Max Jacob, "Omnia Vanitas"
Max Jacob, "Omnia Vanitas"
“What is called a sincere work is one that is endowed with enough strength to give reality to an illusion” Max Jacob, Art poétique 
33 selected poems by the renowned early 20th century French poet, artist, and critic Max Jacob. Newly translated into English by Alastair M. Johnston. Contains 32 original illustrations by Jinny Pearce. Handset in Stempel Janson types. 135 copies were printed at Thyrsus Press in Berkeley, California in 2018. Designed and produced by Jinny Pearce and Douglas Heise. Hand bound in three quarter hard binding and covered in handprinted Lama Li Loka paper. 48 pages.
Max Jacob, (born July 12, 1876, Quimper, Fr.—died March 5, 1944, Drancy), French poet who played a decisive role in the new directions of modern poetry during the early part of the 20th century. His writing was the product of a complex amalgam of Jewish, Breton, Parisian, and Roman Catholic elements.
Jacob departed his native Brittany in 1894 to go to Paris, where he lived in extreme poverty but eventually became an important figure in Montmartre during the formative period of Cubism. He was a friend of the Cubist painters Pablo Picasso and Juan Gris and of the poet Guillaume Apollinaire. Jacob converted to Christianity in 1909 and became a Roman Catholic in 1915, but he nevertheless continued to oscillate between extravagant penitence and wild bohemianism until 1921, at which time he retired into semimonastic seclusion at Saint Benoît-sur-Loire. He lived there most of the time, supporting himself by painting, until World War II, when he was interned in the concentration camp at Drancy, near Paris, where he died.
Outstanding in his voluminous production are Le Cornet à dés (1917; “Dice Box”), a collection of prose poems in the Surrealist manner; Le Laboratoire central (1921), “stoppered phials” of lyrical poetry; and his Breton Poèmes de Morvan le Gaëlique (1953). La Défense de Tartufe (1919), which with the novel Saint Matorel (1909) describes his religious experience; Le Sacrifice impérial (1929); and his Correspondance (1953–55) show his unrelenting self-examination, his fantasy, and his verbal clowning, which concealed the profound torment of a convert, fearful of damnation and longing for heaven. His “novels,” mainly epistolary, are exercises in verbal mimicry, reproducing every nuance in the conversation of the petit-bourgeois, of whom he was a sardonic but affectionate observer. He influenced many of his contemporaries and toward the end of his life was surrounded by a devoted group of younger and older artists. [Source: Encyclopedia Brittanica]