Antipoems: How to Look Better and Feel Great by Nicanor ParraReal seriousness, Nicanor Parra, the antipoet of Chile, has said, rests in the comic. And read in that light, this newest collection of his work is very serious indeed. It is an abundant offering of his signature mocking humor, subverting received conventions, and pretensions in both poetry and everyday life, public and private, ingeniously and wittily rendered into English in an antitranslation (the word is Parras) by Liz Werner. Of the fifty-eight pieces in Antipoems, the first twenty-three are taken from Parras 1985 collection, Hojas de Parra (Vine Leaves or Leaves of Parra), two others appeared in his Paginas en Blanco (Blank Pages, 2001), while the rest come straight out of his notebooks and have never been published before, either in Spanish or English. The book itself is divided into two parts, Antipoems (im)proper and a selection of Parras most recent incarnation of the antipoem, the hand-drawn images of his Visual Artefactos.
As his anti-translator Liz Werner explains in her Introduction, Parras scientific training infuses his work. Viewed through the lens of antimatter, she writes, antipoetry mirrors poetry, not as its adversary but as its perfect complement.
Chilean poet Nicanor Parra dies at 103
The fundamental question that needs to be resolved in any approach to Parra's technique is why he invariably uses the glaringly prosaic discourse that characterizes antipoetry. One grows directly out of Parra's continuing commitment to familiar, popular speech as his expressive and descriptive medium; this consideration has been discussed in Chapter 2, "The Theory of Antipoetry. When Parra uses banal language and humorous turns of phrase in compositions that are essentially tragic or pathetic, he creates an irony so pervasive that it determines important elements of structure in many of the antipoems. Language that is not emotively congruous with the subject matter is a basic component of the structure of antipoetry. The ironic effect of prosaic language in this context underscores the differing points of view of the poem's protagonist and the reader who observes him, emphasizes the disparities between the tone of the work and its intention and highlights the tensions between connative and denotative statements which result from those disparities.
He describes himself as an "anti-poet," due to his distaste for standard poetic pomp and function—after recitations he would exclaim Me retracto de todo lo dicho, or, "I take back everything I said". Life Parra comes from the artistically prolific Chilean Parra family of performers, musicians, artists, and writers. His sister, Violeta Parra, is possibly the most Click here to add this poet to your My Favorite Poets. A top poet, never well translated, so I am sorry for those ignorant of Spanish. Got the top Spanish Literary Award the Cervantes hugely deserved. His genius and sense of humour equal to none, absolutely unique talent.
Poems and Antipoems [Nicanor Parra] on upprevention.org *FREE* shipping on qualifying offers. Nicanor Segundo Parra Sandoval ( - ) was a Chilean .
56 year old woman looks 32
Here are images from the show published by the National Library. Nicanor Parra has spent more than half a century subverting all the established notions of what is understood as poetry and what characteristics distinguish a poet. Much more than a vanguardism, much more than a movement or a school, antipoetry is a long journey back to the source of poetic expression itself, which is none other than everyday speech, the speech of the tribe. This return, however, does not entail a regression, but rather the opposite: it is an incessant search for felicitous and self-sufficient linguistic configurations. Antipoetry nourishes itself endlessly on colloquial and street language, and also on the language of newspapers, marketing slogans, political sound bites, and graffiti.
Nicanor Parra. I first began translating the Chilean poet Nicanor Parra in , on the recommendation of Frank MacShane, the professor of my graduate translation course at Columbia University. I devoured these three Parra books, then went about looking for poems that had not been translated into English. About a week later, I received a postcard from the editor, Jules Chametzky, saying that the poem had bowled over the editorial staff. Jules wanted to publish it on the back cover of their very next issue. Would I give them permission? Moreover, I would be paid fifteen smackers.