The Illuminations

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Overview

The modernist masterpiece that is Arthur Rimbaud’s Illuminations has been given new life with the publication of John Ashbery’s “dazzling” (The Economist) new translation, widely hailed as one of the literary events of the year. Presented with French text in parallel and a preface by its translator, Ashbery’s rendering powerfully evokes the glittering, kaleidoscopic beauty of the original

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Overview

The modernist masterpiece that is Arthur Rimbaud’s Illuminations has been given new life with the publication of John Ashbery’s “dazzling” (The Economist) new translation, widely hailed as one of the literary events of the year. Presented with French text in parallel and a preface by its translator, Ashbery’s rendering powerfully evokes the glittering, kaleidoscopic beauty of the original

Editorial Reviews

Publishers Weekly
Celebrated poet Revell (The Bitter Withy) received the 2007 PEN USA Translation Award for his ravishing take on Rimbaud's A Season in Hell. Rendered into English with utmost sympathy and flare, this bilingual edition of Rimbaud's prose masterpiece is sure to receive comparable acclaim. Considered by many to be the infamous French wunderkind's highest achievement, the book's (mostly) prose poems present the still teenage poet's acrobatic efforts to resist the stranglehold of habit, logic and bourgeois respectability: “I've strung ropes from steeple to steeple; garlands from window to window; golden chains from star to star, and I'm dancing.” Revell's version is no more or less accessible than previous translations, and dips into the contemporary idiom are thankfully infrequent and unobtrusive. What distinguishes Revell's work is its exquisite, carefully modulated musicality. His phrasing is rich and fluid (“The soft perfume of the stars and of the sky and of everything drifts down from the hilltop”) or crisp and strident (“Unsought air and unsought world. Life./ —Was that it, then?/ —And the dream grows cold”), in perfect keeping with the protean, inestimably influential original, making this among the finest of its English translations yet produced. (Sept.)
Prick of the Spindle Web Magazine
I have yet to come across a better living translator working in French today, and I wholeheartedly recommend Revell's translations to francophone and English-speaking readers alike.
Publishers Weekly
The prose poems of Illuminations include Rimbaud's most exotic ecstasies and most insistent contradictions, as well as (most likely) his last completed works: "crystal boulevards rise up and intersect, immediately populated by poor families who shop for groceries at the fruit seller's," while "the inevitable descent of the sky and visiting memories and the séance of rhythms occupy the home, the head and the world of the mind." Some may wonder whether we need yet another version of this much-translated book. But anything Ashbery does deserves attention, given his own towering reputation. Ashbery also lived in France for much of the 1960s and has translated several French moderns before. His versions of Rimbaud can be playful, even flirtatious, with an undercurrent of malice wholly true to the original ("Very robust rascals" for "Des drôles très solides"), and they pay attention to the ear: the poem "Bottom," for example, begins with a tussle of long "e" and short "i" sounds: "Since reality was too prickly for my lavish personality." Ashbery's Rimbaud (perhaps paired with Donald Revell's) should spark fresh discussion of the mercurial and evasive original, given often to dreamy reverie, yet just as likely to turn and spit in the unsuspecting reader's face. Presented with the original French en face. (Apr.)

Product Details

  • ISBN-13: 9781890650360
  • Publisher: Omnidawn Publishing
  • Publication date: 6/1/2009
  • Edition description: New Edition
  • Pages: 144
  • Sales rank: 1,177,669
  • Product dimensions: 5.90 (w) x 8.90 (h) x 0.40 (d)

Meet the Author

Unknown beyond the avant-garde at the time of his death in 1891, Arthur Rimbaud has become one of the most liberating influences on twentieth-century culture. Born Jean Nicolas Arthur Rimbaud in Charleville, France, in 1854, Rimbaud’s family moved to Cours d’Orléans, when he was eight, where he began studying both Latin and Greek at the Pension Rossat. While he disliked school, Rimbaud excelled in his studies and, encouraged by a private tutor, tried his hand at poetry. Shortly thereafter, Rimbaud sent his work to the renowned symbolist poet Paul Verlaine and received in response a one-way ticket to Paris. By late September 1871, at the age of sixteen, Rimbaud had ignited with Verlaine one of the most notoriously turbulent affairs in the history of literature. Their relationship reached a boiling point in the summer of 1873, when Verlaine, frustrated by an increasingly distant Rimbaud, attacked his lover with a revolver in a drunken rage. The act sent Verlaine to prison and Rimbaud back to Charleville to finish his work on A Season in Hell. The following year, Rimbaud traveled to London with the poet Germain Nouveau, to compile and publish his transcendent Illuminations. It was to be Rimbaud’s final publication. By 1880, he would give up writing altogether for a more stable life as merchant in Yemen, where he stayed until a painful condition in his knee forced him back to France for treatment. In 1891, Rimbaud was misdiagnosed with a case of tuberculosis synovitis and advised to have his leg removed. Only after the amputation did doctors determine Rimbaud was, in fact, suffering from cancer. Rimbaud died in Marseille in November of 1891, at the age of 37. He is now considered a saint to symbolists and surrealists, and his body of works, which include Le bateau ivre (1871), Une Saison en Enfer (1873), and Les Illuminations (1873), have been widely recognized as a major influence on artists stretching from Pablo Picasso to Bob Dylan.

Pulitzer Prize–winning poet John Ashbery has translated many French writers, including Alfred Jarry, Pierre Reverdy, and Raymond Roussel. In 2011 he was awarded the National Book Foundation’s Lifetime Achievement Award.

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