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Her covers are always beautiful and extremely professional. I wanted something to convey the disorientation of the main character and the fact that it was about Rimbaud and poetry and suchlike. Between us we found some images that were just right and Jane blended them together and then added her own suggestions of green smoke and dark corners to give an air of mystery. I fully expect to take it to bed with me and stroke it as I gaze at it lovingly. A great story will always be important but to neglect the nuts and bolts of spelling, grammar, layout and suchlike will not do you any favours with editors or agents.

If you intend to self-publish, these things are even more important. Of course, everyone has blind spots and errors have a way of sneaking past the most eagle-eyed proofreader, but at least make the effort. The main thing I would say to aspiring writers, though, is do not publish too early. Writing is a craft and an apprenticeship must be served.

Works Cited

Same with novels. I write reviews for Bookmuse and I usually also post them on Amazon, Goodreads and sometimes, Smashwords.


  • Delirium: The Rimbaud Delusion - Barbara Scott Emmett - Google книги.
  • Marta Bohn Meyer – Flight Engineer SR 71 Blackbird (Great Women in Aviation Book 12).
  • Smashwords – Delirium: The Rimbaud Delusion – a book by Barbara Scott Emmett.
  • Business Lease Renewals: The New Law and Practice!
  • Barbara Scott Emmett - Writer: DELIRIUM: THE RIMBAUD DELUSION.
  • Arthur Rimbaud - de meest flamboyante dichter van Frankrijk | Rimbaud | Poet, Art, Statue.
  • Beyond the Source - Book 1.

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  1. Street of Lost Gods (Tales of the Thief-City Book 1).
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    We will not share your email with any third party. Adult Rated 5. How many times had I dreamt of coming across the yellowing manuscript of La Chasse Spirituelle? Inside an old book on a stall in Paris, perhaps.

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    Or in the attic of some befriended ancient. How many daydreams had I enjoyed over the possibility that one day? I shook myself. When a lawyer's clerk salvages it from a dusty deed box, the manuscript begins its journey down the decades, revealing the secrets and betrayals of its various keepers. Andrea embarks on a desperate quest.

    Drawn into a manipulative relationship with the youth and his Svengali-like mentor, the mysterious Albert, she faces unwelcome truths.

    The libertine body, while able to penetrate others for pleasure, is itself a flat surface of disingenuous signs that repels the penetrating desire of the lyric body. Its only desire is that the lyric body stand mute, reduced to mere orifice, a machine for pleasure without depth. In the lyric body the mental and the physical are intimately connected, making penetration — of both mind and body — profoundly meaningful.

    Book review and giveaway: Delirium: The Rimbaud Delusion – I love France #117

    Not only does it mean proving that one does not know and is out of the game, it also necessarily means misreading the signs, misperceiving their function as decoys, being unaware that they are, theoretically, conventional and hypocritical. In other words, the libertine body understands the empty and random nature of signs, while the lyric body still clings to an almost mystical belief in their power to lead to a deeper knowledge.

    In this division we might well see the fissure between the dying Romantic gambit and the emerging modernist paradigm. It would also explain why Wieners, writing lyric poems in the post-modern era, is received as a throwback, and primarily understood through rubrics of social and mental ill health. The denial of tenderness sets in motion a Cain-like story of being cursed, complete with a litany of barbaric ancestors.

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    Looked at as a relationship between Romanticism and modernism, these libertine mysteries become empty signs whose surface tells the whole story, a ruse to expose papery artifice pretending poetic depth. Real life is absent. We are not in the world. I go where he goes.

    I have to.

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    He is a demon, you know. These famous words, often read as a celebration of male homosexual love, are directed to the virgin. Whatever her biographical connection to Verlaine the man, the virgin is a woman in Delirium I. Something similar is echoed in Delirium I. When security is reached, their hearts and their beauty are set aside. Only cold scorn is left, the food of marriage today, Or I see women, with signs of happiness, whom I could have made close comrades, devoured first by brutes as sensitive as a log of wood.

    But a contradiction remains: when women become secure, as men already are, they turn cold, they become abominable.

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    The bridegroom feels both disgust and sympathy for the position of women. The virgin continues her confession.