Product Description
This first translation of the complete poetry of Peruvian César Vallejo (1892-1938) makes available to English speakers one of the greatest achievements of twentieth-century world poetry. Handsomely presented in facing-page Spanish and English, this volume, translated by National Book Award winner Clayton Eshleman, includes the groundbreaking collections The Black Heralds (1918), Trilce (1922), Human Poems (1939), and Spain, Take This Cup from Me (1939).
Vallejo's poetry takes the Spanish language to an unprecedented level of emotional rawness and stretches its grammatical possibilities. Striking against theology with the very rhetoric of the Christian faith, Vallejo's is a tragic vision--perhaps the only one in the canon of Spanish-language literature--in which salvation and sin are one and the same. This edition includes notes on the translation and a fascinating translation memoir that traces Eshleman's long relationship with Vallejo's poetry. An introduction and chronology provide further insights into Vallejo's life and work. ... Read more

Customer Reviews (1)

Beautiful Edition, the only of its kind in English/& Spanish; *competent* translation
Cesar Vallejo (March 16, 1892 - April 15, 1938), is the single most overlooked poet of the last century, a major injustice for such a titanic figure of 'modernism' -whatever that English Majors' myriad term means.Clayton Eshleman's translation is clear, accessible and a labour of love -one can be nearly as grateful for it as one is for the poet himself.It also avoids the sycophancies which a poetaster would otherwise be slave to in the task of translation, and to this end Eshleman is successful in rendering Vallejo into plain English.However: the hysteric critical adulation for the translation (see the backmatter), and the slavish praise lavished on it, culminating in the National Book Award nomination in 1989 is overdone and misplaced.

Which is to say: Eshelman is a good translator, but fails to present Vallejo in his hermeneutic entirety.Ron Padgett's comment, that Eshelman has "Gotten within and translated from the inside out" is a generous academic fatuity.The praise for which this edition is given is founded entirely on the weight of the poet himself -any lesser man's verse would leave Eshleman in a lower caste of translation efforts, and more unknown than Vallejo is himself today. Actual critique of this aside, Eshleman's judgment cannot be sullied here -the poet he chose to render fully deserved the effort, and for that he is to be commended.This is a *bi-lingual* edition, hence his translation is something more of a exegetical work for those whom Spanish is not their mother tongue.I will take the time now to demonstrate what I've meant with the title poem from the first book, Los Heraldos Negros:


There is a great deal of subtle heraldic tempered imagery, biblical and francophone derived possibilities lost upon Esheman; as Vallejo quotes from the Gospels in Latin to open the volume, "He who is able to receive it, let him receive it."

First, Eshleman's

There are blows in life, so powerful . . . I don't know!
Blows as from the hatred of God; as if, facing them,
the undertow of everything suffered
welled up in the soul . . . I don't know!

They are few; but they are . . . They open dark trenches
in the fiercest face and in the strongest back.
Perhaps they are the colts of barbaric Attilas;
or the black heralds sent to us by Death.

They are the deep falls of the Christs of the soul,
of some adored faith blasphemed by Destiny.
Those bloodstained blows are the crackling of
bread burning up at the oven door.

And man . . . Poor . . . poor!He turns his eyes, as
when a slap on the shoulder summons us;
turns his crazed eyes, and everything lived
wells up, like a pool of guilt, in his look.

There are blows in life, so powerful . . . I don't know!


---------

And now from the reviewer-

There are beatings in life, so heavy . . . I don't know!
--Lashes issued from the hatred of God, as if
before them the undercurrent of all endured;
welts inundated within the soul . . . I don't know!

They are few, but they're . . . They burrow uncertain lines
in the most insolent faces, and in the strongest back;
Perhaps they are the colts of barbarous Attilas,
or the black heralds dispatched to us at Death's behest.

They are the deep descents of the Christs of the soul,
of some adored faith cursed by Fate.
Those bloodying blows are crepetations
at the oven's door of some loaf we burn with.

And the man, the poor ... poor man!
--He turns his eyes . . . he turns his maddened eyes
as when a hand on the shoulder falls upon us,
and everything lived swells -like a pool of guilt- in the glance.

There are blows in life, so heavy . . . I don't know!


---------


Golpe can mean strike, lash, blow, beating ect.It's important to translate the sense of torture by the separated *Yo no se!*'s. Eshleman's ear is running too fast in English for the significance of the ellipses to not be lost on the reader. The kiln/oven door line is completely fuddled. "Zanjas oscuras" is not exploited in the sense of "lines of the face", or "furrowing" -one could substitute 'cleaving' or some similar verb before them to heighten and continue the "pero son . . ." -in any case, he needlessly obfuscates that 'they' are in fact the *golpes*.'Fate' in a our region of the West more approximately denotes 'el Destino' as Vallejo employs it.Vallejo does amazing things with the Spanish language -a translator must innovate in his rendering likewise.Eshleman plays it safe, and the result is probably better than if he had gambled; regardless, Vallejo gambled with his words and triumphs - someone must take the same risk with English to fully translate him.That translation will come one day which can stand on its own, but this is not quite it.

---------


In short- this is a poet you'll love or hate.This edition is the only readily available one in English and Spanish of the *Complete* verse of this magnificent Peruvian and is well worth the price, being aesthetically pleasing as well.Penguin has an inferior translation of "España, aparta de mí este cáliz (1937)" and there is a *very* affordable paperback of Eshleman's translation of the posthumous poetry as well.The translation possibilities are also unexhausted -which will be a welcome further temptation for some.Eshleman stands in relation to Vallejo as Walter Kaufman did to Friedrich Nietzsche; albeit, Eshleman is a great deal more faithful and reliable.We await a R.J. Hollingdale or Michael Hamburger for this poet still.Vallejo, if you really come to appreciate him, will contend with your own favorite of any era and quite possibly contend with whom in your estimation was the *greatest* poet of the last century as well.

And if this viewer must digress a moment for a paroxysm of praise; this 'Cesar' certainly can and *must* (if not already by deed, then in fact) dethrone the Yeats-Pound-Eliot, Neruda-Paz-Lorca triumvirates in arts and letters.-To call Vallejo the "Rilke," or even the, "Celan of the Americas" would be to deflate him --his likes would end the world as it began: with a *bang*, so powerful . . . !-Here was a 'Marxist' for whom this was ancillary to first being a poet, first a man, first a free spirit and profound soul encompassing all the contradictory degrees and contrasting shades of compassion, and of deepest hate -all of it not without a certain reflective, philosophical, humorous levity either.Worthy of the highest honors and regard, a poet's poet and a poet for the ages. ... Read more

Product Description

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

Product Description
A major new bilingual edition of the Peruvian poet's work

Cesar Vallejo is one of the best-known Latin American poets of the twentieth century. Challenging, intense, and difficult to translate, Vallejo's work has often been overshadowed by his fervent endorsement of communism. Noted scholar Ilan Stavans tackles the avant- garde poet's politics head-on in an enlightening new introduction that places Vallejo in his proper literary context, while Margaret Sayers Peden's new translation does full justice to Vallejo's complex literary style. Including Spanish and English versions of more than eighty poems that span the arc of his career, this volume is certain to become the leading collection of Vallejo's work for years to come. ... Read more

Customer Reviews (4)

Vallejo On The Go.
Highly recommended. The introduction itself is worth the selection.
Vallejo's work is clearly honored by Ilan Stavans & Margaret Sayers Peden.
If you happen to be Peruvian, you'll raise a few eyebrows here & there in the translation.
As stated in the book, It is a compact full of richness book to have.

My Favorite Poet
I am resolute in my belief that, alongside Antonin Artaud, Paul Celan, Rene Char and Hart Crane, Cesar Vallejo is the poet of the 20th Century. Difficult as his poems are (and the Trilce cycle is near-unmatched in its elliptical elusiveness), they are not `hermetic' in the same way as TS Eliot's `Four Quartets' or Celan's later work are- there is no private symbolism or allusive erudition here. Instead, the closest literary analogue to Vallejo is probably the Beckett of The Unnamable and How It Is- Vallejo subjects language to an extraordinary violence, compressing and compacting it, extracting maximum intensity from each syllable. If you are willing to forego your interpretive desire for `meaning', you will be struck by Vallejo's immediacy and directness of expression. This is poetry that bypasses the faculties of the intellect and aims straight at the viscera, the literary equivalent of a Francis Bacon painting or a Schoenberg concerto. Clayton Eshlemann's wonderful translation precedes this one, and while I hesitate to say that Sayers-Peden's renderings are superior, they are certainly worth owning.

Caveat Emptor: Exploitative Presentation, Sub-Mediocre Translator,
For the love of poetry, No!--


When used copies of the complete verse of Cesar Vallejo are available in a bilingual edition, a cheap paperback selection finds itself in need of justification.Had Penguin, with its resources, invested in even a slightly better, or even slightly more imaginative translator than Peden this would have found and deserved its niche market.This was not the case however, and Eshleman's full translations of entire books from the Vallejo corpus are in circulation from used to like new, for less than half of this waste of ink&paper goes for. From this it is clear that Penguin had in mind only a quick and hefty return via distribution through the major bookselling outlets where an Anglophone audience not bordering Central America would easily fall prey to a such presented and formatted title, on the business model of Borders, Barnes&Nobles ect.


This edition is not an innocuously superfluous and overlapping effort, but a positive and massive violation of the artistry, craftsmanship and power of the Poet in question:


From the back matter, "a fervent communist"

From the introduction, "he did not win acceptance into left-wing circles".



From Vallejo's The Black Heralds:

--Son las caídas hondas de los Cristos del alma"


"are the profound dives of the Christs of the soul."

-Peden's rendering


"are the deep dives of the Christs of the soul."

-Eshleman's rendering


"Are the deep* descents of the Christs of the soul."

-faithfully rendered, with all biblical significance of the phrase intact.

*unfathomed or fathomless are also cogent interpolations



No one needs this edition's hackjob translation effort or leftist-common denominator marketing strategems, least of all Vallejo.Your money is best invested elsewhere and more directly into this great poet.


Selected Poems

The Complete Poetry: A Bilingual Edition

Cesar Vallejo: The complete posthumous poetry

The Black Heralds (Lannan Literary Selections) (Spanish Edition)

Stunning Translations of an Intoxicating Poet
This collection really drew this reader into Vallejo's work for the first time, after many false starts with less vivid translations. Vallejo's writing is dark, melancholic, surprising and deeply seductive. I highly recommend this translation of Vallejo's mysterious, gem-like poems. ... Read more

Customer Reviews (4)

Eight Stars: obscene in its greatness

1. The translations are solid. The original was done in the sixties, the same man returns with maturity and experience to revise his first labor of love. The result is glorious, and, with the original Spanish text to the left of each, there's nothing to be passed over in any case.

2. Vallejo blows Neruda, Lorca ect. ect. out of the water of the ocean. Not morbid, not hysteric, nor anemically ethereal or affected --this is poetry that celebrates life and the spirit in all its tyranny and cruel beauty. Visceral, seductive, voracious and clear sighted. Absolutely wonderful.

Chapter Titles:
Payroll of Bones, Sermon on Barbarism, Spain, relieve me of this glass.

I can't impress how great this poet is . . . I haven't felt this since I read Emerson as a 16 year old . . . this IS

what poetry must be!

Duende
Vallejo not only does not wear out but grows more relevant as we move forward from his death. His poetry is filled with sense switching and fantastic metaphors that serve to unhinge your thought process from linear, logical, to a mystic, hallucinatory world where The Book of Revelations seems to be rewritten in your presence.

Fabolous
Cesar Vallejo is a poet for all times, interconnected to the stars - and the earth. The translation of his poems in this book seems to be very adequate.

"Poemas Humanos" by César Vallejo
La poesía del peruano César Vallejo, representa, en sí misma, toda una antología del dolor humano; de la pobreza exacerbada; del sufrimiento peesonal y ajeno; y de la más pura, limpia y sencilla esperanza de la vida.A través de un particularísimo estilo y prosa, Vallejo nos remie a un mundopoético nunca antes visto en Latino américa y en la misma Europa. Un estiloque surge de la sangre, de los huesos, del estómago vacío y ansioso; delalma dolida, maltratada y sorprendida. La poesís de César Vallejo nos dejasin aliento y nos coje un dedo; nos jala las orejas, nos sacude el corazóny erecta nuestro deseo de ser buenos, simples, tal vez sufridos. Creo quees un libro que todo amante de la buena poesía debe tener cerca de su cama,escritorio, maleta... debe ser llevado, primordialmente, en lasprofundidades del intelecto y del espíritu. En los huesos, la carne, lasangre y los momentos diarios. Resulta muy difícil tratar de expresar tantaadmiración en tan poco espacio. Valga mi tiempo, lectura, poesía yadmiración a este enorme sencillo hombre mundano, César Vallejo. ... Read more

Product Description
This volume is produced from digital images created through the University of Michigan University Library's large-scale digitization efforts. The Library seeks to preserve the intellectual content of items in a manner that facilitates and promotes a variety of uses. The digital reformatting process results in an electronic version of the original text that can be both accessed online and used to create new print copies. The Library also understands and values the usefulness of print and makes reprints available to the public whenever possible. This book and hundreds of thousands of others can be found in the HathiTrust, an archive of the digitized collections of many great research libraries. For access to the University of Michigan Library's digital collections, please see http://www.lib.umich.edu and for information about the HathiTrust, please visit http://www.hathitrust.org ... Read more

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César Abraham Vallejo Mendoza (Santiago de Chuco, 1892-1938, París). Perú.Sus padres eran Francisco de Paula Vallejo Benítez y María de los Santos Mendoza Gurrionero. Fue el menor de once hermanos. Su tez mestiza se debe que sus abuelas fueron indias y sus abuelos sacerdotes gallegos. Sus padres querían dedicarlo al sacerdocio, lo que él en su primera infancia aceptó.Vallejo estudió en el Centro Escolar No. 271 de Santiago de Chuco, y desde abril de 1905 hasta 1909 hizo la secundaria en el Colegio Nacional San Nicolás de Huamachuco. En 1910 se matriculó en la Facultad de Letras de la Universidad Nacional de Trujillo y en 1911 viajó a Lima para estudiar en la Escuela de Medicina de San Fernando. Tras varios trabajos, Vallejo terminó en 1915 la carrera de Letras.En 1916 frecuentó la juventud intelectual de la «bohemia trujillana» y se enamoró de María Rosa Sandoval. En 1917 conoció a «Mirto» (Zoila Rosa Cuadra), pero el romance duró poco y al parecer César intentó suicidarse tras un desengaño. Poco después se embarcó en el vapor Ucayali con rumbo a Lima donde conoció a lo más selecto de la intelectualidad limeña. Llegó a entrevistarse con José María Eguren y con Manuel González Prada, a quien los jóvenes consideraban un maestro y guía. Asimismo, publicó algunos de sus poemas en la Revista Suramérica.En 1918 trabajó en el colegio Barros y tras la muere de su director, Vallejo se hizo cargo de la dirección del mismo. Luego, en 1919 fue profesor en el Colegio Guadalupe. Ese año ven la luz los poemas de Los Heraldos Negros, que muestran cierta influencia modernista. Su madre murió en 1918 y al volver a Santiago de Chuco Vallejo fue encarcelado durante 105 días, acusado de haber participado en el saqueo de una casa. En la cárcel escribió la mayoría de los poemas de Trilce y en 1921 recibió la libertad condicional.Entonces fue admitido otra vez en el Colegio Guadalupe. Con el dinero que le debía el Ministerio de Educación se marchó a Europa en el vapor Oroya el 17 de junio de 1923 y llegó a París el 13 de julio.En París hizo amistad con Juan Larrea y Vicente Huidobro; y tuvo contacto con Pablo Neruda y Tristán Tzara.En 1926 conoció a Henriette Maisse, con quien convivió hasta octubre de 1928. Fundó junto al poeta español Juan Larrea una revista mientras colaboraba con Variedades y Amauta, la revista de José Carlos Mariátegui. Por entonces profundizó en sus estudios de marxismo. En 1927 conoció a Georgette Marie Philippart Travers y ese año viajó a Rusia. Hacia 1929 mantiene sus colaboraciones con Variedades, Mundial y el diario El Comercio. En 1930 el gobierno español le concedió una modesta beca para escritores. Poco después viajó a la Unión Soviética para participar en el Congreso Internacional de Escritores Solidarios con el régimen soviético. Tras su regreso a París se casó con Georgette Philippart en 1934 y se integró en el Partido Comunista del Perú fundado por Mariátegui. En 1937 Vallejo y Neruda fundaron en España el Grupo Hispanoamericano de Ayuda a España en plena Guerra Civil.En 1938 trabajó profesor de Lengua y Literatura, pero en marzo sufrió un agotamiento físico. El 24 de marzo fue internado por una enfermedad desconocida. Murió en París el 15 de abril de 1938. ... Read more

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Esta es la mejor edicion que existe de la obra de Vallejo. Incluye no solo varios ensayos escritos por agudos criticos sino tambien obra inedita del poeta peruano. Cesar Vallejo es uno de los nombres célebres de la literatura hispanoamericana y esta hoy ampliamente difundido a escala internacional; a pesar de ello, su obra no es tan conocida como la resonancia del nombre pudiera hacernos creer. A ello contribuye, intrinsecamente, la textura dificil y sorprendente de muchos de sus poemas. ... Read more

Product Description
This is the first full-length study in English of the poetry of the Peruvian César Vallejo (1892-1938). A major poet, who approached the problem of revolutionary aesthetics in a manner radically different from that of his contemporaries, Vallejo was comparatively little known outside the Spanish-speaking world. This neglect is attributable to the difficulty of a poetry which deliberately resists interpretation and assimilation into the established order of things. Professor Franco's book is therefore an exploration of the problems of poetic production. In the opening biographical chapter, she shows the kind of social constraints which limited what the poet could say, which led him in Trilce (1922) to write a hermetic poetry using euphemism, pun and indirection. She goes on to explore Vallejo's later poetry, which was shaped by the Spanish Civil War and gestures towards the tentative nature of humanity and civilisation that gives the poetry its abiding relevance. ... Read more

Customer Reviews (1)

Two poems that I come back to again and again
There has been no experience in my life so transforming as my three years of service as a Peace Corps Volunteer in Peru thirty-five years ago, and one of the parts of that experience that still speaks to me most is having had the opportunity to hear César Vallejo's poems recited in their original language in the Andean world in which they were conceived.

The two poems in this collection that I come back to again and again are "Piedra Negra sobre una Piedra Blanca" and "The Heraldos Negros."

The poem "Piedra Negra sobre una Piedra Blanca" distills the suffering and demonstrates the courage with which César Vallejo faced life. Composed in 1936 while he was absorbed by the Loyalist cause in Spain, Vallejo foresaw his own death in the poem when he wrote: "Me moriré en París con aguacero, un día del cual tengo ya el recuerdo" - a death that was to occur two years later at age 46 when he died of an intestinal infection in a Paris sanitorium.

"Los Heraldos Negros" contains only 17 lines and takes less than a minute to recite, but those 17 lines have taken me a lifetime to understand. Once again Vallejo delivers a shocking first line - "Hay golpes en la vida, tan fuertes... ¡Yo no sé!" - that the rest of the poem expands with violent imagery. If the measure of a poem is to how deeply it touches your soul, then I consider this poem to be one of the greatest I have heard.

Highly recommended. ... Read more

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"Chilean Pablo Neruda is Latin America's greatest poet and one of the finest ever to have written in the Spanish language. The Peruvian poet César Vallejo, part Indian and born in a mining village, ranks not far below Neruda. Robert Bly is one of America's foremost poets, and a translator of uncommon brilliance. The combination makes for a priceless volume."-Long Beach Press Telegram ... Read more

Customer Reviews (2)

sublime
I found this collection very satisfying on several levels.First the translations are excellent, successfully capturing both concrete and abstract elements of both poets.Second, the careful selection by Mr. Bly of poems wonderfully illustrates the best elements of each poet, the abstract genius of Neruda and the passion of Vallejo.Third; this collection is bilingual and even if one does not speak spanish, reading and listening to the poems in the native language allows one to appreciate the rhyme schemes, tempos, alliteration etc.

Neruda and Vallejo-Selected Poems - Robert Bly, et al editor
I recently finished reading this powerful collection of works, and enjoyed it immensely. Bly does a marvellous job of capturing the mood and power of these poets, and the biographical pieces were interesting and to thepoint.

This collection is also bilingual, which is a great plus even ifyou only listen for the sound of the poetic line.

I would highlyrecommend it for those who have not experienced either of these fine poets.It left me hungry for more of their work. ... Read more