Description
MARIËN, Marcel 97 autographed postcards (or other media) to Albert Van Loock of which 90 c. 1941-1942, the last 7 1963-1966. Formats and extents divided. In 2 plastic folders. Chronology to be established. Interesting insight into the literary beginnings of the young Mariën (1920-1993), his activity, his readings, etc. A most abundant friendly correspondence, even verbose (following a bet?), Mariën (then at the beginning of his prolific career) literally inundating his correspondent with eccentric letters from which emerge snippets of factual information. Most of the cards begin with different addresses (My dear "Volpone, Carus, Vieux Calvados, Pilier de solitude, Orgue de barbarie, Multiple imbécile, Lucullus, Macbeth...") and end with signatures that are just as fake ("Your father, Pierre le Grand, Cordélia, Lorenzo, Durandal, Zimmer horlogiste..."). There are more or less clear allusions to two of his first publications ("La chaise de sable" and "L'oiseau qui n'a qu'une aile"), to his typing work (for which he repeatedly asked for a typewriter, once dubbed a "Jean Cocteau"), to his uncomfortable lodgings, to his numerous and eclectic readings (an interesting list, with brief comments, eg.e.g. La Mettrie, The Machine Man "excellent", Th. Hardy, Jude the Obscure "zany", John Cleland, Fanny Hill "brilliant", Lawrence, The Feathered Serpent "drinkable in spite of the wind of imbecility that blows on almost every page", Lenin, Notebooks on Hegel's Dialectic "capital and very complete", etc.). He encourages his correspondent to read Hegel because he lacks notions of dialectics, and advises him on what to read... He briefly mentions meetings and appointments with Colinet, Magritte (from whom he borrows detective novels), Joostens, whose "La Vierge boréale" is a "masterpiece", Piqueray... Some of the cards are shouting matches, others seem to have been written in automatic writing..., one of the cards evokes a 9-month stay in Germany (in reality Mariën was a prisoner of war there). He used illustrated or non-illustrated postcards as a support, some with additions on the front, but also various fragments of paper (pink, green, music paper, business card, photos, fragment of a map, etc.). The last 7 cards, addressed from Paris, Japan, Peking or the United States, are written in a more conventional way. Attached, from the same: Postcard aut. s. to Tom Gutt, c/o Librairie Van Loock, 1968. Somewhat insulting card. (98 pcs)
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MARIËN, Marcel 97 autographed postcards (or other media) to Albert Van Loock of which 90 c. 1941-1942, the last 7 1963-1966. Formats and extents divided. In 2 plastic folders. Chronology to be established. Interesting insight into the literary beginnings of the young Mariën (1920-1993), his activity, his readings, etc. A most abundant friendly correspondence, even verbose (following a bet?), Mariën (then at the beginning of his prolific career) literally inundating his correspondent with eccentric letters from which emerge snippets of factual information. Most of the cards begin with different addresses (My dear "Volpone, Carus, Vieux Calvados, Pilier de solitude, Orgue de barbarie, Multiple imbécile, Lucullus, Macbeth...") and end with signatures that are just as fake ("Your father, Pierre le Grand, Cordélia, Lorenzo, Durandal, Zimmer horlogiste..."). There are more or less clear allusions to two of his first publications ("La chaise de sable" and "L'oiseau qui n'a qu'une aile"), to his typing work (for which he repeatedly asked for a typewriter, once dubbed a "Jean Cocteau"), to his uncomfortable lodgings, to his numerous and eclectic readings (an interesting list, with brief comments, eg.e.g. La Mettrie, The Machine Man "excellent", Th. Hardy, Jude the Obscure "zany", John Cleland, Fanny Hill "brilliant", Lawrence, The Feathered Serpent "drinkable in spite of the wind of imbecility that blows on almost every page", Lenin, Notebooks on Hegel's Dialectic "capital and very complete", etc.). He encourages his correspondent to read Hegel because he lacks notions of dialectics, and advises him on what to read... He briefly mentions meetings and appointments with Colinet, Magritte (from whom he borrows detective novels), Joostens, whose "La Vierge boréale" is a "masterpiece", Piqueray... Some of the cards are shouting matches, others seem to have been written in automatic writing..., one of the cards evokes a 9-month stay in Germany (in reality Mariën was a prisoner of war there). He used illustrated or non-illustrated postcards as a support, some with additions on the front, but also various fragments of paper (pink, green, music paper, business card, photos, fragment of a map, etc.). The last 7 cards, addressed from Paris, Japan, Peking or the United States, are written in a more conventional way. Attached, from the same: Postcard aut. s. to Tom Gutt, c/o Librairie Van Loock, 1968. Somewhat insulting card. (98 pcs)
