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The Spanish poet Juan Ramón Jiménez (1881–1958; Nobel laureate 1956) wrote at a key moment in literary history. Since Jiménez’s lyrical output covers the poetic tradition from Romanticism through Symbolism to the Avant-Gardes, his work can be regarded as a condensation of the modern paradigm. Julio Jensen investigates the lyrical subject appearing in Jiménez’s poetry as exemplary of the notion of modern subjectivity. He does so by assuming a historical correlation between literature and philosophy in the sense that if philosophical discourse conceptualizes the prevailing understanding of the human being at a given moment, literary discourse represents it. Modern thought does not accept any other foundation than subjectivity. At the same time, the awareness of the subject’s finitude engenders pessimism with respect to its status as world-generating principle. One of the primary aims of this study, then, is to show how Jiménez poignantly enacts this vacillation between self-enthronement and self-eradication. With insightful readings of Jiménez’s poetry, the author opens a rich vein in the work of a writer who would serve as a central reference for later Spanish-language poets such as Federico Garcá Lorca, Pablo Neruda and Octavio Paz.
“An exquisite book, rich, shimmering, and truly incomparable.” —The New Yorker This lyric portrait of a boy’s companionship with his little donkey, Platero, is the masterpiece of Juan Ramón Jiménez, the Spanish poet awarded the 1956 Nobel Prize for Literature. Poetic, elegiac, it reveals the simple pleasures of life in a in a remote Andalusian village and is a classic work of literature, beloved by adults and children alike.
Few have written more memorably about the work of poetry and the poetics of work than Juan Ramón Jiménez, winner of a Nobel Prize and discerning teacher of an entire generation of Spanish poets. In this series of aphorisms, Jiménez brings together the elements of perfect work, both in writing and in other realms. Among these elements--the wellsprings of any kind of creation--are instinct and inspiration, memory and forgetting, silence and noise, love and regret. A treasure for poets and writers, The Complete Perfectionist includes helpful commentary by noted translator Christopher Maurer and shows perfection as a process of "becoming" rather than an end product. In these insightful pages, a poet haunted by perfection reveals his methods of writing and revision, and measures the social and ethical dimensions of el trabajo gustoso, or pleasurable work. This revised and expanded edition includes many aphorisms recently published in Spanish and not previously included.
From the passenger seat of Sean Singer’s taxicab, we witness New York’s streets livid and languid with story and contemplation that give us awareness and aliveness with each trip across the asphalt and pavement. Laced within each fare is an illumination of humanity’s intimate music, of the poet’s inner journey—a signaling at each crossroad of our frailty and effervescence. This is a guidebook toward a soundscape of higher meaning, with the gridded Manhattan streets as a scoring field. Jump in the back and dig the silence between the notes that count the most in each unique moment this poet brings to the page. “Sean Singer’s radiant and challenging body of work involves, much like Whitman’s, nothing less than the ongoing interrogation of what a poem is. In this way his books are startlingly alive... I love in this work the sense that I am the grateful recipient of Singer’s jazzy curation as I move from page to page. Today in the Taxi is threaded through with quotes from Kafka, facts about jazz musicians, musings from various thinkers, from a Cathar fragment to Martin Buber to Arthur Eddington to an anonymous comedian. The taxi is at once a real taxi and the microcosm of a world—at times the speaker seems almost like Charon ferrying his passengers, as the nameless from all walks and stages of life step in and out his taxi. I am reminded of Calvino’s Invisible Cities, of Sebald’s The Rings of Saturn... Today in the Taxi is intricate, plain, suggestive, deeply respectful of the reader, and utterly absorbing. Like Honey and Smoke before it, which was one of the best poetry books of the last decade, this is work of the highest order.” —Laurie Sheck
The great Spanish poet Juan Ramón Jiménez, winner of the Nobel Prize for Literature in 1956, was a mystic as will as a poet, and the deep spirituality which infuses so much of his writing makes itself felt with special fervor throughout this remarkable new collection of poems. Composed by Jiménez between the years 1917 to 1920, the works in this grouping vanished mysteriously, only to be rediscovered a half-century later among the author's private papers. Published in Spain for the first time in 1983, they appear now at last in a bilingual edition, the English lovingly rendered by the scholar and poet Antonio T. de Nicolás, and introduced by the Pulitzer Prize-winning poet Louis Simpson. This is a book of verse for the poet in all of us it sings of the invisible realities which we carry in our hearts and which carry us through a life filled with symbols, toil and beauty. Juan Ramón Jiménez, an early twentieth century pioneer in the use of free verse and author of over 70 books has been hailed by The New Republic as not only the dean of Hispanic poets, but the pioneer and the source of all those who wrote in the Spanish tongue after him. Antonio T. de Nicolás is widely known for his translation of the Jiménez classic, Platero and I, which will also be republished through iUniverse.com.
Description of the book: Poetry in the Spanish language is measured according to the number of syllables in each verse, unlike Greek and Latin poetry, which have the foot as a unit of measurement, a combination of short and long syllables the iamb, the simplest combination , is a foot formed by a short and a long syllable). In Latin poetry the verses have been frequently six feet long.
These illuminating essays generally follow the chronology of the twentieth-century Spanish poet Luis Cernuda's creative life, beginning with the poet's early surrealist collections and encompassing his last volume of verse, Desolacion de la quimera (The disconsolate chimera). The select bibliography includes all significant items of Cernuda criticism of the past forty years.