Sonnets dispars suivis de Cinq autres sonnets, Une fabule et Deux ampliations.
The figures and figurations from antiquity that pass through these "sonnets dispars," like "Melancholie" (sic) and Aphrodite, deprived of their historical settings, become fragments of "la memoire massicotee" caught in the language of an "amplitude amoindrie." Words are dissected into letters ("des jou-- / Rs accommoder"), and letters fall out of line to underscore the limping nature of the text.
"The body is with the king, but the king is not with the body" (Hamlet), Georges writes as an epigraph to her "Fabule affable" that follows the thirteen sonnets and is, like her tide, a play on sound and meaning. The king's verdict is broken up into a ver dict; the "bel aujourd'hui" of collective literary memory becomes "le bel hier," suggesting, to the eye, its possible animal homophone (belier).
"Il n'existe pas de couleur nommee Amour," Georges quotes from Izumi-Shikibu in the epigraph to her final section, "Deux ampliations," which again plays an ancient syntax and vocabulary against our twentieth-century feelings of anguish and nonbelonging. The collection ends on the verse "La prise de la certitude," but what the reader comes away with is only an elusive hold on a world that limps toward its "Chute" (the title of her last poem) as toward an originary "Ur," stripped, like Hamlet, of a stable formal or figurative identity too long taken for granted.