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These selected writings of Gottfried Benn or primal visions of the 1920s anticipated in certain ways the positions of such writers today as Beckett and Genet, the French antinovelists and the American Beats.
An extraordinary collection of poetry and prose from the master of German expressionism The first poem in Gottfried Benn's first book, Morgue (1912)—written in an hour, published in a week, and notorious ever after—with its scandalous closing image of an aster sewn into a corpse by a playful medical student, set Benn on the path to celebrity and notoriety. And indeed, mortality, flowers, and powerful aesthetic collisions typify much of his subsequent work. Over the decades, as Benn suffered the vicissitudes of fate (the death of his mother from cancer; the death of his first wife, Edith; his brief attempt to ingratiate himself with the Nazis, followed by their persecution of him; the suicide of his second wife, Herta), the harsh voice of the poems relented and mellowed. His later poetry—from which Impromptus is chiefly drawn, many of the poems translated into English for the first time—is deeply affecting: it reflects the routines and sorrows and meditations of an intelligent, pessimistic, and experienced man. Written in the low, unupholstered monologue of the poet talking to himself, these works are slender ribbons of speech on the naked edge of song and silence. With this collection of poems and essays—edited and translated by the award-winning poet Michael Hofmann—Benn, at long last, promises to attain the presence and importance in the English-speaking world that he so richly deserves.
Gottfried Benn ranks among the most significant German poets of the twentieth century. His early work, with its shockingly graphic depictions of human suffering and degradation, was associated with the Expressionist movement; the overriding theme of his later work was the isolation and fragmentation of the human being adrift in a nihilistic world. David Paisey here presents two selections, of verse and prose respectively, from Benn's large oeuvre, ordered chronologically to enable readers to perceive the developments of Benn's art and thought. The original German text of the poems is also included. In an important biographical introduction, Paisey tackles the difficult question of Benn's compliance with the Nazi regime and its impact on his life and work.
A bilingual edition of one of the most important German poets of the twentieth century This is the most comprehensive English translation of the work of Günter Eich, one of the greatest postwar German poets. The author of the POW poem "Inventory," among one of the most famous lyrics in the German language, Eich was rivaled only by Paul Celan as the leading poet in the generation after Gottfried Benn and Bertolt Brecht. Expertly translated and introduced by Michael Hofmann, this collection gathers eighty poems, many drawn from Eich's later work and most of them translated here for the first time. The volume also includes the original German texts on facing pages. As an early member of "Gruppe 47" (from which Günter Grass and Heinrich Böll later shot to prominence), Eich (1907-72) was at the vanguard of an effort to restore German as a language for poetry after the vitriol, propaganda, and lies of the Third Reich. Short and clear, these are timeless poems in which the ominousness of fairy tales meets the delicacy and suggestiveness of Far Eastern poetry. In his late poems, he writes frequently, movingly, and often wryly of infirmity and illness. "To my mind," Hofmann writes, "there's something in Eich of Paul Klee's pictures: both are homemade, modest in scale, immediately delightful, inventive, cogent." Unjustly neglected in English, Eich finds his ideal translator here.
The setting is Danzig during World War II. The narrator recalls a boyhood scene in which a black cat pounces on his friend Mahlke's "mouse"-his prominent Adam's apple. This incident sets off a wild series of events that ultimately leads to Mahlke's becoming a national hero. Translated by Ralph Manheim. A Helen and Kurt Wolff Book
This book consists of close readings of four poems illustrating Gottfried Benn's developing conception of stillness or stasis: Trunkene Flut (1927), Wer allein ist-- (1936), Statische Gedichte (1944), and Reisen (1950). Mark Roche pays particular attention to the interrelation of form and content, and he uncovers previously overlooked allusions to thinkers such as Aristotle, Seneca, and Meister Eckhart. Benn's supposedly pure poetry of stasis is in reality an expression of opposition to nazi ideology, Roche argues, and should be viewed in the context of inner emigration. Nevertheless, Benn's opposition to nazism unwittingly rests on the same decisionistic foundation as the power positivism he deplores. Benn's well-intentioned critique of nazism is ultimately unsuccessful. The book concludes with a theoretical postscript that suggest ways in which intellectual history could be made productive for literary interpretation and provides arguments in favor of an "aesthetic" analysis attentive to both formal structures and philosophical coherence.
This accessible writer's guide provides a helpful framework for creating poetry and navigates contemporary concerns and practices. Stephen Dobyns, author of the classic book on the beauty of poetry, Best Words, Best Order, moves into new terrain in this remarkable book. Bringing years of experience to bear on issues such as subject matter, the mechanics of poetry, and the revision process, Dobyns explores the complex relationship between writers and their work. From Philip Larkin to Pablo Neruda to William Butler Yeats, every chapter reveals useful lessons in these renowned poets' work. Both enlightening and encouraging, Next Word, Better Word demystifies a subtle art form and shows writers how to overcome obstacles in the creative process.
A new essay collection by the noted Polish poet For Adam Zagajewski—one of Poland’s great poets—the project of writing, whether it be poetry or prose, is an occasion to advance what David Wojahn has characterized as his “restless and quizzical quest for self-knowledge.” Slight Exaggeration is an autobiographical portrait of the poet, arranged not chronologically but with that same luminous quality that distinguishes Zagajewski’s spellbinding poetry—an affinity for the invisible. In a mosaic-like blend of criticism, reflections, European history, and aphoristic musings, Zagajewski tells the stories of his life in glimpses and reveries—from the Second World War and the occupation of Poland that left his family dispossessed to Joseph Brodsky’s funeral on the Venetian island of San Michele—interspersed with intellectual interrogations of the writers and poets (D. H. Lawrence, Giorgos Seferis, Zbigniew Herbert, Paul Valéry), composers and painters (Brahms, Rembrandt), and modern heroes (Helmuth James Graf von Moltke) who have influenced his work. A wry and philosophical defense of mystery, Slight Exaggeration recalls Zagajewski’s poetry in its delicate negotiation between the earthbound and the ethereal, “between brief explosions of meaning and patient wandering through the plains of ordinary days.” With an enduring inclination to marvel, Zagajewski restores the world to us—necessarily incomplete and utterly astonishing.