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Aeneid, Books VII-XII
The first volume of David Hadbawnik's astonishing modern translation of the Aeneid in 2015. He now brings the project to a spectacular conclusion in a volume with dramatic abstract illustrations.
Aeneid, Books I-VI
This handsome volume presents David Hadbawnik's radical version of the first half of Virgil's Roman national epic, with atmospheric illustrations from Carrie Kaser. This hardcover edition is released shortly before publication of Volume 2.
Postmodern Poetry and Queer Medievalisms: Time Mechanics
This volume builds on recent scholarship on contemporary poetry in relation to medieval literature, focusing on postmodern poets who work with the medieval in a variety of ways. Such recent projects invert or “queer” the usual transactional nature of engagements with older forms of literature, in which readers are asked to exchange some small measure of bewilderment at archaic language or forms for a sense of having experienced a medieval text. The poets under consideration in this volume demand that readers grapple with the ways in which we are still “medieval” – in other words, the ways in which the questions posed by their medieval source material still reverberate and hold relevance for today’s world. They do so by challenging the primacy of present over past, toppling the categories of old and new, and suggesting new interpretive frameworks for contemporary and medieval poetry alike.
Virgil's Aeneid
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Postmodern Poetry and Queer Medievalisms: Time Mechanics
This volume builds on recent scholarship on contemporary poetry in relation to medieval literature, focusing on postmodern poets who work with the medieval in a variety of ways. Such recent projects invert or “queer” the usual transactional nature of engagements with older forms of literature, in which readers are asked to exchange some small measure of bewilderment at archaic language or forms for a sense of having experienced a medieval text. The poets under consideration in this volume demand that readers grapple with the ways in which we are still “medieval” – in other words, the ways in which the questions posed by their medieval source material still reverberate and hold relevance for today’s world. They do so by challenging the primacy of present over past, toppling the categories of old and new, and suggesting new interpretive frameworks for contemporary and medieval poetry alike.
Beowulf
A stunning experimental translation of the Old English poem "Beowulf," over 30 decades old and woefully neglected, by the contemporary poet Thomas Meyer, who studied with Robert Kelly at Bard, and emerged from the niche of poets who had been impacted by the brief moment of cross-pollination between U.K. and U.S. experimental poetry in the late 1960s and early 1970s, a movement inspired by Ezra Pound, fueled by interactions among figures like Ed Dorn, J.H. Prynne, and Basil Bunting, and quickly overshadowed by the burgeoning Language Writing movement. Meyer's translation -- completed in 1972 but never before published -- is sure to stretch readers' ideas about what is possible in terms of translating Anglo-Saxon poetry, as well as provide new insights on the poem itself. According to John Ashberry, Meyer's translation of this thousand-year-old poem is a "wonder," and Michael Davidson hails it as a "major accomplishment" and a "vivid" recreation of this ancient poem's "modernity."
Aeneid, Books VII-XII
The first six books of David Hadbawnik's astonishing modern translation of the Aeneid appeared from Shearsman Books in 2015. He now brings the whole project to a spectacular conclusion in a volume accompanied by Omar Al-Nakib's dramatic abstract illustrations. "Few narrative poems have possessed the Western imagination like Virgil's twelve-book epic written during Augustus's triumphant consolidation of the Roman Empire. [...] This new volume goes a long way toward moving the narrative into the hands of contemporary readers, drawing out a playful understanding of the ancient story while exhibiting modern preferences for poetic interaction and inquiry into the history and terms of poetic form ...
Dating Beowulf
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Featuring essays from some of the most prominent voices in early medieval studies, Dating Beowulf playfully redeploys the word ‘dating’, which usually heralds some of the most divisive critical impasses in the field, to provocatively phrase a set of new relationships with an Old English poem. The volume argues for the relevance of the early Middle Ages to affect studies and vice-versa, offering a riposte to antifeminist discourse and opening avenues for future work by specialists in the history of emotions, literary theorists, students of Old English literature and medieval scholars alike. To this end, the essays embody a range of critical approaches from queer theory to animal studies and ecocriticism to actor-network theory.
Cotton Nero A.x: The Works of the "Pearl" Poet
Manuscript Cotton Nero A.x takes its designation from the unique cataloging system of seventeenth-century British antiquarian Sir Robert Cotton's library: busts of historical figures atop shelves provided the organizing principle, such that one found this particular codex under the bust of Roman Emperor Nero, on the top shelf, ten volumes over. (Another famous manuscript, containing Beowulf, is called Cotton Vitellius A.xv.) Cotton Nero A.x contains the only versions of the poems we now know as Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight, generally agreed to have been composed sometime in the latter half of the fourteenth century--the time of Piers Plowman and Geoffrey Ch...
Holy Sonnets to Orpheus and Other Poems
Poetry. "There is no quick contact line between the sacred and profane, nor are the delicate threads of those outlooks frayed in David Hadbawnik's poetic palimpsests, HOLY SONNETS TO ORPHEUS AND OTHER POEMS. The vocalic outreach to antiquity, a lyric channeling of the English Renaissance, and the exuberant undertones of Romance are performed in masquerades of contemporary utterances of the now. 'And what am I?' asks the Orphic figure. 'An ordinary nothing?' Personhood escapes to underworld self-erosion, and poetry returns in the levity of song's enduring, transforming play. It is a history of the making of soulful artifice."--Dale Smith
