A bilingual collection of poetry by the distinguished Italian filmmaker includes all of Pasolini's major poems, written between 1954 and 1970, along with an autobiographical essay. Reissue. NYT.
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6 of 9 people found the following review helpful:
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This review is from: Poems (Paperback)
(April 14, 2008)
Praise for PIER PAOLO PASOLINI: POEMS translated by Norman MacAfee with Luciano Martinengo Winner of the first Renato Poggioli/William Weaver Award of the PEN American Center "Forceful, readable translations of brilliant, scorching poems."--Patriot Ledger "Translating Pasolini is a formidable task, requiring of the translator what Pavese called una simpatia amorosa for the original. In the case of Pasolini, that means a translator with a good ear for the literary and the colloquial, a sense of the echoes and inversions of past poetry everywhere present (for despite his modernity, Pasolini was a committed renewer of the tradition), and the range for conveying startling tonal shifts, from intensely lyric evocation to blunt confession to high polemical anger. MacAfee has done his work with both responsibility and brilliance."--William Arrowsmith "...heralded by the Times Literary Supplement in 1982 as one of the three most important poets of the twentieth century."--American Book Review "Pasolini seems to me indisputably the most remarkable figure to have emerged in Italian arts and letters since the Second World War.... His poetry is an important part of his passionate, proud, historically vulnerable body of work, a work in and with history; and of the tragic itinerary of his sensibility."--Susan Sontag "Translating Pasolini must have been a tremendous task... Norman MacAfee did remarkably well... This is a solid introduction to Italy's greatest poet since Montale. The realization of the greatness of Pasolini's poetry was slow in coming... now we can see for ourselves...."--Andrei Codrescu, Baltimore Sun "Pasolini's poems are extremely beautiful and touching...the gold every true poet offers, the sense of real life as it is lived."--Atlanta Journal Constitution "Superb translations [of] one of the century's leading writers.... Pasolini may have burnt himself out at a stake of his own making--but this book of poems testifies to his fire's continuing light."--Stephen Kessler, Santa Cruz Express "This truly splendid translation, in a bi-lingual edition, contains Pier Paolo's most important poems, including `The Ashes of Gramsci' and `The Religion of My Time'." -- Doug Ireland, LA Weekly "...astounding depth and variety... The translations are extremely effective--readable, faithful to the originals, and sensitively alive in nuance, allusion, and musicality." -- Choice "The publication of a volume of translations by Norman MacAfee of Pasolini's best poems reminds us what an extraordinary man he was.... Of his copious writings, his poems seem most likely to endure ... translated now with clarity, ingenuity, and fidelity by Norman MacAfee."--Edmund White, New York Times Book Review "Mr. MacAfee has successfully transposed the delicacy along with the outrage of one of the few poets since Whitman who could write without irony, `All the world is my unburied body'."--Christopher Kadison, American Book Review "[Pasolini's] moral passion, analytical intelligence, and the stark beauty of his work make him one of the giants of Italian literature."--David H. Rosenthal, Village Voice "Like Allen Ginsberg, whose literary impact he in many ways paralleled, Pasolini brought writing out of its hermetic, academic closets and into the street.... Pasolini lived a life of such great honesty, passion, intelligence, insight and richness, that even despite --perhaps because of-- its contradictions, I know of no life from which we could learn more today.... MacAfee's translations of the poetry offer a necessary addition to what we already know of Pasolini from his films."--Steve Abbott, San Francisco Sentinel Vernon Young: "Translated here by Norman MacAfee with remarkable diligence and style," (The New Criterion), "these are unnerving documents of self-division, self-condemnation, and self-exaltation." (Washington Post Book World) "It is easy to forget that Pier Paolo Pasolini is a major poet.... As the central man of the central decades of this century in Italy, he compels us to read his poems."--John Ahern, Parnassus "There are reasons why he is one of the best half-dozen Italian poets of this century and they're all here."--Jeffrey Seroy, New York Native "He was a liberating force in Italian literature and film... Here is the unmediated voice, full of discouragement, sensual joy, unhappiness, idealism."--Los Angeles Times "Norman MacAfee's splendid translation... a definite coup in presenting Pasolini to English-speaking readers."--Christopher Street "Norman MacAfee's translations are lean and fluent, and they make Pasolini's work--so dependent on the spoken and dialect--eminently moving and readable." --Richard Elman, for All Things Considered "Everything he did, every word he said was rich and sad and dangerous.... He was a poet, our poet."-- Gay Life (Chicago) "...one of the great sexual and moral innovators of the century." --The Advocate "Pasolini was probably the most famous writer of postwar Italy.... The poems are a curious mix of political and personal confession, of ideological speechifying shot through with flashes of brilliance, with, every now and then, moments of equilibrium when political and personal passions coincide with great force." --Alexander Stille, The Nation "Pasolini was what can be termed a citizen-poet. He was concerned with his homeland and expressed his feelings in his work. Patriotic poetry usually comes out of a right-wing tradition and is nationalistic, but Pasolini's great originality was to be a citizen-poet of the left... He wept over the ruins of Italy but without a hint of rhetoric. He was a modern who used the classical tradition. Rimbaud, the poet of the Paris Commune, the most revolutionary of poets, remained his greatest influence. In the years after the Mussolini dictatorship, he adhered, like many of his compatriots, to an unorthodox brand of communism, that was both Christian and utopian, and these feelings for the poor and underprivileged motivated his own poetry and films."--Alberto Moravia, in The New York Times
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14
books
cite this book:
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- Images of the Passion: The Sacramental Mode in Film by Peter Fraser on 4 pages
- Filmmaking by the Book: Italian Cinema and Literary Adaptation by Millicent Marcus on 4 pages
- A Certain Realism: Making Use of Pasolini's Film Theory and Practice by Maurizio Viano on 4 pages
- The Sacred Desert: Religion, Literature, Art and Culture by David Jasper on page 140, and Back Matter
- Italian Cinema and Modern European Literatures: 1945-2000 by Carlo Testa on page 76, and Back Matter
See all 14 books citing this book
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