This is the first comprehensive study of the theological significance of Paul Claudel, a poet frequently cited by literary-minded theologians in Europe and theologically-minded poets (such as von Balthasar, de Lubac and Eliot). His writing combines cosmology and history, Bible and metaphysics, liturgy and the drama of human personality. Aidan Nichols' study demonstrates how Claudel's oeuvre, which is not only poetry but theatre and prose including biblical commentaries, constitutes a rich resource for constructive doctrine, liturgical preaching, and theological reflection.

These prose poems were written by Claudel over ten years in his travels through China and Japan in the 19th century. In his translation, James Lawler presents Claudel as a poet who discovered himself in his experience of the East. He gives a detailed introduction, notes on the poet and the poems.

This work by the French poet and writer Paul Claudel is a soaring meditation on the profound Christian truths of the Apostles' Creed. Claudel, a deeply spiritual Catholic poet who meditated at length on what the Church taught him, is filled with ecstasy and wonder as he celebrates his faith, his hope, and his love. The reader will be captivated by the profundity of thought, the enthusiastic faith, the deep sense of joy, the fresh and vivid images, occasionally tinged with a delightful humor that is unforgettable. Claudel marvels at the goodness and love of God, at his work of creation and redemption, and at Christ and the Blessed Virgin. Along with Claudels meditations and mystical insights, each chapter includes a brief statement of doctrine based on the Summa of St. Thomas and the Catechism, along with a few explanatory words showing the relation of this theology to Claudel's poetry.

Paul Claudel's Five Great Odes constitutes one of the great twentieth-century achievements in lyric poetry. Equally earthy and prayerful, perennially and universally relevant in their ecological and sacramental vision, the Odes deserve to be celebrated alongside T. S. Eliot's Four Quartets and Rainer Maria Rilke's Duino Elegies.

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"A fictionalized biography of current French feminist martyr Claudel (accomplished sculptor and lover of Rodin), whose ill-starred life has also been the subject of a 1989 movie, as well as a play by Delbee".--"Kirkus Reviews", August 5, 1992.

Camille Claudel, sister of writer Paul Claudel, was a gifted nineteenth-century French sculptor who worked with Auguste Rodin, became his lover, and then left him to gain recognition for herself in the art world. With a strong sense of independence and a firm belief in her own considerable talent, Claudel created some extraordinary works of art and challenged the social and artistic limitations imposed upon the women of her time. Eventually, however, she crumbled beneath the combined weight of social reproof, deprivation, and art-world prejudices. Her family, distraught by her unconventional behavior as well as her delusions and paranoia, had her committed to a mental asylum, where she died thirty years later. Camille Claudel’s life has been romanticized in print and on film, but this is the first fully researched biography to present a rounded picture of the life and work of this remarkable woman. The book, also available in French, has been widely praised for its gripping presentation of the life of a woman artist in the nineteenth century, and for its successful attempt to free Claudel from the myths that had been woven around her. “The complete story of Claudel’s tragic life has never been thoroughly researched and recounted until now, and Ayral-Clause’s polished, to-the-point coverage is galvanizing… Fair and precise, Ayral-Clause’s clarion biography arouses the only reasonable response to Claudel’s saga: outrage.” — Booklist “Ayral-Clause commands much new data and an admirable objectivity. Highly recommended.” — Library Journal “… scholars will find this book, with its mastery of the sources in their original language, a welcome substitute for outdated previous studies…” — Publisher’s Weekly “By excavating Claudel from the edifice of victimization, Ayral-Clause frees us to focus on her work and the factors, both Rodin-and non-Rodin-related, that nurtured and hindered her career.” — Los Angeles Times “This is a fascinating biography… Using newly discovered private letters, family photographs and medical documents recently released to the public, the author provides the first serious, authoritative portrait of this brilliantly gifted, misunderstood artist.” — Umbrella “Ayral-Clause… resists dogmatic interpretation, choosing instead to view her protagonists as fully and as sympathetically as the evidence allows… Her straightforward narrative style offers a clear and vivid context for Claudel’s life and work.” — Art and Auction “Camille Claudel: A Life is riveting: measured, even-handed and revelatory. The author shows how we have absorbed the legend (Rodin exploited and deserted her), ignorant of the facts… Odile Ayral-Clause brilliantly illuminates Claudel’s vivacity and recounts her downfall.” — Art Quarterly (England) “The author has redefined the relationship between Camille Claudel, her environment and the art world, and brings to light the originality of the work of Camille Claudel in relation to Rodin’s” — L’Oeil (France)

Camille Claudel, an old lady confined to the Asylum for the Insane in Montdevergues, France, reviews her life. She says, aI hope my memoir will illustrate the heights of passion Rodin and I reached, and unravel the mystery of why they were transformed into vinegar and ashes.a The tragedy is not only hers, she adds, but that of many female artists who found it impossible to achieve the success of men artists of lesser ability. The book illuminates her childhood and the rise of her career in the setting of her ecstatic life with Rodin. Their ten years of bliss are followed by the disintegration of her love for him, and its evolution into hatred and psychosis. The last third of the book describes the horrors of Claudelas life in the asylum, ending with the highly original manner in which she comes to terms psychologically with Rodin and the other important figures in her life.