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Aime Cesaire's masterpiece, Notebook of a Return to the Native
Land, is a work of immense cultural significance and beauty. The
long poem was the beginning of Cesaire's quest for negritude, and
it became an anthem of Blacks around the world. With its emphasis
on unusual juxtapositions of object and metaphor, manipulation of
language into puns and neologisms, and rhythm, Cesaire considered
his style a "beneficial madness" that could "break into the
forbidden" and reach the powerful and overlooked aspects of black
culture.
Clayton Eshleman and Annette Smith achieve a laudable adaptation of
Cesaire's work to English by clarifying double meanings, stretching
syntax, and finding equivalent English puns, all while remaining
remarkably true to the French text. Their treatment of the poetry
is marked with imagination, vigor, and accuracy that will clarify
difficulties for those already familiar with French, and make the
work accessible to those who are not. Andre Breton's introduction,
A Great Black Poet, situates the text and provides a moving tribute
to Cesaire.
Notebook of a Return to the Native Land is recommended for readers
in comparative literature, post-colonial literature, African
American studies, poetry, modernism, and French.
The first bilingual edition of this radically original work Aimé
Césaire's masterpiece, Notebook of a Return to the Native Land, is
a work of immense cultural significance and beauty. This long poem
was the beginning of Césaire's quest for négritude, and it became
an anthem of Blacks around the world. Commentary on Césaire's work
has often focused on its Cold War and anticolonialist
rhetoric—material that Césaire only added in 1956. The original
1939 version of the poem, given here in French, and in its first
English translation, reveals a work that is both spiritual and
cultural in structure, tone, and thrust. This Wesleyan edition
includes the original illustrations by Wifredo Lam, and an
introduction, notes, and chronology by A. James Arnold.
Following his release from the Rodez asylum, Antonin Artaud decided
he wanted his new work to connect with a vast public audience, and
he chose to record radio broadcasts in order to carry through that
aim. That determination led him to his most experimental and
incendiary project, To Have Done with the Judgement of God,
1947-48, in which he attempted to create a new language of texts,
screams, and cacophonies: a language designed to be heard by
millions, aimed, as Artaud said, for "road-menders." In the
broadcast, he interrogated corporeality and introduced the idea of
the "body without organs," crucial to the later work of Deleuze and
Guattari. The broadcast, commissioned by the French national radio
station, was banned shortly before its planned transmission, much
to Artaud's fury. This volume collects all of the texts for To Have
Done with the Judgement of God, together with several of the
letters Artaud wrote to friends and enemies in the short period
between his work's censorship and his death. Also included is the
text of an earlier broadcast from 1946, Madness and Black Magic,
written as a manifesto prefiguring his subsequent broadcast.
Clayton Eshleman's extraordinary translations of the broadcasts
activate these works in their extreme provocation.
The definitive edition of the complete work of a master Caribbean
poet The Complete Poetry of Aimé Césaire gathers all of Cesaire's
celebrated verse into one bilingual edition. The French portion is
comprised of newly established first editions of Césaire's poetic
ouvre made available in French in 2014 under the title Poésie,
Théâtre, Essais et Discours, edited by A. J. Arnold and an
international team of specialists. To prepare the English
translations, the translators started afresh from this French
edition. Included here are translations of first editions of the
poet's early work, prior to political interventions in the texts
after 1955, revealing a new understanding of Cesaire's aesthetic
and political trajectory. A truly comprehensive picture of
Cesaire's poetry and poetics is made possible thanks to a thorough
set of notes covering variants, historical and cultural references,
and recurring figures and structures, a scholarly introduction and
a glossary. This book provides a new cornerstone for readers and
scholars in 20th century poetry, African diasporic literature, and
postcolonial studies.
"Here Lies" preceded by "The Indian Culture" collects two of
Antonin Artaud's foremost poetic works from the last period of his
life. He wrote both works soon after his release from the
psychiatric hospital of Rodez and his return to Paris, and they
were published during the flurry of intensive activity and protests
against his work's censorship. The Indian Culture is the first and
most ambitious work of Artaud's last period. It deals with his
travels in Mexico in 1936 where Artaud sets aside his usual
preoccupations with peyote and the Tarahumara people's sorcerers to
directly anatomize his obsessions with gods, corporeality, and
sexuality. Here Lies is Artaud's final declaration of autonomy for
his own body from its birth to its imminent death, won at the cost
of multiple battles against the infiltrating powers amassed to
steal that birth and death away from him. Both works demonstrate
Artaud's final poetry as a unique amalgam of delicate linguistic
invention and ferociously obscene invective. "Here Lies" preceded
by "The Indian Culture" was translated by the award-winning
translator Clayton Eshleman, widely seen as the preeminent
translator into English of Artaud's work, with its profound
intensity and multiply nuanced language. For the first time since
its first publication, this bilingual edition presents the two
works in one volume, as Artaud originally intended. This edition
also features a contextual afterword by Stephen Barber as well as
new material, previously untranslated into English.
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Pollen Aria (Paperback)
Clayton Eshleman
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R364
R321
Discovery Miles 3 210
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The Translation judges for the National Book Awards--Richard
Miller, Alastair Reid, Eliot Weinberger--cited Clayton Eshleman and
Jose Rubia Barcia's translation of Cesar Vallejo's The Complete
Posthumous Poetry as follows: "This, the first National Book Award
to be given to a translation of modern poetry, is a recognition of
Clayton Eshleman's seventeen-year apprenticeship to perhaps the
most difficult poetry in the Spanish language. Eshleman and his
present collaborator, Jose Rubia Barcia, have not only rendered
these complex poems into brilliant and living English, but have
also established a definitive Spanish test based on Vallejo's
densely rewritten manuscripts. In recreating this modern master in
English, they have also made a considerable addition to poetry in
our language."
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The Collected Poetry (Paperback, Revised)
Aime Cesaire; Translated by Clayton Eshleman, Annette J. Smith; Introduction by Clayton Eshleman, Annette J. Smith
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R1,111
Discovery Miles 11 110
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This edition, containing an extensive introduction, notes, the
French original, and a new translation of Cesaire's poetry - the
complex and challenging later works as well as the famous Notebook
- will remain the definitive Cesaire in English.
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Companion Spider (Paperback)
Clayton Eshleman; Contributions by Adrienne Rich
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R712
R636
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Companion Spider is the accumulated work of a poet and translator
who goes more deeply into the art and its process and demands than
anyone since Robert Duncan. Clayton Eshleman is one of our most
admired and controversial poets, the translator of such great
international poets as Cesar Vallejo, Aime Cesaire and Antonin
Artaud, and founder and editor of two important literary magazines,
Sulfur and Caterpillar. As such, Eshleman writes about the vocation
of poet and of the poet as translator as no one else in America
today; he believes adamantly that art must concern itself with
vision, and that poets learn best by an apprenticeship that is a
kind of immersion in the work of other poets.
Companion Spider opens with a unique eighty page essay called
"Novices: A Study of Poetic Apprenticeship" addressed to the poet
who is just starting out. Subsequent sections take up the art of
translation, poets and their work, and literary magazine editing.
The title is drawn from an extraordinary visionary experience which
the author had, which becomes a potent metaphor for the creative
process. Through the variety of poets and artists to whom he pays
homage, Eshleman suggests a community which is not of a single
place or time; rather, there is mutual recognition and
responsiveness, so that the reader becomes aware of a range of
artistic practices s/he might explore
Aime Cesaire has been described by the Times Literary Supplement as
likely to "figure alongside the Eliot-Pound-Yeats triumvirate that
has dominated official poetic culture for more than fifty years".
He was a cofounder and exponent of the concept of negritude and is
a major spiritual, political, and literary figure.
Cesaire has been read politically as a poet of revolutionary
zeal since the 1960s. This collection, the only one in existence in
any language to give a truly comprehensive retrospective of
Cesaire's poetic production, demonstrates the narrowness of earlier
readings that grew out of the climate of Black Power influenced by
the essays of Frantz Fanon, another Martinican, who was largely
responsible for the ambient view of Csaire a generation ago. It is
the first collection to translate And the Dogs Were Silent and i,
laminaria...
Lyric and Dramatic Poetry, 1946-82 goes beyond anything else in
print (in French or in English) in that it locates the issues of
Cesaire's struggle with an emerging postmodern vision. It will
place Cesaire in a strategic position in the current debate in the
U.S. over emergent literature and will show him to be a major
figure in the conflict between tradition and contemporary cultural
identity.
This first translation of the complete poetry of Peruvian Cesar
Vallejo (1892-1938) makes available to English speakers one of the
greatest achievements of twentieth-century world poetry. Handsomely
presented in facing-page Spanish and English, this volume,
translated by National Book Award winner Clayton Eshleman, includes
the groundbreaking collections "The Black Heralds "(1918), "Trilce
"(1922), "Human Poems "(1939), and "Spain, Take This Cup from Me
"(1939).
Vallejo's poetry takes the Spanish language to an unprecedented
level of emotional rawness and stretches its grammatical
possibilities. Striking against theology with the very rhetoric of
the Christian faith, Vallejo's is a tragic vision--perhaps the only
one in the canon of Spanish-language literature--in which salvation
and sin are one and the same. This edition includes notes on the
translation and a fascinating translation memoir that traces
Eshleman's long relationship with Vallejo's poetry. An introduction
and chronology provide further insights into Vallejo's life and
work.
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