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This is the essential English edition of the complete poems of the
eminent Japanese master of the haiku, Matsuo BashÅ. Â Matsuo
BashÅ (1644â1694) is arguably the greatest figure in the history
of Japanese literature and the master of the haiku. BashÅ: The
Complete Haiku of Matsuo BashŠoffers in English a full
picture of the haiku of BashÅ, 980 poems in all. Andrew
Fitzsimonsâ translation is the first to adhere strictly to form:
all of the poems are translated following the syllabic count of the
originals. This book also translates a number of BashÅâs
headnotes to poems ignored by previous English-language
translators. Â In Fitzsimonsâ beautiful rendering, BashÅ
is much more than a philosopher of the natural world and the
leading exponent of a refined Japanese sensibility. He is also a
poet of queer love and eroticism; of the city as well as the
country, the indoors and the outdoors, travel and staying put; of
lonesomeness as well as the desire to be alone. His poetry explores
the full range of social experience in Edo Japan as he moved among
friends and followers high and low, the elite and the demi-monde,
the less fortunate: poor farmers, abandoned children, disregarded
elders. BashÅ: The Complete Haiku of Matsuo BashÅ reveals how
this work speaks to our concerns today as much as it captures a
Japan emerging from the Middle Ages. For dedicated scholars and
those coming upon BashÅ for the first time, Fitzsimonsâ elegant
translationâwith an insightful introduction and helpful
notesâallows readers to enjoy these works in all their glory.
Â
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The Sunken Keep (Paperback)
Giuseppe Ungaretti, Andrew Fitzsimons; Illustrated by Sergio Maria Calatroni
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R488
Discovery Miles 4 880
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Ships in 10 - 15 working days
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Considered to be one of the most inventive of the contemporary
Irish poets, Thomas Kinsella is credited with bringing modernism to
Irish verse. Kinsella uses sensitive language to deal with primal
aspects of the human experience. His early writing, "Poems" (1956)
and "Another September" (1958) established him as a new voice in
Irish poetry. The peak of Kinsella's success came with the founding
of the Peppercanister Press and the publication of "Butcher's
Dozen" in 1972.Despite such early successes, however, Kinsella
seems to have faded into the background of the Irish poetic stage.
In "The Sea of Disappointment", Andrew Fitzsimons offers us a
chronological journey through the structural and thematic
development of Kinsella's poetic writing.Fitzsimons demonstrates
that Kinsella has had a career that has risen to a high public
profile where he followed conventional stanzaic forms, to a
position where he began to reject inherited forms and thus began a
gradual critical disengagement from his work. We see in the early
chapters that isolation, quintessentially part of the modern
condition, is a theme that is regularly touched upon by the poet
and further developed in relation to the Irish condition.
Disappointment also pervades Kinsella's poetry. Although Fitzsimons
emphasises the importance of the context of Kinsella's dismal
upbringing in 1940s/50s Ireland, he avoids reducing his poetry down
to a mere response to the poet's social and historical background,
and thus he manages to maintain a sense of the irreducible
integrity of his poetry.This well-researched and comprehensive book
draws on illuminating manuscript sources and previously unpublished
material as well as on Kinsella's own assistance. Considering
Kinsella's work from its beginnings until his most recent
publications Fitzsimons shows that his poetry is driven, despite
the apparent rift between its early and late styles, by a
consistent impulse and deliberate aesthetic of growth. "The Sea of
Disappointment" will offer a fresh insight into the poetic work of
one of the most innovative poets of contemporary Ireland.
Considered to be one of the most inventive of the contemporary
Irish poets, Thomas Kinsella is credited with bringing modernism to
Irish verse. Kinsella uses sensitive language to deal with primal
aspects of the human experience. His early writing, "Poems" (1956)
and "Another September" (1958) established him as a new voice in
Irish poetry. The peak of Kinsella's success came with the founding
of the Peppercanister Press and the publication of "Butcher's
Dozen" in 1972.Despite such early successes, however, Kinsella
seems to have faded into the background of the Irish poetic stage.
In "The Sea of Disappointment", Andrew Fitzsimons offers us a
chronological journey through the structural and thematic
development of Kinsella's poetic writing.Fitzsimons demonstrates
that Kinsella has had a career that has risen to a high public
profile where he followed conventional stanzaic forms, to a
position where he began to reject inherited forms and thus began a
gradual critical disengagement from his work. We see in the early
chapters that isolation, quintessentially part of the modern
condition, is a theme that is regularly touched upon by the poet
and further developed in relation to the Irish condition.
Disappointment also pervades Kinsella's poetry. Although Fitzsimons
emphasises the importance of the context of Kinsella's dismal
upbringing in 1940s/50s Ireland, he avoids reducing his poetry down
to a mere response to the poet's social and historical background,
and thus he manages to maintain a sense of the irreducible
integrity of his poetry.This well-researched and comprehensive book
draws on illuminating manuscript sources and previously unpublished
material as well as on Kinsella's own assistance. Considering
Kinsella's work from its beginnings until his most recent
publications Fitzsimons shows that his poetry is driven, despite
the apparent rift between its early and late styles, by a
consistent impulse and deliberate aesthetic of growth. "The Sea of
Disappointment" will offer a fresh insight into the poetic work of
one of the most innovative poets of contemporary Ireland.
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A Fire in the Head (Paperback)
Andrew Fitzsimons; Translated by Nobuaki Tochigi, Mitsuko Ohno
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R406
Discovery Miles 4 060
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Ships in 10 - 15 working days
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A Fire in the Head contains two complementary works, both of which
emerged out of the aftermath of the March 2011 earthquake in
Japan.The title poem-sequence takes the 5-7-5 form of the haiku to
create an accumulating narrative of life adjusting to altered
circumstance. The essay 'What Are Poets For?. . .' explores the
efficacy of art when confronted with calamity, and from within the
experience of the catastrophic events offers a response to the
question: in a time of need, what use is a poem? ("In these
three-line poems, Andrew Fitzsimons has captured what Basho called
'the revelatory light of things'." Mutsuo Takahashi) "Among those
who have taken on the challenge of writing about Japan's triple
catastrophe, none has done so with greater intensity or economy
than Andrew Fitzsimons. Gently, indirectly, in a sequence of bright
flashes, his haiku sequence illuminates that unforgettable period
when the vocabulary of radioactive contamination entered the
language of everyday life and when Japanese could no longer trust
the ground beneath their feet. His essay, 'What Are Poets For? ...'
makes spine-tingling literary connections with other moments of
'unrelievable, directionless despair', and celebrates, as Yeats
did, the 'bright energy required for the necessary task of
renewal'." (Richard Lloyd Parry) "Andrew Fitzsimons's A Fire in the
Head is a marvelous, elegiac sequence, conceived in the aftermath
of the Great East Japan Earthquake. With beautiful drawings by
Sergio Maria Calatroni, it is an intimate, universal, poised and
skillful confirmation of poetic craft and duty. (Gerard Fanning)
"These haiku register with a rare compassion and clarity shifts
that are seismic as well as intimate. Their economy belongs as much
to perception as to form." (Jamie MacKendrick)
The Tsurezuregusa is a collection of wise, witty, compassionate
and, occasionally, cranky ruminations on the business of living by
the monk, Kenko (c1283-c1350). The poems in What the Sky Arranges
speak in a voice and tell of things derived from Kenko: reading,
travel, good and bad taste, exile, art, art bores, technophobia,
scandal, sex, gardening, game theory, graveyards, friendship,
death, the moon . . . "Tender, philosophical, disabused, these
poems are a putting in order of 'the business of life'. Worked from
The Tsurezuregusa of Kenko they are wide-awake, alert, moving from
joy to disgruntlement, from bleak advice to quiet celebration: the
kind of poetry that gets written in the early hours of the morning
when the poet remembers the dates on gravestones. The poetry is in
the detail, the things that are all too easy to miss (maple leaves,
wisteria, 'morning glories on a low fence, / not too high, and not
too many', the waxing and waning moon, 'what the sky arranges'),
and equally in the subtle music of Andrew Fitzsimons' language."
(Peter Sirr) "A truly wonderful sequence of poems, combining a
lightness of touch with great depth and resonance, and one to be
enjoyed in the words of the work itself 'under the lamp alone / a
book spread out before you: bliss'. Absolute bliss, indeed." (David
Peace) "These poems are really stunning: shafts of truth,
beautifully crafted. The way they link Eastern and Western
traditions of precision and eloquence is magical." (Bernard
O'Donoghue) "Gently witty, wise, finely phrased variations on
Kenko's themes. A pleasure to read and reflect on." (Royall Tyler)
The thirty poems are complemented by nine striking drawings by the
well-known Italian artist, photographer and designer, Sergio Maria
Calatroni, now resident in Tokyo.
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