This newest collection of poems from Tomaž Šalamun is exuberant, ambitious, and full of surprises. Here the devil is encountered and understood-
I see the devil's head, people, I see his whole body . . .
Here the poet juggles many tones, languages, and countries. Desire is evoked as both frustrating and exhilarating-
head into the wall, on the ground, or I burn, burn,
And memory comes back to remind us of the laws and experiences of childhood-
only after five o'clock in the afternoon to take
At once daring and clear-voiced, The Book for My Brother is an extraordinary achievement.
What emerges when a master poet holds desire, memory, and innocence up to a surreal, unwavering light?
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Tomaž Šalamun was born in 1941 in Zagreb. He has published over thirty books of poetry and frequently teaches at American universities, including Pittsburgh, Richmond, and Texas.
Though he lives in Ljubljana and writes in Slovenian, Salamun has seriously influenced American writing through earlier translations and through time spent here. Salamun's fifth compilation in English shows his familiar strengths: one- and two-page odes and exclamations that shift easily between an anything-goes postsurrealist whimsy and a gloomier attention to recent history. Like Charles Simic, Salamun sets poems in tumbled-down villages, in the aftermath of mysterious wars, sometimes writing for and about vulnerable boys and girls, sometimes casting himself as the spirit of a place: "Slovenians, with my tongue I touched your children's palm/ and pressed their brains like muscat wine. I give you// back your home." Although it has 10 different translators (including the author himself), this collection makes as good an introduction as any to an eminent, still-wild spirit of Central Europe. (Apr.)
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\xb3 alamun is simultaneously an acrobatic poet of the avant-garde, a circus clown juggling words and images, and a sardonically insightful Shakespearean fool. Author of more than 30 books of poetry, this Slovenian poet's whimsical and wry style befriends and befuddles readers. In this collection, he jumps from the semiprofound to the seemingly trivial and back by juxtaposing meaning-laden thoughts and images such as "I need to be a tree . . . / I need to meet an angel" that push some of his poems to the edge of incomprehensibility. What often saves readers from falling into \xb3 alamun's surrealistic abyss is his masterful handling of stanza and line breaks, which creates some semblance of order. \xb3 alamun is not for the highly literal or poetically conventional. Such readers may not have the patience to decipher "here it smells of the Zodiac" or determine the sincerity of "The writing / of poetry is / the most / serious / deed in the / world." But the risk-taking reader will revel in \xb3 alamun's exuberant style and gladly follow the labyrinthine paths of his poetic mind. Janet St. John
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