The Transfer and Circulation of Modern Poetics Across the Atlantic
Author: Ignacio Infante
Publisher: Fordham Univ Press
Category: Literary Criticism
Translation—from both a theoretical and a practical point of view—articulates differing but interconnected modes of circulation in the work of writers originally from different geographical areas of transatlantic encounter, such as Europe, Latin America, North America, and the Caribbean. After Translation examines from a transnational perspective the various ways in which translation facilitates the circulation of modern poetry and poetics across the Atlantic. It rethinks the theoretical paradigm of Anglo-American “modernism” based on the transnational, interlingual, and transhistorical features of the work of key modern poets writing on both sides of the Atlantic— namely, the Portuguese Fernando Pessoa; the Chilean Vicente Huidobro; the Spaniard Federico Garcia Lorca; the San Francisco–based poets Jack Spicer, Robert Duncan, and Robin Blaser; the Barbadian Kamau Brathwaite; and the Brazilian brothers Haroldo and Augusto de Campos.
As the world becomes increasingly globalized, the integration of cultures within nations has become more and more relevant. Read takes a poetic approach to the concept of cultural conflict within nations and adds a new perspective that has rarely been seen in debate.
The Handbook of International Futurism is the first reference work ever to presents in a comparative fashion all media and countries in which the movement, initiated by F.T. Marinetti in 1909, exercised a particularly noteworthy influence. The handbook offers a synthesis of the state of scholarship regarding the international radiation of Futurism and its influence in some fifteen artistic disciplines and thirty-eight countries. While acknowledging the great achievements of the movement in the visual and literary arts of Italy and Russia, it treats Futurism as an international, multidisciplinary phenomenon that left a lasting mark on the manifold artistic manifestations of the early twentieth-century avant-garde. Hundreds of artists, who in some phase in their career absorbed Futurist ideas and stylistic devices, are presented in the context of their national traditions, their international connections and the media in which they were predominantly active. The handbook acts as a kind of multi-disciplinary, geographical encyclopaedia of Futurism and gives scholars with varying levels of experience a detailed overview of all countries and disciplines in which the movement had a major impact.
Poetry. Latinx Studies. Translated by Tony Frazer. The prose-poem TEMBLOR DE CIELO is more apparently unified work than its contemporary work, 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 Amunátegui, the young woman who had become the poet's second wife. 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 Nación.
Huidobro published this collection of manifestos and statements on poetics in 1925, and it summed up the previous 8 or 9 years of his work. The truth is, however, that he was already moving away from some of the positions espoused in this volume, and it was one of his last original publications in French.
Poetry. Literary Nonfiction. Latinx Studies. Edited by Tony Frazer. Translated by Michael Smith, Luis Ingelmo, Tony Frazer, Eliot Weinberger. 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, through the high avant-garde phase towards the end of the First World War, then through Altazor and Temblor de cielo, the highpoint of his career (both published in 1931), and on into the quieter late poetry which synthesises the previous work and settles down into a post-vanguard style. Also included are two manifestos and two interviews with the author.