Новинки Розмари Уолдроп

Розмари Уолдроп (род. 1935) – американская поэтесса, переводчица, эссеистка, издательница. Уолдроп исследует возможности языка как инструмента познания мира, используя текучесть языка и разрывы в нем, его многозначность, постоянную незавершенность и внутреннюю противоречивость, делая акцент на синтаксисе и композиции. Для ее поэзии характерны предметность и сталкивание различных контекстов. Работа Уолдроп легла в основу американской поэзии «Школы языка».

Rosmarie Waldrop says Gap Gardening “spans forty years of exploring the language I breathe and move in and that continues to condition me even while I try to contribute to it. It tracks my turn from verse to prose poems, to focusing on the sentence and its boundaries, my increasing reliance on collage and source texts as a way of engaging with other voices, of being in dialogue.”


Gap Gardening also traces Waldrop’s growing sense of writing as an exploration of what happens in between. Between words, sentences, people, cultures. Between fragment and flow, thinking and feeling, mind and body. For the first time, we have a complete and clear view of the work of a great and inquiring, brave and indispensable poet.

Curves to the Apple – The Reproduction of Profiles Lawn of Excluded Middle Reluctant Gravities

The latest book of prose poems by one of America's premier philosophical poets. For the title of her newest collection of prose poems, Rosmarie Waldrop adopts a term—"blindsight"— used by the neuroscientist Antonio R. Damasio to describe a condition in which a person actually sees more than he or she is consciously aware. "This is one reason," explains Waldrop, "for using collage: joining my fragments to other people's fragments in a dialogue, a net relation that might catch a bit more of the 'world.'"
The collection—the author's fourth with New Directions—is divided into four thematic sections. The first, "Hölderlin Hybrids," resonates against the German poet's twisted syntax, while using rhythmic punctuation in counterpoint to sense. "'As Were,'" says Waldrop, "began with looking at the secondary occupations of artists—for example, Mallarmé teaching English, Montaigne serving as mayor of Bordeaux—but this soon gave way to playing more generally with particular aspects of historical figures." The title section, "Blindsight," is most consistent in its use of collage, juxtaposing words and images to jolting, epiphanic effect. "Cornell Boxes," in contrast, has a formal unity, inspired by the constructions of Joseph Cornell, each prose poem "box" composed in a structure of fours: four paragraphs of four sentences each, with four footnotes.

The Book of Questions, of which volumes IV, V, VI are together published here, is a meditative narrative of Jewish Experience, and, more generally, man's relation to the world. In these volumes the word is personified in the woman Yaël, silence in her still-born child Elya. Even though words imply ambiguity and lies, they are the home of the exile. A book becomes the Book, fragments of the law that are in some way unified, where past and present, the visionary, and the common place, encounter each other. For Jabès every word is a question in the book of being. Man defines himself in the world against all that threatens his existence- death, the infinite, silence, that is, God, his primal opponent. How can one speak what cannot be spoken?