Klik op een omslag om naar Google Boeken te gaan.
|
Bezig met laden... Adrienne Rich: Poetry and Prose: A Norton Critical Edition (Norton Critical Editions) (editie 2018)door Adrienne Rich (Auteur), Barbara Charlesworth Gelpi (Redacteur), Albert Gelpi (Redacteur), Brett C. Millier (Redacteur)
Informatie over het werkThe Voice of the Poet: Adrienne Rich door Adrienne Rich
   Geen Bezig met laden...
 Meld je aan bij LibraryThing om erachter te komen of je dit boek goed zult vinden. Op dit moment geen Discussie gesprekken over dit boek.  Citizenjoyce | May 8, 2012 |  geen besprekingen | voeg een bespreking toe
Onderdeel van de reeks(en)
This Norton Critical Edition includes:* Generous selections of poetry and prose from the entire oeuvre of one of America's most influential poets.* An introduction and explanatory annotations by Barbara Charlesworth Gelpi, Albert Gelpi, and Brett Millier.* Fifteen reviews and critical commentaries, nine of them new to the Second Edition, carefully chosen as a guide to Adrienne Rich's poetics--and to her poetics as related to politics--ranging from W. H. Auden's 1951 response to her first book to critics' reviews of the magisterial Collected Poems in 2016.* A Chronology, a Selected Bibliography, and an Index.About the SeriesRead by more than 12 million students over fifty-five years, Norton Critical Editions set the standard for apparatus that is right for undergraduate readers. The three-part format--annotated text, contexts, and criticism--helps students to better understand, analyze, and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need. Geen bibliotheekbeschrijvingen gevonden. |
Actuele discussiesGeenPopulaire omslagen
 Google Books — Bezig met laden...GenresDewey Decimale Classificatie (DDC)811.54Literature English (North America) American poetry 20th Century 1945-1999LC-classificatieWaarderingGemiddelde: (5)
Ben jij dit?Word een LibraryThing Auteur. |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
2
Translations
You show me the poems of some woman
my age, or younger
translated from your language
Certain words occur: "enemy, oven, sorrow"
enough to let me know
she's a woman of my time
obsessed
with Love, our subject:
we've trained it like ivy to our walls
baked it like bread in our ovens
worn it like lead on our ankles
watched it through binoculars as if
it were a helicopter
bringing food to our famine
or the satellite
of a hostile power
I begin to see that woman
doing things: stirring rice
ironing a skirt
typing a manuscript till dawn
trying to make a call
from a phonebooth
The phone rings unanswered
in a man's bedroom
she hears him telling someone else
"Never mind. She'll get tired--"
hears him telling her story to her sister
who becomes her enemy
and will in her own time
light her own way to sorrow
ignorant of the fact this way of grief
is shared, unnecessary
and political
and just one little piece of one:
from twenty-one Love Poems
xvii
No one's fated or doomed to love anyone.
The accidents happen, we're not heroines,
they happen in our lives like car crashes,
books that change us, neighborhoods
we move into and come to love.
Tristan und Isolde is scarcely the story,
women at least should know the difference
between love and death...
Power
Living in the earth-deposits of our history
Today a backhoe divulged out of a crumbling flank of earth
one bottle amber perfect a hundred-year-old
cure for fever or melancholy a tonic
for living on this earth in the winters of this climate
Today I was reading about Marie Curie:
she must have known she suffered from radiation
sickness
her body bombarded for years by the element
she had purified
It seems she denied to the end
the source of the cataracts on her eyes
the cracked and suppurating skin of her finger-ends
till she could no longer hold a test-tube or a pencil
She died a famous woman denying
her wounds
denying
her wounds came from the same source as her
power
North American Time
I
When my dreams showed signs
of becoming
politically correct
no unruly images
escaping beyond borders
when walking in the street I found my
themes cut out for me
knew what I would not report
for fear of enemies' usage
then I began to wonder
II
Everything we write
will be used against us
or against those we love
These are the terms
take them or leave them.
Poetry never stood a chance
of standing outside history.
One line typed twenty years ago
can be blazed on a wall in spraypaint
to glorify art as detachment
or torture of those we
did not love but also
did not want to kill
We move but our words stand
become responsible
for more than we intended
and this is verbal privilege
What an amazing, brave and insightful person Rich was, and how lucky we are to have her words still standing. (