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Cargando... Wheel With a Single Spoke: and Other Poemspor Nichita Stănescu
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Inscríbete en LibraryThing para averiguar si este libro te gustará. Actualmente no hay Conversaciones sobre este libro. Esta reseña ha sido escrita por los Primeros Reseñadores de LibraryThing. Wheel With a Single Spoke gathers poems from all of Stănescu’s books. He was a prolific poet and published a book a year between 1965 and 1971. He lived through Romania’s involvement in WWII on the side of the Axis powers, through the onslaught of communism and the repressive regime of Nicolae Ceauşescu. He was Romania’s most celebrated poet and essayist, and died relatively young in 1983 at age 50. Stănescu, however, is not a political poet and certainly not a social-realist — he is more of a visionary, a fabulist. He wrote brilliantly of the mystery of our life in the universe and how we are placed in a most convenient spot for viewing the whole of life's passion. After university, he worked as an editor for various Romanian literary periodicals. He was awarded the Herder Prize in 1975 and was nominated for the 1979 Nobel Prize in Literature. He smoked, drank heavily and hoboed around, living often with friends. In this, and his loud proclamation of poems in bars, he reminds me of Kerouac. They probably would have enjoyed each other’s company. In an interview Stănescu said “Gutenberg flattened words out, but words exist in space … Words are spatialized. They are not dead, like a book. They are alive, between me and you, me and you, me and you. They live; they are spoken, spatialized, and received.” Esta reseña ha sido escrita por los Primeros Reseñadores de LibraryThing. This Romanian poet beatifully captures the everyday world with startling images and often surprising humor. I really enjoyed this poetry collection, and I discovered many poems that I will be returning to read again and again.sin reseñas | añadir una reseña
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Winner of the Herder Prize, Nichita St?nescu was one of Romania’s most celebrated contemporary poets. This dazzling collection of poems – the most extensive collection of his work to date – reveals a world in which heavenly and mysterious forces converse with the everyday and earthbound, where love and a quest for truth are central, and urgent questions flow. His startling images stretch the boundaries ofthought. His poems, at once surreal and corporeal, lead us into new metaphysical and linguistic terrain. No se han encontrado descripciones de biblioteca. |
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Google Books — Cargando... GénerosSistema Decimal Melvil (DDC)859.134Literature Italian Romanian literature and Rhaeto-Romanic literature, Corsican, Sardinian Romanian poetry 1900– 1945–Clasificación de la Biblioteca del CongresoValoraciónPromedio:
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End Of An Air Raid
(April 5, 1944)
You dropped your chalk
and the splintered door beat against the wall
the sky appeared, partly hidden
by the spiders
that fed on murdered children.
Someone had taken away
the walls
……….and fruit tree
………………….and stairs.
You hunted after spring
impatiently, like you were expecting
a lunar eclipse.
Towards dawn, they even took away
the fence
you had signed with a scratch,
so the storks would not lose their way
when they came
this spring.
On June 6th 1962, he married for the second time, to Doina Ciurea, the marriage seems to have lasted for only two years although it wasn’t till the around 1981 that they divorced and Stănescu married for the third time in 1982 to Dora (Theodora bran) whom he had met in 1978 when she was a student in Philology, in the Department of French. Throughout this period Stănescu was a contributor to and editor of Gazeta Literară, România Literară and Luceafărul, as well as creating a extensive body of poetry, essays and Romanian translations of poets such Adam Puslojic and Vasko Popa. He also was the recipient of numerous awards for his verse, the most important being the Herder Prize in 1975 and a nomination for the Nobel Prize in 1980.
Beyond the dry as bone nature of the facts, Nichita Stănescu comes across as an outgoing gregarious individual, he seems to dispel the image of the lone writer working at his craft, preferring the company of others. He spent most of his time residing in the homes of his friends, enjoying copious amounts of drink and could regularly be found improvising poems whilst his audience attempted to follow him and transcribe them at the bar. In fact the title of this post is called “ The Ritual Of Writing On Air” because that was how he described his technique, drawing inspiration from his immediate environment, and using that to craft his verse, stating in a Belgrade interview that:
“Gutenberg flattened words out, but words exist in space … Words are spatialized. They are not dead, like a book. They are alive, between me and you, me and you, me and you. They live; they are spoken, spatialized, and received”
While.
And yet, I have seen a bird
lay eggs while it flew --
And yet, I have seen someone cry
while he laughed --
And yet, I have seen a stone
while it was --
In 1983 he died in Fundeni Hospital (Bucharest) after a liver condition he had had for some time worsened. He was posthumously elected a member of the Romanian Academy, although by this point he had a reached an envious position where both the critics and the general public had declared him as one of the most loved and prominent writers in the Romanian language, a language that he had himself declared was “Divinely Beautiful”. Despite living through the second world war and Romania’s fall into an oppressive police state under the dictatorship of Nicolae Ceauşescu, a regime characterized by an increasingly brutal and repressive apparatus and, by some accounts, the most rigidly Stalinist regime in the Soviet bloc. Stănescu was considered a metaphysical rather than a political poet, using this approach to examine the universe and humanity’s place within it, using various perspectives to voice the fundamental questions of his and our time. Also by walking a line between what could and could not be said, he crafted a new aesthetic for his verse, one that in his own words:
“ while the poems, often lapidary, appear to indicate a sublimation of the senses, a tendency to crystallize into a symbol, an attentive reading unveils the opposite process, that is the symbol’s subtle disaggregation, its incorporation into matter, something like the fissuring into a star of a pane of glass, broken by an invisible stone”
Meaning from the star, we notice the pane and intuit the stone. The pane registers the lines of fissure, which we might take as the lines of the poem, moving through the human language. We move from metaphor – the broken glass as star – toward the material yet abstract world, the stone that cannot be directly described in human language. (Taken from the translator’s afterword)
Sometimes you love something. Sometimes something hits you so hard that it becomes part of your DNA, you’re not sure why, there was no known defining moment - it just is. But with hindsight-reasoning you try to define what it is that has affected you in such a manner and how it could have happened. Then using all your grandiose ideas on “the power of reasoning” you attempt to capture what was a moment, a word, the slightest shadow of a suggestion, but like with most nets, the minnows and microscopic organism pass through, leaving you with the big ideas and grandiose statements and still no idea why you loved this thing. This is how I feel about this collection. Of late this book has taken on the mantle of a personal talisman, always with me, being opened up at random, and the words, the verse, the poetry, it’s very language has worked it’s charm upon me. In a world whose very words of late have grown heavy, and cumbersome this has lightened them, in most senses of the word.
Wheel With A Single Spoke And Other Poems, celebrates the work of one of Romania’s highly loved & critically regarded poets, one who Tomaž Šalamun, described as “The greatest contemporary Romanian poet” and one who is in the rankings as one of the most important poets of the twentieth century. This dazzling collection of poems – the most extensive to date, was translated by Sean Cotter, who has chosen poetry from each of Stănescu’s books, although he concentrates on the specifically fertile period of 1965 – 1975, charting the emergence and growth of what would become his characteristic style, allowing us to see how his own distinctive voice developed. ( )