This comprehensive concordance is a necessary accompaniment to understanding the multiple values of specific words in diverse contexts. Picasso's sudden turn towards poetry in 1935 is said to have coincided with a devastating marital crisis, resulting in a considerably reduced output of plastic art. Writing became his alternate outlet. The flow of words in his poems, similar to his paintings, is rapid, violent, pushing and twisting from one image to another; it ignores punctuation and orthography, even defying syntax. However, for Picasso, the workings of poetry cannot be said to involve 'automatic writing', which he has been known to deride. His poems in fact were often open to a flux of changes, additions, and erasures. Very few of his poems remain in their pristine state; they are perpetually in the making, constantly evolving. The text unfurls and transforms itself. It can be read in the continuity of its states like a unique, metamorphosing text, or it can be read separately, as individual entities. We are in fact faced with a 'multiple text', which offers several readings through its successive 'rewritings'.