Dans Le Dod�ca�dre ou Douze cadres � g�om�trie variable, Paul Glennon manie douze genres litt�raires (roman policier, journalisme d'enqu�te, r�cit d'aventure...), insufflant � chacun une part d'�tranget� pour cr�er douze univers distincts r�unis dans une structure finement cisel�e. Pour la version fran�aise de ce livre o� chaque histoire apporte un nouvel �clairage sur celles qui l'avoisinent, douze traducteurs se sont livr�s � leur tour au jeu des cadres � g�om�trie variable.
This was the period when Jens Peter Jacobsen began to write, but he stood aside from the conflict, content to be merely artist, a creator of beauty and a seeker after truth, eager to bring into the realm of literature "the eternal laws of nature, its glories, its riddles, its miracles," as he once put it. That is why his work has retained its living colors until to-day, without the least trace of fading.
There is in his work something of the passion for form and style that one finds in Flaubert and Pater, but where they are often hard, percussive, like a piano, he is soft and strong and intimate like a violin on which he plays his reading of life. Such analogies, however, have little significance, except that they indicate a unique and powerful artistic personality.
Jacobsen is more than a mere stylist. The art of writers who are too consciously that is a sort of decorative representation of life, a formal composition, not a plastic composition. One element particularly characteristic of Jacobsen is his accuracy of observation and minuteness of detail welded with a deep and intimate understanding of the human heart. His characters are not studied tissue by tissue as under a scientist's microscope, rather they are built up living cell by living cell out of the author's experience and imagination. He shows how they are conditioned and modified by their physical being, their inheritance and environment, Through each of his senses he lets impressions from without pour into him. He harmonizes them with a passionate desire for beauty into marvelously plastic figures and moods. A style which grows thus organically from within is style out of richness; the other is style out of poverty.Ê