Tuesday, February 28, 2012


The third issue of POINTS was published in the summer of 1949 and was noted as Nº 3 - Juin-Julliet 1949.  Copies on sale at booksellers featured a wrapper around each volume that hinted at the contents inside, a change no doubt hastened by the rather plain front format with title and number, nothing else.


The editor's introduction cautioned that POINTS 4 would be delayed as the staff was taking the month of August off on vacation with the rest of Paris as was the custom.


It is with pleasure that we the editors, present POINTS No. 3
on time, again. The next number, however, which in theory should
come out on August 15, will he delayed until October. The reason
for this delay is that our "staff" of three all desire a month's
vacation, and I guess that since we are not a "New Yorker" or an
"Atlantic Monthly" yet, we can just close the shop for a month.

It has also been decided to prolong the dead line for our Contest
entry from July 14 to August 15. This is being done in order that
we may submit to the judging committee a more varied and larger
selection of short stories.

The editors hope to start in POINTS No. 4 or 5, a book review
section, in both English and French. We are now in the process of
contacting various publishers on the subject of receiving newly printed

This issue contains several interesting and one or two provocative
stories and poems. D. Jon Grossman's "Ars Poetica: The Twentieth
Century will perhaps amuse some readers, enrage a few, bore or
fascinate others. Frankly I think it is very good, but then to each
his taste.

The opinions expressed by Lionel Abel in his "Why Young?
Why not writers?" are not necessarily those of the editors.

The editors cordially invite our readers to submit short stories,
poems and articles to POINTS, and especially invite them to try for
the short story contest. All information concerning this contest
appeared in POINTS No. 2.


POINTS 2 had introduced Lionel Abel to readers.  Abel, who was born in 1910, took exception to the stated mission of POINTS in a letter published in POINTS 3.


By all means let us read the young writers. But what does this
term "young writers" mean? Or to put the question more precisely,
what meaning or value can be ascribed to written works, aside
from their literary qualities, when we bear in mind that the ones
who wrote them are young?

A young man has written something. Shall we consider this
simply as a promise of something better to come? But in that case
the fact of youthfulness is a sort of alibi for an inadequate or unsuc-
cessful effort.  No, that better will follow is not what interests or
should interest us in the work of a new generation.

But let us make one clear distinction. In the term "young
writer" there is contained a very evident contradiction. For if to be
"young" implies to be inexperienced, uncommitted, at the beginning
of some development, to be a "writer" means on the contrary to
have had experience of writing, to have hit on something, to be at
the end of some development. To be young though a writer, that
is interesting, precisely because the qualities of youthfulness are not
able to assert themselves uncontradicted. From the point of view
of literature there is no value in a writer's being young if he is not
really a writer.                                               

But to be a writer means to have settled something, to have found
something to testify; something one will stand by and stick to; it
means to have chosen, whereas youthfulness means to have choice
still ahead of one.

But now, are there any young writers? This is of particular
interest to POINTS, for its whole aim is to open its pages to young
writers — and if these do not exist then POINTS is pointless.

In my opinion there are no young writers; what POINTS has
so far published is the work of young people who write but who are
far from being writers. They have the virtues of youth, perhaps,
but on the printed page these qualities are simply faults : their
youthfulness is not a value.

It seems to me that the young American writers — if there has
to be such a group — are not men still in their twenties but men who,
like myself, are in their late thirties. I think the young American
writers are the men of my generation, who, long in maturing, for
reasons that are hard to determine, are Just beginning to speak up.
Of course they are not really young. They are young as writers.
And that is a different thing.

Perhaps the trouble with the new generation of young men who
write, but write so badly, without perspective, without scruple,
without consciousness, perhaps their trouble lies in the fact that the
generation which preceded them — my generation — did so little.
A few ideas, very marginal, a few poems, but not a new poetry,
several novels, but nothing very solid, nothing very serious, nothing
to get excited about. Did nothing excite us then ? And is that
perhaps why those who have come along after us seem so unmoved?

If it is true that a generation tests its powers by searching out
the weaknesses of the generation that preceded it, then it follows
that the older writers have to do something, say something, for the
new writers to find themselves. Now so far my generation has not
said very much. To what shall the very young reply?

Of course if they were really determined, they could look over
our shoulder at those behind us, at the generation that we followed:
at Cummings, Faulkner, Hemingway, Stevens, Williams; ignoring
our lack of accomplishment they could start at the point where we
ourselves failed to begin. But from what I, have seen so far, not
merely in POINTS, but in the reviews published in the U.S.A., the
young seem to have chosen to follow, even less excitedly, less
interestedly and of course less interestingly, in the steps of the men
of my own generation. They do riot even seem to constitute a new
generation, but rather the lagging members of our own. Taken by
their writings, these people between twenty and twenty five might
just as well be between thirty five and forty.

I think that it is a mad thing that a magazine exists assuring
them a welcome insofar as they are young. They should have to
make their way, force themselves to be recognized, despite their
youthfulness and not because of it; they should have to overcome
their youthfulness to get a hearing and not have a review handy
which will not be too critical of something written in view of the age
of the one who wrote it. This kind of pampering of the young is
of a piece with progressive education : it is optimistic and silly, and
creates a totally wrong sense not only of the meaning of literature,
but of the meaning of youth as well.       

For youth is not the time for facility. When young, one can
conquer difficulties which later on one has not even the force to
confront. A young man wants to be taken as a man, not as young...
Let the young writers of the present time find something important
to say and they will be the first to insist that their work be regarded
on its merits, and not as the production of persons who happen to
belong to a certain age group.

LIONEL ABEL (© The Estate of Lionel Abel)

Abel went on to a distinguished career as noted in his obituary that was published in the New York Times in 2001:

Lionel Abel, 90, Playwright and Essayist
Published: April 25, 2001

Lionel Abel, an Obie award-winning playwright, essayist, novelist and scholar, died on Thursday in Manhattan. He was 90.
As a playwright Mr. Abel was perhaps best known for ''Absalom,'' one of his four works produced off Broadway. Telling of the aging King David's two-year struggle to decide which of his sons, Absalom or David, to name as his successor, the drama was chosen as the best play of the 1956 Off Broadway season.
Mr. Abel's 1984 memoir, ''The Intellectual Follies'' (W. W. Norton), which opens at the end of the 1920's, gives glimpses of legendary Greenwich Village figures like Joe Gould and Maxwell Bodenheim, recalls the radical politics of the 1930's and revisits life in Paris in the postwar years and New York in the 50's, when Mr. Abel was friendly with Abstract Expressionist painters like Willem de Kooning and Franz Kline.
In a review of the book in The New York Times, John Gross noted that some of the material was familiar. ''Yet Mr. Abel never leaves you with the feeling that you have heard it all before,'' he wrote. ''He is too independent and effervescent for that; his mind goes off on too many unexpected tangents.'' Among Mr. Abel's other books was ''Important Nonsense'' (Prometheus Books), a 1987 collection of essays about writers like Dostoyevsky, Bertrand Russell, Jean Genet, Edmund Wilson, Arthur Koestler and Jean-Paul Sartre. Mr. Abel was Sartre's authorized translator.

POINTS 3 continued to introduce new writers between its pages as well as authors who had appeared previously in POINTS:

Sindbad Vail – Notes by the Editor
Lionel Abel – Why Young? Why Not Writers?
Lionel Abel – Hell No!
Ernest Lesavan – La ≪Jeune≫ Littérature
Jules Koslow – Bossmen
Georges-Emman Clancier – Le Rite
Elliot Silverstein – Some Other Day
René de Obaldia – Le Docteur Papyrus
Christopher Middleton – Madness In Granite
L. S. Polonsky – Reply
Georges Bartehlmi – La Noce
George F. Kerr – Swinnying the Yeat Crop
Jacques Sternberg – L’escalier n’a pas d’issue
D. Jon Grossman – Ars Poetica:
                                    The Twentieth Century
Marguerite Taos – Deux Contes Berbères
Franc de George – Journey Up The Atlantic Coast
Philippe Jaccottet – Poemes
Jacqueline Babbin – The Letter
Gaston Gaoua – Les Métamorphoses de Sébastien Velpuche
Marcel Bisiaux - Notes

Monday, February 27, 2012


The second issue of POINTS was published in April-May of 1949. POINTS 2 offered a balance of short stories and poems in French and English, a format that had been established with the first issue that hopefully would find an audience in France and abroad in England and America where primary distribution points had been established.


The end papers of POINTS 2 announced a contest with a prize purse that the editors hoped would attract attention from young writers with talent.

In order to stimulate the short story, "POINTS" is organizing
a contest, for the best short story, in both the English and French
languages. The prize will be 10,000 francs. Two "five men"
committees (one French, the other Anglo-American) will Judge
and choose the stories.

"POINTS" cordially invites all young writers to submit short
stories for this contest. All stories must be sent in not later than
July 14, 1949, and clearly marked "contest". The prize stories
will appear in " POINTS " No 4, in September 1949.

The stories submitted can range in length from 1,500 to 5,000

« POINTS » organise un concours de la meilleure nouvelle en
langue francaise et en langue anglaise. Deux jurys, l’un francais,
1'autre anglo-americain, composes chacun de cinq membres, decer-
neront chacun un prix de 10.000 francs.

Les nouvelles doivent etre envoyées avant le 14 juillet 1949 et
doivent porter la mention « concours ». Les nouvelles couronnées
par les jurys seront publiées dans 1c numero 4 de « POINTS », en
septembre 1949.

La longueur des textes devra, approximativement etre de dix

N.B. — Un prochain numéro sera uniquement consacré à des textes
d'épouvante et de terreur.

Sindbad Vail's comments in his "Notes by the Editor" introduction to POINTS 2 allude to the motivation for the contest.

It is with great pleasure that the Editor of the English section
of "POINTS" presents the 2nd number of the magazine. Some
harsh critics, after reading the 1st issue, were all for scrapping the
enterprise and advising the undersigned to go hack to whatever he
was doing before. It would be untruthful for the editor to say that
he was not at the time vastly discouraged and pessimistic, perhaps
almost resigned to follow those morbid counsels. Fortunately, other
people, less sneering, more cheerful, in other words happier sorts
cheered us up. This editor is the first to admit that the contents of
"POINTS" 1 were not of the highest quality nor of brilliant origi-
nality. Then so what ? The whole point of "POINTS" was lost
or, rather, unexplained in the 1st issue. This magazine is devoted
almost entirely to young writers who so far have had very little
opportunity to be published, and therefore, naturally enough, the
first number did not contain any material of breathtaking quality.
Did some people expect as to find new Hemingways and Faulkners
right off the bat? Who knows perhaps in twenty years, some of
our contributors may be what the former are today. "POINTS"
wants to-give the young writer of today a break. We do not want
to publish left-overs from the arrived. If occasionally, we receive
a good text from an established writer, it would not be refused, but
then we would really have to like it, and I mean that. I'll say
straight off that I'd publish a "medium" article from an unknown
before I would a "bad" one from a known.

"We now arrive to the second point of "POINTS". Apart from
encouraging young writers (a naive and most ignoble waste of time,
as some people have already told me, for they added, and they
were all over forty, there are no good young writers today), what
is the object of "POINTS"? Are we futuristic, surrealistic, arriére-
garde, avant-garde even existentialist or even nihilistic, classical,
baroque, psychological, inhibited, uninhibited, amorous, virtuous,
pedantic, pederastic, do we believe in any isms, asms, or perhaps
spasms, etc., etc. Enough cracks. "POINTS" follows no special
line, and we stick by that. All that one has to do to be printed is
to write something that the editors like. Any subject can be chosen,
anyone can be imitated or one can even be original. It is hard for
some people to realize, especially smart-aleck Americans in Paris
today, that such a magazine can exist. It is particularly hard to
believe for the "Florists and Montanians", as some of them have
extra-inflated egos, wish to believe that they are in Paris for some
reason, and virtuously think that a magazine must follow some
bright new modern creed, boring or otherwise.

It has also been said that it was a great mistake to make
"POINTS" a bilingual magazine. "We feel on the contrary that
this is not the case. "We wish to appeal to those people who like
to read both languages, we do not want to isolate ourselves and cater
only to those who read solely their native tongue. "We feel there is
a certain public that desires to read a magazine in two languages.
It is presumed that the Americans and English living in France are
learning French and even wish to read it as well as their native
language, and it is a known fact that many Frenchmen are keen
to read English and thus become better acquainted with it. This is
one of the main reasons why "POINTS" was ever started.

In this issue, the editor will not discuss the writers or their
works. Obviously various readers will like or dislike certain arti-
cles and short stories. There is one article I do want to mention
though. It is Stanley Geist's "Memoirs of a Paris Tourist 1947".
I've been told that this article is outdated. That, no doubt, is open
to discussion. But I honestly believe that this article is so well
written, so intelligent (and that so much of it still holds true today)
that from the literary point of view, the two years lapse is un-

The two editors wish to congratulate Roy Bongartz whose " The
End Begins in About Five Minutes ", which appeared in the first
number of "POINTS", has been printed in the April number of
Cyril Connolly's " Horizon ".


The contents of POINTS 2 offered another group of relatively unknown writers.

Sindbad Vail – Notes by the Editor
Henri Thomas – La Barque
Lester Mansfield – Here, Pretty Kitty
Noel Devaulx – Gorreker
Gordon Sager – The Folly of old Age
Hans Ruch – Une vie de chat
James McGovern – Nickel Bar of Soap
Armen Lubin – Poémes
James Blair – Doctor Smith’s Last Patient
Marthe  Robert – Les Intrus / La Grille / Le Cirque
Stanley Geist – Memoirs of a Tourist, Paris 1947
Michel Forstetter – Gouache
Howard Simpson – It’s lime
Elliot Silverstein – The Silent
Felisberto Hernandez – Chez les Autres
Lionel Abel – The Eternal Type
G.-H. Bougeant – Des Bois d’Amour
Gaston Gaoua – Sébastien Velpuche
Marcel Bisiaux – Notes


© The Estate of Lester Mansfield

Memoirs of a Tourist, Paris 1947

© The Estate of Stanley Geist

 Sébastien Velpuche

© The Estate of Gaston Gaoua


The premiere issue of POINTS was published in the early part of 1949, the imprint reading No 1, Fevrier-Mars 1949.  The budding literary adventure was underwritten financially by Sindbad Vail’s mother, Peggy Guggenheim.


The format of the first four issues was slightly larger than octavo measuring 7” x 9” with subsequent issues conforming to the standard octavo size.

(front cover)

A loose insertion in the first issue invited writers to submit their works for possible publication.  Manuscripts in French were to be submitted to Marcel Bisiaux and those in English to Sindbad Vail at the magazine’s address, 75, boulevard Saint-Germain, Paris (6˚).

(submission request)

The printer’s certification confirmed the date that the issue was on the presses.  In a later issue of POINTS Vail related the history of the journal and how, being the optimist, he committed to having 5,000 copies of the first issue printed.  The print run was soon  trimmed to 1,000 as the reality of selling a small literary journal became apparent.

(printer's mark)

(back cover)

(first page contents)

Contents of the first issue:

ALFRED KERN - The vocation of Francis Leger
BEN FENNER - Voices from the Italian tour
PIERRE LEYRIS - Three stories from the Roman Violier stories
MELTON S. DAVIS - Apartment in Paris
Aleksey Remizov - Neighbors
HOWARD THE FAY - The streets of Naha
ANDRÉ Dhôtel - We always can not whine
SHARON SCIAMA - To sit at the heart of ict angle
TOM A. CULLEN - One Bath Single
MARCEL BISIAUX - The Hotel - The Girl - The Cold
ROY Bongartz - The end begins in about five minutes
MARCEL SCHNEIDER - In the race of the deluge
Mervyn JONES - Readjustment
GAOUA GASTON - The metamorphoses of Sébastien Velpuche
JACQUES BRENNER - Critical presentation
SINDBAD VAIL - critical Presentations

The editor Who selected the submissions in French, Jacques Brenner wrote Some commentary on the authors and Their works (in English) and Sindbad Vail Who edited the submissions in English Provided His commentary (in French) Reproduced below.


It is a mistake to speak of a crisis in Periodically literary production. There is no such thing. It is simply que la shoulds That Works arent really be spoken about. Literary criticism in France and probably in Most countries today is much too much Concerned with metaphysics or politics. Most critics find it much e asier to write about the political implications of a book than about icts intrinsic artistic value.


André Dhôtel is India e d by the writer Whom the old tradition of the novel is best kept today. That is the reason why he writes stories of adventure. His books are fresh and lively, exposed to all the winds of imagination They Are goal as the picture of a very unusual universe, bears of course, seen from an original angle goal.

One feels That Dhôtel, he HAD to choose entre Freedom and Grace Would prefer the lathing and That In His readings (he teaches philosophy), he must devote much time to His instincts. Indeed He Has Chosen His Placed ounce and the characters m in a position Given he lets' em grow like plants or animals. Freedom is behind 'em. That uncertain apprehension That Strengths em on the paths of the human and is poetical worlds Almost an abandonment to an interior hidden fatality. Two major characters inDhôtel's last novel Constantly use the words "automatic" and "mechanical." What finally Brings back the feeling of liberty is the share Played by "Chance" ie the unexpected (by us) events. And Mainly Instincts That REMAIN quite mysterious. The characters do not pretend t o know Themselves and do not try to justify Themselves. They are definitely not intellectuals ... Sooner or later the logical appearance of Andre Dhôtel's works Will Be spoken of.

One can always find an In His books unusual girl, Sometimes several. Although complex Their Clearly Described are, They sccm Most of the time to act more selon HAS s ubtle law. What is really the matter with 'em? Dhôtel says of Juliet in The Plateau Masagran: "Her retorts Were so quick and so precise never Knew That She When She Was she sincere goal undoubtedly About About About About About did not hide what she tho.U ght No,. the Dhôtel ian heroine is not false. She is simply Thrown into the world and live must. She is the the the the the carried away by her own life. She obeys without answer ask ask ask ask asking questions. Purpose it is right people around her que la and the readers shoulds run Themselves Against the mystery she Seems To preserve: "One Does not Know theothers. "(And how badly one knows oneself!)

Psychological life is undoubtedly very differs n t from everyday life. Some do without it and Motivates Most men act Without Any reasoned. It is one of Dhôtel 's strong point to make us feel it so well and it is at the time one of the Sami rea s ons why His novels shoulds be quite successful i n --other countries Where the ratio-cination of French authors shock. .. It is not with a drowsy head goal with Enthusiasm and emotion That One finishes David Gold Nulle Part.

His work is full of contrasts too: for instance, betw e in the basic simplicity of life and the extraordinary variety of facts he reports.

Let us not forget this life --other opposition entre 's wickedness HASn of the beauty of this world, human gentleness That qui Dhôtel tries to convincingly make us feel.

Dhôtel can not choose entre natural or social order. He takes an anarchistic Compromised is hi s very own. Thi s award of hi s s hould express His conception of the world as we l l as His conception of the novel: "Everything can be connected by a thousand plowing and the ultimate chance."


Like Andre Dhôtel, Alfred Kern Studied philosophy. He aussi  Studied history "und leider auch Philosophy", and he Likewise  Liberated himself from Any conventional system. He remains alert  and interrogative.

In His major work Le Jardin Perdu he Introduces us to a young man Who the night before His wedding tries to find out Where he stands and goes back to His childhood. He realizes what That He Was created as a child the man He Has Become. Kern evokes childhood with uncommon accuracy and easiness. It Is Even More than evocation year: for the first time we are ble to see a child, and not distorted through the adult's eye.

Kern Does not only believ e in social influences, in The Almost indelible stamp of first encounters, sensations and feelings of early. He aussi Believes In the astral influences and the final Judgements of time. His own experiences Makes _him_ recreate the old myths. He very concretely exposed eternal human problems and point them out as Belonging to a child's world.

Purpose Kern 's short stories That forces us to end Ourselves are realistic documentation on the life of average people. His characters can be humble bank clerks, civil servants modest. He Does not want 'em to be a Sisyphean gold Prometheus. His world is one of reality. We believe he way que la myths units to daily life shoulds suffice to Attract attention. Purpose --other aspects de son works are Equally remarkable. Let us at least mention the liveliness of the narrative, the brilliant unfolding of the plot and the intimate relationship entre His style and thought.

Transposed REALITY

Marcel Bisiaux's short storie s are on the Contrary Openly and fabulous in A Most unusual way. Fortunately Does not one feel Any neo-surrealistic influences In His writing. Bisiaux descri b are things the way he Would Have liked to see them. He so m etimes Suppresses A Few details to interrupt the logical sequence of events, and adds Sometimes Sometimes transposed.

We all Know That two spectators never see la même thing nor feel the Sami way. Marcel Bisiaux presents us with His Own Particular vision, purpose "exagerates" to be Clearly Understood. By showing us things the way he saw 'em, he wants us to feel the way he felt. He Suppresses the demarcation line entre what things are and What They are to us. Objective Between truth and subje c tive truth (qui Could Be poetry called Expired Expired Expired Expired Expired). He Prefers to feel than to reason.

One can al s o det e ct in the way Bisiaux wrote the No. tales, a Refusal to make a difference entre experience and imagination. He Prefers the award de son sensibility to-any sort of knowledge. He Has anyhow, a horror of problems and definitions. It is unusual to His power of His sympathy That he owes ama z ing intuition, all the better Expressed By His indifference to grammar. He wants to express himself with absolute freedom and overcomes Any hindrance to it. He masters His field with a magnificent spirit.

THE PATHS OF Invisibility

One i s not surprised to find Alexei Remizov, probably the WIDER Most contemporary Ru ss ian writer, am o ng Bisiaux's favorite authors.                                                   

Born in 1877 Remizov now lives in Paris Surrounded by s strange objects, wire dolls, cloth puppets, seaweeds and lob s ter'sc l aws. He is a little bent old man with an unusually clever face. Although he Complains de son bad sight, His eyes are sparkling with sharpness, intelligence and sympathy. When in front of _him_ One Is Overcome by respect and affection Both.

Alexei Remizov is difficulty to Understand, Even in Russian. Because he is an artist Above All. Very Few de son works-have-been printed yet. Many publishers-have HAD His books translated, Most translations goal Could not be published. Mercenary translators can not do justice for _him_ They Are Unable to render His poetry.

Purpose if he i s Difficulties Remizov is Easily Understood by Those Who know how to deal with the fabulous and do not only admitted what a lo n g HAS tradition Taught Them to accept.

Remizov is in the tradition of the great Russian authors.

He Has Dostoevskii's anguish in front of man 'sfate, His Almost pathological sensitiveness, His compassion, His sense of reality and complicity with the powers of Evil HOWEVER Who he fights.

Like Gogol, he is familiar with the provinces, appreciates Their peculiarities, obscure Their Most legends; like him, he is not interested  in the Obvious, Has the Saami ease for working on the absurd to Attain  superior AIMS, and aussi His fascination for dreams .

Like Leskof, he distrusts fabulous traditions, loves common people's tales, authentic materials and Even current events. It Would not express Remizov still completely Call Call Call Call Call To Say That He Has Dostoevskii's demoniacal spirit, Gogol 's whimsical and provincial mind, goldLeskof's fanciful imagination and friendly. He is an artist and Above All Proves Such as himself: About About did he point out In His story "Chinese", Russian writers arent Accustomed to attach much importance to style. Remizov though, is fascinated by words and nothing is more captivating than the composition de son w o rks.

The qualities de son style stand out so Effectively In Some translations is That One time time time time time immediately struck by His power. It is in Solomonie the possessed That One readily appreciates thesis qualities. Thi s story i s the sordid picture of the bondag e and aberrations of the fl esh, with the demons m ischievously calling out to the girl:"Satan, our father, HAS creat e d All That is life It is he Who has Given the craving earth icts. Joy. Bow love b efore _him_, and You Will REMAIN with us Where Life is gay." Horror, poetry, realism, and mystery
Compensate Each Other truth in this story, That We Consider one to be His Best. It was translated by Gilbert Lely. Jean Chuzeville aussi made ​​great HAS Some French translations of Remizov.


If We had to name Some remarkable translators Would certainly we think of Pierre Leyris.    His translation of King Lear - Melville's Benito Cereno and Pierre - Emily Dickinson's Letters - Dickens' Great Expectation s and Mugby Junction - and finally TS Eliot, are justly Praised.

Leyris is a critic as well as a translator. He Has Often essays written preface to the"Chosen" book, for Leyris HAS HAS Work That probably never translated About About About About About did not express His Own In Some Way interests.

The perfect elegance and beauty of ict translations, as well as the deep understanding and skill de son Criticisms, make us wonder That he shoulds-have Chosen to express himself through --other poets only.


Marce l Schneider, who is a translator aussi (To Whom one is grateful for a remarkable French translation of "Six TicketsFavor "of Sigfrid Siwerts) must be Regarded one of the best r epresentatives of only o -romanti c i s mid Three influences are noticeable. No _him_: t h e tal s of the Round Table, German romanticism year of surrealism. O n e must observe in works Such as The Granit and the Lack and Pick Ie rosemary His idealism, the importance pm e ties to feelings, His Love for Nature and for the fabulous.

. These two books definitely do not belong to-any literary circle now in vogue, purpose are Strongly in the tradition of the love story Schneider Often s p reads poetry out like a protective screen entre His reason and himself: "It is with joy That I Renounced to the use ofreason, "writesGranite ... (page 99), "in order to plunge into the inexpressible, and I found great peace in That feeling everywhere, I Was nowhere, Overwhelmed and powerless, free and vanquished, insignificant and valuable, a child in one world, a God."

The transition is skillfully single Arranged entre reality and mysterious lands Where the shadows and reflections of the poetical imagination play. We like to be transported to and still believe i n fairy tales.


We Would like to finally add a Few words Were Young writer, Gaston Gaoua Whose first novel is Appearing in this review. It is a strange and absorbing adventure story.

Gaston Gaoua is the Year of icts wide forehead in the French government. He Travelled a lot and saw Many Things. His life is more extraordinary than Even His book. He Asked us to unde r line That "all the characters and ...Circumstances. "What! Could this be a true story?



Jacques Brenner, In His presentation critiqtie of Section French c e tte magazine goes to great lengths to analyze the Purposes means clustering clustering clustering and clustering of various icts colleagues.

I can give the Wrong Reasons That made ​​me choose al a borat e hearts of the English language section, the first thing to say  of 'em, HOWEVER, They Are all being white white white white re the ativement or absolutely  unknown.

Five of em are of US soldiers form, now living in Paris, Where They are pursuing studies varied e s ,, with varying,, Happiness. Roy Bongartz has-been "published" twice. The first in the everyday of his vile the e hometown (Dayton, Ohio), the second in the European edition of the "New York Herald Tribune" which printed His impressions of 'a trip to Spain.Bongartz: has a lot of imagination. It Will Acquire probably much t technical OT still missed and when to to to to _him_ 'He Will find a better ending toHis stories he can keep the promises "Th e end begins in about five minutes" Seems to do.

Tom A. Cullen is Significantly older than Bongartz (Gives it to about thirty- Five years). He probably less imagination than it is least expected. He's probably in His form profession to postpone His taste for specific facts or what we con s idérons today as Such. Aim it Brings' em a good mood That Allows us to experience AD the aisir CERTAI n to Reading His stories of the tragedies of daily life in Paris and Will find, if we are already wise, of Reasons'Becoming.

Melton Davis HAS Substantially la même age as Cullen and enjoys' HAS Some journalistic reputation. His style and his ideas-have nothing 'special, mais writes a g réablement and importan thing t e knows the focus of the reader. His style Could Be Compared To That used in F v eur weekly by a famous New Yorker.

Howard The Fay: has a Vingtain e of. Years It is ardent and passionate. His humor is bitter, His s e ns sour dramatic. It Seems to me q ue icts "S t reets of Naha "is, in parl e rd as' arestaurant, "first class". Continuous If Fay in this leadership it must Become One of the dominant figures of e the American literature.

Ben Fenner About About About did little writing and is interested more in music That 'inliterature. I do not know enough about the ensemb the e work of ict risk to a definitive judgment on His literary qualities. If "Points" Publishes icts first gr e s new is That It Seemed to us very distractinge. We n 'more-have no illusions That icts author is the originality of "Voices from an Italian tower."

S i we try to get an imprint of the whole generation of These five young Americans, we See That comm e all others, They Still Suffer Greatly Influenced the g rand writers of "twenties": Faulkner, Dos Passos, Erskine Caldwell and Especially Hemin g way. After reading the news That "points" Publishes aujourd ay, no one can-have Any doubt about the countries 'origin of Their authors. Aim it is after-all our feeling That' There are nothing crimine l or Even regretted b To Suffer it The Good influences. gold Hemingway Faulkn e r About About About did the Good e Cons to Give.

The English language section of our first issue includes  aussi two works"No -. American "The'a' Readjustment 'is œuv r ed' a young Englishman, Mervyn Jones. Jones is a craftsman in mind lucid and dense at a steady hand. II n 'has much left to learn aboutthe art of writing a new one.

The only poem published today "Points" is the work of Sharon Sciama, a young French aussi at ease in English than in His Mother tongue. I can only advise you not to neglect "to sit at th e angle of His heart." The Art of Miss Sciama sensitive and is delicate and poetic imagination is as lively as His taste for sure.


Twenty issues of POINTS Were published from 1949 to 1955. A short story collection Was also available presenting a selection of stories HAD That Appeared in Previously POINTS.

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