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Birds, Beasts and a World Made New
A revelatory volume of two of the twentieth century's great poetic innovators, Guillaume Apollinaire and Velimir Khlebnikov, in vibrant new translations by Robert Chandler
__________
'A wonderful parallel anthology and introduction to two poets, both so much more. They are the short-lived, playful, and visionary greats of the Frenchman Guillaume Apollinaire and the Russian Velimir Khlebnikov. The translations are splendid and full of life, the context brisk, plain and simply sketched in. This is a book for discovery, for pleasure and delight' George Szirtes, author of 'The Photographer at Sixteen'
__________
Guillaume Apollinaire and Velimir Khlebnikov never met, but their restless innovations in poetic form shared much in common. Both pushed poetry to its limit, and their experiments proved fertile for generations of poets to come. Khlebnikov became associated with Futurism, though his inventiveness with language moved him far beyond it, while Apollinaire influenced a dizzying array of avant-garde movements, including Surrealism, Dadaism and Cubism.
Celebrated translator and poet Robert Chandler offers a stimulating selection from both poets' work in beautifully vivid new translations. Showcasing these poets' exhilarating capacity for innovation as well as their more direct, heartfelt verse, Birds, Beasts and a World Made New offers a surprising journey into the world of two great Modernist poets.
__________
'A wonderful parallel anthology and introduction to two poets, both so much more. They are the short-lived, playful, and visionary greats of the Frenchman Guillaume Apollinaire and the Russian Velimir Khlebnikov. The translations are splendid and full of life, the context brisk, plain and simply sketched in. This is a book for discovery, for pleasure and delight' George Szirtes, author of 'The Photographer at Sixteen'
__________
Guillaume Apollinaire and Velimir Khlebnikov never met, but their restless innovations in poetic form shared much in common. Both pushed poetry to its limit, and their experiments proved fertile for generations of poets to come. Khlebnikov became associated with Futurism, though his inventiveness with language moved him far beyond it, while Apollinaire influenced a dizzying array of avant-garde movements, including Surrealism, Dadaism and Cubism.
Celebrated translator and poet Robert Chandler offers a stimulating selection from both poets' work in beautifully vivid new translations. Showcasing these poets' exhilarating capacity for innovation as well as their more direct, heartfelt verse, Birds, Beasts and a World Made New offers a surprising journey into the world of two great Modernist poets.
- GenresPoetry
284 pages, Kindle Edition
Published August 15, 2024
45 people want to read
About the author
Velimir Khlebnikov
108 books65 followersVelimir Khlebnikov (Russian: Велимир Хлебников; first name also spelled Velemir; last name also spelled Chlebnikov, Hlebnikov, Xlebnikov), pseudonym of Viktor Vladimirovich Khlebnikov was a central part of the Russian Futurist movement, but his work and influence stretch far beyond it.
Khlebnikov belonged to the most significant Russian Futurist group Hylaea (along with Vladimir Mayakovsky, Aleksei Kruchenykh, David Burliuk, and Benedikt Livshits), but had already written many significant poems before the Futurist movement in Russia had taken shape. Among his contemporaries, he was regarded as "a poet's poet" (Mayakovsky referred to him as a "poet for producers") and a maverick genius.
Khlebnikov is known for poems such as "Incantation by Laughter", "Bobeobi Sang The Lips", “The Grasshopper” (all 1908-9), “Snake Train” (1910), the prologue to the Futurist opera Victory over the Sun (1913), dramatic works such as “Death’s Mistake” (1915), prose works “Ka” (1915), and the so-called ‘super-tale’ (сверхповесть) “Zangezi”, a sort of ecstatic drama written partly in invented languages of gods and birds.
Khlebnikov's book Zangezi (1922).
In his work, Khlebnikov experimented with the Russian language, drawing upon its roots to invent huge numbers of neologisms, and finding significance in the shapes and sounds of individual letters of the Cyrillic alphabet. Along with Kruchenykh, he originated zaum.
He wrote futurological essays about such things as the possible evolution of mass communication ("The Radio of the Future") and transportation and housing ("Ourselves and Our Buildings"). He described a world in which people live and travel about in mobile glass cubicles that can attach themselves to skyscraper-like frameworks, and in which all human knowledge can be disseminated to the world by radio and displayed automatically on giant book-like displays at streetcorners.
In his last years, Khlebnikov became fascinated by Slavic mythology and Pythagorean numerology, and drew up long "Tables of Destiny" decomposing historical intervals and dates into functions of the numbers 2 and 3.
Khlebnikov died of paralysis while a guest in the house of his friend Pyotr Miturich near Kresttsy.
Khlebnikov belonged to the most significant Russian Futurist group Hylaea (along with Vladimir Mayakovsky, Aleksei Kruchenykh, David Burliuk, and Benedikt Livshits), but had already written many significant poems before the Futurist movement in Russia had taken shape. Among his contemporaries, he was regarded as "a poet's poet" (Mayakovsky referred to him as a "poet for producers") and a maverick genius.
Khlebnikov is known for poems such as "Incantation by Laughter", "Bobeobi Sang The Lips", “The Grasshopper” (all 1908-9), “Snake Train” (1910), the prologue to the Futurist opera Victory over the Sun (1913), dramatic works such as “Death’s Mistake” (1915), prose works “Ka” (1915), and the so-called ‘super-tale’ (сверхповесть) “Zangezi”, a sort of ecstatic drama written partly in invented languages of gods and birds.
Khlebnikov's book Zangezi (1922).
In his work, Khlebnikov experimented with the Russian language, drawing upon its roots to invent huge numbers of neologisms, and finding significance in the shapes and sounds of individual letters of the Cyrillic alphabet. Along with Kruchenykh, he originated zaum.
He wrote futurological essays about such things as the possible evolution of mass communication ("The Radio of the Future") and transportation and housing ("Ourselves and Our Buildings"). He described a world in which people live and travel about in mobile glass cubicles that can attach themselves to skyscraper-like frameworks, and in which all human knowledge can be disseminated to the world by radio and displayed automatically on giant book-like displays at streetcorners.
In his last years, Khlebnikov became fascinated by Slavic mythology and Pythagorean numerology, and drew up long "Tables of Destiny" decomposing historical intervals and dates into functions of the numbers 2 and 3.
Khlebnikov died of paralysis while a guest in the house of his friend Pyotr Miturich near Kresttsy.
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Displaying 1 - 13 of 13 reviews
June 30, 2025
"khlebnikov's use of zaum—'beyonsense' language—...was not to escape from meaning but to create a language that conveys deeper understandings than our usual language and that would enable everyone in the world to communicate freely... a 'wild' form of such a language already existed—in magic spells and incantations—and one of a poet's tasks was to 'domesticate' this language." (p. 209)
this level of linguistic play comes precariously close to uselessly incomprehensible schizophrenia, but i feel that it somehow matches the schizophrenic association that is language in the first place. it is a tool for assembling the turbulence of the human experience, externalizing the fractal perceptions that color our subjectivity. yet how much can the poet domesticate? within the framework of a language system, there are still phenomena that defy simple transmission through language.
in an elemental thing eliot weinberger writes about the ancient andean civilization of nazca, and their writing system in the form of khipus, strings woven in permutations of complex knots. meaning in the quechua language was embedded within the shape of writing, ideas made manifest in the landscape; even "the imperial city of cusco was organized as a giant khipu... and so, quite probably, was the sacred plain of nazca" (an elemental thing, p. 81). this anthropological insight likely emerged after apollinaire's time, but his calligrams—poetry where the writing took some sort of shape pertinent to the subject of the writing—speak to a similar imagining of physical form emerging from a written language system.
even so, there were unutterable shapes in this form of language. "the mountain, in the language of nazca, was a word that could not be spoken" (an elemental thing, p. 82). (there are striking similarities in terms of this embodied relationship to landscapes in the songlines of australian aborigine culture).
khlebnikov and apollinaire worked in languages (russian and french, respectively) that are so far removed from the phenomenological force of the embodied writing that one observes through the governing shapes and lines of khipus in nascan culture, but still they inject some element of additional meaning into the work through the unique ways they break apart and toy with their respective languages across their poetry. in this way, i find their association with the cubist art movement fitting, for their work illuminates alternative expressive functions of language within an individual piece, and in doing so alludes to a form of subjective experience that lies just out of reach of the page.
this level of linguistic play comes precariously close to uselessly incomprehensible schizophrenia, but i feel that it somehow matches the schizophrenic association that is language in the first place. it is a tool for assembling the turbulence of the human experience, externalizing the fractal perceptions that color our subjectivity. yet how much can the poet domesticate? within the framework of a language system, there are still phenomena that defy simple transmission through language.
in an elemental thing eliot weinberger writes about the ancient andean civilization of nazca, and their writing system in the form of khipus, strings woven in permutations of complex knots. meaning in the quechua language was embedded within the shape of writing, ideas made manifest in the landscape; even "the imperial city of cusco was organized as a giant khipu... and so, quite probably, was the sacred plain of nazca" (an elemental thing, p. 81). this anthropological insight likely emerged after apollinaire's time, but his calligrams—poetry where the writing took some sort of shape pertinent to the subject of the writing—speak to a similar imagining of physical form emerging from a written language system.
even so, there were unutterable shapes in this form of language. "the mountain, in the language of nazca, was a word that could not be spoken" (an elemental thing, p. 82). (there are striking similarities in terms of this embodied relationship to landscapes in the songlines of australian aborigine culture).
khlebnikov and apollinaire worked in languages (russian and french, respectively) that are so far removed from the phenomenological force of the embodied writing that one observes through the governing shapes and lines of khipus in nascan culture, but still they inject some element of additional meaning into the work through the unique ways they break apart and toy with their respective languages across their poetry. in this way, i find their association with the cubist art movement fitting, for their work illuminates alternative expressive functions of language within an individual piece, and in doing so alludes to a form of subjective experience that lies just out of reach of the page.
January 6, 2025
Thank you to NetGalley for the ARC of this book!
I had to read Apollinaire for a class in college, and thought this book would give me another view of his work beyond just his influence in a creative writing classroom. I had never heard of Khlebnikov, but was also willing to give his poetry a try.
I did like a lot of things about this book. The introduction showed the thought the editor put into spelling the poets’ and artists’ names, which I hadn’t realized would have so many political implications. The biography/contextual material for each of the poets in each section also helped with reading the poems themselves. I also really enjoyed the inclusion of the illustrations for poems, which makes sense for two poets so heavily influenced and surrounded by visual artists. Some of the poems chosen also stopped me in my tracks occasionally, with lines like:
“People sit submissively to wait / for a miracle—but there are no miracles—or for death” (Khlebnikov)
and
“Everything here is so precious and new / That something older or something that has already served /Seems more precious / Than what is new and to hand” (Apollinaire).
My main issues with this book are mostly because of its disjointed nature. Some of the choices of poems felt arbitrary to fit a “structure” for the book that didn’t quite stick the landing, like when the fifth section (out of seven total) only featured poems from Khlebnikov, but the other six all featured poems from both poets. I also ended up having to keep track of significantly more names than I expected in a book ostensibly about two poets.
Overall, I am glad to have read this book, but it may not be a great fit for a casual poetry lover.
I had to read Apollinaire for a class in college, and thought this book would give me another view of his work beyond just his influence in a creative writing classroom. I had never heard of Khlebnikov, but was also willing to give his poetry a try.
I did like a lot of things about this book. The introduction showed the thought the editor put into spelling the poets’ and artists’ names, which I hadn’t realized would have so many political implications. The biography/contextual material for each of the poets in each section also helped with reading the poems themselves. I also really enjoyed the inclusion of the illustrations for poems, which makes sense for two poets so heavily influenced and surrounded by visual artists. Some of the poems chosen also stopped me in my tracks occasionally, with lines like:
“People sit submissively to wait / for a miracle—but there are no miracles—or for death” (Khlebnikov)
and
“Everything here is so precious and new / That something older or something that has already served /Seems more precious / Than what is new and to hand” (Apollinaire).
My main issues with this book are mostly because of its disjointed nature. Some of the choices of poems felt arbitrary to fit a “structure” for the book that didn’t quite stick the landing, like when the fifth section (out of seven total) only featured poems from Khlebnikov, but the other six all featured poems from both poets. I also ended up having to keep track of significantly more names than I expected in a book ostensibly about two poets.
Overall, I am glad to have read this book, but it may not be a great fit for a casual poetry lover.
December 30, 2024
No art is created in a vacuum. I'd go further and say that nothing is every fully "created", in the sense that every author, poet, or artist builds upon the works of others and the things that the world offers up to them. But when the work of a poet, say, is presented to you in alittle book, devoid of all that, it can be hard to see how someone could come up with something like that. And because of that, I adore how Pushkin Press allowed Robert Chandler to format this book. Thanks to Pushkin Press and NetGalley for providing me with a copy of this book in exchange for an honest review.
One of the things I enjoy most about medieval literature, when you really dive into it, is how free it is with its material. By that I mean that authorship looked very different, as there was a certain freedom for everyone to pick up story material and to make something new out of it. Don't get me wrong, copyright is a good thing, especially in this capitalist time, but there is something very collaborative to medieval storytelling which gets lost a little in modern literature, where each work has one creator and that's it. Into this situation comes Birds, Beasts and a World Made New (BBWMN), a book edited by Robert Chandler to show how the art, poetry, and writing of two 20th-century artists came about through collaboration and a mutual inspiration by the world around them. Although, as the blurb says, Apollinare and Khlebnikov never met themselves, they moved in similar circles and engaged in continuous creative collaborations with those around them. The art they created engaged with the world and time period they both shared and therefore interacts directly, even if the creators of that art did not. I absolutely adore the idea behind this book and I truly hope to see more works like this in the future that directly put artists, authors, poets, etc. into conversation with one another. It makes for a very enriching reading experience.
In BBWMN, Chandler brings together the works of French poet Guillaume Apollinaire and Russian/Ukranian poet Velimir Khlebnikov. The book is structured into various sections, which look at specific themes in the works of both poets. The first, for example, is "Beasts" and looks at certain poems by Apollinaire and Khlebnikov's writing about birds. It also includes, which delighted me, poems by others, who translated Apollinaire's poems and were inspired by them. This inclusion adds texture to the book, showing how Apollinaire, Khlebnikov, and their art were not just in conversation with one another, but continue to start conversations with modern authors and poets. Each section also begins with an introduction, or rather, each section has background material on both Apollinaire and Khlebnikov, which precedes their material in the section. I hope that makes sense. For some, this background material might impede the enjoyment of reading the poems themselves, as it presents a lot of history and names one might not be familiar with. However, I think this is a question of how you approach the book. I myself read it in two different ways. First, I read the whole thing, background info and poetry. And then, I did a reread where I just read the poetry. Both work and both give you a different kind of information. I think the beauty of a book like BBWMN is that it can provide both, but you as the reader have to make a choice on what you want from it before you start reading.
My rating for this book is high in part because of its daring format, which I hope we will see more of. I will also say, however, that I very much enjoyed learning about these poets, Khlebnikov especially. I'll be keeping an eye out for more work from them and hopefully more volumes such as this!
URL: https://universeinwords.blogspot.com/...
One of the things I enjoy most about medieval literature, when you really dive into it, is how free it is with its material. By that I mean that authorship looked very different, as there was a certain freedom for everyone to pick up story material and to make something new out of it. Don't get me wrong, copyright is a good thing, especially in this capitalist time, but there is something very collaborative to medieval storytelling which gets lost a little in modern literature, where each work has one creator and that's it. Into this situation comes Birds, Beasts and a World Made New (BBWMN), a book edited by Robert Chandler to show how the art, poetry, and writing of two 20th-century artists came about through collaboration and a mutual inspiration by the world around them. Although, as the blurb says, Apollinare and Khlebnikov never met themselves, they moved in similar circles and engaged in continuous creative collaborations with those around them. The art they created engaged with the world and time period they both shared and therefore interacts directly, even if the creators of that art did not. I absolutely adore the idea behind this book and I truly hope to see more works like this in the future that directly put artists, authors, poets, etc. into conversation with one another. It makes for a very enriching reading experience.
In BBWMN, Chandler brings together the works of French poet Guillaume Apollinaire and Russian/Ukranian poet Velimir Khlebnikov. The book is structured into various sections, which look at specific themes in the works of both poets. The first, for example, is "Beasts" and looks at certain poems by Apollinaire and Khlebnikov's writing about birds. It also includes, which delighted me, poems by others, who translated Apollinaire's poems and were inspired by them. This inclusion adds texture to the book, showing how Apollinaire, Khlebnikov, and their art were not just in conversation with one another, but continue to start conversations with modern authors and poets. Each section also begins with an introduction, or rather, each section has background material on both Apollinaire and Khlebnikov, which precedes their material in the section. I hope that makes sense. For some, this background material might impede the enjoyment of reading the poems themselves, as it presents a lot of history and names one might not be familiar with. However, I think this is a question of how you approach the book. I myself read it in two different ways. First, I read the whole thing, background info and poetry. And then, I did a reread where I just read the poetry. Both work and both give you a different kind of information. I think the beauty of a book like BBWMN is that it can provide both, but you as the reader have to make a choice on what you want from it before you start reading.
My rating for this book is high in part because of its daring format, which I hope we will see more of. I will also say, however, that I very much enjoyed learning about these poets, Khlebnikov especially. I'll be keeping an eye out for more work from them and hopefully more volumes such as this!
URL: https://universeinwords.blogspot.com/...
September 25, 2024
Birds, Beasts and a World Made New can only be described as a special book. It is more than just a collection of selected poems by Guillame Apollinaire and Velimir Khlebnikov. There is not only context added, but there are also interpretations and translations that are just done with so much obvious love. So many things that would get lost in translation are thoroughly explained in an effort to make the reader understand how special and unique the writing was. The admiration for those two poets shines through in every single page.
Every part of the book begins with somewhat of an introduction, explaining the way the poets were living at the time, what was happening to them and what other people said about them. Only then do the poems start and as incredible as they are already on their own, they really shine when you understand when and why they have been written.
I love that the author included the women around them. Some of Vera Khlebnikova’s drawings are included in the book and the author even talks about the way she tends to be forgotten. Madeleine Pagés’ memoir about first meeting Apollinaire is so tenderly written, so beautiful, I am so glad it was included.
And of course, the poems themselves. Gorgeous poetry. I hadn’t known Khlebnikov and Apollinaire beforehand and I was just swept off my feet honestly. One of Apollinaire’s war poems has especially captured my heart with this verse:
‘But why does the state feed on people? Why does a Fatherland become a people-eater, and a Motherland become his wife?’
As someone who lives by the Rhine, I also really loved Lorelei. Venus And The Shaman was just beautifully written, it read like a Fable. And it is absolutely fascinating how in the ‘Menagerie’ Khlebnikov slowly starts drawing parallels from animals to humans which gets more and more scathing as the poem goes on.
So tldr: go pick up this book. You won’t regret it.
Every part of the book begins with somewhat of an introduction, explaining the way the poets were living at the time, what was happening to them and what other people said about them. Only then do the poems start and as incredible as they are already on their own, they really shine when you understand when and why they have been written.
I love that the author included the women around them. Some of Vera Khlebnikova’s drawings are included in the book and the author even talks about the way she tends to be forgotten. Madeleine Pagés’ memoir about first meeting Apollinaire is so tenderly written, so beautiful, I am so glad it was included.
And of course, the poems themselves. Gorgeous poetry. I hadn’t known Khlebnikov and Apollinaire beforehand and I was just swept off my feet honestly. One of Apollinaire’s war poems has especially captured my heart with this verse:
‘But why does the state feed on people? Why does a Fatherland become a people-eater, and a Motherland become his wife?’
As someone who lives by the Rhine, I also really loved Lorelei. Venus And The Shaman was just beautifully written, it read like a Fable. And it is absolutely fascinating how in the ‘Menagerie’ Khlebnikov slowly starts drawing parallels from animals to humans which gets more and more scathing as the poem goes on.
So tldr: go pick up this book. You won’t regret it.
November 18, 2024
This poetry collection recalls a time and tells a story. Perhaps it's not right to call it a poetry collection, not because it isn't one, but because that's not all it is. Most of the book consists of selections of poetry from Guillaume Apollinaire and Velimir Khlebnikov juxtaposed by themed grouping. But there is also backstory and biography included throughout as well as in the book's final section.
One might wonder why anyone would construct a two-poet collection featuring a Frenchman and a Russian. Well, the two men did have a number of things in common, most disturbingly that they both died young in the early twentieth century. Apollinaire died at age 38 in 1918 and Khlebnikov died at 36 in 1922. The fact that these men's writing careers so overlapped is one of the reasons the book works. They waded through a common zeitgeist. Another commonality that makes the collection relevant and intriguing is that both poets had a penchant for experimentalism in their work.
Seeing the work of these poet's organized as the volume does, one recognizes both similarities and differences. This includes the fact that the tone of each poet's work ranges widely from whimsical to the brutal morosity of poems on war and the suffering it entails.
I found this collection to offer a powerful reading experience and would recommend it highly to all poetry readers.
One might wonder why anyone would construct a two-poet collection featuring a Frenchman and a Russian. Well, the two men did have a number of things in common, most disturbingly that they both died young in the early twentieth century. Apollinaire died at age 38 in 1918 and Khlebnikov died at 36 in 1922. The fact that these men's writing careers so overlapped is one of the reasons the book works. They waded through a common zeitgeist. Another commonality that makes the collection relevant and intriguing is that both poets had a penchant for experimentalism in their work.
Seeing the work of these poet's organized as the volume does, one recognizes both similarities and differences. This includes the fact that the tone of each poet's work ranges widely from whimsical to the brutal morosity of poems on war and the suffering it entails.
I found this collection to offer a powerful reading experience and would recommend it highly to all poetry readers.
March 11, 2025
hello, so i thought i’d try my hand at poems… and why not a collection of two somewhat proto-figures of their respective movements. i prefer apollinaire to khlebnikov, but that’s probably because khlebnikov can’t really be appreciated outside his tongue. but, somewhat perversely, there in the futility of his poems is a shroud of foreign-ness or exoticism, if you will, unlike apollinaire’s very clear and human poetry. khlebnikov feels outerworldly. above is three of my favorites from apollinaire: le pont mirabeau; cornflower; and his last poem, the pretty redhead. i also add one from khlebnikov: untitled.
September 28, 2024
Fascinating!
At first, I was apprehensive about the quantity of background information and context provided before the poems but I thought it perfectly balanced in a way which truly enhanced the reading of the poetry.
Apollinaire’s poems were beautifully translated, I only knew the French versions but was highly satisfied with their English ones.
Each section offered a different vision of the world, and it did feel like holding pieces of it in my hands.
For some reasons, I mentally matched “Beasts” in the title with the war poems, giving them quite a interesting look!
At first, I was apprehensive about the quantity of background information and context provided before the poems but I thought it perfectly balanced in a way which truly enhanced the reading of the poetry.
Apollinaire’s poems were beautifully translated, I only knew the French versions but was highly satisfied with their English ones.
Each section offered a different vision of the world, and it did feel like holding pieces of it in my hands.
For some reasons, I mentally matched “Beasts” in the title with the war poems, giving them quite a interesting look!
November 21, 2024
Re-illuminating two early modern poets
I'm not a poetry person but I was moved by Chandler's careful bringing together of two poets whose work touches on similar themes and motifs, although they never knew each other. The contextual texts around each theme helped to bring to life the poets and their times, the early 20th century around the First World War. Of course war figures in these poems, lyrically translated here, but also the birds and beast of the title, friendships, love and other daily concerns.
Four and a half stars, rounded up to five.
I'm not a poetry person but I was moved by Chandler's careful bringing together of two poets whose work touches on similar themes and motifs, although they never knew each other. The contextual texts around each theme helped to bring to life the poets and their times, the early 20th century around the First World War. Of course war figures in these poems, lyrically translated here, but also the birds and beast of the title, friendships, love and other daily concerns.
Four and a half stars, rounded up to five.
November 21, 2024
I approached this collection expecting an intriguing selection of poems, but I was instead met with works of remarkable depth and quality. However, the reading experience was somewhat weighed down by the overly detailed introductions preceding each section.
That said, the poems stand out for their beauty and their ability to provide readers with fresh perspectives and profound reflection. Despite some reservations about the structure, this collection is worth reading for the intensity and value of its verses.
Thank you to NetGalley for the Advanced copy.
That said, the poems stand out for their beauty and their ability to provide readers with fresh perspectives and profound reflection. Despite some reservations about the structure, this collection is worth reading for the intensity and value of its verses.
Thank you to NetGalley for the Advanced copy.
November 17, 2024
Really enjoyed this, particularly the Khlebnikov, which I wasn't at all familiar with before. Cleverly and thoughtfully curated
June 16, 2025
tbh los poemas estuvieron lindos, pero tanta intro a cada autor lo hacia tedioso. Entiendo que sea para conocer de donde proviene el poema y demás, pero repito, era demasiado tedioso
October 8, 2025
Surely song is born in a movement away from oneself, away from the axis of one's everyday reality? Surely song is an escape from the I?
- Velimir Khlebnikov, 'On Poetry'
- Velimir Khlebnikov, 'On Poetry'
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January 16, 2026sweet and tender look into two poets and their poetry around birds that you can tell has been collated together with so much love and respect for them both.
wish it wasn't so disjointed and had better flow but loved learning about aviary poetry.
thank you netgalley.
wish it wasn't so disjointed and had better flow but loved learning about aviary poetry.
thank you netgalley.
Displaying 1 - 13 of 13 reviews