论朱科夫斯基及其诗歌(英文)

Louis Zukofksy: An Introduction

继庞德、艾略特、史蒂文斯、詹姆士·乔伊斯、威廉·卡洛斯·威廉斯等第一代现代派革新者之后崛起的第二代现代派诗人中,路易·朱科夫斯基在诗歌形式方面最为激进。他承受着来自现代派先辈诗人的影响,对他们形成了广泛而精准的呼应。他的“以‘the’开始的诗篇”曾一度咄咄逼人成为诗坛风标,但他更强调他的系列长诗“A”的必要性。他舍长调而取和音,去普遍而求具体,远宏大而近琐碎,创造了大量引人入胜却又艰涩难懂的作品,以其复杂的细节、对急风暴雨似的断言和含混暧昧的抽象的悖反而著称。他的诗歌富有感情,但难以理解,因为诗人拒绝将智性与情感、复杂与明晰隔离开来。诗人1931年为《诗刊》杂志编辑“客体派诗歌专辑”成为其文学生涯的转折点,他通过自己撰写的导言和选编的诗人牢固确立了自己的“客体派美学”,并与其中一些诗人如乔治·奥本、雷兹尼科夫、英国诗人巴西尔·班廷以及稍后结识的洛琳·尼德克结为诗坛同盟。

Louis Zukofsky is the most formally radical poet to emerge among the second-wave in the wake of such first-generation innovators as Ezra Pound, T. S Eliot, Wallace Stevens, James Joyce, William Carlos these older poets was an important source for Zukofsky Williams, and Gertrude , whose response to his Stein. Each one of modemist predecessors was precise and comprehensive. In place of a sometimes overwhelming monumentalism of ＂the＂ great poem, Zukofsky emphasized the need for ＂a＂ series of poems. He rejected the major keys for minor chords, universals for particulars, the grandiose for discreteness. In the process, he created a ravishing, yet sometimes forbidding, body of work notable for its intricacy of detail as well as for its resistance to sweeping pronouncements and vague generalizations. Zukofsky＇ s poetry is both emotional and accessible, but it demands much of its readers because of its refusal to separate intellect from feeling, or complexity from clarity. Editing the ＂ Objectivists＇ 1931＂ issue of Poetry was a turning point for Zukofsky, firmly establishing his ＂objectivist＂ aesthetic in both his lead essay and his selection of poets, including several who, along with Lorine Niedecker whom he met a few years later, would become his most significant companions-in-poetry： George Oppen, Charles Reznikoff, and the British poet Basil Bunting.