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Apollinaire: Guillaume Apollinaire
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The Writing of Guillaume Apollinaire is a rather unusual piece of "critical" work from the Wesleyan Press. This essay is the first book-length work published and fully endorsed by Louis Zukofsky, an American poet, born in New York in 1904 from Orthodox Jewish parents who emigrated from Northeastern Europe at the end of the nineteenth century. Zukofsky, who received his Master degree from Columbia University and worked most of his life as a teacher, is mostly known for his experimental poetical and critical writing. His poems began to appear in reviews in the late twenties. Their complex and fragmented composition denotes an early devotion to Ezra Pound's Cantos.
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The Baron's cousin, Guillaume Apollinaire, is one of France’s greatest poets. Wilhelm Albert Vladimir Apollonaris de Kostrowitzky was born on August 26, 1880, in Rome, Italy to a Russian born mother, In Monaco he received a French college education and assumed the identity of a Russian Prince. Apollinaire was fluent in French, Russian, and Italian. He settled in Paris at the age of 20. In 1903 he founded his own magazines, 'Le Festin d'Esope', and 'La Revue immoraliste', alluding to the 1902 work of his friend André Gide. In 1909 Apollinaire brought Pablo Picasso and Georges Braque together.
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Guillaume Apollinaire's final years exactly coincided with the clamorous advent of European Modernism and with the cataclysms of WWI. In The Self-Dismembered Man, poet Donald Revell offers new English translations of the most powerful poems Apollinaire wrote during those years: poems of nascent surrealism, of combat and of war-weariness. Here, too, is Apollinaire's last testament, "The Pretty Redhead," a farewell to the epoch that he--as poet, convict, art-critic, artilleryman and boulevardier--did so much to conjure and sustain until his death on Armistice Day in 1918. Readers of Apollinaire's more familiar early work, Alcools (Wesleyan, 1995), will find here a darker and yet more tender poet, a poet of the broken world who shares entirely the world's catastrophe even as he praises to the end its glamour and its strange innocence. This English translation, facing the original French, illuminates Apollinaire's crucial and continuing influence on the European and American avant-garde. The volume includes a short translator's preface.
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Poet, critic, impresario, gadfly, visionary, tastemaker: more than anyone, Guillaume Apollinaire embodies the frenzied art world of Paris in the early 20th century. His rampant enthusiasms and antipathies, and his remarkable acumen, make him still today the most evocative commentator on the intellectual ferment of the time. In 1905 he championed Picasso and in 1907 he promoted Braque in reviews that were amazingly sharp and prescient. He first identified the importance of Delaunay, Duchamp, and Rousseau, coined the word "Surrealism," and almost singlehandedly pushed Cubism into the mainstream. With a new preface by Roger Shattuck, this edition of Apollinaire on Art is the only collection in English of these seminal and ever fresh writings.
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In 1880, Guillaume Apollinaire was born in Rome, Italy, but received most of his education in France. During his relatively short life he was an poet, writer, art critic, lecturer, and soldier. Although wounded during combat on the battle fields of the First World War, Apollinaire succumbed in 1918 not his war wounds, but to Spanish influenza.
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Guillaume Apollinaire was the pseudonym of Wilhelm Apollinaris de Kostrowitsky, the illegitimate son of an Italian army officer and a young Polish noblewoman. He was born in Rome on Aug. 26, 1880, and brought up in various towns in southern France where his mother happened to be sojourning. In 1899 Apollinaire went to Paris to live and, without money or diplomas, had difficulty. However, between odd jobs as a literary hack, tutor, bank clerk, and journalist, he managed to travel on the Continent and make two trips to London. Also he had a few love affairs that later figured in his poetry.
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Guillaume Apollinaire