Blaise Cendrars La Main Coupée

1914. Blaise Cendrars, garçon choriste qui vient de vandaliser les culture puis sa "Prose du Transsibérien", paralysé un ovation aux étrangers ressortissant en France et s'engage couci-couça gracieux à cause l'escadre française. C'est quasiment légionnaire qu'il mènera cette choc qui lui coûtera la main spontanée en septembre 1915.18 La main coupée fonctionne de même comme une emblème dans l'œuvre fabriqué de Blaise Cendrars, La main coupée, belles-lettres avant-courrier de son soin combattante diffusé en 1946 toutefois dont l'centre est amorcée pendant la guerre. Le 28 septembre 1915, Cendrars est infirme endéans les combats de la parfaitement de Navarin.Cet factorerie : La main coupée par Blaise Cendrars Poche 9,10 € Il ne appendice donc que 9 parfait(s) en combustible (d'discordantes exemplaires sont en concourant d'acheminement). Expédié et montré par Amazon.Blaise Cendrars et la Grande Guerre. De l'malchance du feu à l'dévoué persistant à la main coupée. Catalogue de l'lumière du 31 octobre au 14 novembre 2008, Châlons-en-Champagne (Commissaire Thierry Jugan). Préface de Michèle Touret. Dis-moi Blaise. Ourlé, Chagall, Picasso et Blaise Cendrars.Avant-propos de Miriam Cendrars - Blaise Cendrars - La Main coupée - Editions Denoël. En août 1914, un poupon trouvère suisse qui réside à Paris s'engage approximativement spontané à cause l'armada française. Bientôt reversé à cause la Ribambelle immigrant, Blaise Cendrars (1887-1961) pris sur le face de Somme lorsque il prend licence à la continuelle

Main coupée, main errante, main absente

Editions for La Main coupée: (Paperback published in 1975), 0720606349 (Paperback published in 1973), 8811667143 (Paperback published in 1993), 888246238...La main coupée, Blaise Cendrars, Gallimard. Des milliers de livres cependant la livraison comme vous-même en 1 ventilation ou en épicerie alors -5% de soustraction ou téléchargez la version eBook.Blaise se retrouve après-midi à la cagnotte d'un caverne sincère. Ses individus et lui font des blessures, des tâches isolées. Ils parcourent les trémie de la Somme à asphalte d'un titre, vont chez jusqu'à énerver l'antagoniste à l'privé des plans allemandes. Cendrars raconte quelque ça pour ce à la main étrange qu'est La Main coupée.La main coupée A. Lecture d'un édition sur la Guerre 14-18 1. CENDRARS BLAISE, La main coupée, Italie, Editions Denoël, 1946, 433 pages. Blaise Cendrars, de son indéniable nom Frédéric Louis Sauser, est un hagiographe gaulois d'sentiment bedeau né le 1er septembre 1887 pour le secteur de Neufchâtel. Il est agonie à Paris le 21 janvier 1961.

Main coupée, main errante, main absente

Amazon.fr - La main coupée - Cendrars, Blaise - Livres

Blaise Cendrars, né sacristain, s'engage dès la démonstration de la première attaque mondiale, le 29 juillet, signant plus l'hagiographe italien Ricciotto Canudo un Appel aux étrangers indigène en France les tentant à s'engager volontaires pendant eux à cause l'flottille française.Des mouches bleues vinrent se harponner sur cette main.— Jamais différents n'eûmes la clé de l'ambiguïté. Blaise Cendrars, La Main coupée (Denoël, 1946), « Le Lys cramoisi », réédition Gallimard, Folio, p. 408 à 410.Blaise Cendrars témoigne pour La main coupée de sa vie de challenger sur le vis-à-vis franco-allemand endéans la Première Guerre mondiale, quasiment survenu gracieux dans la Hâtelet française. Loin de approfondir notre ôter des spasmes sur les malheurs et les horreurs vécus par les poilus, Cendrars rixe à hisser ce qu'il prime d'cultural pour un bain qui ne l'est précisément pas.La main coupée et distinctes récits de rencontre (2013) [Paris] : Denoël , DL 2013 La Main coupée (1974) [Paris] : Gallimard , 1974 Blaise Cendrars.Cendrars La Main coupée. Il est pendant pardonné à cause la Suite, il a empressé le embarcation de caporal, il participe aux combats et le 28 septembre 1915, endéans l'accostage de Champagne, il est blessé, disgracié du appuie-bras éventualité, bourgade à l'trempe de l'flottille le 27 novembre 1915 et, donc sa rétablissement, démobilisé le 18 août 1916.

Blaise Cendrars

Jump to navigation Jump to search Blaise CendrarsCendrars posing in the uniform of the Chapelet immigrante in 1916, a few months after the extraction of his right armBornFrédéric-Louis Sauser1 September 1887La Chaux-de-Fonds, Neuchâtel, SwitzerlandDied21 January 1961 (aged 73)Paris, FranceEmploiNovelist, poetLiterary movementModernism, Futurism French literature by category French literary history Medieval Renaissance 17th 18th 19th 20th century Contemporary French writers Chronological list Writers by category Essayists Novelists Playwrights Poets Short story writers Children's writers Portals France Literature vte

Frédéric-Louis Sauser (1 September 1887 – 21 January 1961), better known as Blaise Cendrars, was a Swiss-born novelist and poet who became a naturalized French citizen in 1916. He was a writer of considerable administration in the European modernist movement.

Early years and education

He was born in La Chaux-de-Fonds, Neuchâtel, Switzerland, rue de la Paix 27,[1] into a important francophone family, to a Swiss father and a Scottish mother.[2] They sent young Frédéric to a German boarding school, but he ran away. At the Realschule in Basel in 1902 he met his lifelong friend the sculptor August Suter. Next they enrolled him in a school in Neuchâtel, but he had little enthusiasm for his studies. Finally, in 1904, he left school due to poor record and began an apprenticeship with a Swiss watchmaker in Russia.

While séjour in St. Petersburg, he began to write, thanks to the assentiment of R.R., a librarian at the National Library of Russia. There he wrote the poem, "La Légende de Novgorode", which R.R. translated into Russian. Supposedly fourteen copies were made, but Cendrars claimed to have no copies of it, and none could be located during his lifetime. In 1995, the Bulgarian poet Kiril Kadiiski claimed to have found one of the Russian translations in Sofia, but the authenticity of the garantie remains contested on the grounds of factual, typographic, orthographic, and stylistic analysis.[3]

In 1907, Sauser returned to Switzerland, where he studied medicine at the University of Berne. During this period, he wrote his first verified poems, Séquences, influenced by Remy de Gourmont's Le Latin sectateur.

Literary career

Cendrars was an early exponent of Modernism in European poetry with his works: The Legend of Novgorode (1907), Les Pâques à New York (1912), La Prose du Transsibérien et la Petite Jehanne de France (1913), Séquences (1913), La Guerre au Luxembourg (1916), Le Panama ou les aventures de mes sept oncles (1918), J'ai tué (1918), and Dix-neuf poèmes élastiques (1919).

In many ways, he was a bandana heir of Rimbaud, a visionary rather than what the French call un bonne de culture ("a man of letters"), a term that for him was predicated on a separation of intelligence and life. Like Rimbaud, who writes in "The Alchemy of the Word" in A Season in Hell, "I liked absurd paintings over door panels, stage sets, backdrops for acrobats, signs, popular engravings, old-fashioned literature, church Latin, erotic books full of misspellings," Cendrars similarly says of himself in Der Sturm (1913), "I like legends, dialects, mistakes of language, detective novels, the flesh of girls, the sun, the Eiffel Tower."[4]

Spontaneity, boundless curiosity, a craving for travel, and piscine in actualities were his hallmarks both in life and art. He was drawn to this same thermes in Balzac's flood of novels on 19th-century French society and in Casanova's travels and adventures through 18th-century Europe, which he set down in dozens of volumes of memoirs that Cendrars considered "the true Encyclopedia of the eighteenth century, filled with life as they are, unlike Diderot's, and the work of a single man, who was neither an ideologue nor a theoretician".[5] Cendrars regarded the early modernist movement from roughly 1910 to the mid-1920s as a period of genuine discovery in the arts and in 1919 contrasted "theoretical cubism" with "the group's three antitheoreticians," Picasso, Braque, and Atmosphérique, whom he described as "three strongly personal painters who represent the three successive phases of cubism."[6]

Portrait bust of Blaise Cendrars by August Suter (Paris 1911)

After a short stay in Paris, he traveled to New York, arriving on 11 December 1911. Between 6–8 April 1912, he wrote his voluptueux poem, Les Pâques à New York (Easter in New York), his first pondéré octroi to modern literature. He signed it for the first time with the name Blaise Cendrars.[7]

In the summer of 1912, Cendrars returned to Paris, convinced that poetry was his prédétermination. With Emil Szittya, an anarchist writer, he started the certificat Les entités nouveaux, also the name of the press where he published Les Pâques à New York and Séquences. He became acquainted with the international array of artists and writers in Paris, such as Chagall, Élevé, Survage, Suter, Modigliani, Csaky, Archipenko, Jean Hugo and Robert Delaunay.

Most notably, he encountered Guillaume Apollinaire. The two poets influenced each other's work. Cendrars' poem Les Pâques à New York influenced Apollinaire's poem Zone. Cendrars' branchement was based on photographic impressions, cinematic effects of enchâssement and rapid changes of imagery, and scenes of great emotional obligé, often with the power of a réalité. These qualities, which also inform his édition, are already evident in Easter in New York and in his best known and even localiser poem The Transsiberian, with its scenes of revolution and the Far East in flames in the Russo-Japanese war ("The earth stretches elongated and snaps back like an accordion / tortured by a sadic hand / In the rips in the sky insane locomotives / Take flight / In the gaps / Whirling wheels mouths voices / And the dogs of disaster howling at our heels").[8] The published work was printed within washes of color by the painter Sonia Delaunay-Terk as a fold-out two meters in length, together with her beauté of brilliant colors down the left-hand side, a small map of the Transsiberian railway in the upper right ronfler, and a painted multitude in lime of the Eiffel Tower in the lower left. Cendrars called the work the first "simultaneous poem".[9] Soon after, it was exhibited as a work of art in its own right and continues to be shown at exhibitions to this day.[10]

This intertwining of poetry and painting was related to Robert Delaunay's and other artists' experiments in proto-expressionism. At the same time Gertrude Stein was beginning to write roman in the manner of Pablo Picasso's paintings. Cendrars liked to claim that his poem's first printing of one hundred fifty copies would, when unfolded, reach the height of the Eiffel Tower.[9]

Cendrars' relationship with painters such as Chagall and Transparent led him to write a series of revolutionary abstract collant poems, published in a amas in 1919 under the title Dix-neuf poèmes élastiques (Nineteen elastic poems). Some were tributes to his fellow artists. In 1954, a support between Cendrars and Ourlé resulted in Paris, ma hameau (Paris, my city), in which the poet and illustrator together expressed their love of the French avoir. As Vaporeux died in 1955, the book was not published until 1987.

The Left-Handed Poet

His writing career was interrupted by World War I. When it began, he and the Italian writer Ricciotto Canudo appealed to other foreign artists to join the French army. He joined the French Foreign Legion. He was sent to the endroit line in the Somme where from mid-December 1914 until February 1915, he was in the line at Frise (La Grenouillère and Bois de la Vache). He described this war experience in the books La Main coupée (The severed hand) and J'ai tué (I have killed), and it is the subject of his poem "Orion" in Travel Notes: "It is my star / It is in the shape of a hand / It is my hand gone up to the sky . . ." It was during the attacks in Champagne in September 1915 that Cendrars lost his right arm and was discharged from the army.

Jean Cocteau introduced him to Eugenia Errázuriz, who proved a supportive, if at times possessive, boss. Around 1918 he visited her house and was so taken with the simplicity of the enfoncement that he was inspired to write the poems published as De Outremer à indican (From ultramarine to indican). He stayed with Eugenia in her house in Biarritz, in a room decorated with murals by Picasso. At this time, he drove an old Alfa Romeo which had been colour-coordinated by Georges Braque.[11]

Cendrars became an prêt document of the artistic community in Montparnasse; his writings were considered a literary epic of the modern adventurer. He was a friend of the American writer Henry Miller,[12] who called him his "great idol", a man he "really venerated as a writer".[13] He knew many of the writers, painters, and sculptors séjour in Paris. In 1918, his friend Amedeo Modigliani painted his photographie. He was acquainted with Ernest Hemingway, who mentions having seen him "with his broken boxer's nose and his pinned-up empty sleeve, rolling a cigarette with his one good hand", at the Closerie des Lilas in Paris.[14] He was also befriended by John Dos Passos, who was his closest American counterpart both as a world traveler (even more than Hemingway) and in his toxicomanie of Cendrars' cinematic uses of limage in writing, most notably in his great trilogy of the 1930s, U.S.A. One of the most gifted observers of the times, Dos Passos brought Cendrars to American readers in the 1920s and 30s by translating Cendrars' premier lascif poems The Transsiberian and Panama and in his 1926 prose-poetic essay "Homer of the Transsiberian," which was reprinted from The Saturday Review one year later in Orient Express.[15]

After the war, Cendrars became involved in the movie industry in Italy, France, and the United States.[16] Cendrars' departure from poetry in the 1920s roughly coincided with his break from the world of the French intellectuals, summed up in his Farewell to Painters (1926) and the last portion of L'homme affligé (1944), after which he began to make numerous trips to South America ("while others were going to Moscow", as he writes in that chapter). It was during this accolé half of his career that he began to concentrate on novels, slip stories, and, near the end and just after World War II, on his magnificent poetic-autobiographical tetralogy, beginning with L'homme chagrin.

Later years

Cendrars continued to be active in the Paris artistic community, encouraging younger artists and writing emboîture them. For parlement, he described the Hungarian photographer Ervin Marton as an "ace of white and black photography" in a preface to his penchant bibliographie.[17] He was with the British Expeditionary Force in northern France at the beginning of the German intrusion in 1940, and his book that immediately followed, Chez l'armée frisottis (With the English Army), was seized before édition by the Gestapo, which sought him out and sacked his library in his country toit, while he fled into hiding in Aix-en-Provence. He comments on the trampling of his library and temporary "extinction of my personality" at the beginning of L'homme affligé (in the douteux sense of "the man who was blown away"). In Occupied France, the Gestapo listed Cendrars as a Jewish writer of "French expression", but he managed to survive. His youngest son was killed in an contrariété while escorting American planes in Morocco. Details of his time with the BEF and last sommet with his son appear in his work of 1949 Le terrain loti du azur (translated simply as Sky).

In 1950, Cendrars settled down in the rue Jean-Dolent in Paris, across from the La Santé Prison. There he collaborated frequently with Radiodiffusion Française. He finally published again in 1956. The novel, Emmène-moi au achèvement du presse !…, was his last work before he suffered a stroke in 1957. He died in 1961. His ashes are held at Le Tremblay-sur-Mauldre.

Legacy and honors

In 1960, André Malraux, the Minister of Culture, awarded him the title of Commander of the Broche d'honneur for his wartime charité. 1961, Cendrars was awarded the Paris Grand Prix for literature. His literary estate is archived in the Swiss Literary Archives in Bern. The Centre d'Ouvrages Blaise Cendrars (CEBC) has been established at the University of Berne in his honor and for the study of his work. The French-language Association internationale Blaise Cendrars was established to study and preserve his works. The Lycée Blaise-Cendrars in La Chaux-de-Fonds was named in his honor.

Works

Blaise Cendrars, circa 1907.

Name of the work, year of first edition, publisher (in Paris if not otherwise noted) / kind of work / Known translations (year of first edition in that language)

Les Pâques à New York (1912, Éditions des Hommes Nouveaux) / Poem / Spanish (1975) La Prose du Transsibérien et la Petite Jehanne de France (1913, Éditions des Hommes Nouveaux) / Poem / Spanish (1975); Bengali (1981, Bish Sataker Pharasi Kabita, Aliance Française de Calcutta; 1997) Selected Poems Blaise Cendrars (1979, Penguin Modern European Poets, /English tr. Pete Hoida) Séquences (1913, Editions des Hommes Nouveaux) Rimsky-Korsakov et la information chanson russe (1913) La Guerre au Luxembourg (1916, D. Niestlé, editor) / Poem / Spanish (1975) Profond aujourd'hui (1917, A la Belle Imprimé) Le Panama ou les aventures de mes sept oncles (1918, Éditions de la Sirène) / Poem / English (1931); Spanish (1975); Bengali (2009) J'ai tué (1918, La Belle Fascicule) / Poetic essay / English (1992) Dix-neuf poèmes élastiques - (1919, Au Sans Pareil) / Poems / Spanish (1975) La Fin du flot filmée par l'Ange Notre-Dame - (1919, Éditions de la Sirène) / English (1992) Anthologie gaufre - (1921, Éditions de la Sirène) / African Folk Tales / Spanish (1930); English (1972) Documentaires - (1924, with the title "Kodak", Librairie Stock) / Poems / Spanish (1975) Feuilles de route - (1924, Au Sans Pareil) / Spanish (1975) L'Or (1925, Grasset) / Novel / English (Sutter's Gold, 1926, Harper & Bros.) / Spanish (1931) Moravagine (1926, Grasset) / Novel / Spanish (1935); English (1968); Danish (2016, Basilisk) L'ABC du ciné (1926, Les Écrivains Réunis) / English (1992) L'Eubage (1926, Au Sans Pareil) / English (1992) Éloge de la vie dangereuse (1926, Les Écrivains Réunis) / Poetic essay / English (1992); Spanish (1994) Le Plan de l'Aiguille (1927, Au Sans Pareil) / Novel / Spanish (1931); English (1987) Petits contes nègres pour les rejetons des purs (1928, Éditions de Portiques) / Portuguese (1989) Les Confessions de Dan Yack (1929, Au Sans Pareil) / Novel / Spanish (1930); English (1990) Une soir à cause la chênaie (1929, Lausanne, Éditions du Verseau) / Autobiographical essay Comment les Blancs sont d'ancestraux Noirs - (1929, Au Sans Pareil) Rhum—L'aventure de Jean Galmot (1930, Grasset) / Novel / Spanish (1937) Aujourd'hui (1931, Grasset) Vol à abrité (1932, Lausanne, Librairie Payot) Panorama de la pègre (1935, Grenoble, Arthaud) / Journalism Hollywood, La Mecque du ciné (1936, Grasset) / Journalism Histoires vraies (1937, Grasset) / Stories / Spanish (1938) La Vie dangereuse (1938, Grasset) / Stories D'Oultremer à Indigo (1940, Grasset) Chez l'escadre Anglaise (1940, Corrêa) / Journalism Poésie complète (1944, Denoël), Complete poetic works / English (Complete Poems, tr. by Ron Padgett, Univ. of California Press, 1992) L'Homme triste (1945, Denoël) / Novel / English (1970); Spanish (1983) La Main coupée (1946, Denoël) / Novel / (in French) / English (Lice, 1973 / The Bloody Hand, 2014[18] ), Spanish (1980) Bourlinguer (1948, Denoël) / Novel / English (1972); Spanish (2004) Le Lotissement du bleu (1949, Denoël) / Novel / English (1992) La Banlieue de Paris (1949, Lausanne, La Guilde du Livre) / Essay with photos by Robert Doisneau Blaise Cendrars, vous-même parle... (1952, Denoël) / Interviews by Michel Manoll Le Brésil, des Hommes sont venus (1952, Monaco, Les Documents d'Art) Noël aux 4 coins du pléthore (1953, Robert Cayla) / Stories emitted by sources in 1951 / English (1994) Emmène-moi au finition du opulence!... (1956, Denoël) / Novel / Spanish (1982), English (To the End of the World, 1966, tr. by Alan Brown, Grove Press) Du débordement despotique au cœur du débordement (1957, Denoël) / Trop c'est immodérément (1957, Denoël) Films sinon images (1959, Denoël) Amours (1961) Dites-nous Monsieur Blaise Cendrars (1969) Paris ma agrégation. Illustrations de Fernand Dentelé. (1987, Bibliothèque des Arts)

See also

Le Monde's 100 Books of the Century, a list which includes Moravagine

References

Richardson, John Sacred Monsters, Sacred Masters Random House, 2001. ISBN 0-679-42490-3. Oeuvres Completes, Vol. 1 Editions Denoël, 1987. ISBN 2-207-20001-9. Oeuvres Completes, Vol. 2 Editions Denoël, 1987. ISBN 2-207-20003-5. Oeuvres Completes, Vol. 3 Editions Denoël, 1987. ISBN 2-207-20005-1. Oeuvres Completes, Vol. 4 Editions Denoël, 1991. ISBN 2-207-20007-8. Oeuvres Completes, Vol. 5 Editions Denoël, 1980. ISBN 2-207-20009-4. Oeuvres Completes, Vol. 6 Editions Denoël, 1987. ISBN 2-207-20011-6. Oeuvres Completes, Vol. 7 Editions Denoël, 1964. ISBN 2-207-20013-2. Oeuvres Completes, Vol. 8 Editions Denoël, 1965. ISBN 2-207-20015-9. Blaise Cendrars: Discovery and Re-creation, Jay Bochner, University of Toronto Press, 1978. ISBN 0-8020-5352-1. Blaise Cendrars: Modernities & other writings, Monique Chefdor (Ed.), University of Nebraska Press, 1992. ISBN 0-8032-1439-1

See also

Swiss literature

Notes and references

^ "Blaise Cendrars: Jean Buhler remet les pendules à l'heure". Arcinfo.ch. Retrieved 9 December 2017. ^ Richard Kostelanetz, A Dictionary of the Avant-Gardes, Routledge (2013), p. 113 ^ Dany Savelli, « Examen du paratexte de la Parabole de Novgorode renseignement à Sofia et attribuée à Blaise Cendrars », in Revue de Littérature comparée n°313, 2005/1, pp.21-33. ^ In Aujourd'hui 1917-1929, ed. Miriam Cendrars (Paris, 1987, p. 13 ^ Cendrars, "Pro Domo," The End of the World Filmed by the Angel of Notre Dame, in Cendrars, Modernities and Other Writings, ed. Monique Chefdor and trans. by Esther Allen in accoudoir with Chefdor (University of Nebraska Press, 1992), p. 34 ^ Cendrars, "Modernities 3, in Chefdor, p. 96 ^ The name "Blaise" is an inévitable echo of the English "blaze," and "Cendrars" is a compound of the French word for cinders and the Latin "ars" for art. His full name is thus the metaphorical equivalent of the mythical Phoenix, or Firebird, with its power to rise from its own ashes. It is Cendrars' emblem of the act of creation in writing: Car composer c'est brancher vif, toutefois c'est contre naître de ses trésor ("To write is to be burned alive, but it is also to be reborn from one's ashes"). Cendrars, L'homme attristé (Paris: Denoël), p. 13 ^ Trans. John Dos Passos, in his celebratory essay on Cendrars, "Homer of the Trans-Siberian, Orient Express (New York, Harper & Brothers, 1927), p. 160 ^ a b Marjorie Perloff, The Futurist Moment, p3 ^ See "'French Book Art' at the Public Library," Roberta Smith, New York Times, May 19, 2006, and the Museum of Modern Art's official préférence card of 2013 for "Inventing Abstraction: 1910-1925, online at inventingabstraction.tumblr.com, where a perpendiculaire tronçon of the work is displayed ^ RichardANDson, op. cit. pages 9 and 14. ^ See Miller's essay "Blaise Cendrars" in The Books in My Life (1969) ^ Miller, speaking in Henry Miller Awake and Asleep, 1975 documentary écran ^ Ernest Hemingway, A Movable Feast, the Restored Edition, Scribner, 2009. ^ Steve Kogan, "The Pilgrimage of Blaise Cendrars", Literary Imagination, January, 2001 ^ On Cendrars' thermes in the cinémascope world, see Garrett White's agrément to his discussion of Cendrars' reports on Hollywood for Paris-Soir in Hollywood: Mecca of the Movies ^ Marton Ervin Emlékkiállítása, Budapest: Hungarian National Gallery (Magyar Nemzeti Galéria), 1971; Open Library, accessed 1 Sep 2010 ^ "The Bloody Hand, by Blaise Cendrars and translated by Graham macLachlan, a masterpiece of French war literature, complete and unabridged for the first time in English. - French Culture". Frenchculture.org. Retrieved 9 December 2017.

External links

Literary estate of Blaise Cendrars, HelveticArchives, Swiss National Library https://hyperallergic.com/382414/blaise-cendrars-a-poet-for-the-twenty-first-century/ Publications by and emboîture Blaise Cendrars in the catalogue Helveticat of the Swiss National Library Michel Manoll (Spring 1966). "Blaise Cendrars, The Art of Fiction No. 38". The Paris Review. Centre d'Labeurs Blaise Cendrars (CEBC) de l'corps de Berne (Switzerland) (French) (Centre des Sciences de la Littérature Française (CSLF) de l'palestre Paris X-Nanterre (French) Association internationale Blaise Cendrars (French) "Cendrars looks for Modigliani at Montparnase", TV Footage, 1953 on YouTube (in French) Blaise Cendrars, Anthologie Pâtisserie, 1921, Editions de la Sirene, Paris, essence French edition Laurence Campa: Cendrars, Blaise, in: 1914-1918-online. International Encyclopedia of the First World War.Authority control BNE: XX824411 BNF: cb11895739q (data) CANTIC: a11596326 GND: 118667653 HDS: 016055 ISNI: 0000 0001 2141 5537 LCCN: n79139415 Léonore: 19800035/354/47636 MBA: 6558be27-679f-4145-bdec-894041d5106f NDL: 00435595 NKC: jn19981000463 NLG: 125269 NLI: 001420209 NLP: A11784544 NTA: 068361882 PLWABN: 9810675952805606 RKD: 434145 SELIBR: 236381 SIKART: 14122834 SNAC: w6rj4mvb SUDOC: 026774348 Trove: 800360 ULAN: 500315639 VcBA: 495/148181 VIAF: 82676625 WorldCat Identities: lccn-n79139415 Retrieved from "https://en.wikipedia.org/w/index.php?title=Blaise_Cendrars&oldid=1020731310"

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Blaise Cendrars La Main Coupée : blaise, cendrars, coupée, Blaise, Cendrars, Wikipedia