

It is a part of a very troubled period of French history. Total length mm, blade mm. Guard stamped "Versailles". A very resembling replica of the regulation rifle for the Empire infantrymen.

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This rifle equipped with its bayonet will be useful for begining reenactors it doesn't shoot , for an extremely attractive price. Size cm, baionett size 51 cm. Weigth 2,6 kg. Premier cavalier de l'Empire". Reproduction de 15 cartes et documents. Format X sur centaure gr. Amazing waistcoat with 90 buttons on gold or silver froggings, sewed on a shiny cloth.

A wonderfull sample of empire richness!

We can add small thread on collar, around pockets and on the front. Back is usually tightened by one string. Chiselled and silverplated brass. Imperial eagle on front Handle in excellent condition, including mother of pearl as new. Total length 94 cm. It still exists as a traditional hat in Creuse.

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Suitable for canteen women. In a frame made some decades ago: X mm.

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Made in France some years ago, contain some real gold metal. Price per metre, limited stock. Nice to cover belts or sew on sides of pants, but not a regular type for Empire period.