By Lorine Niedecker
"The Brontës had their moors, i've got my marshes," Lorine Niedecker wrote of flood-prone Black Hawk Island in Wisconsin, the place she lived such a lot of her existence. Her lifestyles by means of water, as she known as it, couldn't were additional faraway from the avant-garde poetry scene the place she additionally made a house. Niedecker is likely one of the most crucial poets of her iteration and a necessary member of the Objectivist circle. Her paintings attracted excessive compliment from her peers--Marianne Moore, William Carlos Williams, Louis Zukofsky, Cid Corman, Clayton Eshleman--with whom she exchanged life-sustaining letters. Niedecker was once additionally a massive girl poet who interrogated problems with gender, domesticity, paintings, marriage, and sexual politics lengthy sooner than the trendy feminist circulation. Her marginal prestige, either geographically and as a lady, interprets right into a significant poetry.
Niedecker''s lyric voice is likely one of the such a lot sophisticated and sensuous of the 20 th century. Her ear is continually alive to sounds of nature, oddities of vernacular speech, textures of vowels and consonants. usually in comparison to Emily Dickinson, Niedecker writes a poetry of wit and emotion, cosmopolitan experimentation and down-home American speech.
This much-anticipated quantity provides all of Niedecker''s surviving poetry, performs, and inventive prose within the series in their composition. It comprises many poems formerly unpublished in ebook shape plus all of Niedecker''s surviving Thirties surrealist paintings and her 1936-46 people poetry, bringing to mild the formative experimental stages of her early profession. With an creation that provides an account of the poet''s existence and notes that supply exact textual details, this publication often is the definitive reader''s and scholar''s version of Niedecker''s paintings.
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Additional resources for Collected Works
Nikitin experiences a spell of happiness as he “recognizes” the woman: “Bozhe moi, kak khorosho . ” (God, this is wonderful . ; VCh, 25; Stories, 65). Later, when Nikitin has realized the misapprehension, his loneliness and longing are encoded in the description of the night: “Prokatilas’ paduchaia zvezda s neozhidannost’iu serdechnogo pereboia” (A falling star shot by with the suddenness of a missed heartbeat; VCh, 26/Stories, 66). What was earlier a metaphor of a powerful recollection (“falling star”) has now been transferred to a depiction of a physical heartache.
Sisson also explored the seminal notion of “cosmic synchronization,” Nabokov’s prerequisite of artistic creation defined in his autobiography, Speak, Memory, as “the capacity of thinking several things at a time” (SM, 218). ” 4 In an influential study, Worlds in Regression (1985), D. ” 5 In 1989 Ellen Pifer expanded our understanding as she splendidly placed Nabokov’s transcendent notion of love at the heart of “Nabokov’s universe”: “love is quite literally the power that exposes human beings to ‘alien worlds’; love opens them to the world of other people and to the even stranger realm of ‘the beyond.
Van Eyck’s painting depicts “a young couple solemnly exchanging marriage vows in the privacy of their bridal chamber. They seem to be quite alone, but as we scrutinize the mirror, conspicuously placed behind them, we discover in the reflection that two other persons have entered the room. One of them must be the artist, since the words above the mirror . . tell us that . . ” 27 On the basis of this information, Johnson concluded that “the two paintings, . . ” Nabokov’s lifelong interest in painting might in part be explained by the parallels he saw between the acts of reading a literary text and a pictorial text.