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Through the focusing lens of Anna de Noailles, Persephone Unbound revives multiple facets of the culture in which she wrote. More crucially still, it reevaluates a writer whose historical stature and whose incorporation by the French establishment as a representative of "feminine" poetry have tended to overshadow her literary merits. With respect to her poetry in particular, critics have often failed to recognize the modernity of its lyric voice on account of its traditional verse patterns. Reflecting a dual attitude of competition and cooperation with her cultural world, Noailles held a similarly doublevoiced discourse toward conventional interpretations of woman. Her classification in literary history as a belated French Romantic further obfuscates the significance of her work While recognizing her predecessors, Noailles was frequently unable to find adequate models in their works for a distinct poetic identity. In seeking new versions of the feminine self she acknowledged women who were unable to write and, more broadly, she attempted to provide a formerly silent Muse with voice and presence. Noailles' Greek inheritance also enabled her to reclaim mythical figures such as those of Persephone and Antigone, and thus to invigorate the link that French poetry had established with antiquity. The book finther evaluates Noailles' unique positions on social-sexual politics as they find expression in her little-known relationship with the nationalist writer Maurice Barres. First made available to readers in 1991, their correspondence discloses how Barres found in Noailles a long-sought muse even while he rejected her progressive politics. The author analyzes both Noailles' renditions of this relationship and the oscillation in Barrbs's works between the symbolic significance he attached to Noailles as a quasi-miraculous incarnation of his fascination with Dionysian values and his equally forceful denial of a poet whose inspiration clashed with his philosophy of nationalist action.
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The selection is fairly representative of Akhmatova's life work, with early poems from 1909, through her affair with the poet Blok in the teens, the Terror and War, to her deathbed in 1961. I particularly enjoyed the translation of the epic "Requiem". Without a doubt, this is the best English version I have ever read. My only complaint is its berevity - at 40 poems, it merely whets the readers appetite for more - a pity, given the outstanding nature of both poet and translator.
For those who are not familiar with Anna Akhmatova, this is a gem. If you have read some of her work, this is a must-have volume. Enjoy!
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If you are a Hearing person at all familiar with Deaf culture, you will see yourself and your Deaf friends in this book and lightbulbs will go off as you recognize and identify the reasons for specific interactions you've had in Deaf community. As someone who has been enthralled with ASL for more than 20 years and involved in Deaf community off and on (more off than on to my dismay) for more than 10 years, I found myself, after reading this book, wishing I could reconnect with every Deaf person I've known and *apologize* to them for all the cultural gaffs and blunders I've made, and for all the misunderstandings and misassumptions on my part. I SO MUCH wish I had had this book 10-20 years ago to help me bridge the gap and to understand the different perspectives from which Hearing and Deaf approach communication.
Not only that but this book has opened my perspective and helped me to better understand my coworkers in the High Tech industry who are from Asian, Arab, and European countries, as well as to better understand the cultural differences between myself and the homeless and street-culture-savy teenagers with whom I work on a voluneer basis.
Thank you so much to the author for this amazing, fascinating, and accurate work!
Adele Harth
RID & NAD interpreter