A classic anthology of the essential works of late 19th- and early 20th-century French poetry--in both superb translations and the original French texts--reissued with an eloquent introduction by poet and musician Patti Smith.First published in 1958, this collection introduced an indispensible corpus of western poetry to countless American college students, francophiles, and would-be poets-among them Patti Smith, whose vocation was formed she says, by reading this book. The poetic and cultural tradition forged by the Symbolist poets-Baudelaire, Rimbaud, Verlaine, Appollinaire, and others-reverberated throughout the avant garde and counter-cultures of the twentieth century. Modernism, surrealism, abstract impressionism, and the Beat movement are unthinkable without the example of these poets and their theories of art, making this reissue possibly the hippest "dead white European male" anthology ever published.Including translations by Richmond Lattimore, W.S. Merwin, Dudly Fitts, and Richard Wilbur, this anthology has stood the test of time in terms of its selection and scholarly apparatus. Now back in print after twenty years in a fresh new edition, the book features an introduction by Patti Smith that testifies to its epochal impact on her own career, as well as those of other influential latter-day poets, including Lou Reed and Jim Carroll. This rediscovered gem is sure to inspire a new generation.
Last December I read Bob Dylan's Lyrics: 1962-2001. While researching his work, I was reminded that Bob had been influenced by the French Symbolist and Surrealist poets. The Anchor Anthology of French Poetry was a recommended book on Dylan's website. So I asked for the book for Christmas and when it arrived learned via the introduction that this book had profoundly inspired Patti Smith-she found a copy in her younger days, 'borrowed it,' and the book became her 'Bible.'
I can see why! I have not been so inspired by a book of poetry or school of poetry since first discovering the Romantics, Walt Whitman and Emily Dickinson, and the Beats. The editor, Angel Flores, chooses well--these poems are transcendent. Several of my favourites are: Golden Verses by Nerval, The Cracked Bell and The Voyage by Baudelaire, The Art of Poetry by Verlaine, The Drunken Boat and The Alchemy of Words by Rimbaud, The Azure and A Throw of the Dice Will Never Abolish Chance by Mallarme, Winter Sunset and Twilight by Larforgue, I Had the Courage, Vendemiaire, and Hills by Apollinaire, and The Cemetery by the Sea by Valery.
If you enjoy poetry, I highly recommend this collection.
The title of this anthology, which is edited by Angel Flores, might give you the impression that this is an all-inclusive survey of every era, school, and movement of French poetry. That would be a gross misconception: in the introductory essays that precede each section of this book, Flores flaunts his ample scorn for the French Romanticism of Victor Hugo (which he calls "banal," "sentimental," "anti-intellectual," etc.) at the same time that he thoroughly ignores the Surrealism of Paul Eluard and Rene Char. Instead of an objective survey of the whole of French poetry, what Flores has produced is a deep and passionate examination of the oeuvres of a small handful of French poets, most of whom belonged to the literary movement known as Symbolism. Like Harold Bloom, Flores displays a keen interest in the intellectual parlor game of who-influenced-whom, and the poems he has selected for inclusion elucidate these chains of influence: for example, the reader is shown how Baudelaire influenced Mallarme, and how Mallarme in turn influenced Valery.
This book encompasses many treasures, including: almost all of Nerval's gorgeous "Les Chimeres" poems; a generous sampling of Rimbaud's prose poetry; the best-ever English translation of Apollinaire's masterpiece "La Chanson du mal-aime" (courtesy of translator Dudley Fitts, who, unlike many translators, maintains some semblance of the hypnotic rhyme scheme of the original); Valery's rhapsodic "Le Cimetiere marin" (from which the famous line "The sea, the sea!" originates); etc.
Some made me want to stab my left eyeball because maybe not sad enough for me. Corbiere has some really nice imagery stuff going on also Baudelaire what a big jerk writing about “my heart like a bird” shut up. I love that. I actually got this book because of the cover. It’s pink and green and so pretty. I hope to remember said cover once I’m old and senile.
(so I can go back and read and not forget) angie you mostly enjoyed Insomnia, hours, kazoo, at one o’clock in the morning, the love of deceit, apathy
This is a wonderful collection. The introduction is by Patti Smith. The selection is good, and some of the translations are great, particularly the Verlaine, who doesn't usually fare this well in English. The history and sequence of modern French poetry is well presented here. This is the collection that turned Dylan on to Rimbaud and Baudelaire, in the early 60's.
This book is a really great collection of poetry that viscerally shows the transition from the Romantic style to the fully modern. Most of the poems here are available in other recent collections of the individual authors (the big names, anyway), but there's lots of stuff that isn't too. A great bonus is the introduction by Patti Smith, who originally lead me to read Rimbaud, Verlain, et al.
While I enjoyed a handful of poems I thought the set up of the book was a bit annoying. I’m not a huge poetry fan to begin with so it’s not all that shocking that a lot of these poems were difficult to read through without getting distracted.
I hate trying to quantify the quality of a poetry anthology, so I won't. Suffice it to say that some of the poems included are must-reads by the usual suspects of modern French greats and some of the lesser known poets could have been left out entirely. The Kenneth Koch translations stand out particularly well, even though there are only a few of them. The French originals in the back are missing the original for Un coup de des, which is reasonable but also one of key poems in the collection that makes you want to compare the translation to the original.