Born in Beirut, Lebanon, in 1945. PHD of philosophy and Literature, Paris Sorbonne University. Professor of Armenian language and literature in INALCO, Paris. Poetry ։ Տեղագրութիւն քանդուող քաղաքի մը համար “Topography for a City Being Destroyed”, (Los Angeles,1976, revised edition 1995), Հատուածներ «Սենեակ»-ի մասին, Fragments about a “Chamber” , (Beirut, 1978), Objets et dռbris, (Armenian-French) (ռditions MH, Paris 1978), Վայրեր “Locus” (Paris, 1983), Հակաքերթուած “Antipoem” (Armenian-English.), (trans. R. Setian, Los Angeles, 1979), Հատուածներ հօր “Fragments du pՌre” (Armenian-French), (լditions Club 80, Luxembourg, 1979), Մանտրաներ “Mantras” (Paris,1986), Հատուածներ հօր “Fragments of a father” (Երեւան 1993), Էր “Er” (Erevan, Diaspora editions, 1992), Ելք “Exit” ( Paris, ռditions Haratch,1993). Essays ։ Տրամ “Drama” (Beirut, Atlas,1980),Գրիգոր Նարեկացի լեզուի սահմաններուն մէջ “Gregory of Narek in the bounderies of language” (BibliothՌque armռnologique, Venise-Saint Lazare, 1985), Կրակէ շրջանակը Դանիէլ Վարուժանի շուրջ “The Circle of Fire around Daniel Varujan”, (լditions du Catholicossat armռnien de Cilicie, Antelias, Lebanon 1988), Մարտ “Fight”, (լditions du Catholicossat armռnien de Cilicie, Antelias, Lebanon1997), Զրոյցներ բանաստեղծութեան մասին “Conversations on poetry”, (Diaspora editions, Erevan 1999). Novels։ Սեմեր Thresholds (Mashtots Edition, Beirut-Paris, 1997),Հարուածը The knock ( Mashtots Edition, Beirut-Paris, 1998), Նշան “Nshan” (Abril, Glendale, 2000), Անունը լեզուիս տակ “The name” (Yerg Editions, Paris 2003), Պատկերը “The image” (Abril, Glendale 2003), Երկուք “Two” (Abril, Glendale 2006), Essays in French։ Les Armռniens “The Armenians” (Brepols, Maredsous, 1994). Cinquante ans de littռrature armռnienne en France, Du mՍme Ո l՚autre, 1922-1972 Fifty Years of Aremnian Literature in France, (CNRS լditions, Paris, 2001). Book in the press: Հայկական ֆուտուրիզմը “Armenian Futurism” (1910-1924) (Sargis Khatchens, Erevan 2008).

LABYRINTH

translator: G. M. Goshgarian

you read distractedly you'd think a fire was going to burn up what you're going to write, the other person yawns, collapses onto his chair, he closed his eyes, he looks at the door that has opened inwards, the scene can be repeated a thousand times, it's a film, someone's doing someone else in. the convicted man stands in the cell, there's no light but it's light, the reporter copies what he's written from the top or bottom. his footsteps are recorded in his ear, he counts the steps of someone going from the paving stones toward the exit, a criminal or a policeman?

Deviation

translator: Nanor Kebranian

For this reason perhaps, the detour often resembles an unshaded passage, and never a magnificent gate, it leaves its impression on those grand entrances, introductions, promising a lovely house, a beautiful book and in the end materializing as resplendent and unforeseen huts. Metaphor has the benefit, perhaps the only one, of taking us from one to the other. It is bisexual like the symbol.