Joséphine Sacabo’s *Une femme habitée* gathers a body of black-and-white photographs made in 1991 and published by Marval in 1994. Its French title establishes an inward, feminine register without reducing the work to a literal synopsis. Instead, Sacabo approaches the photographic image as a space in which identity, memory, and poetic suggestion may remain unresolved.

The stated literary influences—Rainer Maria Rilke, Charles Baudelaire, Federico García Lorca, and Vicente Huidobro—are central to understanding the book’s method. These writers are not presented as subjects to be illustrated; they indicate a lyric framework shaped by metaphor, compression, and ambiguity. Sacabo’s monochrome photographs accordingly belong to a conversation between photography and poetry, where meaning accumulates through association rather than explanatory narrative.

The volume’s structure reinforces that approach. Two chapter headings in French divide the sequence, giving the photographs a restrained literary architecture. Across 105 pages, the images are reproduced at approximately 8.5 by 7.5 inches on fine-art paper. The substantial hardcover format allows each photograph to retain its autonomy while remaining part of a deliberately ordered monograph. Sequence, interval, and recurrence become as important as any single image.

For collectors, the book’s interest lies not in undocumented claims of scarcity, but in the clarity with which it preserves a defined 1991 project. It records Sacabo’s sustained engagement with literary modernism and presents that engagement through the specific editorial language of the photobook: monochrome reproduction, chapter divisions, scale, and succession. *Une femme habitée* merits attention as a concentrated example of poetic photography shaped into book form rather than merely assembled between covers.