Born in 1943, Antoine Simon published his first poems in magazines at the age of 16 and devoted his entire life to poetry, which he wears like a second skin in his everyday life. He chose to try poetry performance, firstly to give the poems a lifelike dimension, and secondly because, after a long spiritual quest through various religions, he realised that his true path was his poetic creative expression. From then on, poetic performance became a matter of course for him: he engages his voice, his body, the environment, and the current moment.
While he has always insisted that he prefers public performance to publication, he has nevertheless published numerous works and contributed to various magazines, anthologies, and collective works, both in France and abroad.
Latest publications:
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Le petit moi, La Rumeur Libre, 2024
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Accolade, L’Arbre à Paroles, 2023 (Bruxelles)
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Rien du tout, La Rumeur Libre, 2021
Claude Ber is the author of around twenty books, mainly poetry, as well as several artist’s books, plays performed on national stages, and essays. Translated into several languages, her work appears in numerous journals, anthologies, and collective publications. Her writing has been the subject of various studies and articles, which highlight her unique approach to writing. Marie-Claire Bancquart described her work as “considerable for its unity of inspiration as well as for the lucid richness of its mannerisms,” while Thierry Roger noted: “You have to see and hear this superb unequalness [of her poetry], the unstable balance of it, the vibrant signature so true to life, its creative asymmetry (…).” Claude Ber has received the French Legion of Honor for the illustrious works during her career.
Latest publications:
Paysage de cerveau, photographies Adrienne Arth, Éditions Art3, 2024
Main tenant, peintures Germain Roesz, Éditions Les Lieux Dits, 2023
Mues, Éditions PUHR, 2020
La Mort n’est jamais comme (Prix international de poésie Ivan Goll 2004, 5ᵉ éd.), Éditions Bruno Doucey, 2019
Il y a des choses que non, Éditions Bruno Doucey, 2017
