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This selected edition presents an overview of all of Huidobro's
work, from 1914 until 1948, when his final, posthumous volume was
published. moving from the early symbolist work, though the high
avant-garde phase towards the end of the First World War, then
through the phase of Altazor and Temblor de cielo (Skyquake), the
highpoint of his career (both published 1931), and on into the
quieter late poetry which synthesises the previous work and settles
down into a post-vanguard style. Also includes manifestos and
interviews.
In 1925, Fernando Pessoa wrote a guidebook to Lisbon for
English-speaking visitors, and wrote it in English. The typescript
was only discovered amongst his papers long after his death, but
has not hitherto been made available in the UK or the USA. The book
is fascinating in that it shows us Pessoa's view of his native city
- and Pessoa, as an adult, rarely left Lisbon, and it figures large
in his poetry. The book can still be useful to visitors today,
given that the majority of the sights described are still to be
found. A fascinating scrap from the master's table....
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Shearsman 135 / 136
Tony Frazer
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R433
R374
Discovery Miles 3 740
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The first double issue of Shearsman magazine for 2023 features
poetry by Martin Anderson, Nora Blascsok, Melissa Buckheit, Stuart
Cooke, Carrie Etter, Amy Evans Bauer, Alec Finlay, Amlanjyoti
Goswami, Daniel Hinds, Emily Tristan Jones, Norman Jope, Kenny
Knight, Mary Leader, Rob Mackenzie, James McLaughlin, Eliza
O'Toole, Michelle Penn, Sophia Nugent-Siegal, Peter Robinson, Jaime
Robles, Maurice Scully, Aidan Semmens, Nathan Shepherdson, Maria
Stasiak, Cole Swensen, G.C. Waldrep, Carl Walsh and Petra White,
plus translations of Anna Akhmatova (by Stephen Capus) and of
Merece Rodoreda (by Rebecca Simpson).
The first double-issue of Shearsman magazine for 2022, and features
poetry by Tim Allen, Kate Ashton, Isobel Armstrong, Carmen Bugan,
Jonathan Catherall, Wendy Clayton, Tom Cowin, Claire Crowther,
Julian Dobson, Katy Evans-Bush, Amlanjyoti Goswami, Lynne
Hjelmgaard, Penny Hope, Eluned Jones, Fiona Larkin, Mary Leader, DS
Maolailai, James McGonigal, James McLaughlin, Deborah Moffatt, Mark
Russell, Tim Scott, Robert Sheppard, Rufus Talks, Rimas Uzgiris,
Ann Vickery, Margaret Ann Wadleigh, Polly Walshe, Fiona Wilson,
Elzbieta Wojcik-Leese; and translations of Max Jacob (by Ian Seed),
Denis Rigal (by David Banks) and Mario de Sa-Carneiro (by Chris
Daniels).
The Chilean poet Vicente Huidobro (1893–1948) is one of the most
important figures in 20th-century Hispanic poetry and one of its
pioneering avant-gardists. Originally from an aristocratic Santiago
family of landowners and winemakers, Huidobro was fortunate to have
the means to support himself and his family while he found his
artistic way. After an early phase writing in a quasi-symbolist
style in his native city, he moved to Paris and threw himself into
the local artistic scene with a passion, quickly publishing several
collections in 1917–18, and then a selected poems in French in
1921. Influenced initially by Apollinaire, Huidobro befriended
forward-looking French writers such as Reverdy and Cocteau, as well
as the artists, such as Picasso, who were then revolutionising
painting and sculpture in the city. He was to reach his artistic
maturity in 1931 with the publication of two master-pieces: the
long poem, Altazor, and the book-length prose-poem Temblor de cielo
(Skyquake). Two further original collections and an extensive
Selected followed during his lifetime, all published in Santiago.
While he also published successful novels and plays, it is for his
poetry that he is best remembered today. With his impetuous love
life, his political posturing, his often miscalculated attempts to
bestride the public stage in Chile, Spain and France, not to
mention an unparalleled ability to make enemies, Huidobro makes a
fine subject for a biography. Volodia Teitelboim’s
impressionistic biography of Huidobro was first published to
coincide with the centenary of the poet’s birth in 1993, and has
the advantage of being written by someone who actually knew him,
and many of the other significant figures in Chilean poetry of the
1930s and later. As the author relates in the course of the book,
he started out as, and remained, an admirer of the poet’s work,
but he is commendably clear about Huidobro’s personal faults –
and about the causes of the breakdown in his own relationship with
him. He was to reach his artistic maturity in 1931 with the
publication of two masterpieces: the long poem, Altazor, and the
book-length prose-poem Temblor de cielo (Skyquake). Two further
original collections and an extensive Selected followed during his
lifetime, all published in Santiago. While he also published
successful novels and plays, it is for his poetry that he is best
remembered today. Volodia Teitelboim's impressionistic biography of
Huidobro was first published to coincide with the poet's centenary
in 1993, and has the advantage of being written by someone who
actually knew him, and many of the other significant figures in
Chilean poetry of the 1930s and later. As the author relates in the
course of the book, he started out as, and remained, a fan of the
poet's work, but he is commendably clear about Huidobro's many
personal faults - and about the causes of the breakdown in his own
relationship with him.
The Chilean poet Vicente Huidobro (1893-1948) is one of the most
important figures in 20th-century Hispanic poetry and, with Cesar
Vallejo, one of the pioneering avant-gardists in Spanish.
Originally from an upper-class Santiago family, Huidobro was
fortunate to have the means to support himself and his family while
he found his artistic way. After an early phase writing in a
quasi-symbolist style in his native city, he moved to Paris and
threw himself into the local artistic milieu with a passion,
quickly becoming a notable figure, publishing a large number of
books in the period 1917-1925. Influenced initially by Apollinaire,
Huidobro quickly befriended both forward-looking French writers
such as Reverdy, Cocteau and Radiguet, and the Spanish expatriate
artists, including Picasso and Juan Gris. He reached his poetic
maturity in 1931 with the publication of two masterpieces: the long
poem, Altazor, and the book-length prose-poem Temblor de cielo
(Skyquake). Two further collections would follow during his
lifetime, both published in Santiago in 1941. While he also
published successful novels and plays, it is for his poetry that he
is best remembered today. El ciudadano del olvido was published in
Santiago in 1941, as one of a pair of volumes that summed up
Huidobro's shorter poems from the mid-1920s to the late 1930s. The
two books show the author as a quieter figure, more mature, but
somewhat ground down by misfortune - he had been forced by economic
circumstances to return to Chile in the early 1930s, and was
subsequently distressed by his lack of recognition in his homeland,
by the rise of Fascism in the 1930s, by the fall of France in 1940,
and by the collapse of his second marriage. The book contains some
of his finest individual poems, less creationist than his previous
efforts, and somewhat more surrealist than he would no doubt have
cared to admit. The book and its companion, Ver y palpar
(forthcoming in this series) are vital to an understanding of the
range and complexity of Huidobro's poetic achievement.
The first double-issue of Shearsman magazine for 2020 contains
poetry by Martin Anderson, Sarah Barnsley, James Bell, Katherine
Collins, Jennifer K. Dick, Mark Dickinson, Carrie Etter, Amlanjyoti
Goswami, Ralph Hawkins, Chris Holdaway, Gad Hollander, Andrew
Jordan, Lisa Kelly, Mary Leader, Rosanna Licari, Abegail Morley,
Simon Perchik, Meghan Purvis, Peter Robinson, David Rushmer, Nathan
Shepherdson, Jennifer Spector, Matthew Stoppard, Jasmine Dreame
Wagner, G.C. Waldrep, plus translations of Ivano Fermini, Vaiva
GrainytÄ— & KÄ™stutis Navakas, VÃctor Manuel Mendiola, and
Celia Parra by Timothy Adès, Ian Seed, Rimas Uzgiris, and Patrick
Loughnane, respectively.
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Adam (Paperback)
Vicente Huidobro; Translated by Tony Frazer
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R461
R399
Discovery Miles 3 990
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Adam, published in 1916, is Huidobro's earliest mature work and his
first attempt at free verse. While still full of rhetorical
gestures from his previous symbolist (or modernista) style, heavily
influenced by Ruben Dario, the book shows the author moving into
very new territory, if at this stage not fully able to cast off his
previous allegiances. It is fair to say that the book would today
be forgotten, were it not for the author's spectacular later
career, but it retains some interest as a transitional volume,
albeit not as much as that demonstrated by El espejo de agua (The
Water Mirror), also first published in 1916, but written after
Adam. Adam is a young man's book, embarrassingly so at times, as
the author proudly sets out his stall, but it represents a major
leap forward. With his claim to Emersonian influence, his dismissal
of traditional Hispanophone poetry in the Preface, and that
typically outrageous tone-one we will meet many times in his later
works, where he shouts from the rooftops, "Look at me!", and lays
into his perceived enemies-it's hard to ignore the fact that
Huidobro was all of 21 when he began this poem. The sins of youth,
indeed.
The first double-issue of Shearsman magazine for 2021. Poetry by
Charlotte Baldwin, Linda Black, Melissa Buckheit , Charlotte
Baldwin, Susan Connolly, Harriet Cooper-Smithson, Claire Crowther,
Amy Crutchfield, Jane Frank, Amlanjyoti Goswami, Christopher
Gutkind, Mandy Haggith, Jeremy Hooker, David Johnson, Norman Jope,
L Kiew, Peter Larkin, Mary Leader, Carola Luther , Robin Fulton
Macpherson, Olivia McCannon, Peter Robinson, David Rushmer, Maurice
Scully, Aidan Semmens, Lucy Sheerman, Hannah Cooper Smithson,
Agnieszka Studzińska, Scott Thurston, Anannya Uberoi, John Welch,
Petra White, Tamar Yoseloff & translations of Marta Agudo (by
Lawrence Schimel), Kjell Espmark (by Robin Fulton Macpherson),
Kinga Tóth (by Annie Rutherford) & Virgil (by David
Hadbawnik). With this issue, Shearsman magazine marks 40 years of
publication.
In 1931, while on holiday in Arcachon, Huidobro and the
Franco-German artist and writer, Hans (Jean) Arp together
wrote Tres novelas exemplares (Three Exemplary Novels
— no doubt a reference to the Exemplary Novels by
Cervantes, to which of course they bear no resemblance at all), a
set of wild quasi-surrealist "stories". In 1935, Huidobro — once
again living in Chile — offered the set to a publisher in
Santiago, but was told that the book was too short. Accordingly he
wrote two further stories on his own, and the whole volume was
titled Tres inmensas novelas. Which are therefore, not three,
not huge and not novels. This volume offers all five stories in a
bilingual format, and the cover is almost a copy of the
one used in the first edition.
In 1928, shortly after his marriage to Ximena Amunategui, and after
meeting the actor Douglas Fairbanks, who expressed interest in the
possibility of a new swashbuckler, Huidobro began writing his
version of the Cid legend as a novel. The result is a highly
readable, if slightly arch, version of the story, that casts aside
the style of romantic 19th-century historical fiction in favour of
more modern approaches and cinematic influences. Style aside, the
book can be read a straightforward tale of adventure that sits
happily alongside the 1961 epic movie that starred Charlton Heston
and Sophia Loren and had thousands of extras. More than one line of
the script for that movie sounds as if lifted from Huidobro's
novel. The translation by Wells appeared quickly, under the title
Portrait of a Paladin in 1931, in both London and New York, and
this reprint offers the original version with only some minor
edits, together with a new afterword and an extensive glossary to
aid with figures, both legendary and genuine, from Old Spain.
The second double-issue of Shearsman magazine for 2020
includes poetry by Kate Ashton, Richard Berengarten, Guy Birchard,
Daragh Breen, Susie Campbell, Makyla Curtis, Jodie Dalgliesh, Giles
Goodland, Mark Goodwin, Lucy Hamilton, Kit Hanafin, Jill Jones,
John Levy, Julie Maclean, Andrea Moorhead, Diane Mulholland, Luke
Palmer, Alexandria Peary, John Phillips, Hannah Star Rogers, Paul
Rossiter, Jaya Savige, David Sergeant, Simon Smith, Tupa Snyder,
Maria Stasiak, Janet Sutherland, Helen Tookey, Denni Turp, Nadira
Wallace, Sarah Watkinson, Charles Wilkinson, Judith Willson,
Elżbieta Wójcik-Leese, plus translations of Sylvie Marie (from
Flemish) by Richard Berengarten.
The second double-issue of Shearsman for 2019 features poetry by
Clark Allison, Annemarie Austin, Benjamin Balint, Miranda Lynn
Barnes, Alison Brackenbury, Rachael Clyne, Andrew Duncan, Chris
Emery, Gerrie Fellows, Adam Flint, Mark Goodwin, Lucy Hamilton,
Jeri Onitskansky, Alasdair Paterson, John Phillips, Paul Rossiter,
Alexandra Sashe, Kate Schmitt, John Seed, Robert Sheppard, Maria
Stadnicka, Andrew Taylor, James Turner, Rimas Uzgiris, Rushika Wick
and Tamar Yoseloff & translations of Greta AmbrazaitÄ— by Rimas
Uzgiris and Toon Tellegen by Judith Wilkinson.
Huidobro published Horizon carre in Paris in 1917), and quickly
followed it with Tour Eiffel (in French and Spanish; Madrid, 1918),
Hallali (in French; Madrid, 1918); Ecuatorial (in Spanish; Madrid,
1918), Poemas articos, likewise published in Spanish in Madrid, and
El espejo de agua, a Spanish-language volume from 1916, reissued in
Madrid in 1918. Horizon carre is heavily influenced by the work of
Guillaume Apollinaire and marks Huidobro's definitive arrival on
the avant-garde scene in Paris, even if-it has to be said-the
volume is derivative. Huidobro's French was good even before he
arrived in Paris: he had been educated well in Santiago, but this
would not have prepared him for the linguistic and intellectual
ferment he would find upon arrival in the main seat of the
international avant-garde. Many of his early French-language
manuscripts show signs of corrections by his friends at the
time-the French poet, Pierre Reverdy and the Spanish artist,
Picabia, both being among them.
The prose-poem Temblor de cielo is more apparently unified work
than its companion, Altazor, although this might owe more to its
style of delivery: an ecstatic outpouring of words that largely
revolve around the themes of love, sex and death. The Isolde to
whom much of the poem is addressed is an idealised feminine
figure-part goddess, part idealised beloved, part Isolde from
Wagner's opera (another ecstatic outpouring on the theme of love,
sex and death) and part Ximena Amunategui, the young woman who had
become the poet's second wife. I tend to think that the central
impetus for the work is an erotic storm occasioned by the second
Mrs Huidobro, notwithstanding the artistic fusion with the other
elements mentioned above. The poem is also a sustained lyric
effusion of a kind that Huidobro had never produced before, and it
marks the point at which his work moves on from the barnstorming
avant-garderie of his younger years to a more mature style, albeit
one influenced by surrealism, a movement which Huidobro had
previously attacked. It is also the last time that Huidobro was to
adopt the god-like narrative persona that occurs in his earlier
work. In Temblor, as in some earlier works, God is conflated with
the poet-creator, as he is in Altazor, where the opening lines
reflect the opening of a love-poem addressed to Ximena that the
author published (to great scandal) in the Santiago newspaper, La
Nacion: "Naci a los treinta y tres anos, el dia de la muerte de
Cristo" [I was born at the age of thirty three, on the day Christ
died]. (It should be noted that the author was 33 when he first met
Ximena, which gives the imagery another dimension.)
The first double-issue of Shearsman magazine for 2019. Contains
poetry by Michael Aiken, Jonathan Catherall, Claire Crowther, Cathy
Dreyer, Kerry Featherstone, Adam Flint, Amlanjyoti Goswami, Norman
Jope, Peter Larkin, Mary Leader, John Levy, DS MaolalaÃ, Ruth
McIlroy, James McLaughlin, Julie MacLean, Valeria Melchioretto,
Diane Mulholland, Luke Palmer, Yogesh Patel, Simon Perchik, Peter
Robinson, David Rushmer, Aiden Semmens, Vik Shirley, Gerry Stewart,
Louise Tondeur and Petra White, plus translations of Dmitry Kedrin
& Maximilian Voloshin by Alex Cigale.
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Amorgos Notebook (Paperback)
Elsa Cross; Translated by Tony Frazer, Luis Ingelmo
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R508
R439
Discovery Miles 4 390
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Amorgos Notebook (Cuaderno de Amorgos) is a collection from 2007
that won for Elsa Cross Mexico's most prestigious poetry prize, the
Xavier Villaurrutia Prize, especially valued by its recipients as
the winner is chosen by her peers in the literary world. Elsa
Cross' work over the past several decades has demonstrated a
considerable fascination with Greece, and this sequence takes its
departure from the island of Amorgos, in the Cyclades, home of
remarkable ancient sculptures, and spectacular terrain.
Huidobro published Poemas articos in Madrid in 1918, this being the
last of a rapid series of publications which established him as a
major new talent both in French and in Spanish. Poemas articos is
particularly interesting in that it shows the author taking on
board lessons learned from Guillaume Apollinaire-an early friend in
Paris-and probably also Pierre Reverdy, although this is something
of an assumption, given that Reverdy repudiated his early work from
this period and the poems that might have been an influence are no
longer extant; the two poets also fell out, for reasons that are
unclear. In any event, this is his longest Spanish-language volume
up to this point, and marks a significant breakthrough. This
edition also includes variant French versions.
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Sounds (Hardcover)
Vasily Kandinsky; Translated by Tony Frazer
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R1,301
Discovery Miles 13 010
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Ships in 10 - 15 working days
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Klänge (Sounds) was Kandinsky’s only poetry publication—a
collection of prose poems, accompanied by 56 of his own inimitable
woodcuts, 12 of them in colour. It appeared in late 1912, or early
1913 (the exact date is uncertain) from the Munich publishing
house, Piper, and thus came at a crucial time in Kandinsky’s
artistic life: just after he had made the great breakthrough into
abstraction, and likewise just after the publication of his seminal
text, Ãœber das Geistige in der Kunst (Concerning the Spiritual in
Art). These were not the only poems that he wrote—others are
preserved in the artist’s papers—but these are the ones he
chose to publish, and in a lavish edition.
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Sounds (Paperback)
Vasily Kandinsky; Translated by Tony Frazer
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R764
Discovery Miles 7 640
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Ships in 10 - 15 working days
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Klange (Sounds) was Kandinsky's only poetry publication-a
collection of prose poems, accompanied by 56 of his own inimitable
woodcuts, 12 of them in colour. It appeared in late 1912, or early
1913 (the exact date is uncertain) from the Munich publishing
house, Piper, and thus came at a crucial time in Kandinsky's
artistic life: just after he had made the great breakthrough into
abstraction, and likewise just after the publication of his seminal
text, UEber das Geistige in der Kunst (Concerning the Spiritual in
Art). These were not the only poems that he wrote-others are
preserved in the artist's papers-but these are the ones he chose to
publish, and in a lavish edition.
The first issue of Shearsman magazine for 2018 features poetry by
Michael Aiken, Geraldine Clarkson, James Coghill, Adam Flint, Robin
Fulton Macpherson, Mark Goodwin, Harry Guest, Tania Hershman,
Jeremy Hooker, juli Jana, Eluned Jones, Norman Jope, Kenny Knight,
Rosanna Licari, Julie Maclean, Caroline Maldonado, Jennie Osborne,
Mark Weiss, Mark Russell, Alexandra Sashe, Ian Seed, Vik Shirley,
Mark Weiss, and translations of Du Fu into Scots and English (from
the Chinese) by Brian Holton.
The second issue of Shearsman magazine for 2016. This issue
features work by Agatha Abu Shehab, Isobel Armstrong, Michael
Ayres, Ken Bolton, sean burn, Sarah Cave, Stuart Cooke, Tom Cowin,
Claire Crowther, Cathy Dreyer, Carrie Etter, Michael Farrell, Robin
Fulton Macpherson, Valentino Gianuzzi, Mark Goodwin, Mark Harris,
Maria Jastrzebska, Eluned Jones, Jill Jones, Julie Maclean, Sheila
Mannix, Alasdair Paterson, Simon Perchik, Ian Seed, Hilda Sheehan,
Lucy Sheerman, Rachel Sills, James Sutherland-Smith, Jon Thompson;
plus translations of Mercedes Cebrian (from Spanish, by Terence
Dooley), Kjell Espmark (from Swedish, by Robin Fulton Macpherson)
and Mario Martin Gijon (from Spanish, by Terence Dooley).
The second issue of Shearsman magazine for 2015, this includes new
poetry by Juana Adcock, Astrid Alben, Carmen Bugan, Claire
Crowther, Ian Davidson, Mark Dickinson, Clayton Eshleman, Gerrie
Fellows, Samir Guglani, Lucy Hamilton, Lee Harwood, Dorothy Lehane,
David Miller, Helen Moore, Sabiyha Rasheed, Peter Riley, Jaime
Robles, Ian Seed, Aidan Semmens, Lucy Sheerman, Donna Stonecipher,
Janet Sutherland, Philip Terry, Helen Tookey, Elzbieta
Wojcik-Leese, Amy Wright and Tamar Yoseloff, and translations of
Philippe Jaccottet by Ian Brinton, Osip Mandelstam by Alistair
Noon, Winett de Rokha by J. Mark Smith and Marina Tsvetaeva by
Angela Livingstone.
The first issue of Shearsman magazine for 2015 includes original
work by Tim Allen, sean burn, James Byrne, Michelle Cahill,
Geraldine Clarkson, Martin Crucefix, Laura Elliott, Michael
Farrell, Keri Finlayson, Kiran Millwood Hargrave, Tania Hershman,
Sarah James, Rupert M Loydell, James McLaughlin, Kate Miller, Simon
Perchik, John Phillips, Alexandra Sashe, Robert Sheppard, Zoe
Skoulding, Simon Smith, Andrew Taylor & translations of Maria
do Cebreiro (by Neil Anderson), Jordi Doce (by Lawrence Schimel),
Esther Jansma (by Andrew Houwen), Olga Orozco (by Peter Boyle),
Francis Ponge (by Ian Brinton) and Virgil (by David Hadbawnik).
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