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The red poppy itself is a truly French flower,
sauvage mais doux, comme
l’épanouissement de l’arbre qui fait des
cerises, which for the Japanese
evokes the shortness and beauty of life.
Ces colours, red for Japan and blue for France,
imitate
the tricolor, but in reverse
in honour of Japan, et sont venus confirmer
la qualité de la relation.
To promote France abroad, sur le site d’Angkor,
and also at joint projects in Djibouti and Madagascar, the
logo
is accompanied by the slogan «I love
France»
worn by cooperative French staff.
Une version française
avec deux nouveaux chapitres
sera publiée vers le mois de mars
et j’invite le public francophone à
en prendre
connaissance.
Another medium targeted
par quelques hauts fonctionnaires are mangas,
the popular Japanese comic strips.
A number of such authors have been invited to France
so that the future adventures of their heroes can be set
in France
for example during the Tour de France
in the little-known world of French wine, or
spent nuclear fuel processing via COGEMA.
J’aimerais me familiariser avec les langues
régionales,
anything to enter the daily lives of French people
with regard to consumption: "Le Japon, c’est
possible."
France must in fact free itself from constraints
imposed by established values and convey
a simpler and more approachable set of images.
The cycle « Agnès B. likes cinema » will
feature
The Crime of Monsieur Lange by Jean Renoir
(1935)
César by Marcel Pagnol (1936)
Le Plaisir by Max Ophuls (1952)
Bande à part by J.-L. Godard (1964)
The Samurai by J.-P. Melville (1969)
The Last Metro by François Truffaut
(1980)
and L’Eau froide by Olivier Assayas
(1994).
The earth folded up here,
folded once and twice and three times,
opened up in the middle,
the water green,
because I ask you, for whom is it meant,
the earth, not for you,
I say is it meant,
I mean my hand, what I wish to speak of now,
moved with a kind of longing
indolence which rightly or wrongly seems to me expressive.
The little dog
followed wretchedly, after the fashion of pomeranians,
turning in slow
circles, giving up and then, a little further on, there
they are,
the cousins, on the left, the turk’s-cap lily blooms,
blooms wild, came
tall, because I ask you,
and Klein, the Jew,
silenced his stick
before the stick
of the Jew
Gross.
Rising above the Bay of Tokyo since April 1998,
this powerful symbol of France’s
identity,
which has now become universal,
will be strengthened by the exhibition of the painting by
Delacroix
entitled Liberty Leading the People.
Given the size and fragility of the Louvre’s
loan,
it has been an exceptional gesture,
one that required sophisticated logistics.
To make the most of the symbolism,
the Japanese Post Office has issued a stamp of
Delacroix’s
mattress.
Face à cette nouvelle situation,
le présence d’un nouveau candidat,
M. Horst Köhler,
du B.E.R.D.,
le Japon a décidé de retirer
son candidate
avec l’espoir
d’ un leadership
fort au sein. Techno-
Impressionism is the last art
movement of the 20th Century,
and usually involves intellectual defenestration.
The people
who fell in love with that particular aspect of
France
are now over fifty.
This time,
then once more I think,
then perhaps a last time,
then I think it’ll be over, and with that
the world, like poor lily,
poor corn-salad.
I see it, I see it and don’t see it,
Jean-Bernard Ouvrieu and his wife
opening the doors to their residence,
me here,
stood against a lying word, a dirty third,
or else finally that here I had
to do with two moons,
both as far from the new as from the full,
a pile that broke and waved.
Michael Scharf is a contributing editor at Publishers Weekly and Poets & Writers magazines, and the editor of Harry Tankoos Books.
Photo copyright © Kristin Prevallet
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