W. S. Merwin – författare

A contemporary prose rendering of the great medieval French epic, The Song of Roland is as canonical and significant as the Anglo-Saxon Beowulf. It extols the chivalric ideals in the France of Charlemagne through the exploits of Charlemagne''s nephew, the warrior Roland, who fights bravely to his death in a legendary battle. Against the bloody backdrop of the struggle between Christianity and Islam, The Song of Roland remains a vivid portrayal of medieval life, knightly adventure, and feudal politics. The first great literary works of a culture are its epic chronicles, those that create simple hero-figures about whom the imagination of a nation can crystallize, observed V. S. Pritchett. The Song of Roland is animated by the crusading spirit and fortified by national and religious propaganda. This edition features W. S. Merwin''s glowing, lyrical translation.From the Trade Paperback edition.

There’s no mystery to chopping down a tree. But how do you put back together a tree that’s been felled? Mystical instructions are required, and that’s what W. S. Merwin provides in his prose piece “Unchopping a Tree,” appearing for the first time in a self-contained volume. Written with a poet’s grace, an ecologist’s insights, and a Buddhist’s reverence for life, this elegant work describes the difficult, sacred job of reconstructing a tree. Step by step, page by page, with Merwin’s humble authority, secrets are revealed, and the destroyed tree rises from the forest floor. Unchopping a Tree opens with simplicity and grace: “Start with the leaves, the small twigs, and the nest that have been shaken, ripped, or broken off by the fall; these must be gathered and attached once again to their respective places.” W. S. Merwin, like many conservationists, is quick to say: “When we destroy the so-called natural world around us we’re simply destroying ourselves. And I think it’s irreversible.” Thus the tree takes on a scale that begs the reader’s compassion, and one tree is a parable for the restoration of all nature.

In 1948, twenty-one, already married and graduated from Princeton, W. S. Merwin made his first trip abroad. “Travel from America to Europe became a commonplace, an ordinary commodity, some time ago, but when I first went such departure was still surrounded with an atmosphere of adventure and improvisation, and my youth and inexperience and my all but complete lack of money heightened that vertiginous sensation.” Thus begins his most recent memoir, Summer Doorways.Through his days as a student in seminary school and at Princeton, through the years next spent as a tutor for the children of privilege living abroad, Summer Doorways tells the story of the poet’s youth in the few years before he won the Yale Younger Poets Award in 1952. And it describes life in Europe that was already passing away at the close of the Second World War. He writes, “I would have the luck to discover, to glimpse, to touch for a moment some ancient, measureless way of living, of being in the world, some fabric long taken for granted, never finished yet complete, at once fixed and evanescent as a work of art, an entire age just before it was gone, like a summer.”

W.S. Merwin was arguably the most influential American poet of the last half-century – an artist who has transfigured and reinvigorated the vision of poetry for our time. An essential voice in modern American literature, he was United States Poet Laureate in 2010-11. The Moon Before Morning is a love letter composed in a stunning rush of memory. Answering the call set forth in The Shadow of Sirius (2009), which won him his second Pulitzer Prize, Merwin extends the emotional and intellectual reach of that collection with passionate reverence for the natural world, bittersweet reflection on time’s irrevocable ravages, and equanimity informed by a lifetime of writing and practised contemplation. Merwin’s studied precision in form and language filters crisp, beautiful images through ethereal memory, forging an intense bond between the writer and a quickly transforming world. ‘When we forget,’ Merwin writes, others will remember: no action or spirit on Earth is without its infinite reverberations. Poetry Book Society Recommendation.

W.S. Merwin was arguably the most influential American poet of the last half-century – an artist who transfigured and reinvigorated the vision of poetry for our time. An essential voice in modern American literature, he was United States Poet Laureate in 2010-11.Merwin composed the poems of Garden Time as he was losing his eyesight. When he could no longer see well enough to write, he dictated the poems to his wife, Paula. In this gorgeous, mindful and life-affirming book, he channels energy from animated sounds and memories to remind us that ‘the only hope is to be the daylight’.This late collection written in his late-80s finds him deeply immersed in reflection on the passage of time and the frailty and sustaining power of memory. Switching between past and present, he shows us a powerful and moving vision of the eternal, focusing on images of mornings, sunsets, shifting seasons, stars, birds and insects to capture the connectedness of time, space and the natural world.In a poem about Li Po, ‘now there is only the river / that was always on its own way’. In another poem he dreams that ‘the same river is still here / the house is the old house and I am here in the morning / in the sunlight and the same bird is singing’. He remembers when ‘dragonflies were as common as sunlight / hovering in their own days’ and recalls ‘a house that had been left to its own silence / for half a century’. In a poem of wonder entitled ‘Variations to the Accompaniment of a Cloud’, he writes: ‘I keep looking for what has always been mine / searching for it even as I / think of leaving it.’Poetry Book Society Recommendation

Sir Gawain & the Green Knight is a classic Arthurian tale of enchantment, adventure and romance. This splendid new translation – by one of the world’s leading poets – has already been acclaimed in America. The original poem and W.S. Merwin’s modern version are comparable in stature and imaginative power to another medieval epic, Beowulf, in Seamus Heaney’s rendering.All Camelot is merry with Christmas revelry when an enormous green-skinned knight with brilliant green clothes rides into King Arthur’s court. This giant throws down a sinister challenge: he will endure a blow of the axe to his neck without offering any resistance, but whoever delivers the fatal blade must promise to take the same in a year and a day. When the young Gawain beheads him, the Green Knight grabs hold of his severed head and makes off on horseback. The poem follows Gawain’s adventures thereafter – shockingly brutal hunts, an almost impossible seduction, and terrifyingly powerful adversaries – as he gallantly struggles to honour his promise. Capturing the pace, impact and richly alliterative language of the original Middle English text – presented on facing pages – Merwin brings a new immediacy to a spellbinding, timeless narrative written many centuries ago by a master poet whose identity has been lost to time. Modern and Middle English parallel text edition.

W.S. Merwin was arguably the most influential American poet of the last half-century – an artist who transfigured and reinvigorated the vision of poetry for our time. While he was long viewed in the States as an essential voice in modern American literature, his poetry was unavailable in Britain for over 35 years until Bloodaxe published this edition of his Selected Poems in 2007. This new selection covers over five decades of his poetry, from The Dancing Bears (1954) to Present Company (2005). Most of the book is drawn from his major American retrospective, Migration, winner of the 2005 National Book Award for Poetry. It was followed in 2009 by The Shadow of Sirius, which won him a second Pulitzer Prize, and then by The Moon Before Morning (2014) and Garden Time (2016). Merwin’s poetry has moved beyond the traditional verse of his early years to revolutionary open forms that engage a vast array of influences and possibilities. As Adrienne Rich wrote of his work: ‘I would be shamelessly jealous of this poetry, if I didn’t take so much from it into my own life.’ His recent poetry is perhaps his most personal, arising from his deeply held beliefs. Merwin is not only profoundly anti-imperialist, pacifist and environmentalist, but also possessed by an intimate feeling for landscape and language and the ways in which land and language interflow. His latest poems are densely imagistic, dream-like, and full of praise for the natural world.

US Poet Laureate W.S. Merwin was arguably the most influential American poet of the last half-century – an artist who transfigured and reinvigorated the vision of poetry for our time. Bloodaxe published his Selected Poems in 2007. At 82, Merwin produced ‘his best book in a decade – and one of the best outright’ (Publishers Weekly), and a collection which has won him his second Pulitzer Prize in the US and a Poetry Book Society Recommendation in the UK. The nuanced mysteries of light, darkness, presence, and memory are central themes in his latest collection. ‘I have only what I remember,’ Merwin admits, and his memories are focused and profound-the distinct qualities of autumn light, a conversation with a boyhood teacher, well-cultivated loves, and ‘our long evenings and astonishment’. In ‘Photographer’, Merwin presents the scene where armloads of antique glass negatives are saved from a dumpcart by ‘someone who understood’. In ‘Empty Lot’, Merwin evokes a child lying in bed at night, listening to the muffled dynamite blasts of coal mining near his home, and we can’t help but ask: How shall we mine our lives?