With this book titled coït — etymologically meaning “go together”— Chantal Neveu continues to exhibit a commitment towards the literality of words and gestures in amorous and/or choreographic exchanges. Indeed, having scripted words and observations on different sets of dance and intimacy, the author works on an interpenetration of ladders and situations—physiological, artistic or erotic—to reveal what bodies and words commit us to, their linking in a spirit of trust, permissiveness, even confidence.
Delivered as a double score, thanks to a number of permutations of meaning and framings, this book aspires to a multivocal sobriety. An ode to dancing bodies.
Publication: May 3, 2010 96 pages, 978-2-923530-16-1, $19.95, Rights : Anglais
Praise for coït
The latest book by Chantal Neveu … is a stunning revelation. We might often hear that it isn’t given to all poets to conjoin mastery of the typographical space with depth of meaning. … The erotic score of Chantal Neveu deserves to be among the outstanding formal innovations of recent years. And what adds to the feat: while staying accessible, without heavy or complicated machinery.
Jacques Paquin, Lettres québécoises
In coït, Chantal Neveu boldly rewrites the frequency that makes the body in contact with another body resonate.
The encounter here is not only carnal, it is literally physical, electrical, cellular: biological and sonic waves merge and the poems act as their graphic representations.
… coït is a work that should be reread, at random, as we please, because this is how we can measure its full scope.
Isabelle Gaudet-Labine, Le Sabord
Well accomplished and cleverly written, Coït is a sensitive book, yes, but probably more conceptual then sensitive, and that poses as a premise the secret existence of the “tubes, visible and invisible, of the bodies, in the bodies, between the bodies.”
Monique Deland, Moebius
Coït c’est une partition, c’est 8 lignes qui parallèles sont tracées et le long desquelles sont disposés des mots, des syntagmes, des fragments, toujours très courts, jamais de phrases, si ce n’est celle(s) qui se recompose(nt), soit horizontale, soit verticale, soit encore autrement, c’est-à-dire que du livre de Chantal Neveu, de la première partie de son livre, il y en a mille lectures possibles, et que les référentiels verticaux/horizontaux se redéfinissent sans cesse (…).
Cycle de poésie critique, blogue littéraire d’Anne Kawala