A master yarn-spinner, he is unabashedly, joyously (but never aggressively) descriptive, with muscular prose animated by a muscular sense of poetry. Not only are his stories in which things actually *happen* -- ships jumped, pot grown, gloryholes visited, bear traps sprung, dirt secreted by the

Baroque, Expansive, Grand, Low realism

For Merleau-Ponty, we are never separate from the world. On the contrary, we are part of the world. In fact, we can only partake of the world, only know the world, precisely because we are made of the same stuff as the world. In his own words, we are part of the 'flesh.' In his great essay, "Ch

Baroque, Lyrical, Perceptual, Phenomenology, Repetition, Sensual, Surface

Les Chants de Maldoror is based around a character called Maldoror, a figure of unrelenting evil who has forsaken God and mankind. The book combines an obscene and violent narrative with vivid and often surrealistic imagery. In 1917, French writer Philippe Soupault discovered a copy of "Les Chan

Atmospheric, Baroque, Excessive, Grotesque, Hallucinatory, Perverse, Rebel, Surrealist poetry, Violent, Visceral

Anxiety, Baroque, Bubblicious, Chance, Discourse as event, Improvised, Ironic, Joyful, Neurotic, Perverse, Phenomenology, Playful, Repetition