Milosz, Czeslaw Books

A Book of Luminous Things: An International Anthology of Poetry

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Total reviews: 15 Average rating: 4.5 of 5

An anthology of epiphanies 5 out of 5 stars.
20 of 21 people found this review helpful.

To call this excellent collection of poems an "international" anthology is a bit presumptuous. The bulk of the poems were written by poets whose native language is American (88), Chinese (53), Polish (35) or French (16). The selection, however, aptly reflects the geographical stations in the life of the Nobel Prize winner of 1980, Czeslaw Milosz. Born in 1911, he lived in Poland until 1951 when he emigrated to France. In 1960, invited by the University of California, he moved to Berkeley where he lived and worked until his death in August 2004. During the Second World War he lived in Warsaw, writing for the underground presses - which probably explains why only one German poem (by Rilke) appears in this book. To put this in perspective: poetry in German ranks on the same level as Inuit poetry here, one poem each.

But never mind. After swallowing my national cultural pride, I admit that "A Book of Luminous Things" is my favorite anthology of poetry. By a wide margin. Milosz did not simply compile a "best of" collection; he created a very personal, intimate book. The poems collected in this anthology are as much about the joy of living as they are about the awareness that old age may bring. What they teach are attention to the particular and appreciation of the transitory. Milosz's proposition for the collection was to present poems, "whether contemporary or a thousand years old, that are, with few exceptions, short, clear, readable and, to use a compromised term, realist, that is, loyal toward reality and attempting to describe it as concisely as possible. Thus they undermine the widely held opinion that poetry is a misty domain eluding understanding."

Milosz titled the last chapter of his anthology "History." At first, I found it a strange choice to conclude such a personal book with a chapter of poems that for the most part deal with the inhuman crimes perpetrated in the 20th century. A strange choice in particular because the preceding chapter titled "Non-attachment" would have given the book a final note of calm and serenity. Eventually, however, I considered the last chapter quite appropriate for a poet like Milosz who was committed to realism and political activism. As much as Milosz may have admired the attitude of non-attachment - illustrated with ultimate skill by the Chinese poets in this anthology - the formative experience of his life were the unspeakable deeds of cruelty committed by Germans in his home country.

A Book of Luminous Things begins with a very short chapter titled "Epiphany." Epiphany, Milosz explains, is an unveiling of reality. What in Greek was called 'epiphaneia' meant the appearance, the arrival, of a divinity among mortals or its recognition under a familiar shape of man or woman. Epiphany thus interrupts the everyday flow of time and enters as one privileged moment when we intuitively grasp a deeper, more essential reality hidden in things or persons. This definition of epiphany informs Milosz's understanding of realism. It is in fact an understanding that goes back to Heraclitus in European intellectual history and to Chuang Tzu in Chinese intellectual history - although admittedly the poems in this anthology are more easily accessible than most of the fragments of Heraclitus and Chuang Tzu.

It is difficult to praise this book highly enough. Indirectly, surreptitiously it is a wonderful portrait of the old Czeslaw Milosz who was in his mid-eighties when he compiled it. It is also an intimate guided tour through poetry, with introductions to every chapter and short, illuminating comments on almost every poem. It is full of unexpected discoveries, especially when it comes to some contemporary female poets like Wislawa Szymborska (1923- ; Nobel Prize for Literature 1996), Denise Levertov (1923-1997), and Anna Swir (1909-1984). And finally, A Book of Luminous Things is one of the most impressive and inspiring documents of the plentiful harvest that can come with experience and age:

THE GREATEST LOVE (by Anna Swir)

She is sixty. She lives
the greatest love of her life.

She walks arm-in-arm with her dear one,
her hair streams in the wind.
Her dear one says:
"You have hair like pearls."

Her children say:
"Old fool."

Editorial Review:

Nobel laureate Czeslaw Milosz selects and introduces 300 of his favorite poems in this “magnificent collection” that ranges “widely across time and continents, from eighth century China to contemporary americanca” (San Francisco Chronicle).

New and Collected Poems: 1931-2001

Czeslaw Milosz

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Editorial Review:

New and Collected Poems: 1931–2001 celebrates seven decades of Czeslaw Milosz's exceptional career. Widely regarded as one of the greatest poets of our time, Milosz is a master of probing inquiry and graceful expression. His poetry is infused with a tireless spirit and penetrating insight into fundamental human dilemmas and the staggering yet simple truth that "to exist on the earth is beyond any power to name."

Czeslaw Milosz worked with the Polish Resistance movement in Warsaw during World War II and defected to France in 1951. His work brings to bear the political awareness of an exile -- most notably in A Treatise on Poetry, a forty-page exploration of the world wars that rocked the first half of the twentieth century. His later poems also reflect the sharp political focus through which this Nobel laureate never fails to bear witness to the events that stir the world.

Digging among the rubble of the past, Milosz forges a vision that encompasses pain as well as joy. His work, wrote Edward Hirsch in the New York Times Book Review, is "one of the monumental splendors of poetry in our age." With more than fifty new poems, this is an essential collection from one of the most important voices in contemporary poetry.

Selected Poems: 1931-2004

Czeslaw Milosz

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Selected Poems: 1931-2004

celebrates Czeslaw Milosz's lifetime of poetry. Widely regarded as one of the greatest poets of our time, Milosz is a master of expression and probing inquiry. Life opened for Czeslaw Milosz at a crossroads of civilizations in northeastern Europe. This was less a melting pot than a torrent of languages and ideas, where old folk traditions met Catholic, Protestant, Judaic, and Orthodox rites. What unfolded next around him was a century of catastrophe and madness: two world wars, revolutions, invasions, and the murder of tens of millions, all set to a cacophony of hymns, gunfire, national anthems, and dazzling lies. In the thick of this upheaval, wide awake and in awe of living, dodging shrapnel, imprisonment, and despair, Milosz tried to understand both history and the moment, with humble respect for the suffering of each individual. He read voraciously in many languages and wrote masterful poetry that, even in translation, is infused with a tireless spirit and a penetrating insight into fundamental human dilemmas and the staggering yet simple truth that "to exist on the earth is beyond any power to name." Unflinching, outspoken, timeless, and unsentimental, Milosz digs through the rubble of the past, forging a vision -- and a warning -- that encompasses both pain and joy. "His intellectual life," writes Seamus Heaney, "could be viewed as a long single combat with shape-shifting untruth."

Native Realm: A Search for Self-Definition

Czeslaw Milosz

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Astonishing auto-biography of the ultimate Eastern European 5 out of 5 stars.
27 of 27 people found this review helpful.

If you want to better understand Europe and European history of the 20th century, this is a book to read. Milosz is a Nobel prize-winning poet and writer. This book is his autobiography. He was born in 1911 on the territory of the former Russian Empire. He comes from the Polish-Lithuanian family and is an ultimate Eastern European. He also knows America and Western Europe well.

His knowledge of the European history of the 20th century is nor from the books, but something he lived through himself. Milosz traveled to Siberia with his father. He survived both World wars. He studied in France before WW2 and spent the war in Warsaw, where he witnessed destruction of Warsaw after the upraising. Milosz seems very observant, honest, and has a tendency to self-reflection, which makes the narrative even more interesting.

He had many dangerous adventures during the war years and he remembers and describes them in great detail. Many of his remarks about Russia are right on target (as Russian I can confirm that). This is great and unique book of the ultimate Eastern European. Definitely worth reading if you are interested in the history of this part of the world.

Editorial Review:

The autobiography of the Nobel laureateBefore he emigrated to the United States, Czeslaw Milosz lived through many of the social upheavals that defined the first half of the twentieth century. Here, in this compelling account of his early life, the author sketches his moral and intellectual history from childhood to the early fifties, providing the reader with a glimpse into a way of life that was radically different from anything an American or even a Western European could know. Using the events of his life as a starting point, Native Realm sets out to explore the consciousness of a writer and a man, examining the possibility of finding glimmers of meaning in the midst of chaos while remaining true to oneself. In this beautifully written and elegantly translated work, Milosz is at his very best.

The Witness of Poetry (The Charles Eliot Norton Lectures)

Czeslaw Milosz

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Czeslaw Miosz, winner of the 1980 Nobel Prize for Literature, reflects upon poetry's testimony to the events of our tumultuous time. From the special perspectives of "my corner of Europe," a classical and Catholic education, a serious encounter with Marxism, and a life marked by journeys and exiles, Milosz has developed a sensibility at once warm and detached, flooded with specific memory yet never hermetic or provincial.

Milosz addresses many of the major problems of contemporary poetry, beginning with the pessimism and negativism prompted by reductionist interpretations of man's animal origins. He examines the tendency of poets since Mallarmé to isolate themselves from society, and stresses the need for the poet to make himself part of the great human family. One chapter is devoted to the tension between classicism and realism; Milosz believes poetry should be "a passionate pursuit of the real." In "Ruins and Poetry" he looks at poems constructed from the wreckage of a civilization, specifically that of Poland after the horrors of World War II. Finally, he expresses optimism for the world, based on a hoped-for better understanding of the lessons of modern science, on the emerging recognition of humanity's oneness, and on mankind's growing awareness of its own history.

To Begin Where I Am: Selected Essays

Czeslaw Milosz

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A comprehensive selection of essays--some never before translated into English--by the Nobel Laureate.

To Begin Where I Am brings together a rich sampling of poet Czeslaw Milosz's prose writings. Spanning more than a half century, from an impassioned essay on human nature, wartime atrocities, and their challenge to ethical beliefs, written in 1942 in the form of a letter to his friend Jerzy Andrzejewski, to brief biographical sketches and poetic prose pieces from the late 1990s, this volume presents Milosz the prose writer in all his multiple, beguiling guises. The incisive, sardonic analyst of the seductive power of communism is also the author of tender, elegiac portraits of friends famous and obscure; the witty commentator on Polish complexes writes lyrically of the California landscape. Two great themes predominate in these essays, several of which have never appeared before in English: Milosz's personal struggle to sustain his religious faith, and his unswerving allegiance to a poetry that is "on the side of man."

Road-side Dog

Czeslaw Milosz

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"I went on a journey in order to acquaint myself with my province, in a two-horse wagon with a lot of fodder and a tin bucket rattling in the back. The bucket was required for the horses to drink from. I traveled through a country of hills and pine groves that gave way to woodlands, where swirls of smoke hovered over the roofs of houses, as if they were on fire, for they were chimneyless cabins; I crossed districts of fields and lakes. It was so interesting to be moving, to give the horses their rein, and wait until, in the next valley, a village slowly appeared, or a park with the white spot of a manor in it. And always we were barked at by a dog, assiduous in its duty. That was the beginning of the century; this is its . I have been thinking not only of the people who lived there once but also of the generations of dogs accompanying them in their everyday bustle, and one night-I don't know where it came from-in a pre-dawn sleep, that funny and tender phrase composed itself: a road-side dog." --Road-Side Dog

Talking to My Body

Anna Swir

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Total reviews: 6 Average rating: 5.0 of 5

A must read for women... 5 out of 5 stars.
3 of 3 people found this review helpful.

Anna Swir writes some of the most beautiful and deeply stirring poems I have ever read. It dives into the frailty AND the power of this womans spirit. Her poems paint pictures in your mind so real and tangible it is guranteed to leave you grasping for emotions and feelings that you may not have known existed within you. I say that it's a must read for women, and I know that coming from a man that is kind of a silly statement. But believe me, Anna writes from a unique and touchingly feminist point of view that in my humble opinion, all women would find both refreshing and inspirational. Here's a preview of her work I found to be beautiful: "THE GREATEST LOVE... She is sixty. She lives the greatest love of her life. She walks arm in arm with her dear one, her hair streams in the wind. Her dear one says, You have hair like pearls. Her children say, Old fool." Poems about old women are hard to find, as if they were taboo, or not worth mentioning in pretty prose. Anna Swir relates often to the matriarch as a symbol of timeless beauty and strength. One final: "THANK YOU MY FATE... Great humility fills me, great purity fills me, I make love with my dear as if I made love dying, as if I made love praying, tears pour over my arms and his arms. I don't understand what I feel, I'm crying, I'm crying, it's humility as if I were dead, gratitude, I thank you my fate, I'm unworthy, how beautiful this life." The book is also filled with some statements on her life, which after reading and understanding what she was surrunded by, leaves you in absolute awe every time you swim through her poems. Please, read these poems. You can thank me afterwards.

Editorial Review:

poetry, tr by C. Milosz & L. Nathan

My Century (New York Review Books Classics)

Aleksander Wat

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Keeping the Memory Green 4 out of 5 stars.
6 of 6 people found this review helpful.

Andre Malraux wrote that only three books -- Robinson Crusoe, Don Quixote and The Idiot--retained their truth for those who had seen prisons and concentration camps (see: Les Noys de l'Altenburg (Paris 1948)). It's an odd remark--what did he mean, "seen"? Suffered in? Or watched newsreel footage on the History Channel? One cannot escape the conviction that Malraux is trying to hype the aroma of glamour around his own life.

But this is a distraction. The question is: I wonder what he thinks of the extraordinary array of "witness literature" from Europe beginning, perhaps, with Dostoevsky's "House of the Dead" and ending (one may hope?) with Solzhenitsyn's "Gulag Archipelago."

In this chorus, Aleksander Wat's "My Century" stands as a luminous example. Wat was a Pole: Jewish by background but at last a convert to Christianity. He was a poet and a "literary person" before and after World War II. Along the way, he spent time in 13 (or was it 14?) different prisons, all simply for being who he was."

His "memoir" is not precisely something he "wrote." Wat spent the year 1964-5 in Berkeley. There he fell in with Czeslaw Milosz, a great poet in his own right. Largely with the encouragement of Milosz, he "dictated" his story in a series of interviews which have been somewhat recast for this book. It's just as harrowing as you would expect it to be it has its uplifting side, driven by Wat's amazing inner resouurces: one thing about a good education, it gives you stuff to think about in Prison. And even at the worst, his sense of humor does not fail him. He recounts the story of the citizens of Bukhara, who surrendered to Ghengis Khan--only to have Ghengis Khan order their massacre. As Ghengis Khan explained to the elders:

"You must have sinned greatly against God if he sent Ghengis Khan down on you!"

Aside from Wat's own story, the NYRB edition includes an astonishing narrative by his wife, recounting a particularly dreadful chapter in her own prison years.

There is a promising-looking biography by Tomas Venclova, but I haven't read it. Wat died in 1967, I believe (though I can't seem to pin this down) a suicide.

Editorial Review:

Aleksander Wat's memoirs provide a powerful and moving account of life in Eastern Europe in the devastating 20th century. The questions Wat raises here were put to him by fellow Pole and poet Czeslaw Milosz. Wat describes a vanished world of artistic innovation and political rebellion, but the heart of the book is Wat's encounter with evil in the Soviet camps and his subsequent religious conversion. My Century is a spiritual testimony - admirable, moving, and strong.

Second Space: New Poems

Czeslaw Milosz

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Editorial Review:

Nobel laureate Czeslaw Milosz's most recent collection Second Space marks a new stage in one of the great poetic pilgrimages of our time. Few poets have inhabited the land of old age as long or energetically as Milosz, for whom this territory holds both openings and closings, affirmations as well as losses. "Not soon, as late as the approach of my ninetieth year, / I felt a door opening in me and I entered / the clarity of early morning," he writes in "Late Ripeness." Elsewhere he laments the loss of his voracious vision -- "My wondrously quick eyes, you saw many things, / Lands and cities, islands and oceans" -- only to discover a new light that defies the limits of physical sight: "Without eyes, my gaze is fixed on one bright point, / That grows large and takes me in."

Second Space is typically capacious in the range of voices, forms, and subjects it embraces. It moves seamlessly from dramatic monologues to theological treatises, from philosophy and history to epigrams, elegies, and metaphysical meditations. It is unified by Milosz's ongoing quest to find the bond linking the things of this world with the order of a "second space," shaped not by necessity, but grace. Second Space invites us to accompany a self-proclaimed "apprentice" on this extraordinary quest. In "Treatise on Theology," Milosz calls himself "a one day's master." He is, of course, far more than this. Second Space reveals an artist peerless both in his capacity to confront the world's suffering and in his eagerness to embrace its joys: "Sun. And sky. And in the sky white clouds. / Only now everything cried to him: Eurydice! / How will I live without you, my consoling one! / But there was a fragrant scent of herbs, the low humming of bees, / And he fell asleep with his cheek on the sun-warmed earth."