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The Collected Poems of Odysseus Elytis
"Originally published in 1997, The Collected Poems of Odysseus Elytis was the fist complete collection of Elytis's poems in any language." "For this expanded new edition, translators Jeffrey Carson and Nikos Sarris have added sixty free verse and prose poems from the posthumous 1998 volume From Close By; a set of song lyrics, The Rhos of Eros; and a cantata, The Sovereign Sun."--BOOK JACKET.
Odysseus Elytis
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Selected Poems
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Odysseus Elytis
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What I Love
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Selected Poems
"Odysseus Elytis is a pure and dedicated poet, whose work is abundant, original, and thrilling", wrote Peter Levi when Elytis (1911-96) was awarded the Nobel Prize in 1979. This is a representative selection of his poems, drawn from all periods of his distinguished career, tracing his development from early surrealism, through the dramatic style of The Axion Esti with its blend of spirituality and earthiness, up to his later work.
The Sovereign Sun
Odysseus Elytis (1911-96) won the Nobel Prize in Literature in 1979. With Seferis and the 'Generation of the Thirties', he introduced French Surrealism into Greek poetry. Kimon Friar's classic translation The Sovereign Sun begins with his brilliantly sensuous early poems. It has large selections from his master work, Axion Esti (1959), and includes the whole of his Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign (1945). His Nobel Prize citation stated: 'Against the background of Greek tradition, his poetry depicts with sensuous strength and clearsightedness modern man's struggle for freedom and creativeness.'
Odysseus Elytis
This representative selection from the work of one of modern Greece's most fascinating poets was made shortly after his award of the Nobel Prize for Literature in 1979. It is drawn from all periods of his distinguished career and traces his development from early surrealism, in which he transforms French influence into a distinct personal voice and mythology, through the dramatic style of The Axion Esti with its blend of spirituality and earthiness, up to the later work in which he experiments with new modes for expressing his perennial themes. The poems are chosen, introduced and mainly translated by the leading translators of modern Greek poetry, Edmund Keeley and the late Philip Sherrard,...
Eros, Eros, Eros
Olga Broumas has chosen poems from the full range of Odysseas Elytis's Nobel Prize-winning poetry, including his early work when he was associated with the Surrealists, to the entirety of his long poem The Little Mariner, as well as a previously unavailable selection of his last poems, written shortly before his death in 1996. Elytis himself offers the best description of his work: If a separate personal Paradise exists for each of us, mine must be irreparably planted with trees of words which the wind silvers like poplars, by people who see their confiscated justice given back, and by birds that even in the midst of the truth of death insist on singing in Greek and saying eros, eros, eros.
God and the Poetic Ego
The Greek Bible and the services of the Orthodox Church have proved a rich source of language for many poets of modern Greece, and perhaps for none more than for Kostis Palamas, Angelos Sikelianos and Odysseas Elytis, whose overlapping careers span the period 1876-1996. A blurring of the boundaries between Orthodoxy and 'Greekness' (hellênikotêta, which all three poets celebrate) has often led critics to assume from the Christian borrowings in the poetry the Christian allegiance of the poets. Through detailed analyses of selected poems, focusing on their relation to Biblical and liturgical source texts, this book questions whether the work of these poets is compatible with Christianity at all. It asks whether a Christ who is assimilated, along with the Virgin Mary, into the ancient Greek pantheon, or presented as a symbol of Beauty, or as object of the erotic desire of the women of the Gospels is still within the realm of Orthodoxy. Above all it asks whether, when the poetic ego appropriates to itself words which in their original context belong to Christ or Jehovah, there is any room left for the divine, or whether the poet has not in fact elbowed God off the stage altogether.
