In 1938 Random House published "The Selected Poetry of Robinson Jeffers," a volume that would remain in print for more than fifty years. For decades it drew enough poets, students, and general readers to keep Jeffers--in spite of the almost total academic neglect that followed his fame in the 1920s and 1930s--a force in American poetry. Now scholars are at last beginning to recognize that he created a significant alternative to the High Modernism of Pound, Eliot, and Stevens. Similarly, contemporary poets who have returned to the narrative poem acknowledge Jeffers to be a major poet, while those exploring California and the American West as literary regions have found in him a foundational figure. Moreover, Jeffers stands as a crucial precursor to contemporary attempts to rethink our practical, ethical, and spiritual obligations to the natural world and the environment. These developments underscore the need for a new selected edition that would, like the 1938 volume, include the long narratives that were to Jeffers his major work, along with the more easily anthologized shorter poems. This new selected edition differs from its predecessor in several ways. When Jeffers shaped the 1938 "Selected Poetry," he drew from his most productive period (1917-37), but his career was not over yet. In the quarter century that followed, four more volumes of his poetry were published. This new selected edition draws from these later volumes, and it includes a sampling of the poems Jeffers left unpublished, along with several prose pieces in which he reflects on his poetry and poetics. This edition also adopts the texts of the recently completed "The Collected Poetry of Robinson Jeffers" (five volumes, Stanford, 1988-2000). When the poems were originally published, copy editors and typesetters adjusted Jeffers's punctuation, often obscuring the rhythm and pacing of what he actually wrote, and at points even obscuring meaning and nuance. This new selected edition, then, is a much broader, more accurate representation of Jeffers's career than the previous "Selected Poetry." Reviews of volumes in "The Collected Poetry of Robinson Jeffers" "A masterful job of contemporary scholarly editing, this book begins an edition intended to clarify a 'Jeffers canon, ' establishing for times to come the verse legacy of a poet who looked on all things with the eyes of eternity."--"San Francisco Chronicle" "This edition will be standard . . . a tribute and justice to a poet whose independent strength has survived to challenge personal and public canons."--"Virginia Quarterly Review" "Jeffers is the last of the major poets of his generation--Frost, Stevens, Williams, Pound, Moore, Eliot--to get his collected poems. Now that the job is at hand, it is done very well. . . . Tim Hunt has been painstaking in his editorial preparation and judicious in his presentation. . . . A great poet is ready for his due."--"Philadelphia Inquirer" "Few American poets are treated as well by publishers as Jeffers is by Stanford University Press. . . . These poems represent a distinctive voice in the American canon, and it is good to have them so wonderfully set forth."--"Christian Century"
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这本书的封面设计,嗯,怎么说呢,透露着一种古典的肃穆感,那种深沉的蓝与墨绿的交织,仿佛一下子就把你拽回了一个更古老、更少被现代喧嚣打扰的年代。我拿到手的时候,首先注意到的是纸张的质感,带着一种微微的粗粝感,不是那种光滑到让人觉得虚假的现代印刷品,而是带着一种“诚意”的厚重。翻开扉页,那种油墨散发出的微弱气味,让人联想到图书馆里那些尘封已久的珍本,心里不免升腾起一种阅读的敬畏感。排版上,字体选择偏向于Serif体,行距适中,阅读起来眼睛不会太累,但这并不意味着内容是轻松愉快的。恰恰相反,这种传统的装帧,似乎在无声地宣告,你即将面对的是严肃而深刻的文字,是需要你慢下来,去细细咀嚼的“重料”。它不追求时髦,不迎合快餐文化,它只是静静地、坚定地立在那里,像一位沉思已久的老哲人,等待着那个真正愿意倾听他低语的灵魂的靠近。这种对实体书的尊重,在我这个越来越依赖屏幕的时代里,显得尤为珍贵。
评分这本书的整体情绪基调,用一个词来形容,就是“悲剧性的崇高”。它不贩卖廉价的希望,也不会提供简单的救赎方案。相反,它直面人类存在的困境——孤独、死亡、以及我们与我们所居住的这个星球之间那种爱恨交织的复杂关系。我感觉作者像一个局外人,一个观察者,他冷静地记录着文明的兴衰,生命的循环,却很少流露出个人化的、矫揉造作的情感宣泄。这种克制,反而让情感的爆发力更强。当他终于允许一丝脆弱的情感流露时,那份力量是毁灭性的,因为它是在经过了漫长、理性的自我审视之后才释放出来的。对于那些寻求心灵慰藉,或者期待“正能量”的读者来说,这本书可能会显得过于沉重,甚至有些令人沮丧。但对我而言,这种坦诚的“不提供答案”的态度,反而是最真诚的文学陪伴。
评分初读几页,我立刻被那种扑面而来的自然意象所震撼。这绝不是那种描绘田园牧歌、阳光明媚的轻快诗歌。它更像是在观察一头捕食的鹰,或者凝视着太平洋深处那永不停歇的潮汐——充满了原始的、近乎残酷的力量感。诗人的笔触极为精准,他似乎能捕捉到石头内部的纹理,能听到树木在风暴中挣扎发出的痛苦呻吟。我记得有一首关于加州海岸线的篇章,他没有使用任何甜美的形容词,而是用一种近乎冷酷的、几何学般的精确,去解构那些山脉和海洋的碰撞。那种“冷峻”是发自内心的,带着一种对人类渺小和自然永恒的深刻认知。读到那些关于“侵蚀”、“遗忘”、“非人化”的词汇时,你不得不停下来,思考自己存在的意义,以及我们费尽心力建立起来的文明,在宇宙尺度下的微不足道。这是一种令人不安,却又令人着迷的体验,仿佛灵魂被抛到了一个极端开阔的悬崖边,心脏在狂跳,但眼睛却无法移开那壮丽的深渊。
评分从诗歌的结构和韵律来看,这位作者显然对传统格律有着深厚的理解,但他的运用方式却充满了叛逆和创新。他并非完全抛弃韵脚和节奏,而是将它们巧妙地融入到一种更自由、更接近口语叙事流的语境中。这种张力,使得诗歌在保持音乐性的同时,避免了陷入陈词滥调的窠臼。你会发现一些句子读起来像一段流畅的独白,但在关键的转折点,他又会突然抛出一个精心打磨过的意象,像一把冰冷的匕首,精准地刺穿你前文构建起来的思维泡沫。我特别欣赏他处理长句的方式,那些句子常常层层递进,像河流汇入大海前的复杂支流,信息量巨大,但逻辑清晰。这种复杂性要求读者付出极大的专注力,如果你只是漫不经心地扫过,很可能会错过那些隐藏在复杂句法结构下的真正寓意。每一次重新阅读,都有新的层次被剥开,这证明了文本内在的密度和韧性,不是那种一读即尽的“流行金曲”。
评分将这本书置于更广阔的文学史背景中审视,它似乎在与一种特定的、过于感伤和自我沉溺的浪漫主义传统进行抗争。它拥抱的是一种更接近古希腊悲剧或某种硬核自然哲学的视角,将人类置于一个宏大的、无情但又充满壮丽细节的宇宙剧场中。它提醒我们,那些我们引以为傲的道德、法律、信仰,在更深层的时间和自然规律面前,不过是沙滩上匆忙堆砌的城堡。这种“去人性化”的视角,并非是作者的冷漠,而是一种高层次的同情——对生命整体命运的深沉关怀。它迫使你跳出日常的琐碎,去思考那些真正永恒的问题:尺度、边界、以及我们如何与必然的终结共存。这是一本需要被“征服”的书,它不轻易向读者低头,但一旦你付出了相应的努力,它所给予的回报,是关于生存本质的深刻洞见,是能重塑你观看世界方式的文本体验。
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