- Tapa blanda: 58 páginas
- Editor: Tupelo Pr (1 de abril de 2004)
- Idioma: Inglés
- ISBN-10: 1932195122
- ISBN-13: 978-1932195125
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº984.188 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Dancing in Odessa (Inglés) Tapa blanda – abr 2004
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Poetry. Winner of the 2002 Dorset Prize, and recipient of the Ruth Lilly Fellowship, Ilya Kaminsky is a recent Russian immigrant and rising poetic star. Despite the fact that he is a non-native speaker, Kaminksy's sense of rhythm and lyic surpasses that of most contemporary poets in the English language. This magical, musical book of poems draws readers into its unforgettable heart, and Carolyn Forché wrties simply "I'm in awe of his gifts."
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Many have spoken in awe when considering Kaminsky's youth. In his mid-twenties, he produced a work that offers a lifetime of thoughts and observations. But it's not Kaminsky's youth we should be in awe with, but instead his ability to extend moments. In "Dancing in Odessa", the reader is not bound to a simpleton's rendering of a town and it's peoples. The reader is instead edified with long moments detailing a town's harsh history, artistic revival, and commune with tradition and culture.
At the advent of Kaminsky's collection, he writes an author's prayer. Similar to activating the muse, a convention born from myth and spiritual doctrine, Kaminksy informs the reader that these poems and stories are bigger than him, and he wants to do the seminal authors some justice. From Kaminsky's muse, we learn his poetry will not parade own art, but it will subtract and refine from a city's prized oral history.
Kaminsky's poems allow readers to walk, with their own legs, through the old-world town of Odessa. His poems concern action and movement, and do not shield the reader from beauty or evil. Odessa is a town with a history of violence, and the poem "Maestro" captures the disruption and despair of a school bombing. "In praise of laughter" reveals the literal rape of a grandmother, and the figurative rape of a town. "Aunt Rose" describes Kaminsky's heroic aunt, and her graceful negotiation of love in these times of pain and horror.
Kaminsky's poems reach the reader by way of poor Russian families who have no other hope than to stick together. He does not disguise private pain, and writes that his grandmother, "understood/loneliness, hid the dead in the earth like partisans" in "Dancing in Odessa". When Kaminsky leaves Odessa and marries, he takes the saints and martyrs of the town with him.
Kaminsky became deaf at age four. His poems however, transcend human ears to show us music in element form. His "disability" allows him to blanket the page with silence better than any poet I can remember reading, and certain poems go from a warm symphony of words to a flat empty tone. This is ever present in the series "Musica Humana" where he writes, "I escape and I am caught, escape again and am caught, escape and am caught: in this song, the signer is a clay figure/poetry is the self--I resist/the self". It is also present later in this series at the lines, "onto a woman's skin: those are lines / sewn entirely of silence".
Kaminsky's poetic devices are to die for. He writes in Musica Humana (20), "once or twice in his life, a man / is pealed like apples. What's left is a voice/ that splits his being". Here Kaminsky begins a narrative with a combined simile-metaphor with a surreal twist. He continues this poem to show he has been warped, and shaped, by the harsh ways and determined voices of local poets and his town. Odessa is a place we both love and fear. Travelling to Odessa requires quite a stomach!
When Kaminsky leaves Odessa, he brings back spirituality in the form of art to the poor in his town. His poems remind me of Charles Spurgeon's prayers to Europe in the 19th century, where poverty and illness abounded. Kaminsky's words do not seek salvation from God as much as they seek salvation from anyone, even the reader. This is clear when he writes "Oh God of Abraham, or Isaac and of Jacob /On your scale of Good and Evil, / put a plate of warm food." Later in the same series, Kaminsky offers a recipe for "Cold Mint Cucumber Soup".
Finally, Kaminsky's poems are realist stories. The reader is taken to Odessa for better or worse. In his section "Natalia", he applies the same adulation to flawed people as he would to flawed cities. Describing his lover, he compares her to a holy place writing, "the back of her knee: a blessed territory," and later "I don't need a synagogue you said, I can pray inside my body".
Kaminsky's work reflects years of lives in single lines, and extends moments into generations. Dancing in Odessa is a human-interest work, and his details of a city are not without the human hands that built it. I do not need to travel to Odessa, but if I did, I would not get anymore information touching the stones of the town's walls than I could from reading Kaminski's collection.
His poems are tightly connected and organized, with each poem giving us information essential for getting the full affect of the next. These poems need to be read as a collection, because taking them one-by-one we will lose some of the work's heavy depth, and will water down the extended moments Kaminsky uses to shape the character of the town.
Kaminsky, Ilya. "Dancing in Odessa". Tupelo Press Vermont, 2006