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Vertical Poetry, by Roberto Juarroz
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Winner of the Colorado Book Award for Translation upon its release, this book brings to English-speaking audiences new work by this brilliant Argentine poet of whom Octavio Paz says, "Each of Juarroz's poems is a surprising verbal crystallization: language reduced to a drop of light." In Juarroz's work we encounter the vertical depths of language, the inner wells.
- Sales Rank: #1692542 in Books
- Published on: 1988-07
- Ingredients: Example Ingredients
- Number of items: 1
- Binding: Hardcover
- 161 pages
From Publishers Weekly
These poems, appearing in Spanish and Engish translation rendered by Pulitzer Prize-winning poet Merwin, convey the Argentine Juarroz's ideas about the continuity and infinity of human experience: once external factors are stripped away from one's life, what remains is abstract and primitive. The physicality of a poem is integral to the meaning of its words: Juarroz devises his creations vertically, geometrically; they can begin at the first word or the last, the constant being motion, fundamental and never-changing. A lilting symmetry of sound results, but because the crux of this work is Juarroz's conviction of the immutability and significance of form as meaning, the volume becomes one long poem, a cycle of form repeating itself. Metaphysical designs, however gracefully sculpted into verse, do not allow here for much variety in language or music in individual words; while the poems often have a mesmerizing, heady quality, just as often they are indistinguishable, repetitive and inaccessible. If the collection were shorter, perhaps the esoteric quality of the poems would be provocative, rather than overwhelming. Juarroz's aphorisms are illuminating and original, but the plethora of them diminishes their power.
Copyright 1988 Reed Business Information, Inc.
From Library Journal
"Vertical poetry" describes not so much the form of these poems as their "shrugging-off of the traditional arrogation and restrictions of Post-Aristotelian Western logic," according to award-winning poet/translator Merwin. Selecting from nine collections spanning nearly 30 years of Juarroz's work, Merwin compares Juarroz's aphoristic, fragmentary, free verse poems (all numbered, rather than titled) to the work of Blake, Rilke, and the author of the Tao Te Ching . Machado comes to mind, too. These short, highly compressed poems gradually draw the reader to their centers and complexities, often requiring repeated readings before meanings are felt. Foreign poetry collections should be especially interested. Thom Tammaro, Moorhead St. Univ., Minn.
Copyright 1988 Reed Business Information, Inc.
Language Notes
Text: English (translation)
Original Language: Spanish
Most helpful customer reviews
2 of 2 people found the following review helpful.
Another Argentine Poet Obsessed with Metaphysics
By J.G.
(more like 3 1/2 stars)
When Juarroz successfully executes his highly distinctive "vertical poetry," his mind pierces to the core of both metaphysical and ontological questions with greater conciseness than Borges. Better still, Juarroz achieves lucid insights into questions of memory, reality and selfhood without inevitably resorting to tired revisitings of Heraclitus, Shakespeare, etc. (as Borges so often did). But when Juarroz's aphoristically styled poems fail, they read like fortune cookie messages written by someone intent upon exhausting the reader into incomprehension; worse, his minimalist style offers few descriptive attractions or linguistic diversions when his ideas lack substance. This is often the case in his earlier works, where he insisted to belabor the question of God in a way that wavered between belief and disbelief, flirting with a kind of lulled and lulling agnosticism. As the eighth piece in his first collection states, "But nevermind./I've stopped praying./I'm going looking for the back of god."
Thankfully, Juarroz eventually returned from this trifling quasi-theological journey to end up in intellectually and imaginatively richer territory. The very first selection from his second collection, Second Vertical Poetry, evokes a moment in which the poet's augmented awareness restores him to the strangeness of being self-conscious in a world largely predominated by objects: "Ancient cries/still floating between things, like algae of sound,/catch in the aerial shores of my thought./Then the centuries dissolve like crystals of oblivion/and I am again the first man...". Here, Juarroz weighs his subjectivity against the imposing hand of Nature and finds himself recontextualized as an isolated though truly singular exception to the great non-human majority of the world's things.
Yes, Juarroz consistently wavers between inadequate expressions which result in obfuscation and truly lucid revelations, but, fortunately, the latter successes more than justify wading through the lesser entries of this book. Juarroz is most interesting when finding the perfection of the hypothetical to negatively reveal the imperfection of the actual, as in the final stanza from one of the finest poems in this collection: "If a man could transplant his memories,/death would not exist/and neither dreams nor madness/would be necessary./Not even love would be necessary."
And when Juarroz's work reaches its own perfection in a gesture of effacement--a self-negating voice speaking between the lines of the poem--"We must leave our images in mid-air/to get closer to our transfigurations/and converse with them at the edge of the whiteness/with no letter for witness."
Unlike so many poets whose narcissism inundates the reader with so much verbal excess, Juarroz's crystalline brevity affords the reader much space for thinking after the book is closed. For this virtue, his poems must be cherished.
0 of 0 people found the following review helpful.
Five Stars
By phillip88
Juarroz's mode is akin to Wallace Stevens' poem "Domination of Black."
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