Almost Invisible by Mark Strand

By Mark Strand

From Pulitzer Prize--winner Mark Strand comes an exquisitely witty and poignant sequence of prose poems. occasionally showing as natural prose, occasionally as impure poetry, yet continually with Strand's readability and ease of fashion, they're like riddles, their solutions vanishing simply as they seem nearby. delusion, family satire, meditation, comic story, and fable all come jointly in what's arguably the liveliest, so much interesting booklet that Strand has but written.

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This disparity has an important consequence for the form of the Russian and English texts as a whole: there is a di¤erence in the general ‘‘rhythmic feel’’ of Pushkin’s original and Falen’s translation. , per metrical position) and calculating their percentage of the line total is a method of the Russian Quantitative School of meter (Taranovski 1953; Gasparov 1974; Bailey 1975; Tarlinskaja 1976; and others). 1 percent of the time, while in Falen’s translation it is stressed 23. Although in Pushkin’s stanza in Table 8 the W position is never stressed, in theory it can be, so long as it is occupied by a monosyllabic word (Taranovskii 1971).

For example, Shakespeare’s line can be read either as Shall I compare thee to a summer’s day (with shall stressed and I unstressed) or as Shall I compare thee to a summer’s day (with shall unstressed and I stressed), depending on the performer’s choice. ] for short). As we will see, the overall contrast between Russian and English rhythms is so prominent that it holds regardless of which approach to auxiliary word stress on S a linguist chooses to adopt. 8. Anti-RD rhythm: Brodsky’s English predecessors Due to the prosodic qualities of the Russian lexicon, Russian poets prefer to use many long words and few monosyllables.

Anti-RD rhythm: Brodsky’s Russian sources But was English poetry the only potential source of anti-RD rhythm that Brodsky might have seen in his youth? Did any Russian poets that he read violate Regressive Dissimilation? 0, respectively (Taranovskii 1966). Bely’s unusual rhythm was also the likely source of Vladislav Khodasevich’s anti-RD (Taranovskii 1966), as well as that of Tsvetaeva (Smith 1976). Below is a partial list of Tsvetaeva’s anti-RD poems appearing in publications Brodsky might have seen in the early 1960s, which include Tsvetaeva’s 1961 Selected Works and the e´migre´ journal Contemporary Notes, which latter we know Brodsky read in 1961 (Shul’ts 2000).

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