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Collects poems by a leading member of the Black Mountain movement, written between 1949 and 1971
It was out of medieval Provence—Proensa—that the ethos of courtly love emerged, and it was in the poetry of the Provençal troubadours that it found its perfect expression. Their poetry was also a central inspiration for Dante and his Italian contemporaries, propagators of the modern vernacular lyric, and seven centuries later it was no less important to the modernist Ezra Pound. These poems, a source to which poetry has returned again and again in search of renewal, are subtle, startling, earthy, erotic, and supremely musical. The poet Paul Blackburn studied and translated the troubadours for twenty years, and the result of that long commitment is Proensa, an anthology of thirty poets of the eleventh through thirteenth centuries, which has since established itself not only as a powerful and faithful work of translation but as a work of poetry in its own right. Blackburn’s Proensa, George Economou writes, “will take its place among Gavin Douglas’ Aeneid, Golding’s Metamorphoses, the Homer of Chapman, Pope, and Lattimore, Waley’s Japanese, and Pound’s Chinese, Italian, and Old English.”
Contains almost 200 collected poems in both Spanish and English.
"The growth of the work of Octavio Paz," writes Muriel Rukeyser in her preface to this bilingual selection of the Mexican poet's Early Poems, "has made clear to an audience in many languages what was evident from the beginning ... he is a great poet, a world-poet whom we need. The poems here speak--as does all his work since--deeply, erotically, with grave and passionate involvement." In this, a much revised edition of the earlier Selected Poems (Indiana University Press, 1963), Miss Rukeyser has joined to her own translations those of Paul Blackburn, Lysander Kemp, Denise Levertov, and William Carlos Williams, while many of the readings embody Paz's own revisions of the original texts. The poems were chosen from eight separate collections, among them Condición de nube ("Phase of Cloud"), Semillas para un himno ("Seeds for a Psalm"), Piedras sueltas ("Riprap"), and Estación violenta ("Violent Season").
America’s most provocative intellectual brings her blazing powers of analysis to the most famous poems of the Western tradition—and unearths some previously obscure verses worthy of a place in our canon. Combining close reading with a panoramic breadth of learning, Camille Paglia sharpens our understanding of poems we thought we knew, from Shakespeare to Dickinson to Plath, and makes a case for including in the canon works by Paul Blackburn, Wanda Coleman, Chuck Wachtel, Rochelle Kraut—and even Joni Mitchell. Daring, riveting, and beautifully written, Break, Blow, Burn is a modern classic that excites even seasoned poetry lovers—and continues to create generations of new ones.
Octavio Paz, the 1990 Nobel Laureate, has won distinction as an anthropologist, philosopher and critic of art and literature. But it is as a poet that he is most celebrated. Configurations was his first major collection to be published in this country, and includes in their entirety Sun Stone (1957) and Blanco (1967). Paz himself translated many of the poems from the Spanish. Some distinguished contributors to this bilingual edition include, among others, Paul Blackburn, Lysander Kemp, Denise Levertov, and Muriel Rukeyser.
Together with its accompanying CD, this text captures the excitement of the vibrant, irreverent poetry scene of New York's Lower East Side in the 1960s. The text draws from personal interviews with many of the participants, from unpublished letters and from rare sound recordings.
Sonia Sanchez is a prolific, award-winning poet and one of the most prominent writers in the Black Arts movement. This collection brings her plays together in one volume for the first time. Like her poetry, Sanchez’s plays voice her critique of the racism and sexism that she encountered as a young female writer in the black militant community in the late 1960s and early 1970s, her ongoing concern with the well-being of the black community, and her commitment to social justice. In addition to The Bronx Is Next (1968), Sister Son/ji (1969), Dirty Hearts (1971), Malcolm/Man Don’t Live Here No Mo (1972), and Uh, Uh; But How Do It Free Us? (1974), this collection includes the never-before-published dramas I’m Black When I’m Singing, I’m Blue When I Ain’t (1982) and 2 X 2 (2009), as well as three essays in which Sanchez reflects on her art and activism. Jacqueline Wood’s introduction illuminates Sanchez’s stagecraft in relation to her poetry and advocacy for social change, and the feminist dramatic voice in black revolutionary art.