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Camille Saint-Saëns and his World ed. by Jann Pasler (review)

‘meaning as depth’ (p. 97). Following recent work by Susan Harrow, one of the most fertile approaches to Rimbaud concerns the interplay of poetic creativity and affect, and this is developed in the penultimate chapter. Through recourse to the concept of the after-image in her reading of poems such as ‘Aube’ and ‘Métropolitain’, Israel-Pelletier makes a highly compelling contribution to our understanding of the affective component of visual sensation in Rimbaud, tracing as she does so the nineteenth-century shift away from classical optics to a new emphasis on the body as a producer of vision. A final chapter, ‘After Poetry’, speculates in interesting ways on the significance of Rimbaud’s abandonment of poetry. The brevity and clarity with which the book’s arguments are set forth are additionally worthy of mention. Beyond the book’s undoubted appeal to scholars of Rimbaud, these aspects of the text should also make it a welcome point of reference for students who come to the poet with fresh eyes.