Enduring icon of creativity, authenticity, and rebellion, and the subject of numerous new biographies, Arthur Rimbaud is one of the most repeatedly scrutinized literary figures of the last half-century. Yet almost thirty years have elapsed without a major new translation of his writings. Remedying this state of affairs is Rimbaud Complete, the first and only truly complete edition of Rimbaud’s work in English, translated, edited, and introduced...
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Rimbaud Complete

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Enduring icon of creativity, authenticity, and rebellion, and the subject of numerous new biographies, Arthur Rimbaud is one of the most repeatedly scrutinized literary figures of the last half-century. Yet almost thirty years have elapsed without a major new translation of his writings. Remedying this state of affairs is Rimbaud Complete, the first and only truly complete edition of Rimbaud’s work in English, translated, edited, and introduced by Wyatt Mason.

Mason draws on a century of Rimbaud scholarship to choreograph a superbly clear-eyed presentation of the poet’s works. He arranges Rimbaud’s writing chronologically, based on the latest manuscript evidence, so readers can experience the famously teenaged poet’s rapid evolution, from the lyricism of “Sensation” to the groundbreaking early modernism of A Season in Hell.

In fifty pages of previously untranslated material, including award-winning early verses, all the fragmentary poems, a fascinating early draft of A Season in Hell, a school notebook, and multiple manuscript versions of the important poem “O saisons, ô chateaux,” Rimbaud Complete displays facets of the poet unknown to American readers. And in his Introduction, Mason revisits the Rimbaud myth, addresses the state of disarray in which the poet left his work, and illuminates the intricacies of the translator’s art.

Mason has harnessed the precision and power of the poet’s rapidly changing voice: from the delicate music of a poem such as “Crows” to the mature dissonance of the Illuminations, Rimbaud Complete unveils this essential poet for a new generation of readers.
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Editorial Reviews

Publishers Weekly
There have been no fully satisfactory translations of the brilliant modernist forerunner Jean-Nicolas-Arthur Rimbaud (1854-1891): the rather flat Wallace Fowlie version (Univ. of Chicago) is the most reliable, while the error-ridden Penguin volume by Oliver Bernard and the wildly improvisational try by U.S. poet Paul Schmidt (HarperPerennial) take riskier poetic licenses, with uneven results. After Graham Robb's coarse and insensitive, yet energetic and well-received biography of the poet last year (Norton), more attention is being drawn to Rimbaud's actual writings. Mason is a translator of Pierre Michon (Masters and Servants) and Dante's Vita Nuova, and is senior editor of artkrush.com ("a Website about art," says their banner). He offers a tremendous amount of Rimbaudiana, including "schoolwork," essays and drafts, miscellaneous poems and Rimbaud's two longest works, A Season in Hell and Illuminations. The poems, unfortunately, are inexactly rendered, extending what Rimbaud wrote merely to force a rhyme (Rimbaud's couplet "My hunger, Anne, Anne/ Flee on your mule" is extended by Mason to "Flee on your mule if you can," for example), and sometimes mistranslated altogether. In the famous opening of A Season in Hell, "Bad Blood," Mason renders the French verb injurier as "to hurt" rather than "to insult" at the point when the poet has beauty across his knees. Fragmentary drafts of unpublished material, complete with crossings out, are included, along with a small-type appendix of all the poems in French, but Mason's versions do not surpass previous efforts. (Mar. 26) Forecast: Rimbaud purists will remain with Fowlie, who offers a selection of letters and French versions of the poems (which the Bernard has but Schmidt lacks). For those in search of a "complete" poet's version, Schmidt is still the choice. Yet the Modern Library imprimatur should bring readers to Mason's work, and Mason is preparing a companion volume of Rimbaud's letters for Counterpoint. Copyright 2001 Cahners Business Information.
Library Journal
The quintessential Symbolist po te maudit, Rimbaud has achieved a legendary, almost mythic reputation, yet he left behind a relatively small body of work, all of it written before the age of 20. The chronological arrangement in this retrospective includes all of Rimbaud's creative works, not only his most famous ones the synesthetic "Vowels," the allegorical "Drunken Boat," the psychically oneiric "Season in Hell," and all the innovative prose poems of "Illuminations" but also almost 100 of previously untranslated materials: fragments, reconstructions, lyrical juvenilia, and school compositions. Despite the editor's claim to comprehensiveness, however, the collection contains only five letters, a mere fraction of his extant correspondence. The visionary, imaginative verse precludes both a literal translation and convincing English meter; Mason fares no worse than any of his predecessors in that regard. A bilingual index of titles and first lines would have facilitated access for those unfamiliar with the sequence of composition. Nevertheless, this is an important new rendering of a major poet and is recommended for all collections. [Previewed in Prepub Alert, LJ 11/1/01.] Lawrence Olszewski, OCLC Lib., Dublin, OH Copyright 2002 Cahners Business Information.
From the Publisher

“The definitive translation for our time.” —Edward Hirsch

“Wyatt Mason has located and tapped into Rimbaud’s voice as it swings from gnarled to straight-ahead to mystic to raucous.” —Roger Shattuck

“An important introduction of Rimbaud to another generation of readers.” —Booklist

“The best opportunity thus far to experience Rimbaud as fully as possible in English. Here is Rimbaud uncensored: the savage maker, the scathing satirist, the rigorous Alchemist of the Word, the master of metrics and innovator of the prose poem, the figure who made himself absolutely modern, the poetic visionary whose work systematically disorders the senses and resonates with a strange beauty, an exultant splendor.” —Edward Hirsch

“A welcome addition to the shelf of Rimbaud in English. Mason’s tireless zeal and endless inventiveness compel unfailing admiration.” —Arthur Goldhammer

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Product Details

  • ISBN-13: 9780307824103
  • Publisher: Random House Publishing Group
  • Publication date: 3/27/2013
  • Series: Modern Library Classics
  • Sold by: Random House
  • Format: eBook
  • Pages: 656
  • Sales rank: 400,618
  • File size: 6 MB

Meet the Author

The poetic genius of Arthur Rimbaud (1854–1891) blossomed early and burned briefly. Nearly all of his work was composed when he was in his teens, before all trace of his literary life disappeared with him into the African desert of his later years. During the century following his death at thirty-seven, Rimbaud’s work and life have influenced generations of readers and writers. Radical in its day, Rimbaud’s writing took some of the first and most fundamental steps toward the liberation of poetry from the formal constraints of its history, and now represents one of the most powerful and enduring bodies of poetic expression in human history.

Wyatt Mason studied literature at the University of Pennsylvania, Columbia University, and the University of Paris. His first translation, Pierre Michon’s Masters and Servants, was a finalist for the French-American Foundation Translation Prize. He has translated five books by Michon, including the forthcoming The Origin of the World. His current projects include a translation of Arthur Rimbaud's complete correspondence, and a new edition of Dante’s La Vita Nuova, also for the Modern Library. His writing has appeared in The Nation, the Los Angeles Times, and many other publications.
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Read an Excerpt


Fame is, after all, only the sum
of all the misunderstandings
that gather around a new name.
-rainer maria rilke

We know the face: the delicate features, the pale eyes, the uninflected expression. We know the slight turn of the head, the shadow clouding one cheek. We know the stare, forever directed past us, above us, focusing on some unknown something out of frame. It is an attractive face, but the more we examine it, the more it eludes us. And although it seems somehow benevolent, or at the very least unimposing, it tells us very little. It could belong to a matinee idol, a prince, or the boy next door. It could even belong to Arthur Rimbaud.

The face which comes down to us in a photograph snapped by Etienne Carjat in December 1871 was not the Paris photographer's only stab at Rimbaud. Two months earlier, the poet had visited Carjat's studio a first time. A very different face emerged from that session, one we rarely see.

In this photo, Rimbaud is dressed just as he would be in the second: the neat, dark coat; the pale vest, buttoned all the way up; the haphazardly knotted tie. But delicate features are not in evidence. The poet's cheeks are chubby. His nose looks twice as wide. His mouth, an inarticulate line later on, is full, its corners downturned. It looks like a bruise. Then there are his eyes. While still notably pale, this time they stare directly at us. Open, but like a wound. The expression seems to say: look at me, come on, I dare you. Were we not assured that this is Arthur Rimbaud, we would be hard-pressed to recognize him. As it happens, this is the photo Rimbaud's contemporaries said resembled him most.

Yet in the century since his death, the December photo has become Rimbaud, reproduced in nearly every book devoted to him or his work. The October photo has fallen away. Our preference for the later image is not, therefore, a reflection of how Rimbaud looked in his time, rather how we have come to prefer him to look in ours. Jean Cocteau, describing the appeal of the December portrait, wrote: "He looks like an angel . . . His eyes are stars." Enid Starkie, an early biographer, found a "look of extraordinary purity . . . an astonishing and spiritual beauty." Thus a beautiful face, like how many others before it, helped launch a thousand myths.
For in the short span of the century since his death, Rimbaud has been memorialized in song and story as few in history: a half-dozen biographies in English; fictional accounts in celluloid and print; documentaries; popular songs in many languages; numerous settings of his poems to music; even an opera. The thumbnail of his legend has proved irresistible: the boy genius who abandoned writing at twenty; the rapscallion who seduced a married Paul Verlaine; the thug who bullied everyone, even stabbed Carjat; the visionary who took drugs to expand his creative consciousness; the scoundrel who sold slaves in Africa; the martyr who died young.

Some of these tantalizing elements may even be true. But while the critical and biographical debate continues, readers are faced with an ancillary difficulty. So accustomed have we become to these variations on the Myth of Rimbaud, that when we turn to the poems themselves it is difficult to keep our preconceptions at bay. We find ourselves looking for the Adolescent Poet here, the Hallucinogenic Poet there, the Gay Poet everywhere. The problem with all of these adjectives is that they put too plain a face on the poems. And the poems vessels of indeterminacy, ambiguity and frequently strange beauty are easily disfigured by a blunt critical blade.
But: if we can manage to ignore what we know about Rimbaud or believe we know, if we can focus briefly on what he made rather than what he may have done, the opportunity to explore one of the most varied troves of individual expression in literature awaits us.
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Customer Reviews

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    Thinks of dove and waits for her

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