The latest addition to our Reviews Section is by Catherine Partin on Pierre Reverdy’s Pierre Reverdy, a collection of the poet’s works translated by various authors, edited by Mary Ann Caws, and out from New York Review Books.
Catherine is an avid reader with interests in French and Francophone literature, modernism, and critical theory, and is soon to graduate with an MA in Culture and Difference from Durham University. Here’s the beginning of her review:
To read a poem by Pierre Reverdy is to enter a world of dreamlike contradictions, surreal metaphors, and jarring juxtapositions. Marked by recurring themes of consciousness, time, distance, and memory, Reverdy’s work inhabits an otherworldly realm. As when viewing a cubist painting, it’s hard to maintain a sense of orientation—follow along a line toward its expected end and, surprise! the work takes an unexpected turn. In Pierre Reverdy, the New York Review Books presents an exemplary collection of Reverdy’s poems in new English translations. Translated by an impressive roster of respected Anglophone poets, among them Frank O’Hara, John Ashbery, Kenneth Rexroth, and a dozen others, the works selected here are nevertheless unified by Reverdy’s distinct poetic voice and a propensity for jarring juxtaposition, creating dreamlike imagery painted with lucidity and yet tinged with the surreal.
Known for his associations with such figures as Guillaume Apollinaire, Tristan Tzara, and Andre Breton, Reverdy’s close ties to these and other founding members of the early twentieth-century avant-garde are not to be underestimated. Their influences upon Reverdy’s work, most notably manifest in his surreal imagery and unconventional form, are perhaps best illustrated by the book’s opening selection from Prose Poems. These works, square chunks of text consisting of syntactically normal sentences that nevertheless retain a semantic opacity and make for difficult, if not intriguing reading, doubtless contributing to Reverdy’s reputation as the quintessential cubist poet.
For the rest of the review, go here.
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .