Wesleyan Poetry Program
Скачать книги из серии Wesleyan Poetry ProgramThe Tennis Court Oath
<P>John Ashbery writes like no one else among contemporary American poets. In the construction of his intricate patterns, he uses words much as the contemporary painter uses form and color- words painstakingly chosen as conveyors of precise meaning, not as representations of sound. These linked in unexpected juxtapositions, at first glance unrelated and even anarchic, in the end create by their clashing interplay a structure of dazzling brilliance and strong emotional impact. From this preoccupation arises a poetry that passes beyond conventional limits into a highly individual realm of effectiveness, one that may be roughly likened to the visual world of Surrealist painting. Some will find Mr. Ashbery's work difficult, even forbidding; but those who are sensitive to new directions in ideas and the arts will discover here much to quicken and delight them.</P><P>A 35th anniversary edition of classic work from a celebrated American poet who has received the Pulitzer Prize, the national Book Award, and the national Book Critics Circle Award. John Ashbery's second book, The Tennis Court Oaths, first published by Wesleyan in 1962, remains a touchstone of contemporary avant-garde poetry.</P>
Apples from Shinar
<P>Apples from Shinar was Hyam Plutzik's second complete collection. Originally published in 1959 as a part of Wesleyan University Press's newly minted poetry series, the collection includes «The Shepherd»—a section of the book-length poem «Horatio,» which earned Plutzik a finalist position for the Pulitzer Prize. «The love and the words and the simplicity,» that mark Plutzik's poetry, writes Philip Booth, «are all here [in Apples from Shinar], and the poems come peacefully, and wonderfully, alive.» With a previously unpublished foreword by Hyam Plutzik and a new afterword by David Scott Kastan, this edition marks the centenary of Plutzik's birth and will introduce a new generation of readers to the work of one of the best mid-century American poets.</P>
The Branch Will Not Break
<P>These new poems by the author of Saint Judas and The Green Wall embody a sharp break with his earlier work. Their impact is well described by the British critic Michael Hamburger: «He has absorbed the work of modern Spanish and other continental poets and evolved a medium of his own. This medium dispenses with argument and rhetoric, and presents the pure substance of poetry, images which are &#8216;the objective correlatives' of emotion and feeling. It is only in the new collection that Wright has found this wholly distinctive voice.»</P><P>Mr. Wright is well known for his previous books and his contributions to virtually every literary journal of importance. His numerous honors include a Fullbright fellowship, a Kenyon Review fellowship, and many other prizes and awards.</P>
Taking on the Local Color
<P>Cynthia Genser's landscapes, like those of D.H. Lawrence, are analogues of human emotions; her men and women exist in their effects-prototypes one minute, passionate and distinctly visible individuals the next. Person and place invite the reader into an adventure that begins and ends everywhere.</P><P>The language employed throughout is voluptuous, sensuous, yet precise. The appeal is to all the senses as well as to reason and intelligence: the poems, seamed with a difficult, sweaty beauty, stimulate every pleasure center. But pure language play also leads to hard, intelligent sense.</P><P>Of her own work, Cynthia Genser has said, «Although I belong to no special school or group, I align my poetry with the work of others aiming their metaphors at the banality and reductionism of our world-at the terror or planned obsolescence, Vogue Magazine, the threat of nuclear warfare. I cannot agree more with the Marxist Henri Lefebvre that poetry is the enemy and eventual victor in the war against 'terrorism' and the terrorist society we now live in.»</P>