Guillaume Apollinaire

GUILLAUME APOLLINAIRE L'H r siarque & Cie TABLE DES MATI RES Le passant de Prague Le sacril ge Le juif latin L'h r siarque L'infaillibilit Trois histoires de ch timents divins I. Le giton II. La danseuse III. D'un monstre Lyon ou L'Envie Simon Mage L'Otmika Que Vlo-ve? La rose de Hildesheim Les p lerins pi montais La disparition d'Honor Subrac Le matelot d'Amsterdam Histoire d'une famille vertueuse, d'une hotte et d'un calcul La serviette des po tes L'amphion faux-messie ou histoires et aventures du Baron d'Ormesan I. Le Guide II. Un beau film III. Le cigare romanesque IV. La l pre V. Cox-City VI. Le toucher distance

Prize-winning translations of the poetry of Apollinaire in a bilingual edition.

Guillaume Apollinaire's first book of poems has charmed readers with its brief celebrations of animals, birds, fish, insects, and the mythical poet Orpheus since it was first published in 1911. Though Apollinaire would go on to longer and more ambitious work, his Bestiary reveals key elements of his later poetry, among them surprising images, wit, formal mastery, and wry irony. X. J. Kennedy's fresh translation follows Apollinaire in casting the poems into rhymed stanzas, suggesting music and sudden closures while remaining faithful to their sense. Kennedy provides the English alongside the original French, inviting readers to compare the two and appreciate the fidelity of the former to the latter. He includes a critical and historical essay that relates the Bestiary to its sources in medieval "creature books," provides a brief biography and summation of the troubled circumstances surrounding the book's initial publication, and places the poems in the context of Apollinaire's work as a poet and as a champion of avant garde art. This short introduction to the work of an essentially modern writer includes four curious poems apparently suppressed from the first edition and reprints of the Raoul Dufy woodcuts published in the 1911 edition.

Apollinaire's first book: a collection of outrageous short stories about heretics, renegade mystics and criminal religious fanatics, The Heresiarch & Co. was Apollinaire's first book, and reportedly remained his favorite. Making full use of his encyclopedic knowledge of obscure historical, ecclesiastical and geographic information, Apollinaire's stories rely neither on the dream nor on unlikely juxtaposition, but instead represent an approach that André Breton called a "formula" for Surrealism; its "music," Breton famously wrote, is "like gold pebbles rolled in a torrent." Apollinaire himself wrote of The Heresiarch & Co., "This is a book for those who love literature, powerful and disturbing, strange and logical ... The author, amid so many fantastic, tragic and sometimes sublime inventions, intoxicates himself with a charming erudition with which he also intoxicates his readers.

Guillau Apollinaire kalte selv denne diktsamlingen for en poetisk spøk. Men dyrediktene rommer også alvor, vemod og en rekke referanser til klassisk diktning og mytologi. Jan Jakob Tønseth har også skrevet forordet. Denne norske gjendiktningen har beholdt Raoul Dufys opprinnelige illustrasjoner til hvert dikt.

Modernistpoeten Guillaume Apollinaire arbetade som redaktör på ett illegalt erotikförlag och skrev också ett par egna alster i genren. Av många anses De elvatusen spöna från 1907 vara ett av hans mest intressanta arbeten. I denna erotiska och våldsamma pikareskroman far den rumänske fursten Mony Vibescu fram genom Europa och Asien som ett brunstigt monster i en rad djupsvart komiska och skandalösa äventyr, skildrade med Apollinaires starka, lyriska språk. C-M Edenborg har gjort den första kompletta svenska översättningen av Les onze mille verges, introducerat och kommenterat. Fabian Göranson har bidragit med nio originalillustrationer.

Guillaume Apollinaire's only book on art, The Cubist Painters, was first published in 1913. This essential text in twentieth-century art presents the poet and critic's aesthetic meditations on nine painters: Pablo Picasso, Georges Braque, Jean Metzinger, Albert Gleizes, Marie Laurencin, Juan Gris, Fernand Leger, Francis Picabia, and Marcel Duchamp. As Picasso's closest friend and Marie Laurencin's lover, Apollinaire witnessed the development of Cubism firsthand. This collection of essays and reviews, written between 1905 and 1912, is a milestone in the history of art criticism, valued today as both a work of reference and a classic example of modernist creative writing. In addition to a faithful and fluid translation of Apollinaire's text, Peter Read provides his own scholarly analysis of its importance in the history of modernism. He examines Apollinaire's art criticism, his relationship to the Cubist movement, and, more specifically, the genesis of Cubist Painters through its various revisions and proofs. Supported by all forty-five plates from the original edition, this new volume brings Apollinaire's vitality and vision to life for a new generation.

Guillaume Apollinaire's final years exactly coincided with the clamorous advent of European Modernism and with the cataclysms of WWI. In The Self-Dismembered Man, poet Donald Revell offers new English translations of the most powerful poems Apollinaire wrote during those years: poems of nascent surrealism, of combat and of war-weariness. Here, too, is Apollinaire's last testament, "The Pretty Redhead," a farewell to the epoch that he-as poet, convict, art-critic, artilleryman and boulevardier-did so much to conjure and sustain until his death on Armistice Day in 1918. Readers of Apollinaire's more familiar early work, Alcools (Wesleyan, 1995), will find here a darker and yet more tender poet, a poet of the broken world who shares entirely the world's catastrophe even as he praises to the end its glamour and its strange innocence. This English translation, facing the original French, illuminates Apollinaire's crucial and continuing influence on the European and American avant-garde. The volume includes a short translator's preface.

With wit, erudition and venom, Apollinaire concocts a Rabelaisian Parallel universe and slyly tells his own life story, from illegitimate birth to literary fame in the process. The novella recounts the life and death of Croniamantal, whose birth is 'saluted' by the Eiffel Tower's 'beautiful erection,' who rises through the Parisian literary world to proclaim himself 'the greatest of living poets' and who is promptly torn to pieces by a mob.

A fully annotated, bilingual edition, "Calligrammes" is a key work not only in Apollinaire's own development but in the evolution of modern French poetry. Apollinaire - Roman by birth, Polish by name (Wilhelm-Apollinaris de Kostrowitski), Parisian by choice - died at thirty-eight in 1918. Nevertheless, he became one of the leading figures in twentieth-century poetry, a transitional figure whose work at once echoes the Symbolists and anticipates the work of the Surrealists.

Apollinaire’s poetry reflects the heady years of artistic and intellectual ferment before the First World War. The most dynamic modernist French poet and the champion of the Cubist painters, he is remembered as much for his more traditional lyric poems as for the typographical experiments of his calligrammes. Subtle and complex, yet often direct, his poetry is still fresh and memorable.

Surrealismin pioneerin huikean mielikuvituksellinen proosarunoelma jatkaa Merlin-tietäjän tarinaa siitä, mihin se kelttiläisessä mytologiassa päättyy. Kirjailija itse piti tätä vuonna 1909 ilmestynyttä runoelmaa pääteoksenaan. Mätänevä velho on huikea lyyrinen proosateos, joka jatkaa kelttiläisestä mytologiasta tutun tietäjä-Merlinin tarinaa siitä, mihin se perinteisesti loppuu. Merlinin rakastettu Viviane noituu velhon kuolleeksi ja hautaa hänet, mutta koska Merlin on kuolematon, hänen sielunsa jää eloon mätänevään ruumiiseen. Hän kykenee edelleen myös kommunikoimaan elävien kanssa, ja romaani perustuukin dialogiin, jota Merlin käy häntä etsivien eläinten, olioiden ja ihmisten kanssa. Velhon keskustelut kristillisestä, kreikkalaisesta ja kelttiläisestä mytologiasta peräisin olevien hahmojen kanssa sivuavat muun muassa rakkauden mahdottomuutta, kuoleman jatkuvaa läsnäoloa elämässä ja yksilön perimmäistä yksinäisyyttä. Suomentajan esipuhe ja henkilöhahmoluettelo valaisevat tämän mytologisen runsaudensarven monikerroksista symboliikkaa ja taustatekstejä. "Mätänevä velho on paljon muutakin kuin uutta luova muodon ja kulttuuriperinnöin taidonnäyte. Teoksen tapa käsitellä yksinäisyyttä ja kuolemaa on lohduttoman kaunis." – Saana Katila, Vihreä Lanka "On piristävää, kun ollaan näin siekailemattomasti ikuisten teemojen ytimessä. Myyteistä ja perinteistä kiinnostuneille Velho on tapaus. Se ei jää pelkkään entisen haikailuun, vaan on myös sopivassa suhteessa arvaamaton ja uudistava. Ennen kaikkea sen kieli on runoudessa vertaansa vailla." – Mikko Nenonen, Etelä-Suomen Sanomat "Mätänevän velhon runollisuus on lukijalle helppoa, tyylissä ei ole turhaa kikkailua. Arthuriaanisessa maailmassa on lukemattomia teoksia, milloinkohan niitä muita tulisi yhtä asiallisesti suomennettuna?" – Hannele Kivilahti, Tähtivaeltaja "Apollinairen mielikuvitus on rajaton ja juuri siksi Mätänevä velho on niin huumaavaa luettavaa, vielä hieman vajaa sata vuotta kirjoittamisensa jälkeenkin." –Tuukka Vartiainen, Kouvolan Sanomat "Apollinairen asemaa ulkoisten tehokeinojen (mm. välimerkittömyys) kehittelijänä länsimaisessa kirjallisuudessa tuskin voidaan kyseenalaistaa." – Jouni Huhtanen, Kymen Sanomat "Kovin inhimillisiksi nämä hirviöt osoittautuvat, kovin kaunopuheisiksi, ja kaikkia heitä yhdistää sama asia, rakkaus, rakastamisen vaikeus, rakastamisen mahdottomuus, rakastamisen pakko, miehen ja naisen erilaiset ikuisuudet." – Petri Salin, Portti "Mukaansa taikova ja merkittävä. Mätänevällä velholla on paikkansa viime vuoden klassikkojen joukossa. – Jan Blomstedt, Helsingin Sanomat

En samlingsvolym med utvalda bilddikter av den finurlige avantgardepionjären Guillaume Apollinaire. Boken har fått titeln Calligrammes - för det var det namn han själv gav denna märkliga diktgenre som han egenhändigt uppfann.

Guiilaume Apollinaire, a leading figure amongst the young writers and artists in France until his death in 1918, published 'Alcools', his first book of poems, in 1913. With its wide range of verse forms and contrasting registers of style, 'Alcools' had a considerable influence on Surrealist poetry. The poems provide a splendid example of the lyrical art in which the paradoxes of Apollinaire are held in high poetic tension. The editor's introduction and notes take place in the 20th Century and explain allusion and difficulties in the text.>

Since its publication in 1913, Alcools has acquired classic status as a major landmark not only in French poetry but in the wider contexts of modern European literature. An indispensable text for an serious study of modernism, it is richly rewarding in its own right: it draw on traditions of folk-song and literary Symbolism, mingles lyrics of disarming simplicity with poems which are so boldly experimental that they can still challenge the modern reader and it looks forward to the discoveries of Surrealism and much else in subsequent writing. Above all, however, it records Apollinaire's own endless curiosity about life and his own intensely personal response to all its manifestations. This edition features the full French text, a comprehensive introduction including a biographical overview of Apollinaire, and the work's context, structure and imagery. In addition to the text, commentary notes explain problematic phrases, enlighten obscure references or stylistic points and gloss particular words. The text is edited and the notes written by Anthony Pilkington, Fellow and Tutor in Modern Languages at Jesus College, Oxford.

Alcools, first published in 1913 and one of the few indispensable books of twentieth- century poetry, provides a key to the century's history and consciousness. Champion of "cubism", Guillaume Apollinaire (1880-1918) fashions in verse the sonic equivalent of what Picasso accomplishes in his cubist works: simultaneity. Apollinaire has been so influential that without him there would have been no New York School of poetry and no Beat Movement. This new translation reveals his complex, beautiful, and wholly contemporary poetry. Printed with the original French on facing pages, this is the only version of this seminal work of French Modernism currently available in the United States.