By Guillaume Apollinaire
Zone is the fruit of poet-translator Ron Padgett’s fifty-year engagement with the paintings of France’s maximum glossy poet. This bilingual variation of Apollinaire’s poetry represents the whole diversity of his success from conventional lyric verse to the pathbreaking visible poems he known as calligrams, from often-anthologized classics to hitherto-untranslated gem stones, from poems of cosmic breadth to a poem approximately his footwear. together with an advent by way of the celebrated student Peter learn, necessary endnotes, a preface, and an annotated bibliography by means of Padgett, this re-creation of Apollinaire sticks out not just for its compact and really appropriate number of the basic poems but in addition because the paintings of a tremendous American poet. The Washington Post has stated, “No compliment should be too excessive for Ron Padgett’s translations.”
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Additional info for Zone: Selected Poems
What happens when we are constructed as adversary and ally, encumbrance and friend? In the next chapter, I will try to show how such doubling can occur within the writing of one student, Devlyn, who discovered a creative way to approach his rhetorical predicament. ” In the years since its ﬁrst publication, Elbow’s article has been cited, praised, disparaged by some, but generally acknowledged as an important counterstatement to a good deal of then-current thinking about audience. Elbow’s article proceeds from what he calls a “limited claim,” his view that “even though ignoring audience will usually lead to weak writing at ﬁrst .
These are composed of “that person who intimidates us” or those “people who make us feel dumb when we try to speak to them” (51) or even such 32 S AY I N G A N D S I L E N C E “readers with whom we have an awkward relationship” (52). Indeed, for Elbow, it goes without saying that inhibiting audiences are, by definition, impediments to a writer’s struggle to say something authentic and compelling to others. But they are something else too. Notice that, in Elbow’s descriptions, inhibiting audiences are almost always personal, immediate, overwhelmingly present.
Or, as the contemporary philosopher, Hilary Putnam, has pointed out: “We always speak the language of a time and place; but the rightness and wrongness of what we say is not just for a time and place” (247). If this were not the case, we would face the curious necessity of having to attach a subtextual rider to every utterance we make, a disclaimer of sorts that might be translated thus: “Of course, you must realize that the words I speak to you have no meaning beyond the here and now in which they are spoken.