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The most popular work by Chile's Nobel Prize-winning poet, soon to be the subject of�Pablo Larra�n's acclaimed feature film Neruda starring�Gael Garc�a Bernal
When it appeared in 1924, this work launched into the international spotlight a young and unknown poet whose writings would ignite a generation. W. S. Merwin’s incomparable translation faces the original Spanish text. Now in a black-spine Classics edition with an introduction by Cristina Garcia, this book stands as an essential collection that continues to inspire lovers and poets around the world.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700�titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the�series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date�translations by award-winning translators.
- Sales Rank: #24494 in Books
- Brand: Neruda, Pablo/ Merwin, W. S. (TRN)/ Garcia, Cristina (INT)/ Picasso, Pablo (ILT)
- Published on: 2006-12-26
- Released on: 2006-12-26
- Original language: Spanish
- Number of items: 1
- Dimensions: 7.12" h x .30" w x 5.20" l, .15 pounds
- Binding: Paperback
- 80 pages
Review
"the greatest poet of the twentieth century--in any language"
About the Author
Neftali Ricardo Reyes, whose pseudonym was to be Pablo Neruda, was born in Parral, Chile, in 1904. He grew up in the pioneer town of Temuco, briefly encountering Gabriela Mistral, who taught there for a time. In 1920 he went to Santiago to study, and the following year published his first collection of poetry,La Cancion de la Fiesta. A second collection,�Crepusculario, brought him critical recognition; and in 1924 the hugely successful�Veinte Poemas de Amor y una Cancion Desesperada�appeared. From 1927 to 1943, Neruda lived abroad, serving as a diplomat in Rangoon, Colombo, Batavia, Singapore, Buenos Aires, Barcelona, Madrid, Paris, and Mexico City. This is the period that saw the publication of the first two volumes of his celebrated�Residencia en la Tierra. He joined the Communist Party of Chile after World War II, was prosecuted as a subversive, and began an exile that took him to Russia, Eastern Europe, and China. Already the most renowned Latin American poet of his time, he returned to Chile in 1952. He died there in 1973, having just seen the fourth edition of his�Obras Completas�through the press. In receiving the Nobel Prize in 1971, he had said that the poet must achieve a balance "between solitude and solidarity, between feeling and action, between the intimacy of one's self, the intimacy of mankind, and the relevation of nature."
W.S. Merwin�has published many highly regarded books of poems, for which he has received a number of distinguished awards—the Pulitzer Prize, Bollingen Award, Fellowship of the Academy of American Poets and the Governor's Award for Literature of the state of Hawaii among them. He has translated widely from many languages, and his versions of classics such as�The Poem of the Cid�and�The Song of Roland�are standards.
Cristina Garc�a�is the author of�Dreaming in Cuban, which was nominated for a National Book Award.
Excerpt. � Reprinted by permission. All rights reserved.
The Morning is Full
The morning is full of storm
in the heart of summer.
The clouds travel like white handkerchiefs of good-bye,
the wind, traveling, waving them in its hands.
The numberless heart of the wind
beating above our loving silence.
Orchestral and divine, resounding among the trees
like a language full of wars and songs.
Wind that bears off the dead leaves with a quick raid
and deflects the pulsing arrows of the birds.
Wind that topples her in a wave without spray
and substance without weight, and leaning fires.
Her mass of kisses breaks and sinks,
assailed in the door of the summer's wind.
Es La Ma�ana Llena
Es la ma�ana lleno de tempestad
en el coraz�n del verano.
Como pa�uelos blancos de adi�s las nubes,
el viento las sacude con sus viajeras manos.
Innumerable el coraz�n del viento
latiendo sobre nuestro silencio enamorado.
Zumbando entre los �rboles, orquestal y divino,
como una lengua llena de guerras y de cantos.
Viento que lleva r�pido robo la hojarasca
y desvia las flechas latientes de los parajos.
Viento que le derriba en ola sin espuma
y sustancia sin peso, y fuegos inclinados.
Se rompe y se submerge su volumen de besos
combatido en la puerta del viento del verano.
Most helpful customer reviews
75 of 77 people found the following review helpful.
desire and longing
By NotATameLion
I am a newcomer to the poetry of Pablo Neruda. "Twenty Poems and a Song of Despair" is simply one of the best volumes of poetry I have ever read. What a vast horizon opened up to me when I picked up this book! Rarely have I encountered a poet that so palpably evokes longing. Few other poets have Neruda's ability to weave images. These poems burrow into the heart.
My Spanish is not what it should be, but I was able to read most of the poetry here in the original. For those who know no Spanish, do not be deterred. This volume is the work of not just one but two masterful poets. Merwin's translations are amazing and wholly recommendable. Striking images and a yearning spirit fill the English translations as well as Neruda's originals.
I was also caught off guard by poem XVI. I was reading along, thinking how I had not read poetry this full of longing and desire since I last read Tagore's "Gitanjali" ..., when lo and behold, Poem XVI is a Spanish paraphrase of a Tagore poem...small world.
Neruda's poems are of filled with a powerful Eros. Yet, to me, they fall a little short in comparison to those of Tagore (whose love is a spiritual longing). However, the comparison is clearly between two giants of the art.
I give "Twenty Love Poems and a Song of Despair" a strong recommendation.
16 of 16 people found the following review helpful.
Beautiful, wrenching poetry
By G. Wells
A beautiful gift for a lover. Perfect Valentine's Day gift or some other romantic moment. Draw a bath for them, light a candle, pour some wine, and sit and read them some of these often torrid poems. You will thank me later! MUCH later!
4 of 4 people found the following review helpful.
written in exultation of discovery
By Dirk van Nouhuys
I have read Neruda's poetry, in English, from time to time in anthologies and enjoyed it. I'm a great admirer of W. S. Merwin both as a poet and a translator. I respect the role Nerdua took in supporting Chilean democracy. I am aware of the impact of this book when it was first published in 1924, when the author was 20, on Chilean literature and on the literature of Western European languages.
The book consists of 21 poems about the poet's rejoicing in having a lover, and occasional resentments and frustrations. While these poems are mostly written in exultation of discovery, a sense of loss or abandonment stalks in the background with a nagging question of just who should be afraid of being abandoned. Reading the poems you feel yourself in the poet's mind. The poetry is vaguely metrical and incantatory but not in precise meter in English. My copy has the Spanish on facing pages, and I know a little Spanish. In Spanish it seems a little more musical. His lover(s?) is never clearly identified as individuals, and we know them mostly as women whose bodies are visible and sensible to the poet and who make emotional gestures to him. What is most striking is the opulent succession of imaginative, sensual metaphors that on first reading don't make much sense but often make more sense on rereading. Often they seem to strain at originality or mildly shocking the reader:
Your breasts seem like white snails.
The butterfly of shadows has come to sleep on your belly.
Se parecen tus senos a los caracoles blancos.
Ha venido a dormirse en tu ventra una mariposa de sombra
Similes and metaphors like this make sense on reflection, but not in the way the strained metaphors of, say, John Donne, another passionate and explicit love poet, make sense. Donne expects you to puzzle them out; Donne assumes and fosters your close attention, whereas Neruda hustles your attention along.
With all the buildup of expectation, I was somewhat disappoint. Emotional exaggeration seems to strain toward sincerity. This is a young man's book, a youth's book, drunk on the sudden reality of fantasy, or perhaps on a sudden fantasy of reality. Perhaps I'm too old for it. There are some books that should be read at certain ages. Perhaps our literature is too old for it, has lived past the time where these innovations glitter. Perhaps it is a book a reader must come to in a certain range of years, and that range of years is shrinking as the literary conventions that the poems disdained diminish in retrospect. I was often reminded of Andre Bretton's L'Union libre, which was published seven years later. I like Breton's poem better because it seems more focused on its subject, less focused on its intoxication.
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