An extraordinary literary event: the simultaneous publication of a brilliant and vivid new rendering of C. P. Cavafy’s Collected Poems and the first-ever English translation of the poet’s thirty Unfinished Poems, both featuring the fullest literary commentaries available in English—by the acclaimed critic, scholar, and award-winning author of The Lost.
No modern poet brought so vividly to life the history and culture of Mediterranean antiquity; no writer dared break, with such taut energy, the early-twentieth-century taboos surrounding homoerotic desire; no poet before or since has so gracefully melded elegy and irony as the Alexandrian Greek poet Constantine Cavafy (1863–1933). Now, after more than a decade of work and study, and with the cooperation of the Cavafy Archive in Athens, Daniel Mendelsohn—a classics scholar who alone among Cavafy’s translators shares the poet’s deep intimacy with the ancient world—is uniquely positioned to give readers full access to Cavafy’s genius. And we hear for the first time the remarkable music of his poetry: the sensuous rhymes, rich assonances, and strong rhythms of the original Greek that have eluded previous translators.
The more than 250 works collected in this volume, comprising all of the Published, Repudiated, and Unpublished poems, cover the vast sweep of Hellenic civilization, from the Trojan War through Cavafy’s own lifetime. Powerfully moving, searching and wise, whether advising Odysseus as he returns home to Ithaca or portraying a doomed Marc Antony on the eve of his death, Cavafy’s poetry brilliantly makes the historical personal—and vice versa. He brings to his profound exploration of longing and loneliness, fate and loss, memory and identity the historian’s assessing eye as well as the poet’s compassionate heart.
With its in-depth introduction and a helpful commentary that situates each work in a rich historical, literary, and biographical context, this revelatory new translation, together with The Unfinished Poems, is a cause for celebration—the definitive presentation of Cavafy in English.
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An extraordinary literary event: the simultaneous publication of a brilliant and vivid new rendering of C. P. Cavafy’s Collected Poems and the first-ever English translation of the poet’s thirty Unfinished Poems, both featuring the fullest literary commentaries available in English—by the acclaimed critic, scholar, and award-winning author of The Lost.
No modern poet brought so vividly to life the history and culture of Mediterranean antiquity; no writer dared break, with such taut energy, the early-twentieth-century taboos surrounding homoerotic desire; no poet before or since has so gracefully melded elegy and irony as the Alexandrian Greek poet Constantine Cavafy (1863–1933). Now, after more than a decade of work and study, and with the cooperation of the Cavafy Archive in Athens, Daniel Mendelsohn—a classics scholar who alone among Cavafy’s translators shares the poet’s deep intimacy with the ancient world—is uniquely positioned to give readers full access to Cavafy’s genius. And we hear for the first time the remarkable music of his poetry: the sensuous rhymes, rich assonances, and strong rhythms of the original Greek that have eluded previous translators.
The more than 250 works collected in this volume, comprising all of the Published, Repudiated, and Unpublished poems, cover the vast sweep of Hellenic civilization, from the Trojan War through Cavafy’s own lifetime. Powerfully moving, searching and wise, whether advising Odysseus as he returns home to Ithaca or portraying a doomed Marc Antony on the eve of his death, Cavafy’s poetry brilliantly makes the historical personal—and vice versa. He brings to his profound exploration of longing and loneliness, fate and loss, memory and identity the historian’s assessing eye as well as the poet’s compassionate heart.
With its in-depth introduction and a helpful commentary that situates each work in a rich historical, literary, and biographical context, this revelatory new translation, together with The Unfinished Poems, is a cause for celebration—the definitive presentation of Cavafy in English.
Daniel Mendelsohn’s reviews and essays on literary and cultural subjects appear regularly in numerous publications, including The New Yorker and The New York Review of Books. His previous books include the memoir The Elusive Embrace, a New York Times Notable Book and a Los Angeles Times Best Book of the Year, and the international best seller The Lost: A Search for Six of Six Million, which won the National Book Critics Circle Award, the Prix Médicis, and many other honors. Mr. Mendelsohn is also the recipient of a Guggenheim Fellowship, the National Book Critics Circle Citation for Excellence in Reviewing, and the George Jean Nathan Award for Dramatic Criticism. He teaches at Bard College.
Starred Review. Already a celebrated critic, memoirist and classicist, Mendelsohn drew together his interests in ancient history, literature, gay life and culture, and beautiful language to produce the finest, most readable version of the modern Greek poet Cavafy (1863–1933) to come along in decades. Cavafy has long been highly regarded by American readers, especially for the straightforward, seemingly timeless, hard-to-pin-down tone of his poems—which alternately revel in and suffer from both ancient Greek history and homoerotic desire—but, as Mendelsohn observes in his deeply impassioned and informative introduction, many American readers overlook those poems that are deliberately set in the obscurer margins, both geographical and temporal, of the Greek past... in favor of the works with more obvious contemporary appeal. With this new, completely annotated, translation, Mendelsohn says he aims to restore the balance, to help readers reanimate Greek history with Cavafy, to see how relevant and pressing his whole oeuvre truly is. This larger volume (Knopf is also publishing Mendelsohn's version of Cavafy's Unfinished Poems, never before translated into English, as a separate volume, reviewed below) contains all the poems by Cavafy we have known in English, from famous works like Ithaka (you will understand, by then, these Ithacas; what they mean) and The First Step (you must claim your right to be/ a citizen of the city of ideas), all rendered with a lucid music. This is likely to be the definitive Cavafy for some time to come. (Mar.)
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*Starred Review* The first decade of the twenty-first century ends as it began, with a new, near-complete translation of Cavafy. But whereas Theoharis Constantine Theoharis’ literarily distinguished Before Time Could Change Them (2001) let several naive impressions of Greek-less readers stand, and Aliki Barnstone’s yet more readable Collected Poems of C. P. Cavafy (2006) did nothing to dispel them, Mendelsohn’s effort corrects them. Besides sketching Cavafy’s rather bland life and appraising his poetry as a whole, the introduction explains Cavafy’s poetic techniques and Mendelsohn’s approximation of them in English. Cavafy’s Greek originals are mostly rhymed, metrically regular verses, in familiar forms early on and relaxing into verse paragraphs as he matured. His diction became more demotic as he developed, though he always used bits of nineteenth-century literary Greek for historical and cultural nuance. This technical information may be revelatory for ardent yet unscholarly admirers of the poetry but should only increase their admiration. More revelation, for those who haven’t ferreted out the historical references in the poems, comes in the 282 pages of notes Mendelsohn has written as clearly and gracefully as the introduction. There are at least three older translations than Mendelsohn’s, Barnstone’s, and Theoharis’, and in them Cavafy is the same. But Mendelsohn has gone the extra mile, so to speak. If it was a great effort for him, it is an immensely gratifying pleasure for Cavafians to follow in his footsteps. --Ray Olson
The CityYou said: “I'll go to some other land, I'll go to some other sea.There's bound to be another city that's better by far.My every effort has been ill-fated from the start;my heart-like something dead-lies buried away;How long will my mind endure this slow decay?Wherever I look, wherever I cast my eyes,I see all round me the black rubble of my lifewhere I've spent so many ruined and wasted years.”You'll find no new places, you won't find other shores.The city will follow you. The streets in which you pacewill be the same, you'll haunt the same familiar places,and inside those same houses you'll grow old.You'll always end up in this city. Don't bother to hopefor a ship, a route, to take you somewhere else; they don't exist.Just as you've destroyed your life, here in thissmall corner, so you've wasted it through all the world.[1894; 1910] IthacaAs you set out on the way to Ithacahope that the road is a long one,filled with adventures, filled with discoveries.The Laestrygonians and the Cyclopes,Poseidon in his anger: do not fear them,you won't find such things on your wayso long as your thoughts remain lofty, and a choiceemotion touches your spirit and your body.The Laestrygonians and the Cyclopes,savage Poseidon; you won't encounter themunless you stow them away inside your soul,unless your soul sets them up before you.Hope that the road is a long one.Many may the summer mornings bewhen-with what pleasure, with what joy-you first put in to harbors new to your eyes;may you stop at Phoenician trading postsand there acquire the finest wares:mother-of-pearl and coral, amber and ebony,and heady perfumes of every kind:as many heady perfumes as you can.Many Egyptian cities may you visitthat you may learn, and go on learning, from their sages.Always in your mind keep Ithaca.To arrive there is your destiny.But do not hurry your trip in any way.Better that it last for many years;that you drop anchor at the island an old man,rich with all you've gotten on the way,not expecting Ithaca to make you rich.Ithaca gave you the beautiful journey;without her you wouldn't have set upon the road.But now she has nothing left to give you.And if you find her poor, Ithaca didn't deceive you.As wise as you will have become, with so much experience,you will understand, by then, these Ithacas; what they mean.[1910; 1911] Hidden (1908)From all I did and from all I saidthey shouldn't try to find out who I was.An obstacle was there and it distortedmy actions and the way I lived my life.An obstacle was there and it stopped meon many occasions when I was going to speak.The most unnoticed of my actionsand the most covert of all my writings:from these alone will they come to know me.But perhaps it's not worth squanderingso much care and trouble on puzzling me out.Afterwards-in some more perfect society-someone else who's fashioned like mewill surely appear and be free to do as he pleases.
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