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Foreword
Contemporary poetry is a very strange thing. On the one hand, poetry is the oldest of the arts, kinds of literature, and types of verbal creativity. On the other hand, poetry is a social phenomenon that is constantly and incessantly busy reinventing its foundations. In this endless change lies the kinship between contemporary poetry and contemporary art. These two phenomena seem to be fighting for a place in the hierarchy of arts, but in fact they are engaged in about the same thing: the production of freedom and the production of new meanings of the word freedom. The most interesting contemporary poets create incredible works, invent and reinvent the concept of freedom, and have clearly formulated concepts of their poetic practice.
Tanya Verver is a contemporary poet with international recognition and publications in international online magazines. Tanya’s poetry can be described as laconic, sensual, melancholic, highly intellectual, and full of riddles and paradoxes. Tanya works primarily in a small poetic form and extremely masterfully balances between the subtle description of the emotions of the lyrical hero (annoyance, light sadness, despair, hope) and the intense fitting of her intimate poetic world into various environments (temporal, spatial, contextual) and metaworlds (the components of the traditional versification are whimsically reworked and are not equal to their counterparts from the traditional poetry). Of course, the roots of the poetic language of Verver lie in the European poetry of the XX century (subtle references to Auden and Aragon), but it is difficult to call her the heir, guardian, or denier of traditional poetry. Her ancestral connection with traditional poetry, is more complex and ambiguous, as is her connection with non-traditional poetry. In her rhyme among others you can sense a subtly sensitive connection to Keats. In her practice, Tanya overcomes the dichotomy of traditional and non-traditional poetry, makes it imaginary, and shows us a stunning example of a unique poetic position. This elusive positioning allows Tanya to use both tradition and the avantgarde as bags with sets of poetic instruments necessary for her, but in such a way that they do not have power over her. Tanya’s poetic speech, with obvious compositional restraint, is incredibly rich; she uses the widest range of linguistic possibilities, and her metaphors are completely unpredictable.
The most illustrative example of Tanya Verver’s poetry is the poem “Endless Poker”. This poem, despite its apparent simplicity and external asceticism, is arranged in an extremely complex way. It works at the level of direct meaning, sound recording, and alliteration; at the level of immersion in the European literary tradition; and at the level of visual art. It is in this poem that Verver’s method is clearly outlined. This is a method of collecting the world from heterogeneous parts, intonations, and the irrevocable past. The image of endless poker opens before us a wide plateau of experiencing the futility of human existence – the futility of repairing fundamentally irreparable things, overcoming the despair similar to the one described in “The CrackUp” by F. Scott Fitzgerald and finding freedom under complex restraints. This is an incredibly subtle and catchy poem that describes in detail the image of freedom to recognise one’s own scenic character. This is a bold statement and the masterful work of a professional poet.
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