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Winner of the Herder Prize, Nichita St?nescu was one of Romania’s most celebrated contemporary poets. This dazzling collection of poems – the most extensive collection of his work to date – reveals a world in which heavenly and mysterious forces converse with the everyday and earthbound, where love and a quest for truth are central, and urgent questions flow. His startling images stretch the boundaries ofthought. His poems, at once surreal and corporeal, lead us into new metaphysical and linguistic terrain.
- Sales Rank: #1430715 in Books
- Published on: 2012-07-13
- Released on: 2012-07-13
- Format: Deckle Edge
- Original language: Romanian
- Number of items: 1
- Dimensions: 7.00" h x .83" w x 5.50" l, .80 pounds
- Binding: Paperback
- 200 pages
Review
For those—sadly most of us—unacquainted with this brilliant post-World War II Romanian poet’s prolific accomplishment, this selection should prove a revelation. During a historical period of all-too-familiar repression and enforced orthodoxy, his work surged off the page with that liberty only the most gifted and courageous artists possess, giving the lie to the lies around him, and the slant truths of poetry to his listeners. —Michael Palmer
Nichita St?nescu blasted open the prison gates of Socialist realism in Romanian poetry, and all of us rushed out, reveling in the freedom he gave us. His poems display an astounding brilliance that time has not tarnished. These splendid translations by Sean Cotter will introduce English speakers to a universal genius. —Andrei Codrescu
At the time I started writing, about thirty years ago, I was obsessed with Romanian poetry. Today, I still think that St?nescu is one of the most important poets of the 20th century. —Semezdin Mehmedinovic The greatest contemporary Romanian poet. —Tomaž Šalamun
St?nescu has a gift for creating active, startling images. . . In�Wheel With a Single Spoke ...�St?nescu is at his best; he examines the nature of time, space and geometry, and in the friction between science and lyric impulse, produces some of his most beautiful lines. We’re lucky that, nearly thirty years after his death, his voice still comes through, clearer than ever. —Words Without Borders
For a poet who is thought of as one of the defining Romanian voices of the mid-20th century, St?nescu is poorly represented in English ... Archipelago’s fuller treatment is long overdue. St?nescu is one of the poets who broke through the socialist-realism sound barrier and propelled Romanian poetry into new spheres. He has been revered for decades in Romania as a great voice and it is our considerable good fortune that Cotter has helped us to see why. —The Arts Fuse
About the Author
Nichita St?nescu (1933–1983) was the most beloved and groundbreaking Romanian poet of the twentieth century. St?nescu transformed Soviet-style aesthetics from within, infusing the tangible world with a metaphysical vocabulary all his own. St?nescu received the Herder Prize in 1975 and was nominated for the Nobel Prize in 1979. Sean Cotter’s translations from the Romanian include Liliana Ursu’s Lightwall and Nichita Danilov’s Second-hand Souls. His essays, articles, and translations have appeared in Conjunctions, Two Lines, and Translation Review. He is Associate Professor of Literature and Literary Translation at the University of Texas at Dallas, Center for Translation Studies. Cotter’s translation of Mircea C?rt?rescu’s Blinding is forthcoming from Archipelago.
Excerpt. � Reprinted by permission. All rights reserved.
In Praise of People
From the point of view of trees, the sun is a band of heat, people – a terrible emotion . . . They are the wandering fruits of an even greater tree.
From the point of view of stones, the sun is a falling stone, people are a tender pressure . . . They are motion added to motion and light you can see, from the sun.
From the point of view of air, the sun is air full of birds, wing beating on wing. People are birds never before seen, with wings ingrown
that beat, hover, glide, within an air more pure: thought.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Incisive, elegant reflections
By say92
Intensely absorbing poetry. Stanescu can do so much with language. On one page he reduces grandiose concepts like beauty and time and nature and concentrate them into shards of moments; on the next he inflates the tiniest most insignificant happenings as if they could encompass the entire universe. His poems are incisive reflections, and here they are well translated by Sean Cotter. Only three collections of his work have been translated into English as far as I know, and they are all worth having in your library.
0 of 0 people found the following review helpful.
wonderful translation
By Ionut
Wonderful translation of a great poet! Very good selection of the poems.
There is a sensitive, colorful, correlated, fantastic world behind the images created in the poems. There is more than meets the eye...
Highly recommended, a must read.
0 of 0 people found the following review helpful.
The Ritual Of Writing On Air......
By Amazon Customer
Nichita Stănescu (niˈkita stəˈnesku) was born Nichita Hristea Stănescu on 31st March 1933 in the city of Ploiesti (ploˈjeʃtʲ ) the county seat of Prahova County in the historical region of Wallachia, Romania, located about 35 miles north of Bucharest. His mother Tatiana Cereaciuchin, fled from Russia and in 1931 married Nicolae H. Stănescu, which was something he commented on several times, stating that he had been given life by a Romanian peasant and a Russian woman. Ploiesti was overrun by Nazi's during the 2nd world war because of it's oil refinery, which was eventually put out of commission by United States bombers. Nichita finished high school in Ploiesti, before moving to Bucharest to study Romanian, linguistics, philosophy, and literature. In 1952 he married Magdalena Petrescu, although this was to last only a year and in 1957 he graduated. His literary debut was in the Tribuna literary magazine, followed by his debut poetry collection Sensul iubirii (The Aim/Sense of Love*) in 1960, this was a collection of love poems which explore the meaning of love. Poems from the volume were previously published in the Tribuna, no. 6, 17 March 1957, and Gazeta literară, no. 12, 21 March 1957.
End Of An Air Raid
(April 5, 1944)
You dropped your chalk
and the splintered door beat against the wall
the sky appeared, partly hidden
by the spiders
that fed on murdered children.
Someone had taken away
the walls
..........and fruit tree
......................and stairs.
You hunted after spring
impatiently, like you were expecting
a lunar eclipse.
Towards dawn, they even took away
the fence
you had signed with a scratch,
so the storks would not lose their way
when they came
this spring.
On June 6th 1962, he married for the second time, to Doina Ciurea, the marriage seems to have lasted for only two years although it wasn't till the around 1981 that they divorced and Stănescu married for the third time in 1982 to Dora (Theodora bran) whom he had met in 1978 when she was a student in Philology, in the Department of French. Throughout this period Stănescu was a contributor to and editor of Gazeta Literară, Rom�nia Literară and Luceafărul, as well as creating a extensive body of poetry, essays and Romanian translations of poets such Adam Puslojic and Vasko Popa. He also was the recipient of numerous awards for his verse, the most important being the Herder Prize in 1975 and a nomination for the Nobel Prize in 1980.
Beyond the dry as bone nature of the facts, Nichita Stănescu comes across as an outgoing gregarious individual, he seems to dispel the image of the lone writer working at his craft, preferring the company of others. He spent most of his time residing in the homes of his friends, enjoying copious amounts of drink and could regularly be found improvising poems whilst his audience attempted to follow him and transcribe them at the bar. In fact the title of this post is called " The Ritual Of Writing On Air" because that was how he described his technique, drawing inspiration from his immediate environment, and using that to craft his verse, stating in a Belgrade interview that:
"Gutenberg flattened words out, but words exist in space ... Words are spatialized. They are not dead, like a book. They are alive, between me and you, me and you, me and you. They live; they are spoken, spatialized, and received"
While.
And yet, I have seen a bird
lay eggs while it flew --
And yet, I have seen someone cry
while he laughed --
And yet, I have seen a stone
while it was --
In 1983 he died in Fundeni Hospital (Bucharest) after a liver condition he had had for some time worsened. He was posthumously elected a member of the Romanian Academy, although by this point he had a reached an envious position where both the critics and the general public had declared him as one of the most loved and prominent writers in the Romanian language, a language that he had himself declared was "Divinely Beautiful". Despite living through the second world war and Romania's fall into an oppressive police state under the dictatorship of Nicolae Ceauşescu, a regime characterized by an increasingly brutal and repressive apparatus and, by some accounts, the most rigidly Stalinist regime in the Soviet bloc. Stănescu was considered a metaphysical rather than a political poet, using this approach to examine the universe and humanity's place within it, using various perspectives to voice the fundamental questions of his and our time. Also by walking a line between what could and could not be said, he crafted a new aesthetic for his verse, one that in his own words:
" while the poems, often lapidary, appear to indicate a sublimation of the senses, a tendency to crystallize into a symbol, an attentive reading unveils the opposite process, that is the symbol's subtle disaggregation, its incorporation into matter, something like the fissuring into a star of a pane of glass, broken by an invisible stone"
Meaning from the star, we notice the pane and intuit the stone. The pane registers the lines of fissure, which we might take as the lines of the poem, moving through the human language. We move from metaphor - the broken glass as star - toward the material yet abstract world, the stone that cannot be directly described in human language. (Taken from the translator's afterword)
Sometimes you love something. Sometimes something hits you so hard that it becomes part of your DNA, you're not sure why, there was no known defining moment - it just is. But with hindsight-reasoning you try to define what it is that has affected you in such a manner and how it could have happened. Then using all your grandiose ideas on "the power of reasoning" you attempt to capture what was a moment, a word, the slightest shadow of a suggestion, but like with most nets, the minnows and microscopic organism pass through, leaving you with the big ideas and grandiose statements and still no idea why you loved this thing. This is how I feel about this collection. Of late this book has taken on the mantle of a personal talisman, always with me, being opened up at random, and the words, the verse, the poetry, it's very language has worked it's charm upon me. In a world whose very words of late have grown heavy, and cumbersome this has lightened them, in most senses of the word.
Wheel With A Single Spoke And Other Poems, celebrates the work of one of Romania's highly loved & critically regarded poets, one who Tomaz Šalamun, described as "The greatest contemporary Romanian poet" and one who is in the rankings as one of the most important poets of the twentieth century. This dazzling collection of poems - the most extensive to date, was translated by Sean Cotter, who has chosen poetry from each of Stănescu's books, although he concentrates on the specifically fertile period of 1965 - 1975, charting the emergence and growth of what would become his characteristic style, allowing us to see how his own distinctive voice developed.
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