All Just by David Herd

By David Herd

The poems during this assortment are made out of the fractured words and competing idioms of latest move and the interpretation among private and non-private spaces—conversations that commence and are damaged off; public bulletins intervening in inner most events; an emergency that's approximately to spread within the historical past. Taking bearings from Dover and London and wrestling with topics of elegy and protest, legit constructions that verify the place humans can pass, and the futures that move them, the poems discover the social areas within which humans flow. The publication asks what it potential to be at huge on this planet and what language is accessible to rfile the adventure.

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Sample text

And they do not suffer from it, for while they are expressing us more and more clearly, our souls close over them in the same mea­ sure. And I feel in these days that Russian things will give me the names for those most timid devout­ nesses of my nature which, since my childhood, have been longing to enter my art. It is as though Rilke had been waiting for whatever in the world would correspond to feeling-states that had been constellating inside him, and he found it in Russia—in the living forms of communal worship he witnessed there, and also in landscape and architecture.

31, “afurther shaping”: Cited in introduction to The Book of Horn's, trans. Peck; we changed Peck’s “conditions” to “inspirations” for clarity. p. 32, “. . Perhaps we are”: The Selected Poetry of Rainer Maria Rilke, ed. and trans. Stephen Mitchell. New York: Random House, 1982. 34 N O T E S ON THE T R A N S I A TI O N The relationship between this work and those who have worked on it has been reciprocal. In submitting ourselves to these poems over a period of two and a half years, each of us has been nurtured by them; thus, in successive revi­ sions, we have been able to make changes in part effected by the changes the poems themselves have effected in us.

Although he maintained a voluminous correspondence, he lived by himself, refus­ ing even the companionship of animals. ” It is not that Rilke lost his hunger for God; rather, it became transmuted into a single-pointed dedication to art that absorbed into itself everything else in his life. Never again, after The Book of Hours, would the dynamic between God and the world be expressed in such immediate and reciprocal terms. In 1912, ill and depressed and moored in a spell of aridity, Rilke was staying alone at Duino Castle near Tri­ este, the guest of Princess Maria von Thurn und Taxis.

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