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In Bitters, Rebecca Seiferle wages an extended quarrel with God in an attempt to recover what is cast to the world’s apocryphal margins. Bitters—colorful, earthy draughts of distilled spirits—are a metaphor for these darkly humorous and curative poems. Using the rigor of the sonnet as both a container of ideas and a challenge inviting rebellion, Seiferle has created an uncommonly intelligent book. ... Read more

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Return to Lyric
In Bitters, Rebecca Seiferle offers a haunting, almost ominous dialogue with the spiritual dimension. Her poems are classic. They are a welcomed departure from the pop-psychology, cliché, word play driven, confessional poetry that pervades much of modern poetics. Seiferle's poems are deeply lyrical, complex, and highly compassionate, depicting the human spirit at its best. Her poems are philosophical without being pedantic, lyrical without being lifeless and intense without being esoteric. This is great poetry. Her latest collection, Wild Tongue is equally phenomenal. ... Read more

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New Mexican, with a place in American poetry fused to Latin American tradition, Rebecca Seiferle is a poet of enormous range. In her second collection, she writes of family life and human tragedy, of ancient myth and Native American sources. This is a poetry of compassion and intensity--fierce and unflinching in its level of inquiry. ... Read more

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An amazing read!
Rebecca is an amazing poet! I have finally read this book from cover to cover and every poem in it is filled with such rare emotion. I highly recommend this book to anyone in love with word! ... Read more

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This is the prize-winning poet's first collection. The poems in this collection are various in style, from the highly experimental to shape poems to prose poemsto sequences,and in subject matter, from the personal subjects of family, to various landscapes, predominantly that of New Mexico, and to historical and philosophical themes. The volume contains two collections: THE RIPPED-OUT SEAM and VOLTE, and etchings from the great Spanish painter Goya.
Poems from this collection won the Bogin Memorial Award from the Poetry Society of America: the Bogin Award is given to a group of four or five poems that reflect "the encounter of the ordinary and the extraordinary, uses language in an original way, and takes a stand against oppression in any of its forms." Poems from the volume also won the Writers' Exchange Award, and the volume itself was a finalist for the Paterson Poetry Prize.Poems in the volume previously appeared in American Poetry Review, The American Writer, Blue Mesa Review, Calyx, Carolina Quarterly, Croton Review, Cutbank, Indiana Review, Negative Capability, PSA News, Poem, South Coast Poetry Journal, The Taos Review, Triquarterly, The Denny Poems and have been anthologized in NEW MEXICO POETRY RENAISSANCE, (Red Crane 1994) and SALUDOS: POEMAS DE NUEVO MEXICO (Pennywhistle Press 1995). ... Read more

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Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Dzvinia Orlowsky, Rebecca Seiferle, Adrian Blevins, Martha Zweig, Jim Schley, Diane Gilliam Fisher, Jeffrey Levine, Martha Rhodes, Mary Jane Nealon, Laure-Anne Bosselaar, Sally Ball, Chris Llewellyn, Catherine Barnett, Joe Wenderoth, Sandy Solomon, A. Van Jordan, Tatjana Soli, Doreen Gildroy, Laura Gray-Street. Excerpt:A. Van Jordan (born March 5, 1965 Akron, Ohio ) is an American poet. Life He graduated from Wittenberg University , Springfield, Ohio , 1987, with a BA. He graduated from Howard University , 1990, with an MA. He graduated from Warren Wilson College , 1998, with an MFA. He lived in Washington, D.C. He taught at the University of North Carolina at Greensboro , the University of Texas at Austin , and Warren Wilson College . He teaches at the University of Michigan . His work has appeared in Ploughshares , and Callaloo amongst other publications. Awards Works Poetry Essays References (URLs online) Websites (URLs online) A hyperlinked version of this chapter is at Adrian Blevins (born 1964 Abingdon, Virginia ) is an American poet . Author of three collections of poetry, her most recent is Live from the Homesick Jamboree (Wesleyan University Press , 2009). Life She graduated with a BA from Virginia Intermont College , a MA in Fiction from Hollins University , and a MFA in Poetry from Warren Wilson College in 2002. She taught at Roanoke College , Hollins University , and teaches at Colby College and lives in Waterville, Maine. Her poems have appeared in The American Poetry Review , Poetry , The Georgia Review , The Southern Review , The Massachusetts Review , Ploughshares . She has published personal essays in The Utne Reader , Salon , and the now-defunct Internet magazine, Conversely . Awards item 2007 Walter E. Daken Fellowship, Sewanee Writers Conference item 2004 K... ... Read more

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poetry, Peru, tr Rebecca Seiferle, bilingual ... Read more

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This digital document, covering the life and work of Rebecca Seiferle, is an entry from Contemporary Authors, a reference volume published by Thompson Gale. The length of the entry is 1105 words. The page length listed above is based on a typical 300-word page. Although the exact content of each entry from this volume can vary, typical entries include the following information:

• Place and date of birth and death (if deceased)
• Family members
• Education
• Professional associations and honors
• Employment
• Writings, including books and periodicals
• A description of the author's work
• References to further readings about the author

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Throughout his life, Cesar Vallejo (1892?1938) focused on human suffering and the isolation of people victimized by inexplicable forces. One of the great Spanish language poets, he merged radical politics and language consciousness, resulting in the first examples of a truly new world poetry.

The Black Heralds is Vallejo?s first book and contains a wide range of poems, from love sonnets in which he struggles to free his erotic life from the bounds of Spanish Catholicism to the linguistically inventive sequence, "Imperial Nostalgias," where he parodies with considerable savagery the pastoral romanticism of Indian and rural life.

In this bilingual volume, translator Rebecca Seiferle attempts to undo the "colonization" of Vallejo in other translations. As Seiferle writes in her introduction: "Reading and translating Vallejo has been a long process of trying to meet him on his own terms, to discover what those terms were within the contexts of his particular time and, finally, taking his word for it."

from "Our Bread"

And in this frigid hour, when the earth
smells of human dust and is so sad,
I want to knock on every door
and beg forgiveness of I don?t know whom,
and bake bits of fresh bread for him,
here, in the oven of my heart...!

Customer Reviews (3)

Great English Version
Sensitive translation, very likable and subtle. The English line sounds and flows along the original like a sweet melody. It reads
more beautifully than the epic Eshelman's gritty version. The meaning of a poem by Vallejo is most times hard to get first. But his
lines are the core of feelings in Spanish poetry and Ms. Rebbeca Seiferle's version a treasure from it. With an Introduction and "Notes and Original Versions"
pages at the end of the book.

The Poet of Suffering
I have not read Ms. Seiferle's translation of Los Heraldos Negros (so please ignore the rating) but I have read her translation of Trilce: this is much better than either of the others I have by David Smith and Clayton Eshelman, which would lead one to reasonably believe that her version of Vallejo's first work would exhibit most if not all of the same qualities: a receptive tenderness toward Poetic as opposed to Literal meanings, and, a rhythmic intuitiveness neccessary to good translation; something Mr. Eshelman is sadly lacking in his own work on this great Poet (Smith hardly bears up to any scrutiny at all, being non-poet, although well intentioned).But I did want to clarify two things for the uninitiated about Vallejo himself and this work: 1) Los Heraldos Negros did have another English Language publication, contrary to what the book review above is telling you: in 1990, by Latin American Literary Review Press (Richard Schaaf & Kathleen Ross were the translators).2) Vallejo's Marxist beliefs are nowhere to be found in his poetry.This is the sort of thinking one associates with people who are only marginally aware of what Vallejo is trying to say and who thus confuse it with his later activities while in France (Los Heraldos Negros was composed Before the move, not after).The best advice here is to ignore Vallejo's public pronouncements at all times and concentrate instead upon his Poems; these will tell you what he actually thinking as well as why.You will also avoid the embarassment of linking it to any sort of politics or theory.Suffering is Vallejo's political affiliation, his literary theory, not the Marxism he was later drawn to because he could not bear to live in a world completely devoid of all practical hope. We should always bear this in mind when we recall his poetry: that he could not live without love (hope) and so chose to devote himself to Marxism because it seemed to him (then) as the best hope for a just future.That it was not only deepens the sweet/sad content (trilce) of his indisputably great poetry.

Vallejo's Language of Arrest
Readers who first encounter the militant, intellectual Vallejo stumble, as must have the first patrons of Picasso's *Guernica*, into a territory where radical politics and language consciousness cannot be divided.Famous forhis revulsion at the capitalist conscious (or lack of one), Vallejo'spoetry--from its most profane to its most threateningly lyrical--is anhardline education in the Marxist point of view.Middle class comfort,with its notion of safety, self-destructs on contact with Vallejo's"auroral dagger"; even in translation his verse splices the"burning coals" of the lip with the deliberate confusion ofsyntax and the extremities of diction.

When Vallejo proclaims "mylip/will split open into a hundred sacred petals./Tilda will hold thedagger/the flower-killing and auroral dagger!" ("BurningCoals") he places the speaker under intellectual and emotional arrest. Often with Vallejo there is no where to go but into the terrible dwellingsof all experience and a life that struggles toward the new--fusing politicsand romance, invention and lyric.The reader, very likely the middle classreader or writer under accusation, is faced with the impossible:syntaxlures the reader into suffering.Diction becomes "a pariah'sneurasthenic song," a verse of the nerve ("Leaves ofEbony").The reader is placed on the rack of what Vallejo himselfcalls a "multisense of sweet unbeing" ("For the ImpossibleSoul of My Beloved") .

For the reader interested in poetry thatworks the ideals of politic and word into dangerously parabolic axes, theplace to start is *The Black Heralds*.For the Marxist Vallejo withsomething to teach us now, the heart's language and the mind's dialecticarc into the Peruvian's "sublime parabola of love." ("Forthe Impossible Soul...")Perhaps Peru's greatest Modernist hassomething to teach us yet about the true springs of Idealism. ... Read more

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Contents:FictionRobert Olmstead - The Four CornersDavid Cates - Either a Miracle or a FlukeNick Heil - PachinkoKate Gadbow - The AshRick DeMarinis - Her Alabaster Skin PoetryDavid Romtvedt - This Years WoodMichael Umphrey - Summer SoftballJohn Davis - Saturday Night OvertimeKevin Boyle - I Didnt Do ItMarjorie Maddox - Just When I Think ImComfortable, the Doorbell RingsDavid Koehn - CoilRebecca Seiferle - Third-Degree BumsGregory Donovan - HomingPesha Gertler - Late GiftChristianne Balk - Stehekin Light SeparationEdward Micus - Things MovingConnie Wieneke - Loretta Gets Toreador PantsDavid Van Buren - Women in ChairsDanny Rendleman - Family, Easter Portrait, 1952Richard Nester - Poem with CattleJames Langlas - Raising ChildrenWilliam JolliffSeedtimePLUS Art and Book Reviews ... Read more