This collection, which Apollinaire took 16 years to develop, announces the quest for modernity, play with tradition, formal renewal of the poetry of the author.Alcohols is a polyphonic, plural collection that explores many aspects of poetry, ranging from elegy to free verse, mixing everyday life with Rhenish landscapes in a poetry that is experimental, combining almost formal perfection with great beauty.A hermeticism, an art of shock, of electroshock, which earned Apollinaire the qualification of being a hoaxer.Alcools shows the poet torn by his love breaks.Apollinaire abolishes the internal temporality within his poems, the past, the present, the future mingle in one and the same universe of wine and drunkenness.The poet also distills the space, staging the universe of his childhood.It modifies the classical poetic perception of time and space: The Song of the Unloved, Zone.He distinguishes himself as the poet god by establishing a personal cosmogony.He rewrote the founding myths with Orpheus.He claims to be Apollo.But he also reinvents the poetic form in his style: he destroys Ronsard's classical syntactical conception.He is the precursor of surrealism, he devotes a new poetry of drunkenness and myths.It is after having attended a reading by Blaise Cendrars of its future publication, The Prose of the Transsiberian and the small Jehanne of France, that Apollinaire would have decided to transform in turn his future collection.He placed Zone in the opening, which gave him the value of manifesto, and removed all traces of punctuation, inspired by the innovation of Cendrars.Alcohols having been published before the Prose of Trans-Siberian, it is often wrongly attributed the first of the suppression of punctuation to Apollinaire.According to him, in poetry, the rhythm of verse and breathing suffice.Beyond this consideration, this deletion allowed him to bring new images to life by bringing certain terms together by accident.One thinks, for example, of the Zone verse: "They believe in God, they pray women who breastfeed" where, in a first reading, because of the transitive use of the verb "to believe," the absence of punctuation leads to read the verb "to pray" as being also transitive, "women" then appearing as a direct object complement of the verb.This process also creates ambiguities of meaning, enriching the possible readings.