Modern and contemporary poetry

Book SynopsisDrawing on the proceedings of two conferences organized to celebrate the centenary of John Berryman’s birth in 2014, John Berryman: Centenary Essays provides new perspectives on a major US American poet’s work by critics from Ireland, the United Kingdom, Canada and the United States. In addition to new readings of important aspects of Berryman’s development – including his creative and scholarly encounters with Shakespeare, Milton, Wordsworth and W. B. Yeats – the book gives fresh accounts of his engagements with contemporaries such as Delmore Schwartz and Randall Jarrell. It also includes essays that explore Berryman’s poetic responses to Mozart and his influence on the contemporary Irish poet Paul Muldoon. Making extensive use of unpublished archival sources, personal reflections by friends and former students of the poet are accompanied by meditations on Berryman’s importance for writers today by award-winning poets Paula Meehan and Henri Cole. Encompassing a wide range of scholarly perspectives and introducing several emerging voices in the field of Berryman studies, this volume affirms a major poet’s significance and points to new directions for critical study and creative engagement with his work.Table of ContentsContents: Paula Meehan: Foreword: «Berrymancy» – Philip Coleman/Peter Campion: Introduction – Judith Koll Healey/Richard J. Kelly/Bob Lundegaard: Berryman as Teacher and Friend: Personal Reminiscences – Michael Berryhill: Henry and His Problems – Claudio Sansone: John Berryman’s «Poundian Inheritance» and the Epic of «Synchrisis» – Edward Clarke: Berryman’s Mischief – Karl O’Hanlon: «A fresh, active relation»: Milton’s Lycidas and the Poetry of John Berryman – Deanna Wendel: Multiple Impersonalities: T. S. Eliot and John Berryman – Heather Treseler: Of Letters and Lyric Style: John Berryman’s Homage to Mistress Bradstreet – J. T. Welsch: «Satanic pride»: Berryman, Schwartz, and the Genesis of Love & Fame – Alex Runchman: «the angel and the beast in man»: John Berryman, Delmore Schwartz, and Shakespeare – Michael Hinds: Berryman-Jarrell: Nervous Affinities – Katherine Ebury: «The sonnet might ‹lead to dishonesty›»: John Berryman and Paul Muldoon as Sonneteers – Stephen Matterson: Not Allowed to be Bored: John Berryman’s Lexicon of Boredom – Adam Beardsworth: The Pornography of Grief: John Berryman and the Language of Suffering – Eve Cobain: «He begot us an enigma»: Berryman’s Beethoven – Peter Campion: John Berryman’s Acoustics – Michael P. Carriger/William C. Patterson: Henry in High School: John Berryman in the Classroom is an «Angry Zen Touch» – Henri Cole: Afterword: My John Berryman; or, Imagination, Love, Intellect, and Pain.

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Book SynopsisJubiläumsausgabe der Literaturanthologie JENNY Die Jubiläumsausgabe der Anthologie für zeitgenössische Literatur JENNY, herausgegeben von Studierenden des Instituts für Sprachkunst der Universität für angewandte Kunst Wien, ist dem Thema InTransparenz gewidmet. In vielfältigen literarischen Genres wird ausgelotet, was sich mit dem Konzept InTransparenz be- und überschreiben lässt. JENNY. Ausgabe 10 rückt auch die eigene redaktionelle Arbeit in den Fokus – und wirft einen kritischen Blick auf den Literaturbetrieb und den eigenen institutionellen Rahmen. In einem experimentellen Interviewteil wird die redaktionelle Kontrolle an einen Chatbot namens Jenny übertragen – der in Gesprächen mit einer Verlegerin, einem Schriftsteller und Übersetzer und einem Mitarbeiter der Magistratsabteilung für Einwanderung der Stadt Wien Interessantes zutage fördert. Eine besondere Ausgabe der Anthologie für zeitgenössische Literatur JENNY anlässlich des 10-Jahr-Jubiläums Schwerpunktthema InTransparenz – in der eigenen Arbeit und im Literaturbetrieb Aufwendige und innovative Gestaltung und Ausstattung

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Book SynopsisKiss, kiss, bye-bye! New language art JENNY, the anthology of contemporary literature, is sporting a new look, entering its 11th year of publication in style. Our grandmothers always assured it that “it all works out in the end,” even as memories fade with time. Things that are too shiny eventually lose their luster, powdered cheeks grow dusty, and even the most carefully applied rouge is liable to be blown away by a fresh summer breeze. What remains is residual heat, stale air, and texts – about conventions, suppression, and the past that melts through the heat to the surface of the present. But also: the attempt to breathe, to take up space, and kiss sunken cheeks awake. Issue 11 of JENNY ponders in a somewhat morbid, unapologetically queer-feminist, and thoroughly Viennese manner the issue of graduations and new beginnings. Some things remain while others emerge. Issue 11 of the literary anthology JENNY, published annually by students at the Institute for Language Arts at the University of Applied Arts Vienna JENNY combines tradition with a new look and contains 15 fresh texts Selected texts by innovative authors – poetry, essays, prose, and cross-genre language art

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Book SynopsisThis book is a comprehensive approach to interpreting Frank O’Hara’s highly influential work. Frank O’Hara’s poetry, initially inspired by the Modernist avant-garde, underwent a radical change around 1960. This change parallels the decline of Abstract Expressionism and the rise of Pop Art. The book includes historical contextualization as well as practical criticism. The author analyzes how Frank O’Hara could be regarded. As a Modernist poet, or as one who realizes that the aesthetic of High Modernism is on the wane, and is preparing himself for a paradigmatic change. Earlier poems are best seen as Modernist/avant-gardist, while the later ones as no less vanguard forays into uncharted territory. While the book takes up issues such as mimeticism, realism and abstraction in both poetry and painting, the boredom of the new as seen by Walter Benjamin, and the representational potential of the camp aesthetic, the main emphasis is on practical criticism, modes of reading O’Hara’s œuvre.Table of ContentsThe New York School of Poets – Frank O’Hara – Abstract Expressionism – Pop Art – Postmodernism and Poetic Subjectivity – Consumerism – Heroism and Hero Worship – Mourning and Melancholia – Autobiography and Poetic Invention – The Ends of Modernism – Modernism and the Avant-Garde – Reading Frank O’Hara

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Book SynopsisBreathing Earth: The Polyphonic Lyric of Robert Bringhurst examines the innovative poems for multiple voices composed by the Canadian poet by drawing on the main insights of biosemiotics, ecophilosophy and material ecocriticism. In seeking to emulate the polyphonic texture of reality, Bringhurst’s ecopoetry directs readers’ attention to vibrant matter and to the entanglements of (non)human and (in)animate actants in a world that is a semiotic-material unity. In light of the current climate crisis, his polyphonic poems are a timely, wise reminder of the need to rethink the way humanity relates to the more-than-human world and to restore a deep ecological bond with breathing earth.Table of ContentsIntroduction Mimicking the Polyphonic Texture of Being - Facing the Sky, Be Vast, Blue & Quiet - Toads and Deep, Geological Time - Breathing through the Feet - Just a Breath Away from Darkness - Conclusion The Mind Is the World: Lyric and Ethics in the Age of the Anthropocene

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Book SynopsisThis volume of “Neuere Lyrik” contains a selection of texts on Latin American poetry that focuses on its encounter – at times direct and dialogic; at times indirect or even oppositional – with foreign texts and traditions. The question it therefore raises is what constitutes the borders – cultural, medial, discursive, linguistic, etc. – of a poetic tradition to begin with, particularly today. While each text replies uniquely, their approaches can be broadly assigned to three distinct areas of inquiry: transcultural and transhistorical discourse; intermedial experimentation; and translation. Their attention to these liminal modes, moreover, prompts a remapping of poetry itself by asking how, in continually becoming foreign to itself, poetry is returned to its proper home.Table of Contents David Hock Introduction 1 I Niall Binns "Where’s the Dialogue?" The Contrasting Traditions of Twentieth-Century Poetry in Chile and Spain 9 Lucía Stecher On Writing Poetry in Postcolonial Texts: Dionne Brand’s "The Blue Clerk: Ars Poetica in 59 Versos" 21 Mikhail Martynov The Problem of Community in the Poetry of Subcomandante Marcos and Egor Letov 31 Herle-Christin Jessen The Poetics of Pain in the Poetry of Juan Gelman 41 II María Lucía Puppo The Balance of an "Old Poet Who Writes": Networks around Poetry and Art in Juana Bignozzi’s Final Book of Poems 55 Kirill Korchagin, Elizaveta Kuzina Between Poetry and the Visual Avant-Garde: Intermediality and Structuralism in Octavio Paz’s and Jagdish Swaminathan’s Oeuvres 67 Ekaterina Friedrichs The "third world of the fifth dimension" and the "metisization of meaning": A Topology of Sense in Natalia Azarova’s "brazil" 83 III Екатерина Волкова Америко Сбросить Пушкина с парохода современности: о переводах русскоязычной поэзии в Бразилии 95 Claus Telge Translating Pablo Neruda, or: How Erich Arendt and Hans Magnus Enzensberger Did the Same Thing Differently 117 Юрий Орлицкий Русский Неруда – один из «основоположников» советского верлибра 137

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Book SynopsisMore haikus by popular demand from Singapore bestselling poet. In this bumper volume of 392 haikus, Gwee comments on and pokes fun at people, subjects and events in and far beyond Singapore: Bob Dylan, Paul Tambayah, the PM's sister, Tharman Shanumgaratnam, Billy Graham, Kim Jong Un, Stan Lee, Donald Trump, Greta Thunberg, Batman! Racism, doxxing, lim kopi, gun culture, fake news, arts funding, breast feeding, refugees, academic freedom, sin taxes! The fall of Singapore, Hong Kong protests, HIV data leak, Crazy Rich Asians, Charlottesville, US refugee ban, Brexit! In the miscellany find 38 Oxley Road, Baba Yaga, casual snobbery, Minority-race PM, bureaucratic bloat, One Belt One Road. And there are lines about Fanny Hill, toilet python, eunach disease, private clubs, gay cakes and rude gestures too

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Book SynopsisIn this her sixth collection of poetry where the real, virtual and literary mix, Heng Siok Tian travels through landscapes and explores relationships of family, friendships, the familiar and the foreign. With her signature simplicity and honesty, she tenderly ferries her deceased mother to the realm of memory while she reflects on the commotions of life at home and abroad. Through these, she reminds readers that the past contains limitless potential for journeys of the imagination, and that nostalgia can be both gentle and powerful.

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Book SynopsisThis prize-winning historical-lyrical poem of 1985, on the unequal power-relations between Russia and Ukraine, darkly resonates in 2023.Alexei Parshchikov's long historical poem, which dates 1985, is one of the major literary documents of the last years of the USSR. Alexandra Smith, in an article of 2006, has called it "perhaps the most important achievement of Russian post-perestroika poetry." Its significance is historical in its irony towards Peter the Great and Charles XII of Sweden in their 1709 battle at Poltava and towards the writer's own dual allegiance to Ukrainian soil and the Russian language. While all previous translations of parts of the poem are in free verse, translator Donald Wesling here carries over the rhyme and meter of the original whole poem. To aid the reader, this volume contains the Russian text, and also the translator's commentary and notes.Trade Review“Alexei Parshchikov's ‘I Lived on the Battlefield of Poltava’ (1989), an important postmodern historical poem imbued with parodic touches, sheds a new light on Pushkin’s Poltava and its legacy. It challenges Pushkin's mythologised portrayal of the Great Northern War by presenting everyday life in late twentieth-century Poltava through the prism of palimpsestic imagination influenced by Russian cultural memory.Donald Wesling's excellent translation of Parshchikov’s ‘I Lived on the Battlefield of Poltava’ animates effectively the playful space created in the poem through the powerful use of metaphor, associative language and surreal overtones. Wesling shows an exceptional sensitivity to Parshchikov’s exuberant language and renders the performance-like quality of the poem exquisitely. Parshchikov’s concerns with the inevitability of change, the importance of place and the power of language to transform realities embedded in this poem make his version of the historical event—reimagined in a decolonising manner—highly appealing to the readers of the 2020s.”— Alexandra Smith, Reader in Russian Studies at the University of Edinburgh“When Alexei Parshchikov, perhaps the greatest poet of the Russian perestroika generation, died prematurely in 2009, he could not know that Ukraine, where he had spent much of his childhood and youth, would one day rise up against its former rulers. It was in the Battle of Poltava (1709), that Russia first seized control from Charles XII, the King of Sweden of the territory in question. Parshchikov’s brilliant Poundian ‘poem including history’—as well as geography and ecology—juxtaposes superbly surreal battle scenes with the quiet meditations of the poet, cultivating, on the site of the former battlefield, his garden, with its apricot trees, its ‘long-nosed field mice’ and ‘fruit-honey grog,’ and celebrating Ivan Mazepa, the Ukrainian opposition fighter, and his sweetheart Marfa Kochubey. In Donald Wesling’s excellent rhymed-verse translation, which dissolves into free rhythms in the course of the poem, Parschikov’s brilliant and highly original imagination lives again. It could not be more apropos today!”— Marjorie Perloff, author of Infrathin: An Experiment in Micropoetics“One of great poetic achievements of the 1980s, Parshchikov’s long poem appears, in Donald Wesling’s ambitious new translation, startlingly of our time—not just because of its dismantling of Russian imperialist myths but also because of its insistence on the multifarious resilience of language in the face of its misuse and of the horrors of wars, past and present.”— Jacob Edmond, author of Make It the Same: Poetry in the Age of Global Media“From the twelfth to the twenty-first century, Ukraine has been periodically destroyed by those who would own it. Among these blood-soaked backstories, the three-way struggle between Peter the Great, Sweden’s Charles XII, and the treacherous Ukrainian Cossack Mazepa in 1709 has long been pan-European lore. In this ‘historical-geographical-ecological’ evocation by the Russian metarealist Alexei Parshchikov, the poet is tending his garden on the site of the battle. Knives, bits of cannon and bone, snatches of sexual violence and the Tsar’s largesse emerge from the black earth. Sacrificial lambs and mosquitos look on. Donald Wesling’s spectacular rendering into English, reflecting subtexts in Pushkin as well as the late Soviet poetic underground, is formally audacious and so tightly constructed that the reader can’t breathe. Exactly what is required today.”— Caryl Emerson, Princeton UniversityTable of ContentsFrom the TranslatorINTRODUCTIONCHAPTER ONE, WHICH TELLS ABOUT THE ORIGIN OF WEAPONS1.1. The Origin of Weapons1.2. The First Cannon1.3. The Lamb Tells about the Feud of Two Brothers, Who Attempted to Catch Him for Sacrifice, and about How a Knife was Born1.4. The First Business Retreat, Written in My Garden, Located on the Field of the Battle of PoltavaCHAPTER TWO: THE BATTLE 2.1.2.2. Point of View of the Observer2.3. Charles XII2.4. Ivan Mazepa and Marfa Kochubey2.5. No Saxophone Slung over the Shoulder2.6. Mosquito2.7. Copper Framework: Second Business RetreatCHAPTER THREE: THE TSAR REWARDSNotes

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Book SynopsisThis prize-winning historical-lyrical poem of 1985, on the unequal power-relations between Russia and Ukraine, darkly resonates in 2023. Alexei Parshchikov's long historical poem, which dates 1985, is one of the major literary documents of the last years of the USSR. Alexandra Smith, in an article of 2006, has called it "perhaps the most important achievement of Russian post-perestroika poetry." Its significance is historical in its irony towards Peter the Great and Charles XII of Sweden in their 1709 battle at Poltava and towards the writer's own dual allegiance to Ukrainian soil and the Russian language. While all previous translations of parts of the poem are in free verse, translator Donald Wesling here carries over the rhyme and meter of the original whole poem. To aid the reader, this volume contains the Russian text, and also the translator's commentary and notes.Trade Review“Alexei Parshchikov's ‘I Lived on the Battlefield of Poltava’ (1989), an important postmodern historical poem imbued with parodic touches, sheds a new light on Pushkin’s Poltava and its legacy. It challenges Pushkin's mythologised portrayal of the Great Northern War by presenting everyday life in late twentieth-century Poltava through the prism of palimpsestic imagination influenced by Russian cultural memory.Donald Wesling's excellent translation of Parshchikov’s ‘I Lived on the Battlefield of Poltava’ animates effectively the playful space created in the poem through the powerful use of metaphor, associative language and surreal overtones. Wesling shows an exceptional sensitivity to Parshchikov’s exuberant language and renders the performance-like quality of the poem exquisitely. Parshchikov’s concerns with the inevitability of change, the importance of place and the power of language to transform realities embedded in this poem make his version of the historical event—reimagined in a decolonising manner—highly appealing to the readers of the 2020s.”— Alexandra Smith, Reader in Russian Studies at the University of Edinburgh“When Alexei Parshchikov, perhaps the greatest poet of the Russian perestroika generation, died prematurely in 2009, he could not know that Ukraine, where he had spent much of his childhood and youth, would one day rise up against its former rulers. It was in the Battle of Poltava (1709), that Russia first seized control from Charles XII, the King of Sweden of the territory in question. Parshchikov’s brilliant Poundian ‘poem including history’—as well as geography and ecology—juxtaposes superbly surreal battle scenes with the quiet meditations of the poet, cultivating, on the site of the former battlefield, his garden, with its apricot trees, its ‘long-nosed field mice’ and ‘fruit-honey grog,’ and celebrating Ivan Mazepa, the Ukrainian opposition fighter, and his sweetheart Marfa Kochubey. In Donald Wesling’s excellent rhymed-verse translation, which dissolves into free rhythms in the course of the poem, Parschikov’s brilliant and highly original imagination lives again. It could not be more apropos today!”— Marjorie Perloff, author of Infrathin: An Experiment in Micropoetics“One of great poetic achievements of the 1980s, Parshchikov’s long poem appears, in Donald Wesling’s ambitious new translation, startlingly of our time—not just because of its dismantling of Russian imperialist myths but also because of its insistence on the multifarious resilience of language in the face of its misuse and of the horrors of wars, past and present.”— Jacob Edmond, author of Make It the Same: Poetry in the Age of Global Media“From the twelfth to the twenty-first century, Ukraine has been periodically destroyed by those who would own it. Among these blood-soaked backstories, the three-way struggle between Peter the Great, Sweden’s Charles XII, and the treacherous Ukrainian Cossack Mazepa in 1709 has long been pan-European lore. In this ‘historical-geographical-ecological’ evocation by the Russian metarealist Alexei Parshchikov, the poet is tending his garden on the site of the battle. Knives, bits of cannon and bone, snatches of sexual violence and the Tsar’s largesse emerge from the black earth. Sacrificial lambs and mosquitos look on. Donald Wesling’s spectacular rendering into English, reflecting subtexts in Pushkin as well as the late Soviet poetic underground, is formally audacious and so tightly constructed that the reader can’t breathe. Exactly what is required today.”— Caryl Emerson, Princeton UniversityTable of ContentsFrom the TranslatorINTRODUCTIONCHAPTER ONE, WHICH TELLS ABOUT THE ORIGIN OF WEAPONS1.1. The Origin of Weapons1.2. The First Cannon1.3. The Lamb Tells about the Feud of Two Brothers, Who Attempted to Catch Him for Sacrifice, and about How a Knife was Born1.4. The First Business Retreat, Written in My Garden, Located on the Field of the Battle of PoltavaCHAPTER TWO: THE BATTLE 2.1.2.2. Point of View of the Observer2.3. Charles XII2.4. Ivan Mazepa and Marfa Kochubey2.5. No Saxophone Slung over the Shoulder2.6. Mosquito2.7. Copper Framework: Second Business RetreatCHAPTER THREE: THE TSAR REWARDSNotes

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Book Synopsis

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