Abstract: Published by Pierre Jean Jouve in the ephemeral collection “Poésie du temps” that he directed at Stock editions, Kodak (Documentaire) shows a careful proximity between the two poets in 1924. Letters from Jouve manifest his admiration for Cendrars’s poetry. And yet, twenty years later, he presented Jouve in his “Mémoires” on a negative light (L’Homme foudroyé, La Main coupée). The violence of this disregarded relationship never ceases to interrogate.
