Sketch of a double portrait of Léon Pierre-Quint and Jean Paulhan as game masters

As a highlight of Jean Paulhan's relationship to the Great Game, one would be tempted to retain the lot of insults without which an avant-garde would seem to be failing in the call of battle. André Breton sets the tone in two letters to Paulhan, briefly, in March 1926, and more developed, on October 5, 1927, followed by Paul Eluard on October 10, and by Joe Bousquet in 1928. Let us only say, for the sake of summary, that this dirty idiot with the tic-tac-toe style, this bowl washer decorated with a shitty Legion of Honor really deserved, apparently, a good dick to the head (1). We know that a note from Jean Guérin, published in the NRF on October 1, 1927, aggravated by the recent decoration of Jean Paulhan, triggered this wave of insults, which is not entirely unrelated to Jean Paulhan's relationship to the Grand Jeu and to Léon Pierre-Quint. The first letter of insults from Breton to Paulhan is in fact contemporary with the meeting of Léon Pierre-Quint with Pierre Minet, then with Roger Gilbert-Lecomte.

The index of names in the complete works of Paulhan is disappointing, since only Daumal and Gilbert-Lecomte are mentioned there (2). But we will resort to numerous correspondence from members of the Grand Jeu addressed to Jean Paulhan. Three of them emerge, that of René Daumal, Pierre Minet and André Rolland de Renéville. The first is also the most abundant; it was partly disseminated in the three volumes of Daumal's correspondence; it provided the matrix for an article by Pascal Sigoda published in 1994 in Europe (3). The second runs from 1927 to 1966 and contains some interesting documents on the works and health of Pierre Minet, but also on the posthumous work of Roger Gilbert-Lecomte. The third is quantitatively equivalent to that of René Daumal and extends from 1932 to 1956.

But to these dual plots, sources of numerous misunderstandings, because they excessively simplify relationships and because they place Paulhan in a central but ambivalent position, influence metamorphosing into abuse of power, friendship into perverse mastery, and undeniable generosity in the management of disappointment, I prefer the star or constellation figures, which better express, it seems to me, the collective part of the literary effort and postulate the plurality of galaxies, against the discourse, perfectly understandable but so fallacious in its mimicry, of the solitude of writing or the duality of friendship. Of the reluctance to take responsibility for their own history, the poets of the Grand Jeu have given numerous signs, of which I will only remember the short bibliographical notice requested from Daumal by Paulhan for the volume of Poètes de la NRF. Daumal hesitates on the place to give to the Grand Jeu among the magazines to which he collaborated: first located between Europe and Fontaine, Le Grand Jeu is replaced, with an arrow, between Les Cahiers du Sud and Commerce. On the same document, Daumal omits to date Le Contre-Ciel, bearing only "date?" above the title. The recent inventory of Jean Paulhan's correspondents ensures the absence of Pierre Audard, André Delons, Hendrik Cramer, Artür Harfaux, Joseph Sima and Roger Vailland; On the other hand, the names of Antonin Artaud, Joe Bousquet, Roland Dumas, Léon Pierre-Quint, Jacques Prével and Georges Ribemont Dessaignes appear. The example of Joseph Sima, absent from this inventory, but of whom we know at least one letter addressed to him by Paulhan, and a note addressed to Dominique Aury, shows that the most beautiful inventory in the world gives a little more than what it has.

The meeting of Jean Paulhan and Léon Pierre-Quint seems to have been first and foremost that of two editors and two readers. At least three authors bring them together: Sade, Lautréamont and Proust. Of Proust, Paulhan corrected the printing proofs for the NRF editions, before Léon Pierre-Quint wrote his work (4). Reading Lautréamont provoked the writing of a book by Léon Pierre-Quint as well as by Paulhan, The Count of Lautréamont and God and Jacob Cow the Pirate. One would quickly find a resemblance between Pierre-Quint and Paulhan, Cassou's portrait of Léon Pierre-Quint ("this ironic irony, this satanic irony at the same time as perfect good will was characteristic of Léon Pierre-Quint and was his charm" (5)) also applies, tendentially, to Jean Paulhan. Pierre-Quint entrusted to the Grand Jeu the letter from Rimbaud to Izambard which is the pride of the second notebook (6). He sometimes lets this image of a collector of manuscripts emerge, attentive, without excessive jealousy, to the appearance of his own superiority, conscious of the social hypocrisies, which he considers necessary, required by a certain sense of idleness, and perfectly capable of regretting that Lenin and Mussolini speak to the crowds about production, each in the same terms (7). Both belong to the non-communist left, Paulhan frequents anarchist circles closely, quite far from the radical-socialist left that Pierre-Quint knows well and with which Paulhan approaches in 1935. If Paulhan has no other professional fortune than that given to him by his editorial genius, while Léon Pierre-Quint is an owner of the publishing house, both have never stopped thinking about the condition of the writer, one speaking about his rights, in a discreet book and fascinating, the other by concentrating its effort on the idea that we can have, in literature, of language itself. When the Grand Jeu review was born, Léon Pierre-Quint was in fact already the author, in addition to his novels and his critical activities, of Writer's Rights in Contemporary Society, which the Cahiers de la quinzaine published in 1928; when it disappears, only Léon Pierre-Quint and Jean Paulhan appear in the general directory of letters (8), one as a literary critic at La Revue de France, the other as a contributor to La Nouvelle Revue française and Commerce. All other players in the Great Game are absent from this directory, reserved for professionals. It is for this reason that Pierre-Quint, from Anjouin in Indre, recommends his protégé, Léon Weinigel, known as "Bob", to Paulhan for the Fénéon Prize (9). But when Léon Pierre-Quint always has a personal letterhead, and offers his to the Grand Jeu review, regularly used by Daumal in his letters to Paulhan, Jean Paulhan himself only uses the different papers of the NRF, magazine or editions, without ever, with the exception of late business cards, having his own letterhead printed.

The correspondence preserved from Léon Pierre-Quint to Jean Paulhan begins under the hospices of Lautréamont and Rimbaud, and in the mode of litigation, in August 1930, after Paulhan published in his review a negative note from Jacques Spitz (10), which was the first appearance in the review, on the study of Léon Pierre-Quint, The Count of Lautréamont and God:

We currently only know Paulhan's response from the second letter from Peter V to Paulhan:

In August 1930, Jean Paulhan had already inserted, a year earlier and in a discreet place, Jean Cassou's article on L'Homme Mithridate by Pierre Minet (13); above all, Jean Guérin referenced at length Le Grand Jeu in "La Revue des revues" of September 1929. Remarkable note, in that it associates the first two issues of Grand Jeu with "an order of research or concerns, without which literature is only a rather mediocre joke (14)" — we remember that the first NRF was founded to counter the influence of academic salon literature—but also because it composes a tripartite order in which René Daumal, Roger Gilbert-Lecomte and André Rolland de Renéville see themselves associated, the first with the occult fact that constitutes thought, the second with the traits and conditions of revolt, the third to poetry, Rimbaudian in the first place. This critical device - Paulhan's intellectual signature - takes note of the faith that the authors place in literature as a mode of thought, names the actors of the game by assigning them a determined role - and places the signatory of the note as game master. It is therefore not the Spitz incident which generates Paulhan's interest in the Great Game and its area. The episode is not even Paulhan's first contact with Reims poets, since René Maublanc participated in September 1920 in the NRF issue on haï-kaï, and Paulhan, in 1923, in the famous delivery of Pampre on "Le Haïkaï français". But the Spitz incident is productive since it provokes René Daumal's note, "Le Comte de Lautréamont et la critique" (15), his first text in Paulhan's review.
Daumal may well seem to take the role of a voluntary intermediary for Léon Pierre-Quint - who does not, however, have the reputation of particularly appreciating Daumal - who places the debate on a terrain which perfectly suits Paulhan, that of "the critical function with regard to I[sidore] Ducasse" (16). But we are also struck, when reading these two letters from Léon Pierre-Quint to Jean Paulhan, by the naively moralistic formulation ("Whatever my talent, I believe I have retained a nobility of thought"), induced undoubtedly by the defensive position of Pierre-Quint, but also by the habit of his social position, and so far, in any case, from the spirit of the Great Game. The letters from Pierre-Quint to Paulhan make it possible to measure the distance which separates him from the available adolescents of the Great Game, and for this very reason, the fascinated seduction, all assumed sublimation, which they exert on him. Naturally, the eloquence of Roger Gilbert-Lecomte's body, stamping and frenetic on the beaches of Berck, plays a large part in it. Léon Pierre-Quint had already marked his critical distance from the avant-gardes by writing in his Lautréamont et Dieu that "an entire youth is far from having yet exhausted Les Chants de Maldoror, which it judges inimitable" (17) — thereby marking that he was not quite part of it (18). In his column in La Revue de France, entitled "Lectures", Léon Pierre-Quint wrote in May 1928 that he was still waiting for "the writer who, using the new path opened by surrealism, [would know], at the end of his journey, to find despite everything the human, the spirit, the thought. (19)". Regarding Pierre Minet's first book, Circumcision of the Heart, Léon Pierre-Quint notes the "one-upmanship of youth" of which Radiguet is for him the example, the devaluation of genius by the lexicon of the advertising, the following of the critics and the naivety of the young Rimbaudians, "in love with the 'dirty kid' side that Rimbaud had", but devoid of his qualities and reluctant to understand that one:

Léon-Pierre-Quint's view of the authors he publishes, however, is far, in fact, from systematically admiring complacency. Financier and owner, critic and publisher, Léon Pierre-Quint sympathizes with the organizers of the Grand Jeu without sharing all their ideas. Despite the advice and financial support that Léon Pierre-Quint provides to animators who are so novice that they barely know how to correct printing proofs, Le Grand Jeu will never appear as Léon Pierre-Quint's review, in the sense that La NRF appears as the review of Jean Paulhan or Jean Schlumberger. This game master does not speak for his protégés: he opens the way and steps aside, he clears a space for their speech in which he himself fails to assign a place.

The least that must be said of Jean Paulhan is that he will have assumed the posterity of the Grand Jeu. From the fourteenth arrondissement of Paris (16bis, rue Bardinet), on July 2, 1942, Roger Gilbert-Lecomte wrote him a deferential letter, to thank him for having thought of his poems (21). And Paulhan noted, at the head of this letter from Gilbert-Lecomte, for transmission, the name of "Drieu", with a black line framed in red. "The Prophet's Halt" appears with the single "Palais du Vide(22)”, alongside, in the summary, a study by Rolland de Renéville on Edgar Poe. On Tuesday March 16, 1943, Arthur Adamov drew Paulhan's attention to the state of health of Roger Gilbert-Lecomte:

The sinking of Roger Gilbert-Lecomte accuses a contrario those that Pierre Minet successively calls "the braggarts of avant-gardism (24)" and the "big heads of avant-gardism (25)". Died on the evening of December 31, 1943, Roger Gilbert-Lecomte, like Antonin Artaud, was literally nourished by Jean Paulhan.

As if his own nostalgic cycle accompanied the growth in the notoriety of the Great Game, eleven years after the homage of Cahiers du Sud of 1944 where he recalled Paulhan's role in the publication of the eight pages of Miroir noir by Éditions Sagesse (26), Léon Pierre-Quint returns one last time to the legendary period in a letter to Paulhan in November 1955, to offer him, given his financial difficulties, a final article on Roger Gilbert-Lecomte and the Great Game (27). In the following letter, in February 1956, Léon Pierre-Quint specifies: "I am returning to Paris in March and I will be happy to bring you personally the text we had spoken about — Souvenirs sur Gilbert Lecomte et le Grand Jeu" (28). This return to writing was also a return to writing, since in the same period, if we are to believe Jean Cassou, Léon Pierre-Quint revised the text of his Lautréamont, the basis of the definitive edition, in 1967, at Fasquelle (29). However, I do not know any other state of the 1955 project other than the two letters to Jean Paulhan that I have just cited. "Léon's intervention was often beneficial and [...] without it, it is probable that the Great Game would never have seen the light of day (30)" confirmed Pierre Minet, who also wrote: "Without Léon Pierre-Quint, certainly no Grand Jeu" (31). But beyond the reaffirmation of the role of Léon Pierre-Quint in the birth of the Grand Jeu, the permanence of the proper names strikes the reader: it is still, thirty years later, Breton, Daumal, Lautréamont and Rimbaud.

The publication of Contre-Ciel, a major collection, directly from the period of the review, escaped the collection of the "Club des Sixté" directed by Pierre-Quint before passing to the side of Paulhan, who guided even the choice of paper, an Auvergne vellum in the form, usually obtained by Henri Pourrat and Péraudeau. The three protagonists mentioned in Jean Guérin's note from August 1930 enter the "Métamorphoses" collection, the only collection from Gallimard editions in which Paulhan has (almost) free rein: La Grande Beuverie intended for Jean Paulhan: "to Jean Paulhan / who greatly helped this / book to take shape / then birth / and to Germaine Paulhan, / with gratitude and friendship / René Daumal" (32). Of these three volumes, Testament meets the least consensual response, as attested by the note by Pierre Oster (33), so close to Paulhan at that time, then the response published in La Tour Saint-Jacques (34).

Other indications of Paulhan's interest in the Great Game are perceptible. In 1962, Jacques Masui prepared the first issue of the new series of Hermès and relied on Paulhan for a text by Gilbert-Lecomte (35). Paulhan sent him an extract from the third issue of the Grand Jeu, for which we have acknowledgment of receipt. The first volume of René Daumal's correspondence was composed by Véra Daumal and Jacqueline Paulhan, daughter-in-law of Jean Paulhan, whose name does not appear on the volume, but who cordially welcomed, after Paulhan's death, the young Michel Random. The second is in the hands of Jacques Masui, in agreement with Jacques Daumal and Robert Gallimard. Finally, the young Bruno Roy, then a student in political sciences, offered Paulhan the edition of a volume made up of texts by Roger Gilbert-Lecomte acquired from Pierre Minet, from which Paulhan chose, but for his review, "The horrible revelation... the only one" (36). Four years later, Bruno Roy took the initiative of publishing Monsieur Morphée, a volume of which Paulhan acknowledged receipt, "as fresh as the first day": "But the heirs are formidable: they are currently preventing us from publishing anything by Roger G.L. We are suing them, without much hope. (37)" So much so that it was appropriate, for the young publisher, to move on: "For Monsieur Morphée, we have not asked anything from anyone, knowing the opposition of the heirs. But I hope that the trial undertaken will bring them back to reason (38)"

The genesis of the Association of Friends of the Work of Roger Gilbert-Lecomte follows a slow scan. This is to prevent Dame Urbain, former governess of Edmond Lecomte, who had made her his heir, from being, as Roland Dumas says, "mistress of the game (39)” in the edition of the poet's works. On December 1, 1962, Paulhan accepted the proposal made to him, without there being any explicit question of presidency: "It goes without saying that I would be happy to join the Association of Friends of Gilbert-Lecomte. But I am unwell, and moreover overworked. I fear that I will not be able to make myself very useful there. (40)" Ten months later, Pierre Minet thanked him "for having kindly agreed to take over the presidency of the Association of Friends of Roger Gilbert-Lecomte (41)" Paulhan received the statutes by the same letter. Pierre Minet then called on his interlocutors to “help him with [their] name and [their] influence” against Madame Urbain: “Madame URBAIN — who, let us note, has no family ties with the poet — claims to serve both the memory of Mr. Edmond LECOMTE and the cause of French literature, which she appreciates through the exiguity of her readings and the certain prosaism of her mind (42)"

Three letters from Roland Dumas clarify the chronology and Paulhan's position: one, dated November 18, 1963, two others, April 22 and 29, 1964, ensure payment of his contribution. By their factual nature, these three letters also make it possible to measure the active distance with which Paulhan assumes his role as President of the association. Despite the insistence of Pierre Minet (43), Paulhan did not attend, in fact, on March 7, 1964 at 3 p.m., at Roland Dumas, the first general assembly of the association he chaired. A power of attorney and a “good for…” addressed to Roland Dumas will replace this. The mimeographed report therefore came to him through Pierre Minet. On this occasion, the applications of Valentine Hugo, André Pieyre de Mandiargues, Fernand Marc, Claude Sernet, Roger Vrigny and Patrick Waldberg are accepted. But on June 26, 1965, after a cerebral incident which took him to the Hartmann clinic, Paulhan wrote to Pierre Minet: "I can hardly think of writing a note on Gilbert-Lecomte, nor even remaining president of the Association of Friends. You, and our friends, must excuse me. (44)" Marcel Arland will indeed take Jean Paulhan's place before the latter's death.

By agreeing to chair the Roger Gilbert-Lecomte association, Paulhan accomplished the program drawn up by Léon Pierre-Quint, who competently protested, in Les Cahiers de la Quinzaine of 1928, against this absurd destiny that death imposes on certain artists, seized post-mortem, in fact, in their work, by an untimely family. Pierre-Quint also pointed out the difficulties created by the disclosure of affectionate nicknames (45), a verbal invention of which we know the abundance among the actors of the Great Game. Basically, Jean Paulhan plays his role from a distance, in a legal scenario long planned by Léon Pierre-Quint, who wrote in 1928, about the writer:

The courts, he fears, will always uphold the family's claims (47). Oblivion doing its work, if the name of Léon Pierre-Quint appears at the time of the trial itself, it is not for his innovative legal positions - of which Roland Dumas was not aware. Paulhan's active distance, in the last years of his life, helped to unblock a situation that Pierre-Quint had been able to describe forty years earlier.

Let us pass on the paradox of a title, French academician, employed in the service of a poet and a work as far removed as possible from the values ​​associated with the Institute, and let us simply say that the use of the name of Jean Paulhan, and of his title, "of the French Academy", in the service of the cause of Roger Gilbert-Lecomte, is reminiscent of Paulhan's reflection on the effect of words and proverbs. Paulhan lends the share of efficiency that his name implies and continues, as far as he is concerned, to construct his own complete works. As a presidency, his presidency is also a non-presidency.

Paulhan experienced two comparable disappointments: in 1932, during the failed "seminar" - the word is not Paulhan's, and smacks of his Heidegger - with the actors of the Grand Jeu and around 1964 during the working sessions of the French Academy, made up of long speeches and in which, according to him, there was never a question of words - and even less of language. A long farewell ceremony, punctuated by missed funerals, began with the death of Roger Gilbert-Lecomte. In his last letter to Jean Paulhan, "Thursday March 23 [1944]", René Daumal addresses his condolences to the man who has just lost his mother: "We were very saddened by this brutal news. We loved your mother. I can vividly see her face again. We think of you a lot and are close to you and Germaine." Just as Pierre Minet was unable to attend the raising of the body of Roger Gilbert-Lecomte, Paulhan was unable to attend Daumal's funeral. "I was very surprised not to see you at the funeral of Daumal (48)", Arthur Adamov wrote to him on June 9, 1944. Prudence dictated that Adamov did not know where the resistance fighter Jean Paulhan was: strategically against the front, with a friend of Action Française who it was impossible to find suspect this, and to save his life. Of the protagonists of the Great Game, very few followed Paulhan until his death, with the notable exception of Sima - whose most beautiful book, Le Paradis perdu by Pierre Jean Jouve, had been, for the poems, dedicated to Jean Paulhan - and who then wrote to Dominique Aury: "Joseph Sima very painfully struck by the disappearance of his dear lifelong friend, asks you to accept his condolences moved and his respectful tributes (49)".

(Text reproduced with the kind permission of the author)

© Bernard Baillaud

    1 - See, for Breton's letter, Mark Polizotti, André Breton, Gallimard, 1999, p. 325. ↩
    2 - J. Paulhan, Complete Works, Gallimard, IV, 275 and V, 404 (Daumal); IV, 269 (Gilbert-Lecomte). ↩
    3 - P. Sigoda, "Jean Paulhan, René Daumal and Le Grand Jeu", Europe, 72nd year, n° 782-783, June-July 1994, p. 85-95. ↩
    4 - Léon Pierre-Quint, Marcel Proust, his life, his work, Au Sagittaire, 1946, 447 p. ↩
    5 - J. Cassou, "Preface" to Léon Pierre-Quint, Le Comte de Lautréamont et Dieu, Fasquelle, 1967, p.12. ↩
    6 - See editor's note, p. 5 of the spring 1929 issue, under the "Unpublished Letter from Arthur Rimbaud". ↩
    7 - L. Pierre-Quint, "The rights of the writer in contemporary society", Les Cahiers de la quinzaine, eighteenth notebook of the eighteenth series, finished printing on September 25, 1928. p. 12. ↩
    8 - Annuaire général des lettres, 1931, p. 506 and 507, p. 1035 and 1042. Note the absence of Grand Jeu, unlike Documents (p. 383) and La Révolution Surréaliste (p. 405), in the "Literary Press" section (p. 373-414). ↩
    9 - L. Pierre-Quint to J. Paulhan, letter dated "February 9". ↩
    10 - J. Spitz (1896-1963), "Lautréamont, by Léon Pierre-Quint", La NRF, 18th year, no. 203, August 1, 1930, p. 273-274. On the same work, see also Jean Audard's note in Raison d'être, n° 7, July 1930, p. 37. ↩
    11 - L. Pierre-Quint to J. Paulhan, letterhead "L. P.-Q.", dated "August 11, 1930". ↩
    12 - Léon Pierre-Quint to Jean Paulhan, "August 27 [19]30" ↩
    13 - Jean Cassou, "L'Homme Mithridate", by Pierre Minet, La NRF, 16th year, n° 191, August 1, 1929, p.286-287; Pierre Minet, L'Homme Mithridates, with a portrait of the author by Lilian Fisk engraved on wood by G. Aubert, Éditions de la NRF, 1928, 101 p. [finished in print on November 15, 1928]. ↩
    14 - Jean Guérin, "The big game", La NRF, 17th year, n° 192, September 1, 1929, p.433. ↩
    15 - R. Daumal, "Le Comte de Lautréamont and criticism", La NRF, 19th year, no. 206, November 1, 1930, p. 738-745. ↩
    16 - Ibid., p.739 ↩
    17 - L. Pierre-Quint, The Count of Lautréamont and God, Fasquelle, 1967, p. 55. ↩
    18 - We know that Pierre Minet, in Un Héros des abîmes, describes the adulation to which Lautréamont was the object among the surrealists, baptized "surmoralists" for the occasion, by caricaturing them as courtiers of kings and princes named Lautréamont, Rimbaud and Jarry, replacing, respectively, Louis XIV, Racine and La Fontaine (P. Minet, Un Héros des abîmes, Belfond, 1985, p. 53). ↩
    19 - L. Pierre-Quint, "Lectures", La Revue de France, 8th year, t. III, May 15, 1928, p. 333. ↩
    20 - Ibid., p. 336. ↩
    21 - R. Gilbert-Lecomte to Jean Paulhan, "Paris July 2, 1942". ↩
    22 - R. Gilbert-Lecomte, "Poèmes", La NRF, n° 341, July 1942, p. 63-64. ↩
    23 - A. Adamov to J. Paulhan, "Tuesday March 16 [19]43". ↩
    24 - P. Minet, Les Hérauts du Grand Jeu, La Maison des amis des livres, 1997, p.13. ↩
    25 - ibid., p.19. ↩
    26 - L. Pierre-Quint, "In memoriam", Les Cahiers du sud, 31st year, t. XXI, no. 266, June-July 1944, p. 397-401. L. Pierre-Quint gives (p. 399) the date of 1936 for this booklet by R. Gilbert-Lecomte, Le Miroir noir, Sages, n.d., [8 p]. ↩
    27 - L. Pierre-Quint to J. Paulhan, on paper headed "Léon Pierre-Quint", dated "3, rue Eugène-Flachat Paris 17th / 6 November [19]55". ↩
    28 - L. Pierre-Quint to J. Paulhan, on paper headed "Léon Pierre-Quint", dated "February 9 [1956]" ↩
    29 - J. Cassou, "Preface", in L. Pierre-Quint, The Count of Lautréamont and God, Fasquelle, 1967, p. 14. ↩
    30 - P. Minet, Les Hérauts du Grand Jeu, La Maison des amis des livres, 1997, p. 37-38. ↩
    31 - P. Minet, "Story of a witness", L'Herne, n° 10, 1968, p. 230. ↩
    32 - R. Daumal, La Grande Beuverie, Gallimard, 1938 [no. VI of the “Métamorphoses” collection, volume finished printing on January 28, 1938] (part. coll.) ↩
    33 - P. Oster, "The 'Testament' of Roger Gilbert-Lecomte", La NNRF, 3rd year, n° 36, December 1, 1955, p. 1142-1147. ↩
    34 - P. La Tour Saint-Jacques, n° 3, March-April 1956, p. 48-62. ↩
    35 - Jacques Masui to J. Paulhan, "Corsy/La Conversion (Vaucl.), le 7.IX. [19]62" ↩
    36 - Bruno Roy to J. Paulhan, "April 2, 1962" ↩     37 - J. Paulhan to Bruno Roy, "Paris, September 26, 1967" ↩
    38 - Bruno Roy to J. Paulhan, "October 3 [19]67" ↩     39 - Roland Dumas, Plaidoyer pour Roger Gilbert-Lecomte, Gallimard, 1985, p. 104 ↩     40 - J. Paulhan to P. Minet, "December 1, 1962" ↩     41 - P. Minet to J. Paulhan, "October 7, 1963" ↩
    42 - "Cher Ami," two typewritten sheets, accompanying the letter from P. Minet to J. Paulhan dated "October 7, 1963." ↩
    43 - P. Minet to J. Paulhan, "February 28, 1964". ↩
    44 - J. Paulhan to P. Minet, "June 26, 1965". ↩
    45 - L. Pierre-Quint, “The rights of the writer in contemporary society”, op. cit., p. 14. ↩
    46 - Ibid., p. 33 and 38. ↩
    47 - Ibid., p. 43-44. ↩
    48 - A. Adamov to J. Paulhan, "Friday June 9 [19]44". ↩
    49 - J. Sima to D. Aury [October 1968], catalog of the Jean-Yves Lacroix bookstore, Nîmes, June 2003, n° 222. ↩