In both his poetry (Les matins habitables, Je n’en connais pas la fin, Le plus clair du temps, Techgnose) and fiction (Moncton mantra), Gérald Leblanc made his imprint on the territories, real and imaginary, that he went through. A wanderer in poetic ground, his works are punctuated by various forms of intertextuality, all of which radiate the physical dimension of language, French and English. On his travels, his imaginary companions are Arthur Rimbaud, whose “soles of wind” he borrowed to go roaming high and low, Jack Kerouac, Bob Dylan and Tim Buckley. Their songs provide a framework for Leblanc’s poems, also nurtured by jazz and tinged with Buddhist spirituality. The numerous intertexts being re-organized are all part of a voyage where images and references collide. In his textes-taxis, to quote his own phrase, cityscapes are perpetually being re-organized setting off a continuous series of inouïssances. The color blue, which is both visual and acoustic when the blue note is mentioned, is the only element that never changes in Leblanc’s inchoate landscapes and his dreamed-of Acadian land.