The Collected Poems 1912-1944 of H. D. brings together all the shorter poems and poetical sequences of Hilda Doolittle (1886-1961) written before 1945. Divided into four parts, this landmark volume, now available as a New Directions Paperbook, includes the complete Collected Poems of 1925 and Red Roses for Bronze (1931).
Of special significance are the "Uncollected and Unpublished Poems (1912-1944)," the third section of the book, written mainly in the 1930s, during H. D.'s supposed "fallow" period. As these pages reveal, she was in fact writing a great deal of important poetry at the time, although publishing only a small part of it. The later, wartime poems in this section form an essential prologue to her magnificent Trilogy (1944), the fourth and culminating part of this book. Born in Pennsylvania in 1886, Hilda Doolittle moved to London in 1911 in the footsteps of her friend and one-time fiancé Ezra Pound. Indeed it was Pound, acting as the London scout for Poetry magazine, who helped her begin her extraordinary career, penning the words "H. D., Imagiste" to a group of six poems and sending them on to editor Harriet Monroe in Chicago. The Collected Poems 1912-1944 traces the continual expansion of H. D.'s work from her early imagistic mode to the prophetic style of her "hidden" years in the 1930s, climaxing in the broader, mature accomplishment of Trilogy. The book is edited by Professor Louis L. Martz of Yale, who supplies valuable textual notes and an introductory essay that relates the significance of H. D.'s life to her equally remarkable literary achievement.
H.D. (1886-1961) (the pen name of Hilda Doolittle) was born in the Moravian community of Bethlehem, PA in 1886. A major twentieth century poet with “an ear more subtle than Pound’s, Moore’s, or Yeats’s” as Marie Ponsot writes, she was the author of several volumes of poetry, fiction, essays, and memoirs. She is perhaps one of the best-known and prolific women poets of the Modernist era. Bryher Ellerman was a novelist and H.D.’s wealthy companion. She financed H.D.’s therapy with Freud.
Louis L. Martz's publications included "The Paradise Within: Studies in Vaughan, Traherne, and Milton," "Poet of Exile: a Study of Milton's Poetry" and "Many Gods and Many Voices: the Role of the Prophet in English and American Modernism." He edited "H.D. (Hilda Doolittle), 1886-1961. Collected Poems, 1912-1944."
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这本诗集,与其说是诗的集合,不如说是一场跨越三十余载的内心独白与世界对话的实录。我特别关注了其中关于社会变迁和个人理想破灭的主题。从早期的充满浪漫主义的激昂,到中期对现实的审视和怀疑,再到后期近乎禅意的超脱,这种心路历程的展现,让读者能够真切地感受到一个伟大灵魂的成长与挣扎。我花了大量时间去研究他那些看似简单的意象背后蕴含的文化典故,每一次的深入挖掘,都能发现新的层次。比如他对“渡口”和“迷雾”的反复使用,绝非简单的景物描写,其中蕴含着对“选择”与“未知”的哲学探讨。这本书的装帧设计也颇具匠心,封面那种哑光的质感,仿佛在诉说着那些未经雕琢的真实。我发现,这本书非常适合在独处时阅读,最好是关掉所有电子设备,只依靠台灯昏黄的光线,这样才能更好地进入诗人构建的精神场域。我甚至会用铅笔在一些特别触动我的诗句旁做下标注,只是为了能更清晰地追踪我自己的阅读轨迹。
评分我必须承认,一开始我对这种“经典”级别的诗集是抱着敬畏甚至一丝抵触的态度的,总觉得会是晦涩难懂的门槛。然而,这本书却以一种极其人性化的方式向我敞开了大门。它最迷人的地方在于它的“人性温度”。即便是探讨宏大叙事或深刻哲学命题时,诗人也总能落回到最微小的个体情感上——比如对一把旧椅子的怀念,或是对故友一个不经意微笑的回忆。这种由宏观到微观的自由切换,使得诗歌的张力极佳。我尤其钟爱那些篇幅较短,但力量集中的小诗,它们如同精准的手术刀,瞬间切入主题,不留一丝冗余。在阅读过程中,我感到自己的词汇库似乎也得到了极大的扩展,很多平日里被我们忽略的词语,在诗人的手中重新焕发出鲜活的生命力。这本书给我的感觉是,它并非作者强行灌输给读者的思想,而是邀请读者一起参与到他对世界的重新构建中。它教会我,观察世界的方式可以有千万种,而诗歌,就是其中最精妙的一种。
评分这本诗集初捧在手,那沉甸甸的质感和泛着淡淡油墨香的气息,就让人不由自主地沉浸到一种旧时光的氛围里。我特地挑了个周末的午后,阳光最好的时候,翻开了第一页。诗人的笔触,如同老旧的留声机里流淌出的旋律,时而低回婉转,时而激昂澎湃。我注意到他对于自然景物的描摹极其细腻,无论是清晨薄雾笼罩下的林间小径,还是暴风雨来临前海面上那种令人窒息的静谧,都被他捕捉得入木三分。有一种诗,读起来像是品尝一杯陈年的威士忌,初入口是浓烈的苦涩,但回味却带着悠长的甘甜,引人深思。尤其是一些关于时间流逝和记忆碎片的主题,读完后,我甚至会恍惚间分不清自己是在阅读诗人的过去,还是在审视自己人生的片段。那位诗人似乎拥有一种魔力,能将日常生活中那些不经意的瞬间,提炼成永恒的意象。我特别喜欢他运用的一些古典意象与现代思潮的碰撞,那种张力,让诗歌的生命力远超文字本身,更像是一种情绪的共振。我将它放在床头,每晚睡前翻阅几首,成了我生活中一种近乎仪式的享受,它不是那种快餐式的娱乐,而是需要细细咀嚼、反复回味的艺术品。
评分说实话,一开始我对这位诗人的了解并不深,只是冲着这个被评论界推崇的时期跨度来的。翻开后,我立刻被一种近乎冷峻的观察力所吸引。他似乎对人类的生存困境抱有一种既同情又疏离的视角,像一个冷静的记录者,而非热情的参与者。诗歌的节奏感非常强,很多篇章读起来简直可以直接谱曲,那种韵律的跳跃和停顿,安排得恰到好处,绝非无病呻吟的堆砌辞藻。我印象最深的是他对城市生活的描绘,那种钢铁森林中的孤独感,被他用一种近乎几何学般精确的语言结构表达出来,冰冷却又充满力量。我甚至能想象出他站在高楼俯瞰车水马龙时的那种沉思。这本书的排版也值得称赞,留白处理得非常克制,既保证了阅读的舒适度,又不会让人觉得单调乏味。我尝试着大声朗读了几篇,发现很多拗口的词汇组合在口中被巧妙地化解了,这说明诗人对音韵的掌控达到了极高的水准。这本书不是那种读完就扔的消遣之物,它更像是一面镜子,照出我们内心深处那些不愿承认的复杂情绪。
评分这本书的阅读体验,可以称得上是一种精神上的“马拉松”。它要求读者投入专注力和耐心,但回报是极其丰厚的。我发现,不同的时间、不同的心境去读同一首诗,感悟都会截然不同,这正是好诗歌的生命力所在。我在一个雨夜重读了其中关于“失落与重建”主题的组诗,那种潮湿、阴冷却又蕴含着坚韧生命力的意境,与当时的环境完美融合,带来了一种强烈的沉浸感。诗人的语言结构变化多端,时而采用新闻报道般的直白,时而又回归到古典的咏叹调,这种多变性防止了阅读疲劳。更让我欣赏的是,他处理悲剧性题材时,并非一味地渲染哀伤,而是总能在绝望的边缘,勾勒出一丝微弱但坚定的希望之光,这使得整部作品的基调是沉郁而不致于绝望的。我甚至会花时间去查阅诗歌创作的时代背景,以便更准确地理解某些隐喻的指向。总而言之,这是一部需要被珍藏,并值得反复翻阅的文学瑰宝,它不是用来“读完”的,而是用来“生活在其中”的。
评分诗学课上讲H.D.(Hilda Doolittle)的诗集。More beautiful,more intense.
评分诗学课上讲H.D.(Hilda Doolittle)的诗集。More beautiful,more intense.
评分诗学课上讲H.D.(Hilda Doolittle)的诗集。More beautiful,more intense.
评分诗学课上讲H.D.(Hilda Doolittle)的诗集。More beautiful,more intense.
评分诗学课上讲H.D.(Hilda Doolittle)的诗集。More beautiful,more intense.
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