Imagine making poems the way an architect designs buildings or an engineer builds bridges. Such was the ambition of João Cabral de Melo Neto. Though a great admirer of the thing-rich poetries of Francis Ponge and of Marianne Moore, what interested him even more, as he remarked in his acceptance speech for the 1992 Neustadt International Prize for Literature, was "the explo Imagine making poems the way an architect designs buildings or an engineer builds bridges. Such was the ambition of João Cabral de Melo Neto. Though a great admirer of the thing-rich poetries of Francis Ponge and of Marianne Moore, what interested him even more, as he remarked in his acceptance speech for the 1992 Neustadt International Prize for Literature, was "the exploration of the materiality of words," the "rigorous construction of (. . .) lucid objects of language." His poetry, hard as stone and light as air, is like no other.
Education by Stone
Imagine making poems the way an architect designs buildings or an engineer builds bridges. Such was the ambition of João Cabral de Melo Neto. Though a great admirer of the thing-rich poetries of Francis Ponge and of Marianne Moore, what interested him even more, as he remarked in his acceptance speech for the 1992 Neustadt International Prize for Literature, was "the explo Imagine making poems the way an architect designs buildings or an engineer builds bridges. Such was the ambition of João Cabral de Melo Neto. Though a great admirer of the thing-rich poetries of Francis Ponge and of Marianne Moore, what interested him even more, as he remarked in his acceptance speech for the 1992 Neustadt International Prize for Literature, was "the exploration of the materiality of words," the "rigorous construction of (. . .) lucid objects of language." His poetry, hard as stone and light as air, is like no other.
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Edita –
With open book on my knees and wind in my hair I look at the sea. What happens in water starts repeating in memory. * Whatever lives wounds. * If you let go and you lie down under the steady eastern wind of a beach in Northeast Brazil, more than letting go, you lie; if you give yourself up to the sea, your body closes in, isolates itself inside its own cage, and less than existing, you are; if furthermore the trade wind stirred by the sea (or stirring it) makes the coconut trees intone their single syll With open book on my knees and wind in my hair I look at the sea. What happens in water starts repeating in memory. * Whatever lives wounds. * If you let go and you lie down under the steady eastern wind of a beach in Northeast Brazil, more than letting go, you lie; if you give yourself up to the sea, your body closes in, isolates itself inside its own cage, and less than existing, you are; if furthermore the trade wind stirred by the sea (or stirring it) makes the coconut trees intone their single syllable, you may be able to hear, in this detached and empty state, just being, the whistling of time flowing, your flowing.
rafael montenegro~fausto –
This review has been hidden because it contains spoilers. To view it, click here. "Habitar o tempo Para não matar seu tempo, imaginou: vivê-lo enquanto ele ocorre, ao vivo; no instante finíssimo em que ocorre, em ponta de agulha e porém acessível; viver seu tempo: para o que ir viver num deserto literal ou de alpendres; em ermos, que não distraiam de viver a agulha de um só instante, plenamente. Plenamente: vivendo-o de dentro dele; habitá-lo, na agulha de cada instante, em cada agulha instante: e habitar nele tudo o que habitar cede ao habitante. E de volta de ir habitar seu tempo: ele co "Habitar o tempo Para não matar seu tempo, imaginou: vivê-lo enquanto ele ocorre, ao vivo; no instante finíssimo em que ocorre, em ponta de agulha e porém acessível; viver seu tempo: para o que ir viver num deserto literal ou de alpendres; em ermos, que não distraiam de viver a agulha de um só instante, plenamente. Plenamente: vivendo-o de dentro dele; habitá-lo, na agulha de cada instante, em cada agulha instante: e habitar nele tudo o que habitar cede ao habitante. E de volta de ir habitar seu tempo: ele corre vazio, o tal tempo ao vivo; e como além de vazio, transparente, o instante a habitar passa invisível. Portanto: para não matá-lo, matá-lo; matar o tempo, enchendo-o de coisas; em vez do deserto, ir viver nas ruas onde o enchem e o matam as pessoas; pois como o tempo ocorre transparente e só ganha corpo e cor com seu miolo (o que não passou do que lhe passou), para habitá-lo: só no passado, morto.".
Pablo López Astudillo –
Una buena forma de entrar a conocer las bases de la poesía concreta. Libro dificilísimo de leer. Nunca había visto algo parecido.
Rebecca –
You know, it's a real pity we don't read more poetry in translation. There's a lot of twaddle out there about how you never get the 'real' experience of the poetry, but I think sometimes poetry isn't the real experience of poetry, anyway, so why let that stop you? This stuff is totally captivating, for instance. You know, it's a real pity we don't read more poetry in translation. There's a lot of twaddle out there about how you never get the 'real' experience of the poetry, but I think sometimes poetry isn't the real experience of poetry, anyway, so why let that stop you? This stuff is totally captivating, for instance.
Scott –
mineralism in the house~!
Suellen Rubira –
Não sei como ele faz isso, mas ele faz.
Guilherme Marques –
Dos quatro livros que compõem essa coletânea, Serial é, de longe, o pior, quase me fez pensar numa nota três - que seria uma pena, pois os outros, principalmente o que leva o título, são muito bons. "Habitar o tempo", "Rios sem discurso", "Coisas de cabeceira" (todos - aliás, é interessante como João Cabral retoma não apenas temas e formas, rigorosamente, mas até mesmo outros poemas do próprio livro), "A palavra seda", os "Cemitérios", "Estudos para uma bailadora andaluziana", os poemas de "Dois Dos quatro livros que compõem essa coletânea, Serial é, de longe, o pior, quase me fez pensar numa nota três - que seria uma pena, pois os outros, principalmente o que leva o título, são muito bons. "Habitar o tempo", "Rios sem discurso", "Coisas de cabeceira" (todos - aliás, é interessante como João Cabral retoma não apenas temas e formas, rigorosamente, mas até mesmo outros poemas do próprio livro), "A palavra seda", os "Cemitérios", "Estudos para uma bailadora andaluziana", os poemas de "Dois parlamentos"... Para citar apenas alguns, são os que se destacaram, para mim.
Antonio Delgado –
Everything has duration: our consciousness, rivers, sugarcane, graves. It is the role of the artist, in this case the poet, to recall internal and external durations. Melo Neto does it with the simplicity of everyday words.
Betty –
In Education By Stone: Selected Poems, Richard Zenith, the translator, selected poems from poetry collections that João Cabral de Melo Neto published between 1942 and 1987, a span during which the writer evolved as a poet. A final chapter or essay, called The Afterword, describes his painterly style and his influences from memories of youth and from experiences of living abroad to write about northeastern Brazil. The title hints at the impersonal, objective style with solid images and absence of In Education By Stone: Selected Poems, Richard Zenith, the translator, selected poems from poetry collections that João Cabral de Melo Neto published between 1942 and 1987, a span during which the writer evolved as a poet. A final chapter or essay, called The Afterword, describes his painterly style and his influences from memories of youth and from experiences of living abroad to write about northeastern Brazil. The title hints at the impersonal, objective style with solid images and absence of lyricism. Yet, these stylistic elements, joined together and built on each other, produce an emotive, original artwork, "Forge your iron; shape it by force, not into a flower you already know but into what can also be a flower if you think it is and say it is so." -from "The Ironware Shop in Carmona"
Claudia Lizardo –
O Scanner falhou. O livro que tenho na verdade e EMMA, de Jane Austen, publicado pela Editora Nova Fronteira - Rio de Janeiro - em 1996, com tradução de Ivo Barroso. ISBN: 85-209-0762-8.
Paul Kerschen –
The translation is just excellent, and discloses more variety than you'd think. The translation is just excellent, and discloses more variety than you'd think.
Jg Correa –
Javi Saiz –
Susana Correia –
Dr Soheyla –
Patrick Diego –
Mariana –
Lucas –
mark mendoza –
Hadassa Ribeiro –
Sasluu –
Jonas Dornelles –
Cleverson Lara –
Marina Garrido –
Betina –
Rosangela –
Murillo Horta –
Tom –
Marcos Westphalen –
Gustavo Sénéchal –