DARKNESS SPOKEN: COLLECTED POEMS OF INGEBORG BACHMANN
from German by Peter Filkins
ISBN 0-939010-84-4 (paper) $24.95
Buy Now From CCNow
5½ x 8¼
688 pages [bilingual German/English]
Darkness Spoken gathers together Bachmann's two celebrated books of poetry, as well as the early and late poems not collected in book form. This new, expanded edition contains 129 poems recently released from Bachmann's archives and which have never before been translated. Twenty-five of these also appear in German in this bilingual edition for the first time anywhere. The addition of these new poems will help expand awareness of Bachmann's development as a writer, as well as the fact that she continued to write poetry throughout her career, even while developing the ideas for her groundbreaking novels. Just as Bachmann's Malina sought to expand the possibilities of the novel, Darkness Spoken contains the bedrock of a vision as far reaching as it is indelible, and as uncompromising as it is bound to hope. Through translation of the poems, scholarly notes, and a critical introduction, this volume will supply the foundation necessary to draw attention to Bachmann's achievement on the part of readers and critics alike.
Ingeborg Bachmann was born in 1926 in Klagenfurt, Austria. She studied philosophy at the universities of Innsbruck, Graz, and Vienna, where she wrote her dissertation on the philosophy of Martin Heidegger. In 1953 she received the poetry prize from Gruppe 47 for her first volume, Borrowed Time (Die gestundete Zeit), after which there followed her second collection, Invocation of the Great Bear (Anrufung des großen Bären), in 1956. Bachmann also went on to write short stories, essays, opera libretti, and novels, including The Thirtieth Year, Malina, and The Book of Franza. At the time of her death in a fire in Rome in 1973, Bachmann was at work on a cycle of novels titled Todesarten (Ways of Dying), of which Malina was the first published volume.
Along with her close friend Paul Celan, Bachmann was considered the premiere German language poet of her generation. Her various awards include the Georg Büchner Prize, the Berlin Critics Prize, the Bremen Award, and the Austrian State Prize for literature. Her work remains highly influential to this day, and she is now regarded as a pioneer of European feminism and postwar literature. Influencing numerous writers from Thomas Bernhard to Christa Wolf, Bachmann's poetic investigation into the nature and limits of language in the face of history remains unmatched in its ability to combine philosophical insight with haunting lyricism.
Peter Filkins has published two volumes of poetry, What She Knew (1998) and After Homer (2002), and has translated Bachmann's The Book of Franza and Requiem for Fanny Goldmann. He is the recipient of an Outstanding Translation Award from the American Literary Translators Association, and the Berlin Prize from the American Academy in Berlin. He teaches at Simon's Rock College of Bard in Great Barrington, Massachusetts.
FIRST COMPLETE ENGLISH TRANSLATION of
CELEBRATED HSIA YÜ COLLECTION
from Chinese by Steve Bradbury
ISBN 978-1-938890-05-5 (paper), $18.00
Buy Now From CCNow
7 x 10
Originally published in Chinese in 1999, Salsa has been Hsia Yü’s most successful collection of poetry, selling thousands of copies in Taiwan and Hong Kong alone. Zephyr’s 2001 edition Fusion Kitsch includes a generous selection of material from Salsa, but this marks the first time that an entire Hsia Yü volume has been translated into English.
“Inclining Ever Closer to Existence”
Everyone is endlessly distracted by the thought of being
“lost without a trace”
My head covered in a black cloth sack
I am taken to a remote basement corner
Where I hear someone say
“Okay, now I’ll let you see where you are.”
The sack is lifted and I see the one who brought me
And nearby a window backlit in the window
Another person looking at me his expression
Lets me know at once that I am merely passing through
We can never look upon each other in the same light
Again like the lazy fellow in the story who brought home flowers
And began to tidy up in comparison to that light
Whose horizon of vision is enlarging with infinite
Precision how do we “incline ever closer to existence”?
I mull the idea the three of us making love right here and now
I am determined to be the first to acknowledge my mistakes
The ones I always make in the end
I go off key
And it’s a key I’ll never go off quite this way again
Hsia Yü (sometimes spelled Xia Yu) is the author and designer of six volumes of groundbreaking verse, among them a bilingual collection of English-language poems and computer-generated Chinese translations printed on crystal clear vinyl, entitled Pink Noise, as well as several hundred song lyrics, many of which are enormously popular in the Chinese-speaking world, and a Chinese translation of Henri-Pierre Roché’s Jules et Jim.
She currently lives in Taipei, where she co-edits the avant-garde journal and poetry initiative Xianzai Shi [Poetry Now], but she lived for many years in France, where the poems in the Salsa collection were composed. Originally published in 1999 and now in its tenth printing, Salsa is Hsia Yü’s most successful collection of poetry to date. This bilingual version contains the first and only complete translation of her poetry in any language other than Chinese.
Steve Bradbury lives in Taipei and teaches British and American poetry and fiction at National Central University, where he formerly edited Full Tilt: a journal of East-Asian poetry, translation and the arts. This bilingual edition of Salsa is his fifth book of translations from Chinese.
I CAN ALMOST SEE THE CLOUDS OF DUST
from Chinese by Fiona Sze-Lorrain
ISBN 978-0-9832970-9-3 (paper) $15
Buy Now From CCNow
6 x 8
168 pages [Bilingual Chinese/English]
Yu Xiang, using simple language, striking syntax, and hypnotic refrains, keeps her poet’s eye and mind attentive to the not-so-hidden heart of quotidian life. And what does she find there? People, including herself, confronted with the beautiful and terrifying fact of their lives, wanting to “Love someone/ anyone” (“Street”), before it ends. To Yu, life is far from humdrum. Like a photographer who photographs his feet as he walks, each step points to a larger movement—too large to capture as a totality. Yu focuses her attention on the smaller details—these tiny, shimmering essences. And with language that helps us train our gaze, the poet reveals that the ordinary can be spellbinding.
—Naomi Long Eagleson, “Words Without Borders”
These spare, yet sensuous poems, selfless, but beating with an inimitable voice and heart, remind me that no matter what the language, no matter what the culture, there is only one poetry: the poetry of the bone marrow. May this haunting, truth-insistent book circumnavigate the whole planet!
Yu Xiang comfortably inhabits the negative space between viewer and subject, artist and artwork, the lover and her beloved in this acrobatic, ekphrastic, meditatively-compelling collection. Fiona Sze-Lorrain’s crisp translation invites American readers to experience Yu Xiang’s poetic mastery half a world away from its formative origins in the Shandong province, bringing into focus the voice of one of China’s most celebrated and memorable female voices. “I have a lonely yet/ stable life,” Yu admits at one point in the book. “This is my house. If/ you happen to walk in, it’s certainly not/ for my rambling notes.” Yu Xiang disarms her reader with exacting imagery and pathos in order to tell the aching, unavoidable truth of womanhood in these striking poems.
Discreet and seldom a guest at mainstream poetry events, Yu Xiang lives the figurative interpretation of her own poem, “Low Key,” shying away from media attention and commercial literary activities. She considers her life uneventful and boring, and earns a living in an office as do most “ordinary beings”—“I am not interested in too many things. Life has no joy, so I write. I am actually interested in very few things, so I write,” she continues in her credo. On the other hand, she is adamant that a mundane life does not lack poetry. Rather, it lacks being discovered. For one who believes the music is stronger than the musician, poetry is neither career nor charity. The art is a privilege, the word a spiritual nourishment that helps her survive the tedium of life, and find meaning or beauty in an otherwise pessimistic and difficult society.
A key figure of the post-70s Chinese poets, Yu Xiang began writing poetry in 2000. Her honors include the Rougang Poetry Prize (2002), the Yulong Poetry Prize (2006) and the Cultural China Annual Poetry Award (2007). Enigmatic and sensual, Yu Xiang’s writings are immensely popular. Her work includes a volume of poetry, Exhale (2006), and two chapbooks, Sorceress (2009) and Low Key (2011). As a visual artist, she has also exhibited oil paintings at various venues. Yu Xiang currently lives in Ji’nan, the capital city of Shandong province.
Author of two books of poetry, My Funeral Gondola (Mānoa Books/El León, 2013) and Water the Moon (Marick, 2010), as well as several volumes of translation of contemporary Chinese, American and French poets, Fiona Sze-Lorrain co-edited the Mānoa anthologies, Sky Lanterns (2012) and On Freedom: Spirit, Art, and State (2013), both from the University of Hawai’i Press. She lives in France where she is an editor at Vif Éditions and Cerise Press.
Marianne Langner Zeitlin
ISBN 978-0-9832970-5-5 $17
Order Now From CCNow
5½ x 8¼
For anyone interested in classical music, Motherless Child is a novel to be savored. [full review]
—Roberta Silman, Artsfuse.org
One gets wrapped up in the ruse Elizabeth has woven, and becomes as determined as she is to learn the truth.
—Joy Parks, Quill & Quire (Canada)
Motherless Child is a superbly wrought romantic page-turner that has elements in it of Jane Austen’s Pride and Prejudice and Daphne du Maurier’s Rebecca, with more than a touch of the latter’s gothic essence. [full review]
—Bill Gladstone, Canadian Jewish News
Set in the world of classical music, Marianne Langner Zeitlin’s third novel is a suspenseful page-turner that takes us on a young woman's quest to understand her family’s difficult past. Under an assumed name, Elizabeth Guaranga takes a job with the famed music manager Alfred Rossiter, who was once her late mother's lover. Rossiter’s name was synonymous with evil in Elizabeth’s home: he had lured her mother away from the family, and then used his power to squelch her father’s career as a concert pianist. After Elizabeth meets the writer George Wentworth, who is writing a biography of Rossiter, she begins to learn that the truth she is seeking is far different from what she had been led to believe.
Zeitlin has spent her entire adult life in the world of classical music—as the wife of acclaimed violinist Zvi Zeitlin, as one of the first women to manage an orchestra herself, and, in her young adulthood, as an employee at one of the largest music management firms in the United States. She brings her wealth of knowledge about the music world to this riveting tale of loss, love, power, and the immutability of one’s past.
Motherless Child contains a Book Group Discussion Guide.
Marianne Langner Zeitlin is the author of numerous short stories, essays, articles and dramatic works. She has published two other novels, Mira’s Passage (Dell) and Next of Kin (Zephyr Press), which won a City of Toronto Book Award, and her stories have been anthologized in two collections. Recent stories have been published in FictionFix.net, Passager, Aethlon, Scribblers on the Roof, and Jewishfiction.net. She lives in Rochester, New York.
PAUL KLEE’S BOAT
from Russian by Andrew Wachtel
ISBN 978-0-9832970-7-9 (paper) $15
Buy Now From CCNow
5.25 x 8
Paul Klee’s Boat, Anzhelina Polonskaya’s [latest book], is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel… a vital addition to the contemporary poetry canon, a collection as interesting as it is touching that will inevitably be remembered for years to come. [full review]
—Will Evans, Three Percent
Anzhelina Polonskaya consciously guards her outsider status, choosing to live not in Moscow itself, but in Malakhovka, where she was born in 1969, some thirty miles from the center of the city, a peaceful enclave far from the daily squabbles of Moscow literary life. As often as she can, she escapes from the oppressive social and political atmosphere of Russia, and, taking advantage of a number of prestigious residencies, creates the bulk of her work while abroad, following a Russian tradition of using both internal and external exile (in this case self-imposed) to fuel creativity. Polonskaya’s newer work for the most part eschews narrative, and is far more visual in nature. It can almost be described as pictorial; surely it is no accident that Paul Klee’s Boat contains a number of poems that directly refer to individual works of art, although in most (but not all) cases these are not ekphrastic descriptions of the work, but rather evocations of the mood produced by seeing it.
Anzhelina Polonskaya began to write poems seriously at the age of eighteen. Between 1995 and 1997 she lived in Latin America, working as a professional ice dancer. Her first book of verses Svetoch Moi Nebesny (My Heavenly Torch) appeared in 1993. In 1998, the Moscow Writer’s Publishing House published her second book, entitled Verses. Since 1998, she has been a member of the Moscow Union of Writers. In 1999, her book The Sky in a Private’s Eye was published. In September 1999, this book was presented at the First International Festival of Poets in Moscow, and, in October 1999, at an international poetry festival/conference at Northwestern University (Chicago, USA). In 2002, her book Golos (A Voice) was published in Moscow, and in 2003, Polonskaya became a member of the Russian PEN-centre. In 2004, an English version of her book, entitled A Voice, appeared in the acclaimed “Writings from an Unbound Europe” series at Northwestern University Press.
Andrew Wachtel is the president of the American University of Central Asia in Bishkek, Kyrgyzstan. Previously he was dean of The Graduate School and director of the Roberta Buffett Center for International and Comparative Studies at Northwestern University. A fellow of the American Academy of Arts and Sciences, a member of the Council on Foreign Relations, and the author of numerous publications, he is also a translator from Russian, Bosnian/Croation/Serbian and Slovene. He translated Anzhelina Polonskaya’s previous collection, A Voice (Northwestern UP, 1995).
APPROACHING YOU IN ENGLISH
from Hebrew by Lisa Katz with Shlomit Naim-Naor
ISBN 978-0-9815521-4-9 (trade paper) $15 US/ $17 CAN
Order Now from CCNow
6 x 8
128 pages [bilingual Hebrew/English]
Kosman knows how to craft humor, irony, many of the more refined tones—nothing seems to elude his poetic abilities. But despite Kosman’s exquisite exercises in tone and topics, the reader is drawn in above all because of this mysterious light: a strange sense of communication with something beyond, with something transcendent that is present in nearly all of the poems that make up Approaching You In English… Translator Lisa Katz has done a tremendous job… She has allowed new readers to peer, too, into the cracks and slits in the ceiling and connect with that something beyond.
—E.C. Belli, Words Without Borders
Admiel Kosman's first book to appear in English draws from all nine of his books of poetry that have been published in Hebrew, as well as new, unpublished work. His poems explore multiple tensions — between prayer and modern life, sacred texts and eroticism, language and translation, gender and identity — while also resisting the very nature of such categorizations. Approaching You in English includes an introduction by translator Lisa Katz that quotes extensively from an interview with Kosman, and an afterword by Shlomit Naim-Naor that explores some of the gender issues in his poetry.
In addition to his poetry, Admiel Kosman has published three scholarly volumes on gender and sexuality in traditional Jewish texts. Raised in an Orthodox home, he studied art at the Bezalel Art Academy in Jerusalem, and later received a Ph.D. in Talmud from Bar-Ilan University. He teaches religious and Jewish studies at Potsdam University in Berlin, and serves as academic director of the Abraham Geiger Reform Seminary, the first Reform rabbinical college to open in Germany since the Holocaust.
Lisa Katz is the author of Reconstruction (Am Oved), and the translator of Look There: New and Selected Poems of Agi Mishol (Graywolf). Her poems, translations, essays and reviews have appeared in numerous publications; she works as a translator for the English edition of the Israeli daily, Haaretz. In 2008, she won the Mississippi Review Poetry Prize.
Shlomit Naim-Naor is the deputy director of Melitz, an educational organization in Jerusalem, and an international speaker on Israeli poetry, literature and Jewish texts. She holds an MA in Creative Writing from Ben Gurion University and a BA in Philosophy and Literature from the Hebrew University in Jerusalem. She has written extensively about Kosman's poetry.
THE CHANGING ROOM
from Chinese by Andrea Lingenfelter
ISBN 978-0-9815521-3-2 (paper) $15
Order Now From CCNow
6 x 8
163 pages [bilingual Chinese/English]
The linguistic skill of this volume is as much the translator's as it is Zhai Yongming's. Andrea Lingenfelter's translation is excellent, representing not only what is in the line in Chinese but what is in the poem, which means that she knows how and when to render directly, how to employ synonyms, and when to rephrase for the sake of the American reader. [full review]
—Lucas Klein, Rain Taxi
Zhai Yongming is one of China’s leading poets, and this bilingual selection from major poems across decades demonstrates why. Beautifully translated by Andrea Lingenfelter, Zhai’s poetry is sensuous, mysterious, provocative, gritty, and her singular black night consciousness shines through.
Powerful as a tremor in the Sichuan Basin, the poetic voice we hear in The Changing Room is a touching, elegant, often ironic, testimony of being Chinese and being a Chinese woman.
—Yunte Huang, author of Charlie Chan
While Zhai Yongming’s poems from the 1980s owed much to Anglophone Confessional poets, even then Zhai’s voice was unmistakably her own. With imagery dominated by night, darkness, blood, sex, and death, those early poems also directly engaged traditional Chinese cultural paradigms. Zhai’s recasting of Chinese yin and yang cosmology along feminist lines was a dominant thread in a body of work that was otherwise intensely personal and contemporary. Over time, she has continued to go back to China’s literary and historical past, using it as a source of inspiration, as a counterpoint to modern experience, and as part of an ongoing dialogue with patriarchal Confucian historiography.
—from the Translator’s Foreword by Andrea Lingenfelter
The author of six volumes of poetry, Zhai Yongming first became prominent in the mid-1980s with the publication of her twenty-poem cycle, “Woman,” a work that forcefully articulated a female point-of-view in China’s largely patriarchal society. Her powerful imagery and forthright voice resonated with many readers. Zhai has continued to hone her critique of traditional attitudes towards women, quickly becoming one of China’s foremost feminist voices and a major force in the contemporary literary scene. She is also an installationartist and prolific essayist, and stages poetry readings and other cultural events at the bar she owns in her native Chengdu.
Andrea Lingenfelter received her MA from Yale University and her PhD from the University of Washington. She is also the translator of the novels, Candy (Back Bay, 2003), Farewell to My Concubine (W. Morrow, 1993), and The Last Princess of Manchuria (Morrow, 1992). Lingenfelter currently lives in Berkeley.
MLB (Milosz Biedrzycki)
from Polish by Frank L. Vigoda
ISBN 978-0-939010-99-8 (trade paper) $16.00
Buy Now from CCNow
6 x 8
208 pages [bilingual Polish/English
If you’re going to purchase one book of poetry this year, make it [MLB’s] latest collection, 69.
—Shaun Randol, The Mantle
MLB's extraordinary linguistic awareness and amused wonderment with language lurk beneath all his poetry. One of the principal authors of the "bruLion" generation, which has been influenced by American poets such as Frank O'Hara, Allen Ginsberg, and John Ashbery, MLB has published six volumes of poetry and received numerous prestigious literary prizes. Three of his volumes were inspired by the avant-garde and surrealist traditions, and presented the reader with riddle-poems to solve. The work in this bilingual edition is from his 2006 volume, 69, which encompasses his poetic output from the fall of Communism to the present, allowing the reader to trace the process of personal and artistic development during the rapidly changing post-Communist years.
MLB was born in 1967 in Slovenia, graduated with a degree in Geophysics at Krakow’s Academy of Mining and Metallurgy, and now divides his time between Krakow and the Middle East. In addition to his work as a geophysical engineer, he works on the editorial board of the quarterly, bruLion. English translations of his work have appeared in many journals and anthologies, including Trafika, Chicago Review, Fence, Zoland Poetry, and the Zephyr Press anthology Carnivorous Boy Carnivorous Bird. (photo by Marta Eloy Cichocka)
Frank L. Vigoda’s translations, primarily from Polish, have appeared in a variety of publications, including Modern Poetry in Translation, Polin, Studies in Polish Jewry, Lyric Poetry Review, Chicago Review, Absinthe: New European Writing, Circumference, and Fence. Long-time translation projects include the work of Aleksander Wat, Rafal Wojaczek, Urke Nachalnik, and two young Polish poets, Marcin Jagodzinski and Kamil Zajac.
ANXIETY OF WORDS: CONTEMPORARY POETRY
BY KOREAN WOMEN
Ch'oe Sung-ja, Kim Hyesoon, Yi Yon-ju
from Korean by Don Mee Choi
ISBN 0-939010-87-9 (paper) $16.00
Buy Now From CCNow
6 x 9
200 pages [Bilingual Korean/English]
Don Mee Choi, a fine poet herself, has translated both the spirit and words of these outsiders and experimenters into poetry that is just as striking to English-speakers as it was to Koreans under the dictatorship of Park Chung Hee when it was first written. Anxiety of Words has widened the conversation of Korean poetry to include the voice of Korean women—a voice that needs to be heard.
—American Poet, Spring 2007
Anxiety of Words is the first anthology of Korean women's poetry that challenges one of Korea's most enduring literary traditions: that “yoryu” (female) poetry must be gentle and subservient. By using innovative language, and vividly depicting women's lives and struggles within an often repressive society, these three contemporary poets defiantly insist that poetry can be part of social change—indeed, that it must be. Ch'oe Sung-ja, Kim Hyesoon, and Yi Yon-ju have written unforgettable poems that now, thanks to Don Mee Choi's translations, are available to English-speaking readers for the first time. With a lengthy introduction on the history of women's poetry in Korea, and biographical notes on the three poets, this volume is an eye-opening exploration for any reader interested in Korea, poetry, and contemporary women's literature.
These are pioneering translations of three women who are themselves pioneers in a patriarchal literary culture. In bringing these remarkable poems to life in English, Don Mee Choi is breaking down lingering barriers to writing women in Korea. This poetry has long cried out for an audience within and without Korea, and now it will finally receive the hearing it deserves.
—Bruce Fulton, Young-Bin Min Chair in Korean Literature and Literary Translation, University of British Columbia
In Anxiety of Words Don Mee Choi shatters the barrier between West and East to bring us the defiant, vulnerable and intellectually fierce collective voice of Korean women poets. In this historic anthology of work heretofore unavailable in English, Choi gives us access to dynamic and unforgettable poems. This book is a must-read for lovers of literature and for anyone who wants to hear complex truths from women in struggle with their globalizing world.
—Minnie Bruce Pratt
Ch'oe Sung-ja (b. 1952) is one of the most highly regarded contemporary women poets of South Korea. Ch'oe studied German literature at Korea University at a time when there were only two hundred women enrolled in the entire university. She began writing poetry while in college and became the first woman editor of Korea University's literary journal. In 1979, Ch'oe became the first woman poet to be published in a literary journal, Literature and Intellect. Ch'oe's poetry, which violated the criteria of decorum that had been long imposed on women poets, caused a stir in South Korea's predominantly male literary establishment. Ch'oe is part of the new wave of feminist poets of Korea to merge after the early pioneering women poets of the 1920s and 30s, who explored and gave voice to women's lives under the oppressive patriarchy. Ch'oe published four collections of poetry between 1981 and 1993. In 1994, she participated in the Iowa International Writers' Program. She now works as a literary translator in Seoul, and is translating a collection of short stories by J.D. Salinger.
Kim Hyesoon's (b. 1955) poetry first appeared in Literature and Intellect, the same journal in which Ch'oe's work also made its debut. Kim majored in Korean literature for her undergraduate and graduate degrees. She is a member of Another Culture, an organization which emerged in the 1980s and has played a critical role in feminist literary research and publication, including the development of women's studies in South Korea. Kim teaches creative writing and Korean poetry at Seoul College of Arts. In 2001, Kim received the So-wol Poetry Award. Her book of poetry, Seoul, My Upanishad (Munhak kwa jisongsa, 1994) was awarded the Kim Su-yong Contemporary Poetry Award in 2000. Kim is the first woman to receive this coveted award. In her work she explores women's multiple and simultaneous existence as grandmothers, mothers, daughters, and lovers. Kim Hyesoon has published seven collections of poetry; her most recent publication is a collection of critical essays about women and writing.
Yi Yon-ju made her literary debut in a journal called World of Writers (1991). The same year, Yi's first book of poetry, A Night Market Where There Are Prostitutes, was published by Sekyesa, a well-known literary press in South Korea. Yi's second collection of poems was published in 1993 after her death. According to the renowned feminist critic Kim Chong-nan, Yi's poetry has a critical place in the poetry of the 1980s. Yi depicts in her poetry women who live on the fringes of South Korean society, marginalized by the rapid industrialization of the 1970s and 80s, which, in part, was made possible by the exploitation of young women from poor rural areas. Not much is known about Yi's life. According to her brother, Yi Yong-ju, the night Yi committed suicide she had asked him not to reveal anything about her life except for her date and place of birth.
Don Mee Choi is a translator and scholar of Korean literature. Her literary focus is on the exploration of the cultural, historical, and political roles of contemporary Korean women's poetry and the critical examination of literary translation in the context of South Korea's post-coloniality. She currently lives in Seattle, Washington.
A BILINGUAL ANTHOLOGY OF CONTEMPORARY POLISH POETRY
CARNIVOROUS BOY CARNIVOROUS BIRD
Selected by Marcin Baran
Edited by Anna Skucińska and Elżbieta Wójcik-Leese
ISBN 0-939010-72-0 (paper) $19.95
Buy Now From CCNow
6 x 9
336 pages [bilingual Polish/English]
Since the lyric beginnings of Polish poetry, writers have been burdened with duties typically delegated to politicians, soldiers, priests or journalists. The political, social and cultural changes of the last decade have allowed Polish poets to cast off these burdens, and focus instead on individual expression and varied aesthetic movements. Carnivorous Boy Carnivorous Bird focuses on the core group of this movement—poets born between 1958-1969.
…in a constant confusion of mystification and authenticity, distance and directness, representational skepticism and mimetic euphoria, game-playing and honesty, the poets presented here perform their informal, singular duties towards language and the human condition.
—from the introduction by Marcin Baran