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... which contains some interesting dis cussion of the theoretical and intellectual history of poetics, with a particular focus on French studies-this book is divided into three sections. The first, 'The Material, the Real and the Fractured Self: Rimbaud to Reda', takes as its starting point and central concern the question of the relationship between the poetic and the corporeal, a relationship that has been, up to now, generally taken for granted in studies of poetry. Harrow points out that this relationship is not constant but changing, and that like many of the subject's other aspects, the poet's relationship to it is a matter of negotiation. A central concern of the book is her attempt to develop a poetics of the body, one that is attentive to the body's dynamic, irreducible but nevertheless articulate, materiality. Each chapter's title refers to a different aspect of this body: 'The Body as Biography' (Chapter 1); 'The Body as a Thing' (Chapters 2 and 3); and 'The Body as an Idea' (Chapter 4). Harrow's account of Rimbaud's poetry is comprehensive and convincing; she is particularly good at exploring the difficulties this poetry poses to any ideal of poetical selfhood. She argues persuasively that the poet's body is also its own object, and that its relationship to the world is material, not ideal, not transcendent. Her discussion of Guillaume Apollinaire is not quite so convincing: she fails to understand the full context of his work, which, in my view, means that she fails to articulate how his poetry makes possible a relationship with the body. As for Jacques Reda, while he is a very exciting and original poet, he is too concerned with the way in which poetry can be used to represent other kinds of representations (in this case, representations of the body), not to mention other kinds of things, and so he is very hard to read. He is the only poet to speak, as is pointed out in Chapter 4, of the body not as a thing but as an idea, and of poetry as an art of thought.
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