Many of Georges Aperghis’s compositions give a very prominent  role to the human voice. Over the years and through many stagings, he has written texts that were, in principle, intended to be  spoken, acted out or sung, but which it has proved essential to  bring together in a single volume, sometimes at the cost of reediting or reworking them. Indeed, through their treatment of  language, these pieces clearly belong to the most contemporary  form of poetry. Words are broken down, reshaped and given new  meaning. And whilst meaning flows at great speed through these  pages, it does so like a blade that is constantly propelled and then  deflected, continually accelerated by the verbal material that constitutes and propels it.