Poèmes sans paroles III: Le Flâneur au soir

‘… [T]he writer-dandy and by extension the director-dandy are arguably in a privileged position as they can apply their ideals to the limitless realm of fiction. The latter even has the potential to fulfil the depressive’s ultimate dream, the creation of a hermetic, artificial and complete world in accordance with his own highly individual ideal of beauty, his specific tastes.’ — Philip Mann, The Dandy at Dusk: Taste and Melancholy in the Twentieth Century.

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