Alexander Coleman - Böcker

Selected Poems brings together some two hundred poems - the largest collection of Borges' poetry ever assembled in English, including many never previously translated. The brilliance of the Spanish originals is matched with luminous English versions rendered by a remarkable cast of translators, among them W.S. Merwin, John Updike, Robert Fitzgerald, Mark Strand and Alastair Reid.

This volume contains nearly all the criticism that Alexander Coleman wrote for The New Criterion between 1994 and 2003. A specialist in Spanish, Portuguese, and Latin American literature, Coleman was also a superb essayist on music, and his wide erudition, as revealed in these writings, demonstrates an easy mastery of the entire modernist tradition. Diversions and Animadversions is divided into three parts. The first contains Coleman's literary essays including a lengthy piece on Eba de Quieros, the great master of Portuguese realism, and shorter pieces on the Argentinian writer and Borges disciple, Adolfo Bioy Casares, as well as a review of the most recent translation of the poetry of Federico Garcia Lorca. Coleman's greatest passion, however, was for music, and part two contains essays, concert and book reviews, and reports on the cultural situation of music. Among the subjects examined here are the operas of Schoenberg, Berg, Richard Strauss, the recently published letters of Toscanini, the music criticism of Virgil Thomson, the fluctuating critical reputation of Jean Sibelius, and the "authentic" performance practice movement, along with considerations of such instrumentalists as Sviatoslav Richter and Alicia de Larrocha. The book concludes with Coleman's travel writings, which are both evocative mood pieces and incisive social and political commentary. Graced with personal appreciations by Roger Kimball and Denis Donoghue, this volume encapsulates the work of a writer of rare wit, capacious learning, and eager, if gently ironical, curiosity.

Coleman begins his book with the following supposition: that Luis Cernuda was a poet whose primary impulse in his art was the suppression of the subjective and the consequent objectivization of poetry.Through careful reading of Luis Cernuda's later poetry, written after 1936, Alexander Coleman argues that Luis Cernuda was a poet whose primary impulse in his art was the suppression of the subjective and the consequent objectivization of poetry.