Description by Lyn Hejinian, Arkadii Dragomoshchenko, Elena Balashova PDF

By Lyn Hejinian, Arkadii Dragomoshchenko, Elena Balashova

ISBN-10: 1557130752

ISBN-13: 9781557130754

This can be my test. i am hoping you get pleasure from this. Dragomoshchenko is considered one of my favourite poets. This publication is lovely difficult to find.

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From again cover:

While traveling Riga, Latvia in November 1989, I requested a tender Latvian poet who have been his significant poetic affects. with no hesitation he responded that he was once most affected by way of the European-style poetry of Soviet poet Arkadii Dragomoschenko. the answer's impressive whilst one thinks that on the time Dragomoschenko had no longer but released a e-book within the Soviet Union and that just a yr prior he have been operating as a coal stoker. yet Dragomoschenko's writing had seemed in numerous magazines and in samisdat courses, and his attractiveness had already been demonstrated as early as 1983, while American poet Lyn Hejinian, touring with the ROVA Saxophone Quartet, were brought to Dragomoschenko who was once defined as a brand new poetic strength in Soviet writing.

The inventive collaboration among poet and translator that as represented in those significant pages of poetry is, as Michael Molnar describes it, "a circulate up and down the registers of discourse and throughout genres" in a poetry as varied from conventional Russian poets and the Soviet modernists akin to Yvgeney Yevtushenko and Andrei Voznesenky because the American "Language" poets are from Robert Lowell or "the Beats."

With different modern Soviet poets corresponding to Aleksei Parshchikov and Ivan Zhdanov, Dragomoschenko's poetry represents an intensive transformation in modern Soviet writing that demanding situations the poetic artwork within the similar approach the Futurists linguistically and socially challenged early 20th century art.

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The verse assortment Description is the manufactured from a threefold collaboration related to the ultramodern Soviet poet from Leningrad, Arkadii Dragomoschenko (b. 1946), and translators, his good friend Lyn Hejinian, an American poet, and Elena Balashova, a local Russian speaker residing in California. Michael Molnar, who wrote the advent that precedes Dragomoschenko's preface, makes an attempt to dispel any doubts one may have in regards to the worth of this system of translation, relatively within the absence of an accompanying Russian textual content, by means of praising the translators' paintings as "meticulous" and "inspired" and calling upon American readers to just accept those types as "American poems."

The publication is split into six sections or teams of poems: "Summa Elegia," "The Islands of Sirens," "Footnotes," "Accidia," "Nasturtium as Reality," and "Kondratii Teotokopulos on the pass Roads anticipating a Guest." the various poems first seemed in Nebo sootvetstvii (Sky of Correspondences), the one selection of Dragomoschenko's paintings to be released up to now within the Soviet Union. poems are devoted to Hejinian and one to Molnar. "Summa Elegia" is subdivided into elegies with a number of titles. a few poems are interspersed with passages of prose poetry, and "Accidia" has a hugely subjective "note" from the poet.

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E. comparison. Whose second part is you turning toward the first part with desire spread out over the eyes; to smoke, to see, describing the surroundings of a letter's co-position with the one after and the one before, realized in one that hasn't yet appeared. Literally a tree on a knoll. A woman with a red umbrella, snow, in a man's raincoat, wind, to the ground, and a dog: Either a mound of sagging clay ... But like the broken bush in the distance-They stand out like an echo. I'll stay as long as description transforming the tree into experience here in the evening in the center And turning away: unexpectedly the landscape stands still.

I love lying with her no less than being in her. On my back, that is, beyond-the pendulum of walls. Examining the amusing movements of the lips, moving with breath-wave and sand-which tell the night's story. So the ridiculous movements of our two naked *In The Song [or Lay] of Igor's Campaign, the "first" example of Russian poetry, an eclipse ot the sun divides the poem into two parts. The second part is the story of Prince Igor's journey into the next world. In his studies of the folk tale, the Formalist theorist Vladimir Propp used the poem as a basis for his analysis of certain prototypical and recurrent formal elements in the plots and subsequent meaning of folk tales; the discovery of new knowledge in the next world and the subsequent return of the hero, transformed by his newly acquired knowledge, to the world of the living are among the significant elements of these tales.

The sediment is mobile-a landscape. We shift it in an experiment with time-the flicker of increments in the dwindling exclusion of signs. Attributes: round? bitter? sharp? number? the crawling path of simulacra (consequences) connecting blooms with a fog of blood in the wordroots' symmetry? · Utopia? · Just like a vine that growing climbs-a lens change-groping toward a goal: distance. The reflections of drops in each other (a mountain, near the eye the thumb of the right hand on which there's a scratch, a mulberry tree, further away, you see, they too found their place)-a landscape viewed from different sides points of place posited by space.

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Description by Lyn Hejinian, Arkadii Dragomoshchenko, Elena Balashova


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