Alcools: Poems by Guillaume Apollinaire

By Guillaume Apollinaire

Alcools, first released in 1913 and one of many few fundamental books of 20th- century poetry, presents a key to the century's heritage and attention. Champion of "cubism", Guillaume Apollinaire (1880-1918) models in verse the sonic similar of what Picasso accomplishes in his cubist works: simultaneity. Apollinaire has been so influential that with out him there may were no ny college of poetry and no Beat move. This new translation unearths his complicated, attractive, and absolutely modern poetry. revealed with the unique French on dealing with pages, this is often the single model of this seminal paintings of French Modernism at present on hand within the usa.

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Sample text

There is a process of dialogue and rivalry between such texts, and even if Eliot and Pound deserve their status as more major poets, comparison allows the values in play to be explored, while juxtaposition produces various kinds of collage and collision between texts. Rather than deflecting Hugh Selwyn Mauberley and The Waste Land into history, juxtaposition reveals comparable texts produced by friends and rivals of Pound and Eliot. Hogarth Press publications such as Hope Mirrlees, Paris: a Poem (1919) and Nancy Cunard, Parallax (1925) involve poetics in implicit and sometimes explicit dialogue with both Eliot and Pound.

A shared politics of poetics and pedagogy begins with some recognition that more is involved than making modernism into something easily bought and sold, consumed or enjoyed. Despite the various publicity strategies and introductory formulae offered by both modernists and academics, then, a minimal condition for political criticism is a willingness to read through and beyond the manifestos and introductory guides, engaging with what Pound called ‘the dance of the intellect among words’ (Pound, 1954: 25; cf.

Marjorie Perloff draws attention to the incorporation of prose tradition in Pound’s work (Perloff, 1986). She also suggests construing poetry ‘not as “verse” (which is not, in fact, the dominant medium of the poets concerned) but as language art or “word-system”’ (Perloff, 1981: 43). Relations between syntax and prosody in modernist poetry resist conventional linguistics and verse stylistics, partly because modernist poetics no longer assumes the idea of ‘verse’, working as much with categories of text, writing, and language, in relation to the poetics of sequences, bookworks, page poetics, and performance.

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