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This volume builds on recent scholarship on contemporary poetry in
relation to medieval literature, focusing on postmodern poets who
work with the medieval in a variety of ways. Such recent projects
invert or "queer" the usual transactional nature of engagements
with older forms of literature, in which readers are asked to
exchange some small measure of bewilderment at archaic language or
forms for a sense of having experienced a medieval text. The poets
under consideration in this volume demand that readers grapple with
the ways in which we are still "medieval" - in other words, the
ways in which the questions posed by their medieval source material
still reverberate and hold relevance for today's world. They do so
by challenging the primacy of present over past, toppling the
categories of old and new, and suggesting new interpretive
frameworks for contemporary and medieval poetry alike.
David Hadbawnik's astonishing modern translation of the Aeneid
first appeared from Shearsman Books in two volumes, in 2015 and
2021, in both cases with extensive illustrations. We now offer an
un-illustrated, single-volume edition of the whole epic, in a more
affordable format. "David Hadbawnik has made Virgil our guest in
ways that other translators of the Aeneid have not. He has recast
the poem in contemporary verse, in poetic forms that are innovative
and visually compelling. Moreover, he has used form to offer
insight into the action of the epic and into the minds of its
actors. Through Hadbawnik, Virgil speaks in our modern American
idiom." —John Tipton, Chicago Review "...Hadbawnik's ironic wit
brings Virgil's text to life for a contemporary readership even
more impatient than its historic counterpart with the potential
longueurs of traditional epic. [... his] version is fresh,
irreverent, and radical. [...] In sum, this is a startling and
stimulating version of Virgil's great epic for a twenty-first
century readership which will engage student attention and has some
interest for Translation Studies. Its lively irreverence reflects
the way in which classical reception now (at last) feels able to
tackle one of the central texts of Latin and European literature
with up-to-date brio and gusto. Its in-your-face tactics will
surely bring new readers and enthusiasts to the Aeneid, and has
something to say to old ones too." —Stephen Harrison,Translation
and Literature "...the pleasure Hadbawnik derives from Virgil's
Latin provides a lesson in how readers might attend ancient
storytelling from our perspective today. Translation for Hadbawnik
is a site of poetic play and textual investigation, and such an
approach enlivens our ability to listen across time and culture as
a way to better inform our own." —DaleMartin Smith "Few narrative
poems have possessed the Western imagination like Virgil's
twelve-book epic written during Augustus's triumphant consolidation
of the Roman Empire. [...] This volume goes a long way toward
moving the narrative into the hands of contemporary readers,
drawing out a playful understanding of the ancient story while
exhibiting modern preferences for poetic interaction and inquiry
into the history and terms of poetic form and translation.
Hadbawnik shows the fun to be had in language's etymological
resonance, and he delights in scenes of dramatic fulfillment and
failure. His translation distills the essence of the narrative by
directing a reader's perception of the tale." —from Dale Martin
Smith's Introduction, 'The Warrior Agōn'.
A stunning experimental translation of the Old English poem
"Beowulf," over 30 decades old and woefully neglected, by the
contemporary poet Thomas Meyer, who studied with Robert Kelly at
Bard, and emerged from the niche of poets who had been impacted by
the brief moment of cross-pollination between U.K. and U.S.
experimental poetry in the late 1960s and early 1970s, a movement
inspired by Ezra Pound, fueled by interactions among figures like
Ed Dorn, J.H. Prynne, and Basil Bunting, and quickly overshadowed
by the burgeoning Language Writing movement. Meyer's translation --
completed in 1972 but never before published -- is sure to stretch
readers' ideas about what is possible in terms of translating
Anglo-Saxon poetry, as well as provide new insights on the poem
itself. According to John Ashberry, Meyer's translation of this
thousand-year-old poem is a "wonder," and Michael Davidson hails it
as a "major accomplishment" and a "vivid" recreation of this
ancient poem's "modernity."
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