The rediscovery of Greek and Roman literature kickstarted the Renaissance in Europe. In a similar way, though on a somewhat smaller scale, the conveniently Imagist makeover of Chinese poetry by Ezra Pound and Amy Lowell undoubtedly had a seismic and far-reaching effect on later 20th century American poetry. In his learned Introduction to this outstanding and indispensable Anthology, Weinberger traces the many subsequent debts owed by a galaxy of fine American poets to that seminal work of re-invention. Such impressively talented scholar-translators as Burton Watson, J. P Seaton, Jonathan Chaves and several others receive an honourable mention, though their work is well anthologised elsewhere, and Weinberger¡¦s brief seems to have been only to include full-time poets: with the possible exception of Hinton, that is. (However, Sam Hamill's, Arthur Sze's and David Young's names have inexplicably been left out: all three of them marvellous contemporary re-interpreters of the classical Chinese tradition, and all three fine poets in their own right.)

Weinberger concentrates in particular on five exemplary writers: Ezra Pound himself, William Carlos Williams, Kenneth Rexroth, Gary Snyder, and David Hinton. They are certainly all major figures, and it's useful to have them grouped together in this way (particular since the last of them diverges in such interesting ways from the Imagist 'Less is More'tradition: though he certainly 'makes it new' in accordance with that central dictum, which is even quoted in the original Chinese characters both on the cover and on the titlepage).

I thought I already knew quite a lot about American translators from classical Chinese---a whole shelf of mine already groans under their weight---but the William Carlos Williams renderings were entirely new to me, and so were some of the later Pound translations.

For this reader it's hard to contain his excitement at such a beautifully produced edition (only spoiled by a spine-label that's somehow been glued on upside down), and I recommend anyone interested in either recent American poetry or in the classical Chinese tradition to go out and buy it straight away. It will admirably complement Minford and Lau's recent historical anthology of all translations (both European and American, and both scholarly and 'creative'), which of course covers a much broader range, but which is similarly ground-breaking and enthralling to read.

Do ye no' kin Hugh MacDiarmid? YOU SHOULD! MacDiarmid is perhaps the greatest 20th century Scottish poet and alas, one of its least known outside of Scotland. The majority of the Poems in this collection are written in the Scots dialect, used by Burns and Tannahill in th 18th century. However, the subject matter is undeniably 20th century. The themes are largely metaphysical and political, and the content is largely free from Romanticism and nostalgia. The poems are filled with the vitality, beauty, struggle and dissapointments of modern life, yet always framed within a larger historical framework. This is poetry to rival TS Elliot, Wordsworth or Seamus Heaney. Smart, exquisitely wraught literary gems fill this collection. MacDiarmid epic masterpiece "A Drunk Man Looks At Thistle" is included here unabridged. This IS an essential read for anyone interested in Scotland or Scottish Literature. Forget the wee kilted bagpiper doll and the stuffed nessie that you bought in a giftie shop on the Royal Mile. MacDiarmid's poetry resonates the beauty of the Scottish dialect, and addresses 20th century topics. These poems for me represent Scottish culture better than any touristic souvenir giftie. They are not easy poems and the Scots words send the reader's eye down to the footnotes repeatedly. So do Shakespeare and Chaucer. This is a wonderful collection which is well annotated. If you like Burns...buy this book and prepare to have your mind blown. The Scots dialect remains very much alive in literature (see James Kellman's novels) and it is largely thanks to the magnificent poetry of MacDiarmid. THIS IS WONDERFUL STUFF!

Paz ha creado una joya de incalculable valor. Con toda la plasticidad que un genio puede brindarle a un texto, San Octavio recorre en Piedra de Sol todos los grandes temas de la poesía y con ello, del hombre. Es tan natural el desempeño de sus letras que es necesario hacer un esfuerzo para asimilar que nos han llevado de un confín a otro, de la magia a la realidad, de la mujer a la soledad, del río al dolor. Gracias a la serenidad del texto la forma (son 584 endecasílabos) no se percibe en la lectura: así emergen los gigantes.

Eliot Weinberger is hands-down the finest American essayist around. Read this book as a primer.

another book of essays from a relatively unknown thinker, offering fearless perspectives on politics, poetry and culture.
Weinberger is one of the few living writers I turn to when I want to learn about certain aspects of the contemporary world.

"Eagle or Sun?" is a collection of prose poems by the great Mexican poet Octavio Paz. Several of the short pieces represent a sort of hybrid form between the poem and the essay; others seem to represent a melding of the poem and the short story. Although Paz can be obscure, and even somewhat indulgent, at times, "Eagle or Sun?" is marked by flashes of brilliance which make it an important piece of 20th century literature.

Some of the book's highlights included section X of "The Poet's Works," a nightmarish vision of language gone awry; "The Blue Bouquet," which is undoubtedly one of the greatest horror stories ever written in any language; and "My Life with the Wave," a surreal fantasy story that is rich in irony. "Eagle or Sun?" may not be easy reading, but it is a rewarding and memorable work from one of Mexico's most important writers.

A superb collection of early writings from 1949-50, Paz explores Mexico from three fronts, past, present and future. Influenced by Surrealists his prose is vivid and colorful as he explores the relationship between language and poet, reality and language and his vision of the past. His exploration of the apocalytic future, as foretold by the Aztec calendar stone is haunting. The world lost a great poet but his works live on for future generations.

Best poetry and a good translation. As "A Draft of Shadows" (translated by Weinberger also), it worths the reading. These books both are the best Paz's poetry... light on the other side... beating.

There are not many anthologies of which you can say they are needed, but this is may be one of them. Eliot Weinberger, best known as a translator of Latin American poetry (especially that of Octavio Paz), has done an admirable job here of articulating how innovation in American poetry was taking place from the 1950s through the 1970s and even into the 1990s. The volume's subtitle, "Innovators and Outsiders," can be misleading, as many of the thirty-five poets included here are now among the most familiar to contemporary readers, few of whom would consider the likes of Williams, Pound, H.D., Creeley, Ginsberg, etc. "outsiders." Yet, all of these poets were or are innovators. Weinberger has put together a fascinating "narrative" and a refreshing, personal rereading of poetry in the U.S. from around 1950 on. (You can quibble all you want with the selection, and some readers, myself included, will find some of the poetry here just awful, but Weinberger's justification for this volume in the brief introductory note is outstanding.) Just as importantly, his brief essay following the selections, "American Poetry Since 1950: A Very Brief History" is offers an excellent and insightful overview of how major creative tendencies have followed one after another in the past fifty years.

This is an excellent cross-section of late twentieth century poetry....of course it leaves some favorites out and includes poets I am not particularly enamored with but ultimately I have used this book a great deal.....highly recommended...I am especially pleased with the inclusion of Ronald Johnson......very interesting work....

Once again Octavio Paz expresses his love and passion for India and things Indian but this time through his poetry. They style is fluid, sensual and evocative, add to it a plethora of colorful imageries.

A Tale of Two Gardens is a collection of poems dealing with Nobel laureate Octavio Paz relationship with the great nation of India. He made many trips there over the years. Paz was also the Mexican ambassador to India. (He resigned the position in 1968 to protest government assault on protesters.) There were still later sojourns to India afterwards. Mutra is a really strong poem. It is a flower that grows with each subsequent reading. Few cities have ever been so aptly honoured. Another of the poems I like is The Balcony. Wind From All Compass Points is another standout. The whole collection is a grand achievement. India is the most enduring civilization on the planet. It is only fitting that one of the most enduring poets of the twentieth century should write a poetic tribute. These poems were written over a period of forty years. The love and passion Paz feels for Indian culture and peoples is recurrent in these poems. This was truly his second home. It was the second garden so to speak. And from this love of India came a great gift of poetry for the rest of the world to read and know.

This is a wonderful collection of Bei Dao's most recent works. What I love most about his poetry is the way it grapples with language in a way that is not quite surreal but not concrete either. Many of the poems are self reflective in that they ponder what it means to be a poet writing and thinking in a language that is not the same as the places of his "exile" (Western Europe and the United States). Although, in my opinion, the book of poetry prior to this collection, called Old Snow, is an even stronger statement on these issues. You can tell from the poetry that the current political situation of China, and an alienation are still fresh in Bei Dao's mind (I have talked briefly with Bei Dao about some of these issues). I have no doubt that he will find a place as one of the great poets of the modern age.

the book, also, never mentions barbed wire but makes barbed wire come to mind. Bei Dao's writing is some of the most pressing, urgent poetry I have ever read. The man is a great poetic genius. With lines about such things as the wind closing its iron fist, Bei Dao speaks with power & elegance against repression & of the absolute importance of the individual. This book is very important. Bei Dao has made himself a significant man. Context of human value. According to Jonathan Spence from the New York Times Book Review, Bei Dao "was obliged to create a new poetic idiom that was simultaneously a protective camouflage and an appropriate vehicle for 'unreality.'" According to highly respected poet Robert Hass, "[A Bei Dao poem] feels as if it follows the pulse of consciousness, as it moves from metaphor to metaphor, thought to thought, something like a pilot light turned down to the jets and flickers of a single, intense, blue flame." Something else that's nice about this book is that it's bilingual, & Bei Dao was active in the translation process.

Mostly bereft of scenery or any notice of local lifeways, hardly a travel book at all, Hindoo Holiday strikes me as being a vicious portrait of his host and benefactor, a maharajah who, like Ackerley, was on the self-defeating quest for the devotion of an Ideal Friend, and, like Ackerley, looking in all the wrong places for love. Ackerley's book is condescending to Indians in the colonial British manner that was abhorrent to Foster both in his time in India and in his masterpiece A Passage to India, Hindoo Holiday is notable for a lack of empathy on Ackerley's part, but, then, in his entire oeuvre, it is only the irritations and heartbreaks of his surrogates that matter. Ackerley was far too solipsistic to be a novelist.

E. M. Forster, whom Ackerley emulated in going to India in the 20s to work as private secretary for a maharajah, has a character in A PASSAGE TO INDIA named Miss Derek, who is private secretary to a rani and who "regarded the entire peninsula as if it were a comic opera." That basically describes the attitude Ackerley adopts in HINDOO HOLIDAY, which treats an indian princely styate as if it were wildly wacky. No doubt that might have been true to Ackerley when he visited in the 20s, but this book's humor has worn somewhat over the years and seems at times a bit condescending. What has remained interesting and vital are Ackerley's observations about Indian (particularly Hindu) customs and manners, and his deft sensitivity and understatement in his portrayal of the maharajah's (and his own) homoerotic desires: Ackerley's keen observational intelligence, fortunately, outweighs the dated cross-cultural comic aspects of the narrative. While this isn;t nearly at the level of one of his later works like MY FATHER AND MYSELF, it's an intriguing read for anyone interested in India during the raj or early 20th-century homosexuality.

This is one of those books that I will always keep by my bed as a reminder not to take myself too seriously in any capacity. I found this a terribly funny book, mostly becuase it rang so true. Ackerley is fabulous company, shockingly observant and brutally honest, even when it plunges him into bad light. We tip-toe so carefully around so many of the subjects he faces head on - racism, homosexuality, class and privilege. He doesn't flinch.