La Prose du Transsibérien et de la Petite Jehanne de France
The last artist book on our list encompasses all three notions of the temporal, geographical, and personal journey. La Prose du Transsiberien vibrantly tells the story of a journey across Siberia taken by a man and a woman in 1905. Although it looks nothing like a traditional novel, the use of language is most similar to a novel than the other artist books we have looked at. In all other aspects, however, La Prose du Transsiberien departs from the codex, which has led to its reputation as a milestone in the book arts.
La Prose du Transsiberien is a joint effort by poet Blaise Cendrars and artist Sonia Delauney-Terk, who provide their contributions side by side in this work, leaving audiences to decide whether they wish to view the two simultaneously, or one at a time. A fold down the middle separates much of the dramatic, colorful abstract imagery on the left from the toned down, but still obvious colors that accompany the poetry on the right. The text itself is organized in blocks of different colors and fonts as well. Just as in Passage and Parallax, we see clearly in this book that the images are not submissive to the text, but demand equal attention. It is important to look at both sides together, because the paint on the right seems to follow the mood and tempo of the journey through Russia as different events are recounted in the poem.
The structure of this art book calls to mind a map. Large and long with many folds and creases, when the reader begins to open it up, they feel as it they are embarking upon a pretty substantial undertaking. Included at the top is an actual map of the journey that is taken through Russia. Set during a time of war in Russia, this train ride would have been long and bleak, passing through scenes of destruction and poverty.
The psychological journey of the characters can be traced in the words of the poetry, but also in the color, size, and type of font, which changes as the moods of the story change. As the train travels farther east, the devastation of the war-torn country would have been increasing. For example, we can feel the sinking mood of the female character, Jehanne, who begins to repeatedly ask "Dis Blaise, sommes nous bien loin de Montmartre?" ("Tell me, Blaise, are we very far from Montmartre?"). Her questions stick out from the lines of text before and after them, printed in a larger, bolder font, expressing her urgency and discomfort.
The flow of the text is like a stream of consciousness, which also brings the reader closer to the psychological journey that the characters are experiencing as they travel. There are some disorienting shifts in time and space, which links this psychological journey to the temporal and geographical journey that is equally important to the experience of the characters. When the destination, Paris, is reached at the end of the poem, the end of the journey is obviously noted. There is a finality present in the spacing, color, and content of the final phrase: "Paris - Ville de la tour unique de grande Gibet et de la roue." ("Paris - City of the unique tower of the great Gallows and the [ferris]wheel." There is a clear sense of finality here in relation to every sense of the journey.
Click here for a reading of the poem in French.
