[A song comes out of each object…]

Jean Follain
Translated from the French by Andrew Seguin

A song comes out of each object. The artisan has sealed up inside it a bit of his body, which had known love intimately, then had lived with disease for a long time, unless it was simply done in by old age. Song of wood, of steel, of copper. Across the centuries one can hear the executioners guffaw, the girls laugh in a wild voice, the madwomen bleat, the child warble. The object does not disappear. So many random things can be found in the pockets of travellers: pen knives, small notebooks, a miniscule screw forgotten during some disassembly, a twist of string, a few carrot or parsnip seeds, the same seeds that the man, when he was home and leaning over the earth, scattered into the furrow he’d dug in the planting bed of his enclosure. The horizon dissolves before the eyes of the walker. He’s carrying so many secrets in his head, the afterlives of love, desires that are concrete for an instant but then evaporate, while the object, even if he has forgotten it, remains in his pocket like a talisman. Sorting one day through old clothes that our body, weighed-down and watched from afar by death, no longer fits, we find the cogwheel of a delicate machine and struggle to recall its use. We turn it over and over in our fingers while in the distance a storied sun goes down.

[Un chant s’élève de chaque objet…]

Un chant s’élève de chaque objet. L’artisan y a enfermé un peu de son corps qui avait bien connu l’amour, puis avait porté longtemps une maladie, à moins qu’il ne se fût simplement éteint de vieillesse. Chant du bois, de l’acier, du cuivre. On entend à travers les siècles ricaner les bourreaux, les filles rire d’une voix sauvage, les folles bêler, l’enfant gazouiller. L’objet ne s’évanouit pas. On trouve de si multiples choses dans les poches des voyageurs : des canifs, de petits carnets, une minuscule vis oubliée lors d’un démontage, un bout de ficelle entortillé, quelques graines de carottes ou de panais, de ces mêmes graines que l’homme, alors sédentaire et courbé vers la terre lançait dans le petit sillon qu’il avait creusé dans la plate-bande de l’enclos. Devant les yeux du promeneur, l’horizon se dilue. Lui, porte en tête maint secret, des restes d’amour, des désirs un moment consistants, mais qui s’évaporent tandis que l’objet, même s’il l’a oublié, reste en poche comme un talisman. Fouillant un jour les vieux vêtements dans lesquels notre corps alourdi et guetté, fût-ce de très loin par la mort, n’entre plus, on retrouve le rouage d’une frêle machine dont on doit faire effort pour retrouver l’usage. On le retourne longtemps entre ses doigts alors qu’au loin se couche un soleil d’histoire.

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Headshot of Jean Follain

Jean Follain (1903–1971) studied law at the Faculté de Caen and later became a magistrate. His first book of poems, La Main chaude, was published in 1933, and his first book of prose, Paris, in 1935. Follain published 12 subsequent volumes of poetry as well as several memoirs of his childhood. In 1970, Follain was awarded the highest honor by L’Académie Française, its Grand Prix du Poésie. Associated with a group that included Max Jacob and Pierre Reverdy, Jean Follain was struck by a car and killed just after midnight in Paris in 1971, a brutal irony considering how many of his poems are rutted by farm carts and horse carriages and apple wagons.

Headshot of Andrew Seguin

Andrew Seguin is the author of The Room in Which I Work and translator of Earthly, Selected Poems of Jean Follain. Other publications include two chapbooks and a trilingual edition of Josef Albers’s Poems and Drawings. Animals of Speech, which won the Verse/Tomaž Šalamun Prize, will appear in 2026.

Highly regarded and little known, the work of French poet Jean Follain evokes a specific consciousness, with intense affection for the world around it, surveying the landscape and its species, yet intimate with the most minute particulars—the umbels of plants, an insect crawling up a boot, the woman sitting on a hearth asking “why beings and things / and not nothing.” Arranged chronologically, Earthly: Selected Poems, artfully translated by Andrew Seguin, favors work that has not previously been translated, and includes a number of prose poems from Tout Instant, making this the first volume in English to offer poems from all of Follain’s books.

"...a reading experience that is vivid and expansive. Despite the poet’s retrospective gaze and his knowledge that 'the next century will be worse,' he provides comfort in moments that recognize that 'lovers [still] go by singing.' The result is a lively survey of a writer who feels fresh, even as he speaks to and from history."
—Publishers Weekly

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