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After evoking her perception of all literary writers as “part of a guild of outcasts,” she tackles the difficulty of conciliating a mundane, everyday life with the demands of her craft and goes on to recall Rimbaud as one of those writers who decided to give up writing but who probably fought all his life against the irrepressible urge to get back to it: “et writing will not desist. 2 Rimbaud also occasionally crops up in some of her essays on language and on the craft of writing. Such pieces as The Drunken Boat, Illuminations and A Season in Hell were most important to her, “especially as was writing in short forms at one point,” she says. Rimbaud’s abiding influence is one she is quite willing to acknowledge. As such, she is one of those writers whose ear could not fail to be attuned to the poetic virtuosities of Rimbaud-albeit in an English version like the one contributed by Fowlie in 1966.
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