SOURCE: "Cooey-Booey Cubist," in The New York Times Book Review, October 9, 1966, pp. 4, 20.

Rexroth is a poet, critic, and translator. In the following review, he presents a mixed opinion of Cendrars's poetic contribution.

The greatest poet of the Cubist epoch was Pierre Reverdy, because he had distinguished emotions. The next was Gertrude Stein, because she had none. Both had perfect ears and impeccable style. Blaise Cendrars, (1887–1961), like Max Jacob, was a professional personality of the same period, rather than an artist. Henry Miller, who writes a brief preface to this collection, has written about Cendrars extensively elsewhere and admires him greatly. They have a good deal in common.

Both Cendrars and Miller present themselves to the public as livers rather than artists, and both have a talent for engaging implausibility, which sometimes catches them short. Actually this sort of thing is just as literary as Walter Pater or Henry...