Abstract
R EADERS of this issue of New Literary History will no doubt find in Yves Bonnefoy's inaugural lecture at the College de France the optical center of the journal, both its central focus and its vanishing point. A poet who writes an incised, scriptural poetry of uncanny materiality, Bonnefoy is also a profound critic of the plastic arts. Painting, color, and graphic accretions pervade his verse, as does a haunting relation between the images of Piero della Francescawe remember the frozen stare of his Christ in Ascension-and the
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