sorr2ina, 1626 iaphanes. To lay a hand on the shoulder of future victims... Donatien Grau (person/donatien-grau-2260), Pierre Guyotat (personipierre-guyotat1406) Conversation ‘Transat by Pero Rodrguee Published: 07212008 Donatien Grau: I have a sense that, in your recent work, the question of humanity has become more and more explicit. There has been a series oftiles—Humains par hasard [Humans by chance, 2016], Joyeux animaux de la misére [Joyous Animals of Misery, 2014], Par la main das es Enfers (By the Hand into the Hades, 2016]—that echo one another and call our humanity into question. Where do you stand these days on this question? Pierre Guyotat: 've always dealt with dhat question, Its nothing new, andi we have to decide what we mean by humanity, Do we mean humanity in the sense of humane sentiment? Do we mean the current mass of vecessrily les atthe core of every work of art. To begin wi ‘humanity, or evolution, or humanity with respect toa divinity? Or, especially, humanity versus inhumanity? For years during my youth, when { was about thirty, 1 did indeed wittingly focus on humanity's ma psychoanalytic period. 1 was wary ofall metaphysics, all psychology. For me at that me humanity was reduced so specifically to its bodily xy body bursting, every body exploding, as at the 1970... Now is when t'm realizing this, When I do a reading ofthat book, especially ofthe end, I realize that it wasn't just bodies exploding into scattering body parts out of sexual need, It was also that particular notion of exclusive corporeity, of corporality, coming into play al aspect, its organic aspect—my Tor along, long time I was “the body writer,” and I stil am, alas, Theres still some body left. There's still a bit of body, so there's already an explosion from that Philippe Sollerss preface to Eden, Eden, Eden hints atthe explosive sie. Later it was language that exploded. Ik was absolute writing (Uécriture absolue), the horizontal act, what inthe early 1970s called the basi text, that exploded into voices. It was voices —in Prostitution, in 1975—that very quickly came to convey the explosion, that came to speak in lieu ofthe exploded body, of the exploded material body, or materialist body. It was, think, the impossibility of going any further... In the end it's the voice that conveys the description, the story the statement, even ifthe voice is dispersed, or itself explodes. When I was working with the basic text, in 1970-1971, would look fora first sentence that would lend the body the most intense possible corporality, And early on I got stuck: which ofthe body's atoms should I start the text with? It couldn't be a mere babbling. That was out ofthe question. This goes ta show that for me the practice of, art or the need to make art, uns very deep, amounts toa philosophical need. I's not merely aesthetic The use of voices is perhaps an admission of weakness... The voeal was alzeady present in the Cex, in the form ofa volee and a parallel voice, Liris magisterally points this out in his preface, Itwas this voice that took charge when it proved impossible to ge right down to the real to get microscopically close, infact... wanted find a literary, artistic equivalent in phrasing to atomic realty: And in the end Ihave Hitpswww dlaphanes.comitelconversalon-4530 421sorr2ina, 1626 iaphanes. perhaps been able to render that reality through the voice, through speech. I often look at vocalization as an easy un solution. 1's using voices that led me back to the notion of humanity, collectivity, echoes, conviction, seduction, pleas for help, By using voices Ihave rediscovered what we call humanity .G.: Your humanity—or, at any rat, the humanity in your work is always out of phase with itself. From Prostitution onwvard the language ceases, happily to he standard contemporary French, and the creatures cease to be fully human, What, then is your interest i humanity, being that its manifestation in your workis ofFklter from humanity? 2G. We should perhaps conclude that humanity no longer holds much interest for me for the purposes of fleuion I've given it brief appearances since then inthe figures of brothel goers in my fiction Also, perhaps humanity is appalling in the flesh for someone who lives it as intensely as do, or else perhaps the real thing i to complex. ‘Pm not the firs to ereate a world of human appearance that tries to be human through and through, and i subject tothe usual, ordinary dhuman laws, te most summary lav, and then to create figures that are subject oa different law, a law thats indeed no longer human, Very gradually, starting with Progénitures (2000), have deprived these human figures of rudimentary human rights and even of the right oconsider themselves human. This is perhaps a result of the trauma I suffeced with the coma [fell into in 1981 and emerged from in 1982 —a “resurrection” during which I was unable to say “I” and thus, for a time, unable to write, ve also gradually come to think that | cannot allow human figures to languish in su slavery, even if ts joyful and relatively consensual slavery. couldn't maintain that world, that body: within human lav, inthe human s So I took things much further. in Progénitures 1 made those whore figures into non-beings—in the sense of non-existing, rather than of non-existence, This has nothing to do with the philosophy of my generation. ve found nothing to top non-beings. Pm of a generation that comes out ofthe most dreadful negation of man {nthe known, archived history of man, This is notin any way a regression into the past, as they say. Its perhaps, alas, a prefiguration. D.Gz A prefiguration of what? P.G.: OF know not what. see this work, my work, asa kind of insurance against a possible future. 'm also trying, very paradoxically, to soften what has happened. I think using reconsider what has happened, Ta soften what’ to come, by hand. A way olay a hand on the shoulder of future victims, Thats how I see it In the naiveté of my childhood I would have liked to take by the hand all the women and men who were on the verge of death, Everything | do amounts to that: holding hands with someone else. Once the monster is born nothing can stop it It took years, and gigantic armies, to slay the monster. There are tyrannies, there are wars, and then there are monsters that appear, that are impossible to bring to heel. Satan her glorious figures, lovely figures, is also a way to Jhelngs, and making them into ust pas. Hitps www dlaphanes.comtelconversaton-4530 221sor12122, 1626 iaphanes In font of commemorative plagues inthe chapel ofthe Cnet de Peps paying the ares, professions and dates firth and death of 1.56 vine af ‘he tereur. Those gillotied onthe Pise da Tene envere ewes ne M4 ad Jul, 1784, until he overteow of Robepierre, were ured ere ins Poo: Matis Rotor .G.: How have your figures evolved over the years? PG. There's now more and more jealousy between the figures, more play, more comedy. Everything is comic, I's @ behavioral psychology between animal and man, «sort of parody of psychology. What I dois very much parody, and I'm dead set on that. In art you conduct revolution through parody. You parody the greatest achievements You enlarge them, thicken them, drew a circle around them; you draw a circle around forms that have remained classical, and thereby lay them bare. You must point a thing out before you can get boyond it. Also, you must show yourself what needs to be gotten beyond: the style of tragedy, or comedy. That is what I all parody. 1 parody to achieve something new. A revolutionary is someone who knows tradition cold. You have to see it, grasp it, show I frame it You practically have to hem iin and take charge of it: "encadrer in every sense ofthe term, ‘What Ido is parody of rhetoric: the rhetoric of oratory the rhetoric of Racine, the rhetoric of Hugo, Rimbaud, everyone, There's no end to it, The further I advance, the more figures I annex. You have to have a very strong sense of melody co make it palatable. .G.: You were speaking of revolution in art. Do you still believe in i? PG. Yos, or [wouldn't be sitting here with you now. I cannot do otherwise, because mon the inside. D.G.: Where, then, isthe revolution in what you do? PG. na number of things t's in details. I's in the whole, inthe overall. Its in my idea of parody. Is in the figures, They don’ seem like much, but nos-beings are not the usual thing. What Ido isn’t science fiction either i's not tales of fantasy. There are overtones of tales, but of fairy tales, children’s stores. Seary stories, the kind that have always been around, and are part ofthe parody. There's revolution also in my daring to set up a world lke that ina language to match, .G.:S0 what isthe purpose of your revolution? PG. Let's say that that des has less ofa old on me now than when T was in my thirties. Now that I've found my way in, the thing can practically take off and soar without me. Ino longer have the politcal engagement to go along with t And is there such an engagement to Degin with? In deta! i’ a conjunction of those positions. Instead of “onthe table" Iwrite “the table”, It doesn't seem like much, but its a huge deal, and it all bound up ina particular rhetorical system. A particular scene, Ics neither imaginary, really, nor realistic. Its melody. That is what | need, Thatis what fills my throat, Melody. D.G.: You've sad about your work: “I operates practically without me.” Can you picture someone carrying on your world after you, someone carrying on your language? PG. Some revolutionaries have been followed and others not at all. In music, in painting, it's as clear as day Stravinsky has had no posterity, He didn't write a theoretical work lke Schoenberg, who laid it all out, and codified it..and thus has a posterity Wsa question often asked myself in 1980, and which has had some rough consequences, because there's no revolution without inner turmoil. I's surprising too, that at the time the people closest to me, even if they didn’t understand it, never even dared put inte words the reason forthe crisis I was going through, obvious as that reason was. It just ate away at me, which lends me a certain legitimacy when Isay -ntps:iwwww dlaphanes.comfteVeonversation-4530 iansorr2ina, 1626 iaphanes. what say. truly suffered giving birth to this I thought what Iwas doing amounted to a sort of personal dialect that could never be ‘understood or shared. But thats obviously not the case. Committing that kind of act all alone isan excruciating experience. | wondered how I could justify what Iwas doing. Now ‘sa non-issue for me. But that is what revolution is: you are in no way sure of what you're doing, absolutely not. was never sure of what Iwas doing, When Twas languishing in my prison cell in Algeria, inthe spring of 1962, Iwas nota all sure Iwas right, [think I recall the first line of Carnets de bord, from March 1962, is: “Nothing, nothing is pure.” What does that mean? That 1am né more right than my interrogators and tormentors, And what do you do when you're uncertain and {rightened? You sing lke a child inthe forest. You sing to buck yourself up. D, In the first books you published, Ashby and Sur un cheval, you were establishing a relation to the world founded on the linamen, in {he beginning you spoke of the atom, and in atomism everything is indeed divided into atoms, but there is also the clinamen, which is the way atoms are all bound to one another. We find that same tension in your work: separation and multiple associations, leading up toa fluid notion of relations a fuidification of humanity. Do you agree? P.G.:'m not sure about the fuidificaion, If possible, you must t (Christian notion. Humanity must unite: the good, the bad, che monstrous, Speaking of humanity, 've remembered what was haunting me at the time of Eden, Eden, Eden: it was that humanity was in an evolutionary state, Thatis once again becoming very important in my work. I think my future writing will very much take that into secount. ke every step forward with the entirety of humanity. This might be a ‘We are an evolving species ina space that is itself evelving. Five hundred milion years ago the Earth was not yet what its now. A billion years ago it was sills fusing mass, and uninhabitable, We're atop something that has been inhabitable only forthe past few hundred thousand years, Once you come to that understanding you stat to look at things differently. You might start walking diferently. esas izzying as when a child starts to realize that he's walking on something that revolves, that is round, that hasnt been round for long, that has only recently taken shape asa all, For the child its extraordinary. How does a child take that in? How does a child take in the idea that he's walking “head down"? We must get back to basics, We are but a stage, and we ive on @ ground, an object, that is but a phase Hitpswww dlaphanes.comitelconversaon-4530 a2sora, 1628 daphanes 41@ pe nen mee @ sus nines ios sisecescnnstostaton sovertensfonenty ym Behan a 1irem Bt Ba Rainy way nay oe Leeder Seagindly siya emis wn van vtrottafaour wore sux move enpetest fetes) keen ‘ypescrp thes page of text from Ede, den, Eden (1970: “The Book opens wi asenencenTitnagh she seep of the Tuareg. which not much in use and barely mown. wasted he sentence And now Wea no longer veal oughly, tha oes matter. The tet eoctes French erature, ee a ton ely out of he Sabaea.“ 6. D.G.:But does your work, as has often been sad, consist of preparing the change toward future humanity? Or, at any rat, of foreseeing, considering, prefiguring what form said humanity will take? PG. It's impossible to think that far in advance. When Le Livre was published, in 1984, there was an article about me in Le Matin with a picture and the headline: “The Mutant." And why not? I's impossible to imagine what humanity is going tobe like. ina pinch, we might speculate a hundred years out—assurming we're sil ofthis world by then. ‘To know thatthe universe is undergoing perpetual transformation—along with the trees, the heavenly bodies, the sun—puts a witole other spin on the question of God's essence. The God of Christianity i a god for local use, for the use of humanity as it was three thousand years ago. In a sense, Christ interiorized that essence in an even more limiting way than the Biblical God ofthe Old Testament, who was much more grandiose, much more astral, Christ interiorized and reduced divinity. This, perhaps, is what provoked the terrible and tragic split Detween judaisin and Christanlty. On the one side you have a God that at once colostal and very intimate, and on the other you have God the Father. Because Christ’ God the Father doesn't have much todo with Moses’ God ofthe burning bush, It changed. Is became a “father.” So we have the transformation ofthe immense, profound religion of people who have started off as nomads, who sleep under the stars, ‘who see the stars all the time, and who ask themselves enormous questions. For them the World i almost as much up above a ts on arth. Christ arrives, inteiorizes the thing, and limits humanity. He sts limits by speaking ofthe “Father” and proclaiming himself the -ntps:iwwww dlaphanes.comfteVeonversation-4530 521sort2ira, 1626 iaphanes Son.” In one fell swoop things are reduced to the family nucleus, A elng, an untouchable entity that nonetheless manifests itself, is reduced to a family entity. These are things [have lived within myself, Thatis where I come from. .G.:Thave a sense that the same inspiration infuses your work; an inspiration that is both personal to you and, at che same time, proper to history tothe history ofthe human—and that all ofthis is linked, 2G. ‘That state of being is preesely what’ often hard to reach, The hard part isn't so much doing the thing as living the preceding moment, ‘when you feel an emotion, isthe emotion of things coming together, of forces coming together, inner and outer forces, the cosmos, politics, andthe street coming together within you and urging you to speak of them, D.G.Thave a rather preposterous question for you. Do you exist? Does Pierre Guyotat exis? P.G.: Let's not get into that, because ill drive me crazy. Its the great fear, the great terror >, fy feeling is that you constr between what happens in the cosmos and what happens in you. yourself so dat you could then step outside yourself, so that there would be an absolute homology P.G.:Thope at any rate not to be stepping outside myself unawares. That would be the worst thing's something that talks us all avoid that question as much as I can, Pve asked it often enough, Whether its possible to reutter“L.” >, ime last year, at the Galerie Azzedine Alaia, tn an exhibition on you called “Pierre Guyotat, la matire de nos muvres.” Where does your drawing come from, or where ist headed? How «duke to hear you speak a bit about your drawings, which were shown for the firs would you describe it? PG. Ldraw very modestly. As an adolescent Iwas extraordinarily serious about it, very earnest. ‘anced, one that ve always felt, and it was really your insistence that cultivated it and eventually converted it ito a desire. Like any other artist, '™m delighted to see a drawing, a AAguratlon, before me. I's like the pleasure of seeing a story. Of developing It in front of your own eyes, and within yourself. don’t want my ‘drawings tobe some kind of cheap veneer; I want each one to be the true seat ofa story, the seat of an account. Asin my writing, nothing is gratuitous. Every word has a meaning, Every word leads to something else very word alludes to something in the immediate pastor further back, to something in the immediate future, or what have you. That is how I would like my drawing to he. 1ike i to come across as being not merely aesthetic. like there tobe a story behind it Hitps www dlaphanes.comtelconversaton-4530 621sorr2ir2, 1626 laphanes “laid this porlt of Raber Schumann a he age of sen, tara dagurteoype showing lar atthe plano and Rabe itnlng—he stands with his am, ns dst, ay 29,956. Two or three ent and his hand ons cin One ofthe fst photographs ofthe couple, The ocason was the centenary of Sh ts side tom Ganguly, who impessd mete most had cloay ying anniversre: the hundredth anniversary ofthe ith of Rms was 1954190 years after he centenary of the death of humana, 2s very taken with his muse, his sosubline and age fe. A end had sec mea postcard from Germany with centennial stamp, whic isn the pen-anéank drawing. have Beehovelze” Schumann. wanted express tat fr me hs muse one of wil of ptimism of resistancs a madness. Early on had he ea hat ti ancl nly edn aes. Awe nove. his ear years Schumann ‘erated beeen irate and mss a the on of isle, whan sing musi ry the Endenich sanatorim, he wa puting toga 2 ‘allection of poetry from ll ers think the ite shoul be The Garden of Pots" DG. One thing that really struck me about the exhibition was the reaction ofa certain number of artists, and of young generations as well, ‘who suggest a stil larger readership, There's a sense that reading your work, the texts you've written, changes the lives of many young people who are thinking of becoming artists, who believe in art, How does this affect you? Hitpswww dlaphanes.comitelconversalon-4530 21sort2ira, 1626 iaphanes PG- It affects me when | find out about it I've seen the effects over the years. It can indeed produce an artist or a writer. It can give someone a self.xevelation, or else help him finally decide not to write. There are people who've told me it was like a slap in the face, tly discouraging. ‘Naturally, i’ a pleasure to hear that it has provoked a need to produce, I think that's the way it usually works, The other way at least has the merit of halting a process that could endl up being unhealthy. But, of course, you can always ask: isi true? Was i really sueh-and-such work that caused & elect? After all it might have come along after other works had loosened the cork. I don't know. In any case, its preferable when it nurtures somebody's need to lve. 1 do everything I can in my writing to make the thing beautiful. feel that all those figures are ringed with nimbuses like the figures in Fra Angelico's paintings. ll of the figures, even te dogs: everyone is ringed with that nimbus of light. [know that it's not always read that way, Dut thats a mistake, That's how Isee it I'd be terrible if it weren't lke that Looking at ikons, primitive figures, nimbuses, you ask yourself alot of questions. In the bedroom where I was born, shove the bee, there was a lovely, genuine ikon from Russia That is what I'm after. Just as think there must be sustained melody in every work. When you Listen to great works of classical musie—especially Beethoven—you can perceive the extraordinary melody in them, regardless oftheir dour and serious reputation. The musi is almost explicative. 1's no longer the polyphony ofthe Middle Ages or the Renaissance. I's explicative music, where the thing is taken apart, You see that I's always beautiful, always light, and always has melody. Beethoven is melody sound, Its not just philosophical demonstration I's beautiful, and it's prety, and it resonates lke birdsong, like the most beautiful sounds {in nature, Beethoven himself sid that it was music from the heart to go straight to the heart. Thats how it holds together. There are musical and even pletorial works th Aare meant tobe ike emanations of nature but lack melody. They don last and we listen to them merely out of curiosity. But works that are very serious hold up thanks to melody. All the notes are marvelous, and the thing sings. How to explain i like everything Ido t sing all the time, The surface must be an absolutely singing surface, even if what les beneath is Hitps www dlaphanes.comitelconversaton-4530 ats0r12122, 1626 iaphanes Perr Guyot, Fats 2007 In the recent work of Pierre Guyotat, the question of humanity has become more and more explicit. There has been a series of titles—Humains par hasard [Humans by chance, 2016], Joyeux animaux de la misére [Joyous Animals of Misery, 2014], Par la main dans les Enfers [By the Hand into the Hades, 2016]—that echo one another and call our humanity into question. Donatien Grau is asking Pierre Guyotat where he stands these days on this question. Hitpswww dlaphanes.comitelconversalon-4530 921s0r12122, 1626 iaphanes (Iperson/donatien-grau-2260) € Donatien Grau (/person/donatien-grau-2260) isa scholar and author. He currently serves as head of contemporary programs at the Louvre and as chair of the Association Pierre Guyotat. Hitpswww dlaphanes.comitelconversalon-4530 1021sorr2ina, 1626 CONTEMPORARY STATES OF PHOTOGRAPHY (estes ci 5022) Hitpswww dlaphanes.comitelconversalon-4530 iaphanes. PN LA CRISE ETATS CONTEMPORAINS DE LA PHOTOGRAPHIE SOUS LA DIRECTION DE DONATIEN GRAU & CHRISTOPH WIESNER DIAPHANES (etpres inten 995) net| Was More American ... » Americans Sylvere Lotringer indomersation RUMI ALEC Me (eee MiKo wlllige Isa Voya ey Oo Discovery LOSI ty nen ert SUIT Ime aratedlittérature ra aor découverte TOM BiShOP encomersarin aee Donatien Grau Cerio Kore américain ... » Américains Sylvére Lotringer en conversation raedsorr2i22, 1626 saphanes Peinture et photographie Limpassbleréconcifacion artikeVpeinture-et-photographie-6136) In ermen sla steph Meare pes orse fe Photographie t poltique images par monde Uartikelphotographie-e-poitiqueS137) & rn dormers hrstph Weare ee Apes crise ion \arkelpstoaphie-t patie 137) Photographie et événementartst que. unc recrée (artkeViphotographieetevenement 4 artstique-6138) Darien Gea eh Chstoph Mere tes. prs re \arikolprtogaphi-t- evenementaritique 6198) Photographie et proliération des images. inet le Multiple frtixeVphotogranhie-et- proliferation-desimages-6139) Ir oanatien ca a chsteph Wiese es Apes were \arikapootopaphi-st- protertiondossmagos. 5129) -ntps:iwwww dlaphanes.comfteVeonversation-4530 142sorr2122, 1626 iaphanes. Photographie et choses Taucher es images artikeVphotographieet-choses 6140) cz In ermen sla steph Meare ts ose ie Photographie et Fiction Nos histoires irréelles fartikelVphotographie-et-fction-6141) zz tn deren ese hrstph Weare ee Ags cre ion La mécanicté de a photographie VartkeVlrmecanictedee photographie 6142) 4 In dermen crs hrteph Meare ee Apes cre bn orien cance lepotoaphie42) Preface (fartieliprefoce 144) Inert este hth Weare tee ris tereace-548) 1821 -ntps:iwwww dlaphanes.comfteVeonversation-4530sorr2i22, 1626 iaphanes. Painting and Photagraphy. impossible Aecariation /artieepainting-and-photography-6145) br Danan ca ed Chstaph ese Aer te Os \rikapaing ana Protoorapy8148) Photography and Politics Images through the Worl artikeliphotography-and-paltcs-6146) I dantien Gra fed chstaph ese), rte is \arikapsotomraphy-and paties-3145) Photography and the Artistic Event Un queness Recreated (artikeiphetography-and-the- artstic-event-6167) Darien Gea eh Chstoph Mere Aer he is \arikolpstomraphy-and the-arsteeventst47) Photography and the Proleration of images. the One an the Many UartikeVphotography-and: the-prolferation-ofsmages-6148) Danan cea ed Chtaph Wiese Aer te ts \arikatprotograpny-and tho-pecltoaton-f4mapes: ea) -ntps:iwwww dlaphanes.comfteVeonversation-4530sorr2i22, 1626 \arikaproomapny-and things 6149) \arikaipstomraphy-and ‘ieton-50) \arikline-mecnanis-t rotooraphy-8181) 17088) 2oge056) e004) :a7209) dlphanes Photography and Things Touching mages Uarttelfphotography-and things 6149) & bananas eh crip Wee Arte Cs fe Photography anc Fiction Our unreal stoves (arttel/photogrephy-and fitiow6150) & Indi au ehchstaph ere ac Arte ce = ne Mechanics of Photography Yarbkelthe-machanics-oF photography 6151) rant crn ed chestoph eee), forte ee ALifein Philology (/iteVlfe-r-phiology-7055) 28, 99 /:ttietennpielgy7085) Une ve en philologe (titeVune-vie-er-philologie-7056) Ks 99 (telinevee-priblegie7058) Te rather Wve ina book’ (fiteVidather lvein-e-book-7137) BLM etldatherveteto0K737) -ropunk Philology james Spooner in Conversation with Donatien Grau (titeafropunk philology-7209) fs 99 gtesopunephilg7205) -ntps:iwwww dlaphanes.comfteVeonverstion-#530, wesorr2ina, 1626 iaphanes (Iperson/pierre-guyotat-1406) Pierre Guyotat (/person/pierre-guyotat-1406) For almost fifty years now Guyotat has been considered one of the most significant avant-gardists and innovators in the French language. Writing, painting, drawing in close touch with music and literature since his early youth, he published his first book in 1961, Sur un cheval. In the same year, called up to the war in Algeria, he was imprisoned for incitement to desertion and the distribution of forbidden literature. With Tombeau pour cing cent mille soldats (1967) and Eden, Eden, Eden (1970) he gained wide attention and provoked a sharp controversy including censorship. His radical writing was interrupted when his increasingly severe physical and mental exhaustion culminated, in late 1981, in a coma. In 2006 he published Coma, which reflects his psychiatric crisis and reached a wide audience. His numerous publications show Guyotat's stylistic diversity as well as his permanent altercation with literature. Hitpswww dlaphanes.comitelconversalon-4530 1821iaphanes. PIERRE GUYOTAT PIERRE GUVOTAT HERKUNFT = GRABMAL FUR FUNFHUNDERTIAUSEND DIAPHANES DIAPHANES (oral er venhundertausend-sadater-1368) Hitpswww dlaphanes.comitelconversalon-4530iaphanes. PIERRE GUYOTAT PIERRE GUYOTAT EDEN IN DER TIEFE EDEN EDEN DIAPHANES DIAPHANES (otedon-sdan-edeot967) Hitpswww dlaphanes.comitelconversalon-4530sorr2122, 1626 iaphanes. PIERRE GUYOTAT IDIOTIE DIAPHANES (tnoma-5628) (tetcote-s6) OTHER TEXTS BY PIERRE GUYOTAT FOR DIAPHANES nono) LUnabharelgkeit(AiteVunabheengigkelt-3710) mo 9 VtteFuedhaengaie70) “The Prison (ftiteVthe-prisor-4019) Se 9 (ether) -ntps:iwwww dlaphanes.comfteVeonversation-4530 2uat