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Winner of a PEN Translation Fund Award: A lyrical, supercharged,
dizzying collection in a unique bilingual format: like two halves
of the walnut, the English text meets the Japanese half way.
"The radiant subway. The wall that clears up, endless. A thundering
prayer of steel that fastens together the days, a brush of cloud
hanging upon it, O beginning, it is there--your nest." Thus the
keynotes of Hiraide's utterly original book-length poem unfold--a
mix of narrative, autobiography, minute scientific observations,
poetics, rhetorical experiments, hyper-realistic images, and
playful linguistic subversions--all scored with the precision of a
mathematical-musical structure.
A poem in conversation with literature and written during a
durational performance. Â Written in loose sonata form, Pink
Waves is a poem of radiant elegy and quiet protest. Moving through
the shifting surfaces of inarticulable loss, and along the edges of
darkness and sadness, Pink Waves was completed in the presence of
audience members over the course of a three-day durational
performance. Sawako Nakayasu accrues lines written in conversation
with Waveform by Amber DiPietro and Denise Leto, and
micro-translations of syntax in the Black Dada Reader by Adam
Pendleton, itself drawn from Ron Silliman’s Ketjak. Pink Waves
holds an amalgamation of texts, constructing a shimmering haunting
of tenderness, hunger, and detritus. Â
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Yi Sang: Selected Works (Paperback)
Yi Sang; Edited by Don Mee Choi; Translated by Jack Jung, Sawako Nakayasu, Don Mee Choi, …
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R690
R585
Discovery Miles 5 850
Save R105 (15%)
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Ships in 10 - 15 working days
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Formally audacious and remarkably compelling, Yi Sang’s works
were uniquely situated amid the literary experiments of world
literature in the early twentieth century and the political
upheaval of 1930s Japanese occupied Korea. While his life ended
prematurely at the age of twenty-seven, Yi Sang’s work endures as
one of the great revolutionary legacies of modern Korean
literature. Presenting the work of the influential Korean modernist
master, this carefully curated selection assembles poems, essays,
and stories that ricochet off convention in a visionary and daring
response to personal and national trauma, reminding us that to
write from the avant-garde is a form of civil disobedience.
In Sawako Nakayasu's first poetry collection in seven years, an
unsettling diaspora of "girls" is deployed as poetic form, as
reclamation of diminutive pseudo-slur, and as characters that take
up residence between the thick border zones of language, culture,
and shifting identity. Written in response to Nakayasu's 2017
return to the US, this maximalist collection invites us to
reexamine our own complicity in reinforcing literary convention.
The book radicalizes notions of "translation" as both process and
product, running a kind of linguistic interference that is
intimate, feminist, and playfully jagged.
Nakayasu's book-length poem uses its tumbling dramatic form to
create a new inquiry into "character," "time," "place," "direction
" and other elements. Lyrical language and personal, engaging
voices take the reader on a dizzying and affecting journey through
a "geography of risk." This wholly original work brings poetry into
regions hitherto explored only by the most experimental forms of
music and plastic arts.
Sawako Nakayasu was born in Yokohama, Japan, and has lived in
the US since the age of six. Her previous pubications include
"Clutch "(Tinfish, 2002), "Balconic "(Duration, 2003), and "Nothing
fictional but accuracy or arrangement (she " (Faux, 2003), and she
edits the press Factorial. In 2003 she received the US-Japan
Creative Artists' Program Fellowship from the NEA.
In Sawako Nakayasu’s first poetry collection in seven years, an
unsettling diaspora of “girls” is deployed as poetic form, as
reclamation of diminutive pseudo-slur, and as characters that take
up residence between the thick border zones of language, culture,
and shifting identity. Written in response to Nakayasu’s 2017
return to the US, this maximalist collection invites us to
reexamine our own complicity in reinforcing literary convention.
The book radicalizes notions of “translation” as both process
and product, running a kind of linguistic interference that is
intimate, feminist, and playfully jagged.
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