Anselm Hollo

Wry and witty poems from an avant-garde great, collected in one volume for the first time. The Collected Poems of Anselm Hollo gathers over five decades of the poet’s multifaceted work into one elegant volume. All of Hollo’s trademark humor, wisdom, and charm is on display here for students and fans of contemporary poetry. Warm, insightful, and delightfully observant, this comprehensive collection from the author of over forty books serves as a reminder that poetry isn’t just an aspiration or avocation, but a way of life.

”Ihan hyvä kun sai kirjoittaa sen mitä milloinkaan ei saanutkenellekään sanotuksi.Ihan hyvä kun sai olla runoilija rakastaja sanojen rakastaja”Anselm Hollo (1934-2013) oli maamme kansainvälisin anglosaksiseen nykyrunouteen vaikuttanut runoilija, kääntäjä ja beat-sukupolven tulkki. Hollo oli runoilijoiden runoilija, joka teki lukemattomia käännöksiä yli 60 vuoden ajan. Hän julkaisi englanniksi yli 40 runoteosta. Hän on suomentanut mm. John Lennonin ja Allen Ginsbergin runoja. Suomalaiset muistavat hänet myös laulusta Miten mielelläni. Vuodesta 1967 kuolemaansa saakka Yhdysvalloissa asunut Hollo opetti luovaa kirjoittamista Coloradon yliopistossa ja toi käännöksillään suomalaisia kirjailijoita tunnetuksi.Avaruudessa on Anselm Hollon runoilijanuran laaja käännösvalikoima. Nyt suomalaisilla on mahdollisuus tutustua Anselm Hollon koko tuotantoon. Hannu Ylilehto on tehnyt suurtyön valikoidessaan Hollon runotuotannosta komean kavalkadin. Avaruudessa kuvaa Hollon monipuolista sanataituruutta ja odysseiaa. Maasta, asuinpaikasta ja kielestä tarttuu ystäviä ja rakkaita,etsimistä ja löytämistä - runouden silmänräpäyksiä.Avaruudessa on rinnakkaisteos Kai Ekholmin henkilökuvalleAnselm Hollo - Beatnik planeettamatkalla.

From "Art History": Someone comes alonggives that tedious old thinga new twist orbreaks its neckthe old questionsdon't change: what do you want me to say?what do you want me to do?Anselm Hollo (1934-2013) authored more than forty books and was an award-winning translator. Born in Helsinki, Finland, he was fluent in German, Swedish, Finnish, and English by age ten. Hollo eventually settled in the United States in 1966, where he taught at Naropa University in Boulder, Colorado.

Anselm Hollo hangs his poetic hat upon the sonnet, graciously inviting us into his conversation with poets and thinkers, both here and gone, on subjects that range from environmentalism to the WTO protests, from wars waged in Kosovo and Iraq to questions of creativity and mortality.With trademark wit, acumen, and charm, Hollo's contribution to this multigenerational, international choir is one of the most important and enjoyable in contemporary letters.Andrei Codrescu has said he awaits Hollo's new poems "with more eagerness than those of any other living poet," and Library Journal urges us not to "miss anything at all by this strong poet."

Braided River consists of a major selection from forty years of Anselm Hollo’s published work, as well as a selection from his most recent, uncollected work. It describes a “braided” lifetime’s endeavours to generate text that reflects a twentieth century existence in Europe, including England, and the United States of America. A native of Finland, Hollo has been anthologized and discussed as a “British” poet in the Sixties and early Seventies, later on, as an “American” one. A lifelong associate of the Beat, Black Mountain, New York (One and Two), and L=A=N=G=U=A=G=E schools of U.S. American Poetry, Hollo hopes to convey to younger writers the amazing variety and strength of the writing (both poetry and prose) that has emerged from those quarters in the past fifty-odd years, and that has been strongly connected to the most active work created in the United Kingdom. This body of work represents the United States’ true contribution to modern and postmodern world literature, and it exists, to this day, in glorious independence from what poet/essayist Charles Bernstein has called ‘official verse culture.’ Hollo’s aim is to acquaint younger writers with this vigorous, multifarious, rhizomic tradition of U.S. American writing. He also hopes to demonstrate the multi- and cross-cultural connections that have influenced it, something he practises in his Boulder classes, examining twentieth century European poetry and French poetry in particular, and in his translation workshops.

Table of Contents Part One Excerpts from a June Journal Beans June 1, 1991: Sleeping Late June 16, 1991: Final Foal Journal Entry, PoBiz, Texas Notes from My Journal, Kyoto, December 1984 Part Two Interstices Swimming and Writing Motherhood and Poetics October 4, 1995 For Anne at Passover Recitations First Loves Part Three An Appreciation of Marianne Moore's Selected Letters This Curious Silent Unrepresented Life Josephine Jacobsen Back to the Fairground: Mona Van Duyn A Postcard from the Volcano Essay on Robert Frost Part Four Trochee, Trimeter, and the MRI: On A Shropshire Lad Gymnastics: The Villanelle A Way of Staying Sane Word for Word: "Poem for My Son" Scrubbed Up and Sent to School Part Five Keynote Address, PEN-New England, April 11, 1999 Premonitory ShiverTwo Junes Part Six Interview from an interview with Enid Shomer ES: I know that there are many poets whose work you admire, but who has exerted the most influence on you? MK: Auden, unquestionably. Almost everything I know how to do with the line, I learned from absorbing Auden. ES: You never met him? MK: No. I probably attended a dozen readings he gave, in and around Boston, in his carpet slippers. I worshipped him from afar. Today, it must seem a strange influence, and Anglo-American male. You'd expect I would say--I don't know--but some woman role model. There really was no one at the time. ES: Marianne Moore? MK: Hardly. She was inimitable, in the firest sense of that word. And Elizabeth Bishop was just too distant and too classical. But when I was sixteen, I adored Edna St. Vincent Millay; I could say lots of her sonnets by heart, and that was all to the good. Auden exerted an intellectual and visceral influence on me, though, metrically, in terms of rhyme and scansion, and his ability to compress those gifts into images, to make a metaphor of a thought: "In the nightmare of the dark / All the dogs of Europe bark."

Starfall consists of three dramatic dialogues among real people in imagined settings. Anchoring each of the dialogues is the great Russian film director and theoretician Sergei Eisenstein, whose artistic theories (in all their formations and reformations) run throughout the book, illustrating the influences that affected the Soviet art world in the period between the two world wars. I "The Aquarians" Eisenstein meets Bertolt Brecht in the first-class compartment of a train heading from Berlin to Moscow in May 1932. They spend the night discussing and arguing about everything from the use of Renaissance magic in art to "some kind of Wagnerian Gesamtkunstwerk, " in which everything in art is connected. "The Sorcerer's Apprentices" takes place at a meeting held in Moscow on 14 April 1935, on the occasion of performances given during a visit by a noted Chinese actor, Mei Lan-Fang, and his troupe, the prime representatives of early twentieth-century "classical" Chinese theater. Conceived as a series of speeches by noted members of the Soviet theater and film circles (Eisenstein again), "The Sorcerer's Apprentices" contrasts the Russian theater with that of the Chinese, the German (antifascist, emigre theater of Brecht and Erwin Piscator), and even the avant-garde British drama (as presented by Gordon Craig). "Ash Wednesday, " set in the Moscow Planetarium in April 1940, has Eisenstein engaged in a dialogue with the philosopher, critic, and literary historian Mikhail Bakhtin. The speak about German culture - in particular Eisenstein's desire to stage Wagner's The Valkyrie, which Bakhtin appears to object to on both political and artistic grounds; the influence of astrology in Soviet literarycircles; and jazz music as a symbol of pure art.

A new collection from the respected poet and translator.