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A Stranger's Mirror: New and Selected Poems 1994-2014 - download pdf or read online

By Marilyn Hacker

ISBN-10: 0393244652

ISBN-13: 9780393244656

A range of poems that addresses the quotidian and the worldwide, from one in every of our such a lot crucial poets.

Drawing on 20 years worthy of award-winning poetry, Marilyn Hacker's beneficiant decisions in A Stranger's replicate contain paintings from 4 earlier volumes besides twenty-five new poems, ranging in locale from a solitary bed room to a refugee camp.

In a multiplicity of voices, Hacker engages with translations of French and Francophone poets. Her poems belong to an city international of cafés, bookshops, bridges, site visitors, demonstrations, conversations, and solitudes. From there, Hacker reaches out to different websites and personas: a refugee camp at the Turkish/Syrian border; contrapuntal monologues of a Palestinian and an Israeli poet; intimate and foreign exchanges abbreviated on Skype—perhaps with gunfire within the background.

These poems direction via sonnets and ghazals, via sapphics and syllabics, via each historic-organic trend, from renga to rubaiyat to Hayden Carruth's "paragraph." every one is additionally an implicit dialog with the poets who got here ahead of, or who're writing as we read.

A Stranger's reflect isn't really intended just for poets. those poems belong to someone who has sought in language an expression and extension of his or her engagement with the world—far off or up shut because the morning's first cup of tea.

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Additional info for A Stranger's Mirror: New and Selected Poems 1994-2014

Sample text

Et nos amours, faut-il qu'il m'en souvienne ? La joie venait toujours apres la peine. In Alcools, its disposition is changed and becomes more interesting : Sous le pont Mirabeau coule la Seine Et nos amours Faut-il qu'il m'en souvienne La joie venait toujours apres la peine. His use of rhyme is very daring. Sometimes the rhymes are extremely original and unexpected like locanda/Gouda and Jersey/ gercees ('Zone') and ressemblait d/jeta ('La Chanson du mal-aime'); sometimes they are the barest of assonances like rencontrejhonte, poches I rouges, Egypte/unique in the same poem.

1. 72) Sometimes modern industrial life is expressed in classical terms: Nos cheminees a ciel ouvert engrossent les nu£es Comme fit autrefois PIxion mecanique ('Vend6miaire', 11. 43-4) Images are used for a humorous deflationary effect as: Et moi j'ai le coeur aussi gros Qu'un cul de dame damascene ('La Chanson du mal-aim6', 11. 196-7) or for the shock of the apparently incongruous: C'est la lune qui cuit comme un ceuf sur le plat ('Les Fiansailles', 1. 19) There are times in the earlier work of Apollinaire when it is permissible to doubt the spontaneity of the assemblage of the elements of the image: Le soleil ce jour-la s'etalait comme un ventre Maternel qui saignait lentement sur le ciel La lumiere est ma mere 6 lumiere sanglante Les nuages coulaient comme un flux menstruel ('Merlin et la vieille femme', 11.

Then there is the experience of alienation, most strongly described in 'Zone' but apparent even in the earlier Rhineland poems. Its taste is sharp and disturbing although it never seeks the black hopelessness of Sartre's La Nausee. Here again Apollinaire is dealing with a key theme of twentieth-century literature. The struggle with angoisse is never very far beneath the surface although the resultant depressions never last for very long. It is this affirmation of optimism which was recognised by Paul Eluard when he said of Apollinaire in a broadcast in 1948: Celui qui a dit: 'La grande force est le desir, savait en effet que le monde n'est pas donne une fois pour toutes et que 1'homme est en meme temps la mesure et la source de toutes choses.

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A Stranger's Mirror: New and Selected Poems 1994-2014 by Marilyn Hacker

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