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"This is the fullest and fairest of the half-dozen books on Rimbaud in English. No single volume so complete exists even in French."--Roger Shattuck (The New York Times)
The 1940 Under the Volcano—hidden for too long in the shadows of Lowry’s 1947 masterpiece—differs from the latter in significant ways. It is a bridge between Lowry’s 1930s fiction (especially In Ballast to the White Sea) and the 1947 Under the Volcano itself. Joining the recently published Swinging the Maelstrom and In Ballast to the White Sea, The 1940 Under the Volcano takes its rightful place as part of Lowry’s exciting 1930s/early-40s trilogy. Scholars have only recently begun to pay systematic attention to convergences and divergences between this earlier work and the 1947 version. Miguel Mota and Paul Tiessen’s insightful introduction, together with extensive annotations by Chris Ackerley and David Large, reveal the depth and breadth of Lowry’s complex vision for his work. This critical edition fleshes out our sense of the enormous achievement by this twentieth-century modernist. Publié en anglais.
An overview of French literature as it evolved from the Middle Ages to the mid-twentieth century. In this compact yet wide-ranging volume, the many aspects of French literature and the different tendencies of successive schools are shown in the light of contemporaneous political and artistic developments. A Concise Survey of French Literature explores the relationship between literature and the evolution of French thought, deeply concerned, as it is, with the problems of human life and destiny. It also serves as an excellent reference for any student of French literature.
The career of Gabriel Faur?s a composer of songs for voice and piano traverses six decades (1862-1921); almost the whole history of French m?die is contained within these parameters. In the 1860s Faur?the lifelong prot? of Camille Saint-Sa?, was a suavely precocious student; he was part of Pauline Viardot's circle in the 1870s and he nearly married her daughter. Pointed in the direction of symbolist poetry by Robert de Montesquiou in 1886, Faur?as the favoured composer from the early 1890s of Winnarretta Singer, later Princesse de Polignac, and his songs were revered by Marcel Proust. In 1905 he became director of the Paris Conservatoire, and he composed his most profound music in old age. His existence, steadily productive and outwardly imperturbable, was undermined by self-doubt, an unhappy marriage and a tragic loss of hearing. In this detailed study Graham Johnson places the vocal music within twin contexts: Faur? own life story, and the parallel lives of his many poets. We encounter such giants as Charles Baudelaire and Paul Verlaine, the patrician Leconte de Lisle, the forgotten Armand Silvestre and the Belgian symbolist Charles Van Lerberghe. The chronological range of the narrative encompasses Faur? first poet, Victor Hugo, who railed against Napoleon III in the 1850s, and the last, Jean de La Ville de Mirmont, killed in action in the First World War. In this comprehensive and richly illustrated study each of Faur? 109 songs receives a separate commentary. Additional chapters for the student singer and serious music lover discuss interpretation and performance in both aesthetical and practical terms. Richard Stokes provides parallel English translations of the original French texts. In the twenty-first century musical modernity is evaluated differently from the way it was assessed thirty years ago. Faur?s no longer merely a 'Master of Charms' circumscribed by the belle ?que. His status as a great composer of timeless
The career of Gabriel Faur‘s a composer of songs for voice and piano traverses six decades (1862-1921); almost the whole history of French m die is contained within these parameters. In the 1860s Faur the lifelong prot of Camille Saint-Sa was a suavely precocious student; he was part of Pauline Viardot's circle in the 1870s and he nearly married her daughter. Pointed in the direction of symbolist poetry by Robert de Montesquiou in 1886, Faur as the favoured composer from the early 1890s of Winnarretta Singer, later Princesse de Polignac, and his songs were revered by Marcel Proust. In 1905 he became director of the Paris Conservatoire, and he composed his most profound music in old age. His existence, steadily productive and outwardly imperturbable, was undermined by self-doubt, an unhappy marriage and a tragic loss of hearing. In this detailed study Graham Johnson places the vocal music within twin contexts: Faur own life story, and the parallel lives of his many poets. We encounter such giants as Charles Baudelaire and Paul Verlaine, the patrician Leconte de Lisle, the forgotten Armand Silvestre and the Belgian symbolist Charles Van Lerberghe. The chronological range of the narrative encompasses Faur first poet, Victor Hugo, who railed against Napoleon III in the 1850s, and the last, Jean de La Ville de Mirmont, killed in action in the First World War. In this comprehensive and richly illustrated study each of Faur 109 songs receives a separate commentary. Additional chapters for the student singer and serious music lover discuss interpretation and performance in both aesthetical and practical terms. Richard Stokes provides parallel English translations of the original French texts. In the twenty-first century musical modernity is evaluated differently from the way it was assessed thirty years ago. Faur‘s no longer merely a 'Master of Charms' circumscribed by the belleque. His status as a great composer of timeless
"This selection of thirty letters and two postcards, written between September 2, 1969, and September 12, 1972, includes most of Pizarnik's correspondence with Spanish writer-editor-artist Antonio Beneyto. From these informative letters we learn about her influences, the artists, poets, and writers she preferred, and her reactions to them. She collaborated on various projects and cultivated many literary and personal ties with writers of the stature of Julio Cortazar, Olga Orozco, Octavio Paz, Pieyre de Mandiargues, Silvina Ocampo, and Luisa Sofovich, among others." "Although the corpus of Pizarnik's writing available in English has expanded in the last twelve years, it is still far from adequate. This is the first time that a selection of letters from Alejandra Pizarnik to Antonio Beneyto has been published in English. The translators hope that this volume will serve English-speaking audiences as a new bridge to her work."--BOOK JACKET.
