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Mousse de fromage a los angeles compote d abricots, duo de melon aux fraises, mousse de fromage a l ananas roti au miel et safran, mousse de fromage aux culmination seches et a l argan, coupe fraicheur aux peches et a l ananas, soupe de end result a l orange et chantilly de chocolat, cerises a l. a. creme et biscuits croquants en verrine, riz au lait d amande a l eau de rose et sa compote de pruneaux, granite de pasteque, eau de pamplemousse aux lychees et parfum de rose, salade de end result rouges au fromage frais, crepes a l. a. compote de coings sauce chocolat, yaourt a l ananas, trios de riz, trio exotique au safran, bavarois a l. a. vanille et au chocolat, millefeuille de fraises au fromage frais, sorbet de fraises au basilic, fondant au chocolat, glace aux amandes et ecorce d agrumes, creme au lait de coco et end result exotiques, fall apart aux peches, fall apart aux fraises, fall apart aux pommes.

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110. 22. Ibid. 23. For a fascinating account of the involvement of French poets and anthropologists—Leiris in particular—and the primitive pull, see James Cli√ord, ‘‘Negrophilia,’’ in Hollier, French Literature, pp. 901–8. , with Miriam Deutch, Primitivism and Twentieth-Century Art: A Documentary History (Berkeley: University of California Press, 2003). 24. In the ‘‘First Manifesto of Surrealism,’’ Breton defines the term this way; ‘‘SURRÉALISME: Automatisme psychique pur par lequel on se propose d’exprimer, soit verbalement, soit par écrit, soit de toute autre manière, le fonctionnement réel de la pensée.

Robert Desnos, perhaps the greatest Surrealist poet, was to die in the Terezin concentration camp, choosing not to testify against other Resistance figures. Just before his death, he turned to a more traditional form of poetry, writing in what could be considered classic verse. Benjamin Péret, Breton’s most ardent and faithful disciple, wrote excitedly about automata in his enthusiastic and temperamental way and vilified the political engagement of Aragon and Éluard, believing—as did Breton—that poetry was its own honor and should not fall into any shade of political trap or praise.

Walk poems, perhaps above all others, are modified by what the speaker carries or picks up along the way. Roger Fry, the British art critic and painter, never traveled without a small volume of Mallarmé’s poems in his pocket. Kenneth Rexroth and Frank O’Hara carried small volumes of Reverdy’s poems, and William Carlos Williams, one of René Char’s. We remember Williams’ credo associated with that poet of brooding intensity and passion: René Char you are a poet who believes in the power of beauty to right all wrongs.

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