Mark Polizzotti

A new translation of one of the defining works of the French surrealist movement, an energetic autobiographical novel that is at once both a tumultuous romance story and an initiation into the surrealism of everyday life. The most renowned of all surrealist literary works, Andr Breton's Nadja has been stirring passions and imaginations since its first publication in 1928. At once a poignant romance, an autobiography, a philosophical inquiry into questions of identity, and a lively illustration of the surrealist belief in life-changing chance, Nadja relates the fortuitous meeting and brief, tumultuous relationship between Breton, surrealism's founder and primary theorist, and the "wandering soul" who called herself Nadja, "because in Russian it's the beginning of the word for hope, and because it's only the beginning." Over the course of a single breathless week, recounted with scrupulous precision and a poet's sense of drama, Breton and Nadja pursue an adventure that stands outside of societal or moral conventions, and that brings both of them to what Breton termed "the extreme limit of the surrealist aspiration." Bookending this beguiling and ultimately tragic story are a series of "petrifying coincidences," episodes that initiate the reader into the surrealism of everyday life, and a penetrating examination of Breton's own share of responsibility in Nadja's ultimate fate, ending with the shattering intrusion into the author's life of a final transformative occurrence. In this, the first new translation of Nadja in more than sixty years, award-winning translator and surrealism scholar Mark Polizzotti brings a fresh perspective to this unique and haunting tale. Making use of the most recent research (including the revelation of Nadja's identity and life story and the discovery of Breton's original manuscript), he sets the narrative in its historical and biographical context and corrects a number of inaccuracies in the previous English version. This vibrant, emotionally resonant translation breathes new energy and urgency into a book that has long been recognized as one of the seminal masterpieces of twentieth-century modernism.

Poet Alan Bernheimer provides a long overdue English translation of this French literary classic?Lost Profiles is a retrospective of a crucial period in modernism, written by co-founder of the Surrealist Movement. Opening with a reminiscence of the international Dada movement in the late 1910s and its transformation into the beginnings of surrealism, Lost Profiles then proceeds to usher its readers into encounters with a variety of literary lions. We meet an elegant Marcel Proust, renting five adjoining rooms at an expensive hotel to "contain" the silence needed to produce Remembrance of Things Past; an exhausted James Joyce putting himself through grueling translation sessions for Finnegans Wake; and an enigmatic Apollinaire in search of the ultimate objet trouvé. Soupault sketches lively portraits of surrealist precursors like Pierre Reverdy and Blaise Cendrars, a moving account of his tragic fellow surrealist René Crevel, and the story of his unlikely friendship with right-wing anti-Vichy critic George Bernanos. The collection ends with essays on two modernist forerunners, Charles Baudelaire and Henri Rousseau. With an afterword by Ron Padgett recounting his meeting with Soupault in the mid 70's and a preface by André Breton biographer Mark Polizzotti, Lost Profiles confirms Soupault's place in the vanguard of twentieth-century literature."Philippe Soupault was a central figure in both the Dada and Surrealist movements but throughout his long life walked under no banner except the one of artistic freedom. In this previously untranslated book, he gives us a collection of richly remembered portraits of some of his best-loved friends from the old days of the new modernism. As a glimpse into that time, these lost portraits are invaluable?and often deeply moving."?Paul Auster, author of Report from the Interior"Reading Alan Bernheimer's splendid translation of Soupault's memoir, I forgot that it was a translation, that it was Soupault writing or talking about another time, about his friends of one century past. I read myself into these vivid and virile (so, sue me!) assaults on time, and Time stopped."?Andrei Codrescu, author of The Posthuman Dada Guide: Tzara and Lenin Play Chess"Philippe Soupault was present at the creation of both Dada and Surrealism?collaborating with André Breton to produce The Magnetic Fields, the first book of automatic writing?before going his own way as a poet, novelist, and journalist. In this present volume, Soupault's fierce independence, deep wit, and generous heart shine through a set of sharply observed portraits of European writers?fellow geniuses, most of them known to him personally. Alan Bernheimer's fine translation allows Soupault's vibrant voice to come to life in our time, and to reanimate in turn some of the greatest spirits of the past century's literature?a marvelous and much-needed apparition."?Andrew Joron, author of Trance Archive: New and Selected Poems"In this dazzling book?adroitly, smoothly & accurately translated by poet Alan Bernheimer?poet & co-founder of Surrealism Philippe Soupault trains his great secret eye & ear to auscultate an astounding range of core 20th century literary figures he knew personally. And does so with serenity, humor & profound insight. Like none of the academic histories covering this period, no matter how well written and documented, this book makes you say as you devour it: 'Wish I had been there.' Enough said, I’m going to call René Crevel right now."?Pierre Joris, author of Barzakh: Poems 2000-2012Philippe Soupault (1897-1990) served in the French army during WWI and subsequently joined the Dada movement. In 1919, he collaborated with André Breton on the automatic text Les Champs magnétiques, launching the surrealist movement. In the years that followed, he wrote novels and journalism, directed Radio Tunis in Tunisia, and worked for UNESCO.

An elegant consideration of the Surrealist movement as a global phenomenon and why it continues to resonate “Mr. Polizzotti carefully balances the movement’s aspirations and attainments against its flaws and contradictions, hoping to recuperate Surrealism’s ‘critical and imaginative essence’ for the present. . . . The best concise account of the movement available.”—Michael Saler, Wall Street Journal Selected by Art in America as an “Essential Book About Surrealism” Why does Surrealism continue to fascinate us a century after André Breton’s Manifesto of Surrealism? How do we encounter Surrealism today? Mark Polizzotti vibrantly reframes the Surrealist movement in contemporary terms and offers insight into why it continues to inspire makers and consumers of art, literature, and culture. Polizzotti shows how many forms of popular media can thank Surrealism for their existence, including Monty Python, Theatre of the Absurd, and trends in fashion, film, and literature. While discussing the movement’s iconic figures—including André Breton, Leonora Carrington, Salvador Dalí, René Magritte, Man Ray, and Dorothea Tanning—he also broadens the traditionally French and male-focused narrative, constructing a more diverse and global representation. And he addresses how the Surrealists grappled with ideas that mirror current concerns, including racial and economic injustice, sexual politics, issues of identity, labor unrest, and political activism. Why Surrealism Matters provides a concise, engaging exploration of how, a century later, the “Surrealist revolution” remains as dynamic as ever.

A thrilling, inventive, playful, and unorthodox detective and caper novel, the latest work by a French master. Gerard Fulmard is a loser. A disgraced former flight attendant, he attempts the m tier of private detective, with spectacularly disastrous results, then begins working for an obscure political groupuscule beset by an outsized share of infighting and backroom maneuvering. At first employed as an enforcer, Fulmard is then coopted by one of the party's less savory factions, sinking in deeper and deeper until he finds himself the reluctant assassin of the party's own leader--and that's when things really start going downhill. Meanwhile, projectiles crash down from the sky, corpses turn up in perfect health, main characters suffer sudden death, and nothing is as it seems. In his latest outing, Jean Echenoz, one of France's most respected contemporary writers, toys with the tropes of genre fiction and high literature, displaying the twists of plot and turns of phrase that have become his signature, and that have made him, in the words of The Washington Post, "the most distinctive voice of his generation and the master magician of the contemporary French novel."

An elegant consideration of the Surrealist movement as a global phenomenon and why it continues to resonate “Mr. Polizzotti carefully balances the movement’s aspirations and attainments against its flaws and contradictions, hoping to recuperate Surrealism’s ‘critical and imaginative essence’ for the present. . . . The best concise account of the movement available.”—Michael Saler, Wall Street Journal Selected by Art in America as an “Essential Book About Surrealism” Why does Surrealism continue to fascinate us a century after André Breton’s Manifesto of Surrealism? How do we encounter Surrealism today? Mark Polizzotti vibrantly reframes the Surrealist movement in contemporary terms and offers insight into why it continues to inspire makers and consumers of art, literature, and culture. Polizzotti shows how many forms of popular media can thank Surrealism for their existence, including Monty Python, Theatre of the Absurd, and trends in fashion, film, and literature. While discussing the movement’s iconic figures—including André Breton, Leonora Carrington, Salvador Dalí, René Magritte, Man Ray, and Dorothea Tanning—he also broadens the traditionally French and male-focused narrative, constructing a more diverse and global representation. And he addresses how the Surrealists grappled with ideas that mirror current concerns, including racial and economic injustice, sexual politics, issues of identity, labor unrest, and political activism. Why Surrealism Matters provides a concise, engaging exploration of how, a century later, the “Surrealist revolution” remains as dynamic as ever.

“A Meteor of Intelligent Substance”“Something was Missing in our Culture, and Here It Is”"Invaluable""Liberties is THE place to be. Change starts in the mind.” Liberties, a journal of Culture and Politics, is essential reading for those engaged in the cultural and political issues and causes of our time. Liberties features serious, independent, stylish, and controversial essays by significant writers and leaders throughout the world; new poetry; and, introduces the next generation of writers and voices to inspire and impact the intellectual and creative lifeblood of today’s culture and politics.In this issue of Liberties: Cass R. Sunstein - The Supreme Court Gone Wrong; Carissa Veliz - Digitization is Surveillance; Ekaterina Pravilova - The Autocrat’s War; Richard Taruskin - What is Bad Taste; Jonathan Zimmerman - Memoirs of a White Savior; Richard Wolin - The Cult of Carl Schmitt; Mark Polizzotti - Surrealism and Cancellation; Andrew Butterfield - Dante During Covid; Scott Spillman - The Strange History of the Slave Songs; Leora Batnitzky - The Sacrifice of Edith Stein; Helen Vendler - Sylvia Plath on Motherhood; Jared Marcel Pollen - Was Havel Right?; Celeste Marcus - The Curse of the Radical Israeli Right; Leon Wieseltier - The Future of Nature; and new poems by Claire Malroux, Marissa Grunes, Paula Bohince.

A new masterwork of satire, lore, and living memory from the leading voice of French-Rwandan literature "Mukasonga breathes upon a vanished world and brings it to life in all its sparkling multifariousness" --J.M. Coetzee In four beautifully woven parts, Mukasonga spins a marvelous recounting of the clash between ancient Rwandan beliefs and the missionaries determined to replace them with European Christianity. When a rogue priest is defrocked for fusing the gospels with the martyrdom of Kibogo, a fierce clash of cults ensues. Swirling with the heady smell of wet earth and flashes of acerbic humor, Mukasonga brings to life the vital mythologies that imbue the Rwandan spirit. In doing so, she gives us a tale of disarming simplicity and profound universal truth. Kibogo's story is reserved for the evening's end, when women sit around a fire drinking honeyed brew, when just a few are able to stave off sleep. With heads nodding, drifting into the mist of a dream, one faithful storyteller will weave the old legends of the hillside, stories which church missionaries have done everything in their power to expunge. To some, Kibogo's tale is founding myth, celestial marvel, magic incantation, bottomless source of hope. To white priests spritzing holy water on shriveled, drought-ridden trees, it looms like red fog over the village: forbidden, satanic, a witchdoctor's hoax. All debate the twisted roots of this story, but deep down, all secretly wonder - can Kibogo really summon the rain?

An engaging and unabashedly opinionated examination of what translation is and isn't.For some, translation is the poor cousin of literature, a necessary evil if not an outright travesty-summed up by the old Italian play on words, traduttore, traditore (translator, traitor). For others, translation is the royal road to cross-cultural understanding and literary enrichment. In this nuanced and provocative study, Mark Polizzotti attempts to reframe the debate along more fruitful lines. Eschewing both these easy polarities and the increasingly abstract discourse of translation theory, he brings the main questions into clearer focus: What is the ultimate goal of a translation? What does it mean to label a rendering "faithful"? (Faithful to what?) Is something inevitably lost in translation, and can something also be gained? Does translation matter, and if so, why? Unashamedly opinionated, both a manual and a manifesto, his book invites usto sympathize with the translator not as a "traitor" but as the author's creative partner.Polizzotti, himself a translator of authors from Patrick Modiano to Gustave Flaubert, explores what translation is and what it isn't, and how it does or doesn't work. Translation, he writes, "skirts the boundaries between art and craft, originality and replication, altruism and commerce, genius and hack work." In Sympathy for the Traitor, he shows us how to read not only translations but also the act of translation itself, treating it not as a problem to be solved but as an achievement to be celebrated-something, as Goethe put it, "impossible, necessary, and important."

Bob Dylans skiva, HIGHWAY 61 REVISITED, är en av hans mest betydelsefulla. Denna bok handlar om skivan, som gavs ut 1965. Där finns klassiska låtar som Lika A Rolling Stone och den nionde och avslutande låten Desolation Row. Där förvandlas den amerikanska drömmen, i tio verser, till en mardröm. En mardröm dit Highway 61 Revisited leder. Detta är första pocketboken i musikserien 33 1/3.Highway 61 är vid sidan av Route 66 den mest legendariska vägen i USA och den sträcker sig från Kanadas gräns i norr ner till Mexikanska golfen i söder. Vägen passerar platser där Elvis Presley och Muddy Waters föddes. Och Dylans uppväxt- och gruvstad Hibbing ligger strax intill.Många har haft åsikter om Bob Dylans låtkatalog. Så bestämde sig Svenska Akademien för att tilldela honom Nobelpriset 2016. Deras motivering löd: "Nobelpriset i litteratur 2016 tilldelas Bob Dylan som skapat nya poetiska uttryck inom den stora amerikanska sångtraditionen."

Bob Dylan blandar folkmusik med en rejäl dos blues och rock´n´roll. Lägg därtill hans texter, poesin, som nu belönas med Svenska Akademins Nobelpris i litteratur 2016. Mark Polizzottis bok om den legendariska skivan HIGHWAY 61 REVISITED ingår i den på svenska nystartade musikserien 33 1/3. Boken är en hyllning till dessa tidlösa kompositioner och tankar som Bob Dylan själv har i mitten på 60-talet.En av hans absolut bästa skivor är HIGWAY 61 REVISITED, som ingick i den trilogi han spelade in på knappt ett år, 1965-66. Förutom denna så ingick också BRINGING IT ALL BACK HOME och BLONDE ON BLONDE i tilogin. När Bob Dylan slog igenom så gjorde han det som folkmusiker i Woody Guthries anda. 1965 tog han istället med sig musiker in i studion, och inte vilka som helst, utan till exempel Michael Bloomfield, Al Kooper och Bobby Greggs. Den viktiga svarta producenten hette Tom Wilson. Higway 61, är vid sidan av Route 66, den mest legendariska vägen i USA och sträcker sig från Kanadas gräns i norr ner till Mexikanska golfen i söder. Vägen passerar platser där både Elvis Presley och Muddy Waters är födda, och Bob Dylans uppväxt- och gruvstad Hibbing ligger också strax intill. Mark Polizzottis är musikskribent och författare från Boston. Hans bok handlar mycket om hur Bob Dylan ser på sig själv och sin musik, hur inspelningarna av albumet gick till och vad texterna handlar om. Stor konst som till slut belönas med både Polarpriset och Nobels litteraturpris. Tidigare utgivningar i serien är Patti Smiths HORSES och Neil Youngs HARVEST.

"Highway 61 Revisited" resonates because of its enduring emotional appeal. Few songwriters before Dylan or since have combined so effectively the intensely personal with the spectacularly universal. In "Like a Rolling Stone", his gleeful excoriation of Miss Lonely (Edie Sedgwick? Joan Baez? A composite "type"?) fuses with the evocation of a hip new zeitgeist to produce a veritable anthem. In "Ballad of a Thin Man", the younger generation's confusion is thrown back in the establishment's face, even as Dylan vents his disgust with the critics who laboured to catalogue him. And in "Desolation Row", he reaches the zenith of his own brand of surrealist paranoia, that here attains the atmospheric intensity of a full-fledged nightmare. Between its many flourishes of gallows humour, this is one of the most immaculately frightful songs ever recorded, with its relentless imagery of communal executions, its parade of fallen giants and triumphant local losers, its epic length and even the mournful sweetness of Bloomfield's flamenco-inspired fills. In this book, Mark Polizzotti examines just what makes the songs on "Highway 61 Revisited" so affecting, how they work together as a suite, and how lyrics, melody, and arrangements combine to create an unusually potent mix. He blends musical and literary analysis of the songs themselves, biography (where appropriate) and recording information (where helpful). And he focuses on Dylan's mythic presence in the mid-60s, when he emerged from his proletarian incarnation to become the American Rimbaud. The comparison has been made by others, including Dylan, and it illuminates much about his mid-sixties career, for in many respects "Highway 61" is rock 'n' roll's answer to "A Season in Hell".