Haiku for a Season / Haiku per una stagione
Andrea Zanzotto is among the most crucial and acclaimed poets of postwar Italy. This selection of ninety-one pseudo-haiku in English and Italian—written over numerous months in the course of 1984 after which revised slowly over the years—confirms his dedication to experimentation all through his lifestyles. Haiku for a Season represents a multilevel test for Zanzotto: first, to compose poetry bilingually; and moment, to write down in a sort overseas to Western poetry. the quantity strains the lifetime of a girl from adolescence to maturity, utilizing the seasons and the various panorama as a reflect to mirror her progress and altering attitudes and perceptions. With a lifelong curiosity within the intersections of nature and tradition, Zanzotto monitors right here his traditional specified and amazing feel of the residing global. those never-before-published unique poems in English seem along their Italian versions—not strict translations yet parallel texts that may be learn individually or along with the originals. As a series of interlinked poems, Haiku for a Season finds Zanzotto additionally as a grasp poet of minimalism. Zanzotto’s contemporary demise is a blow to international poetry, and the booklet of this booklet, the final that he licensed in manuscript, can be an occasion in either the USA and in Italy.
Season right now complicate the unfolding of which means within the English and Italian types, but additionally underscore the texts’ interdependence. the gathering ends with an essay at the haiku shape that Zanzotto wrote as an advent for a 1982 Italian number of haiku in translation, Cento haiku (One hundred haiku). The essay celebrates the sweetness and secret of the haiku, eloquently arguing for its universality whereas additionally caution of the trouble of co-opting it, even if cautious homage is paid.
To its origins. And but it kind of feels to us that during Haiku for a Season he succeeds in embracing the form’s “nearly precultural physicality” and “primordial biorhythms” by means of the probably paradoxical use of a language no longer his own.4 trying to contact the archaic tactics of the psyche that unite language to nature, Zanzotto generously, if minimally, deals us compelling glimpses of “a imprecise lack, a sweetly ritualized throbbing, the nonsound of the feel that opens into and embraces the nonsense of.
Che salva un flash di luna Please: this red iris Please: those sizzling drops “Please,” that harmonizes all * * * consistent with favore: questo iris rosa in keeping with favore: queste gocce calde “Per favore,” che tutto armonizza The bough caresses or whips aprilities: the withdrawal of not anything made sh-shining tics * * * Il ramo accarezza o stimola aprilità: il ritirarsi di niente reso balbettìi lucenti In reticent spring skies autumnal leaves, fragments of a long way destiny occasions * * * Nei.
name: Haiku according to una stagione. PQ4851.A74H35 2012 851'.914—dc23 2012003675 haiku for a season | in keeping with una stagione Andrea Zanzotto Edited through Anna Secco and Patrick Barron THE collage OF CHICAGO PRESS CHICAGO AND LONDON Contents Editors’ word Haiku for a Season * Haiku according to una stagione Foreword to Cento haiku Notes chosen Bibliography Index of First traces Editors’ observe the fast lyrics gathered in Haiku for a Season, composed in English in the course of the spring.
Centralizing which means used to be vanishing within the West—and more and more in addition to it, any proposal of a center—what larger “fragment” than the haiku to point an area fullyyt fragmented and scattered? There is still, past the matter of cultural nexuses, the unheard of crispness of the haiku in its approximately precultural physicality, a constitution marked by way of a primordial biorhythm, by way of an arsis and a thesis mesmerized via an ill-defined median suspension. There is still too the price of a sensitivity weighted down.