GOLDEN MILESTONE - 50 YEARS OF THE AA Edited by David Keir and Bryan Morgan The Automobile Association, London, 1955 tvrde korice, ilustrovano, 240 str. Korice knjige su mestimično promenile boju, ima mrlja, manjih oštećenja i malo potamneo hrbat. Unutrašnjost čista i veoma dobra, bogato ilustrovano, odličan i malo deblji papir.

This essential guide to fifty years of Doctor Who includes all eleven incarnations of the Doctor and fascinating facts on his adventures in space and time, as well as his helpful companions and fearsome foes. Find out all about the Doctor`s TARDIS, his regenerations, and much, much more!

A ROOM WITH A WORLD VIEW 50 YEARS OF INTER-CONTINTNTAL HOTELS AND ITS PEOPLE 1946-1996 ILUSTROVANO RETKO IZDAVAČ. ./. STRANA. 240 TVRDOG POVEZA SA ZAŠTITNIM OMOTOM DIMENZIJA. 28 CM STANJE. VEOMA OČUVANA, KNJIGA KAO NA SLICI, OCENA. 4+... DOSTAVU PLAĆA KUPAC, 354

Autor: Barbara Rowlands Format: 19x25 Povez: broširan Br. strana: 160 Bogato kolor ilustrovano! Asthma has been called `the 20th-century plague` and certainly many more people suffer from it today than did 50 years ago. Allergies, too, are on the rise, with environmental pollution and an ever-growing daily exposure to chemicals being blamed as the main culprits for their increase. This guide looks at various conditions that come under the allergy `umbrella`. With simple solutions to alleviate symptoms, and an overview of the enormous range of alternative and conventional treatments to try - including aromatherapy, acupuncture, herbal medicine and many others - it provides a wealth of information for asthma and allergy sufferers. Designed with clear, jargon-free text, this should be a useful one-stop sourcebook for all those who suffer.

Carnegie Hall - The First One Hundred Years - by Richard Schickel, Michael Walsh Karnegi hol - prvih sto godina Shows the many performers who have appeared at Carnegie Hall, discusses the political, social, economic, and artistic aspects of the Hall`s history, and describes the recent renovation tvrd povez 263 str, 350 ilustracija,preko 50 pun kolor polud

Gerald Green - The Last Angry Man Charles Scribner`s Sons, 1956 494 str. tvrdi povez stanje: dobro The seismic shifts in American life in the years following World War II have inspired several generations of novelists, but few have described the fallout of those changes as poignantly and with as much understanding as Gerald Green did in The Last Angry Man, published in 1956. At a time when the world had begun to focus on angry young men, Green created a magnificently angry old one as his hero. Based on his father, the title character is a doctor and a man of principle whose life`s work is about to be examined for the first time. Dr. Sam Abelman is tough and irascible, but he is dedicated healer and a good man guided by a belief in basic human decency -- the right doctor for the poor and disadvantaged who fill the slums and tenements of Brooklyn. His relationship with his patients is sometimes explosive, especially as the world is changing and becoming more dangerous. Into this mix comes a hard-driving television producer, who learns about Dr. Abelman and wants to feature the doctor on his reality-based network show, Americans USA. To get Abelman to participate is not easy, and it calls for schmoozing that verges on a complete con of the principled old man. As tragedy looms, Abelman, whose difficult life is a living testament to his beliefs, becomes a true hero in the eyes of producer, for all the reasons that made him an impossible subject for the show. The Last Angry Man is dedicated to `Samuel Greenberg, M.D. 1886-1952,` the father of the author who practiced medicine in the heart of Brooklyn`s cultural melting pot. Gerald Green knew his father`s world, but he had left it as an adult. As he developed as a novelist, he became a writer, director and producer at NBC-TV in its early days. His behind-the-scenes knowledge of the emerging television industry was thorough and complete, and his perspective allowed him -- almost 50 years ago -- to understand the acute irony of applying media celebrity to such a man as his fictional hero, Dr. Sam Abelman.

Stieg Larsson - The Girl with the Dragon Tattoo Quercus, 2008 538 str. meki povez stanje: dobro Millennium #1 | Reg Keeland (Translator) Harriet Vanger, a scion of one of Sweden’s wealthiest families disappeared over forty years ago. All these years later, her aged uncle continues to seek the truth. He hires Mikael Blomkvist, a crusading journalist recently trapped by a libel conviction, to investigate. He is aided by the pierced and tattooed punk prodigy Lisbeth Salander. Together they tap into a vein of unfathomable iniquity and astonishing corruption. An international publishing sensation, Stieg Larsson’s The Girl with the Dragon Tattoo combines murder mystery, family saga, love story, and financial intrigue into one satisfyingly complex and entertainingly atmospheric novel. ........................................................................... Stieg Larsson (born as Karl Stig-Erland Larsson) was a Swedish journalist and writer who passed away in 2004. As a journalist and editor of the magazine Expo , Larsson was active in documenting and exposing Swedish extreme right and racist organisations. When he died at the age of 50, Larsson left three unpublished thrillers and unfinished manuscripts for more. The first three books ( The Girl With the Dragon Tattoo , The Girl Who Played With Fire and The Girl Who Kicked the Hornets` Nest ) have since been printed as the Millenium series. These books are all bestsellers in Sweden and in several other countries, including the United States and Canada. Witnessed a rape when he was 15, and was helpless to stop it. This event haunted him for the rest of his life. The girl being raped was named Lisbeth, which he later used as the name of the heroine on his Millenium trilogy. Sexual violence against women is also a recurring theme in his work. Personal quote: To exact revenge for yourself or your friends is not only a right, it`s an absolute duty. Fiction, Thriller, Mystery, 1847245455

Kao na slikama Ser Ahmed Salman Rušdi (engl. Sir Ahmed Salman Rushdie; 19. jun 1947, Bombaj, Indija) je angloindijski romanopisac i esejista. Njegov prepoznatljivi književni stil kritičari najčešće nazivaju magičnim realizmom. Povezanosti, rascepi i migracije između Istoka i Zapada predstavljaju preovlađujuću temu njegovog stvaralaštva. Kako zbog svojih književnih dostignuća, tako i zbog brojnih kontroverzi i skandala koji ga prate, predstavlja jednog od najznačajnijih pisaca 20. veka.[2] Biografija[уреди | уреди извор] Rođen je u muslimanskoj porodici srednje klase u Bombaju (današnji Mumbaj). Kao jedini sin uglednog poslovnog čoveka i učiteljice školovao se najpre u Bombaju, a potom u Engleskoj na Kraljevskom koledžu u Kembridžu, gde je diplomirao na odseku za istoriju 1968. godine. Za vreme rata između Indije i Pakistana, njegova porodica se seli u Pakistan. Po završetku studija jedno vreme radi na televiziji u Pakistanu, a zatim odlazi u London, gde se bavi glumom i marketingom i uporedo objavljuje svoj prvi roman Grimus (1975) koji prolazi prilično nezapaženo kod čitalačke publike i kritičara. Roman Deca ponoći (1981), alegorijska priča o rođenju moderne Indijske nacije, donosi mu popularnost svetskih razmera i Bukerovu nagradu za najbolji roman u oblasti fantastike te godine. Rušdijev treći roman, Sramota (1983), bajkovita priča o istoriji jedne pakistanske porodice, predstavlja snažnu kritiku političkih previranja u tadašnjem Pakistanu. Godine 1988. objavljuje svoj četvrti roman, Satanski stihovi, koji izaziva snažan talas protesta i demonstracija u muslimanskom svetu zbog, po njihovom shvatanju, uvredljivog opisa proroka Muhameda, koji je predstavljen kao običan čovek od krvi i mesa. Iranski verski vođa Ruholah Homeini izriče 14. februara 1989. godine fatvu (smrtna presuda) za Salmana Ruždija i obećava nagradu od četiri miliona dolara za njegove ubice. Suočen sa pretnjama smrću i fatvom, Ruždi se skriva gotovo čitavu deceniju uz pomoć britanske vlade i policije, pojavljujući se samo sporadično u javnosti. 1998. godine tadašnji predsednik Irana Muhamed Hatami povukao fatvu i najavljuje uspostavljanje diplomatskih odnosa između Velike Britanije i Pakistana. Međutim i danas se mogu čuti zagovornici teze da se islamski verski zakoni ne mogu menjati i da je fatva za Salmana Rušdija i dalje na snazi. Uprkos svemu ovaj pisac ostaje sekularista i snažan kritičar islamskog fundamentalizma, neprestano ukazujući na pogubnost svake, a naročito verske isključivosti. Time u javnosti postaje svojevrstan simbol odbrane slobode govora i izražavanja. Salman Rušdi nastavlja da piše i objavljuje knjige. Godine 1990. izlazi iz štampe knjiga za decu Harun i more priča. Sledi zbirka eseja Imaginary Homelands: Esseys and Criticsm 1981−1991 (1991). Knjiga kratkih priča Istok, zapad (1994) je sasvim drukčija. Ona je pokušaj da se kroz devet priča razume Istok i opravda Zapad.[3] Za kratkim pričama sledi roman Mavrov poslednji uzdah (1995). Knjiga Tlo pod njenim nogama (1999) predstavlja svojevrsnu alternativnu istoriju moderne rok muzike, a piše i pesmu istog naziva zajedno sa pevačem grupe U-2 Bonom Voksom. U svoja dva poslednja romana Bes (2001) i Shalimar the Clown (2005) intenzivno se bavi problemom terorizma. Salman Rušdi je dobitnik mnogih nagrada i priznanja za svoje stvaralaštvo uključujući i „Austrian State Prize for European Literature“ (1993) i „Aristeion Literary Prize“ (1996). Radi kao počasni profesor na Institutu za tehnologiju u Masačusetsu. Član je „Royal Society of Literature“. Bio je predsednik „PEN American Center“ organizacije od 2004. do 2007. godine. Kraljica Elizabeta II na službenoj proslavi povodom svog 81 rođendana u junu 2007. godine odlikovala je Salmana Rušdija titulom viteza, najvišim odlikovanjem britanske krune. Književni stil[уреди | уреди извор] Salman Rušdi je najznačajniji postkolonijalni pisac prve generacije čije je stvaralaštvo, u literarnom smislu, oformilo čitave generacije indijskih pisaca koji pišu na engleskom jeziku. Inspiraciju za svoja dela pronalazi u indijskoj tradiciji, kulturi i mitologiji, ali njegov književni stil ima snažno uporište u evropskoj prozi. Sam Rušdi kaže da sebe ne smatra indijskim piscem i da su presudan uticaj na njega izvršili evropski pisci poput Migela Servantesa, Nikolaja Gogolja, Čarlsa Dikensa, Mihaila Bulgakova i Gintera Grasa. Njegova dela pripadaju magičnom realizmu, koji je karakterističan za mnoge anglosaksonske pisce. Salman Rušdi piše raskošnim, iracionalnim, humorističnim stilom prepunim metafora. Svojom izuzetnom pripovedačkom tehnikom vešto prepliće perspektive posmatrača, učesnika u događaju i samog pripovedača. Koristi lajtmotive i flešbekove gradeći tako jedan potpuno nelinearan, magičan svet u kome se prepliću realno i fantastično, tragično i komično. Njegovi likovi su snažno osmišljeni, upečatljivi, tragikomični antiheroji. U njegovim delima prepliću se dimenzije bajke i politički angažovane literature.[4] Zanimljivosti[уреди | уреди извор] Rušdi je podržao svog prijatelja, nemačkog pisca i dobitnika Nobelove nagrade Gintera Grasa kada je posle šezdeset godina ćutanja priznao da je kao mladić bio član zloglasne nacističke SS jedinice. „Gras je proveo čitav život kritikujući ideje koje je podržao kao mladić i to je samo po sebi hrabro. On je moj prijatelji to će i ostati“, izjavio je Rušdi.[5] U londonskom teatru Barbikan je izvedena pozorišna predstava „Deca ponoći“ po Rušdijevom romanu. Prvobitni scenario Rušdi je napisao za televizijsku kuću BBC, ali su Indija i Šri Lanka, strahujući od moguće odmazde zbog fatve, naknadno povukle dozvole za snimanje filma u svojim zemljama.[6] U filmu Dnevnik Bridžit Džouns Rušdi je u jednoj sceni „glumio“ sam sebe. Bibliografija[уреди | уреди извор] Grimus (1975) The Midnight‘s Children (1981) Shame (1983) The Jaguar Smile: a Nicaraquan Journey (1987) Сатански стихови (1988) Haroun and the Sea of Stories (1990) In Good Faith (1990) Imaginary Homelands: Esseys and Critisism 1981−1991 (1991) The Wizard of Oz (1992) East, West (1994) The Moor‘s Last Sight (1995) The Ground Beneath Her Feet (1999) Fury (2001) Step Across this Line: Collected Non−fiction 1992−2002 (2002) Shalimar the Clown (2005) Careless Masters (2007) Parallelville (2007) Enchantress of Florence (2008) Luka and the Fire of Life (2010) Two Years Eight Months and Twenty-Eight Nights (2015) The Golden House (2017)[7] Quichotte (2019)[8] Kolekcije[уреди | уреди извор] East, West (1994) Mirrorwork: 50 Years of Indian Writing 1947–1997 (1997, Editor, with Elizabeth West) The Best American Short Stories (2008, Guest Editor) Dečje knjige[уреди | уреди извор] Haroun and the Sea of Stories (1990)[9] Luka and the Fire of Life (2010) Eseji i nonfikcija[уреди | уреди извор] The Jaguar Smile: A Nicaraguan Journey (1987) In Good Faith, Granta Books (1990) Imaginary Homelands: Essays and Criticism, 1981–1991 (1992) The Wizard of Oz: BFI Film Classics, British Film Institute (1992) Mohandas Gandhi, Time (13 April 1998)[10] Imagine There Is No Heaven (Extract from Letters to the Six Billionth World Citizen, published in English by Uitgeverij Podium, Amsterdam)[11] Step Across This Line: Collected Nonfiction 1992–2002 (2002)[12] The East Is Blue (2004)[13] `A fine pickle`, The Guardian (28 February 2009)[14] In the South, Booktrack (7 February 2012) Joseph Anton: A Memoir (2012) Languages of Truth: Essays 2003–2020 (2021)[15] Dela objavljena na srpskom jeziku[уреди | уреди извор] Deca ponoći - `BIGZ` (1986, 1987, 1989), `Dereta` (2008) Satanski stihovi - `Prosveta` (1989, 1991), `Feniks Libris` (2009) Harun i more priča - `Prosveta` (1991) Istok, Zapad - `Geopoetika` (1995) Mavrov poslednji uzdah - `Narodna knjiga` (1997) Bes - `Narodna knjiga` (2001) Sramota - `Narodna knjiga` (2002) Tlo pod njenim nogama - `Plato` (2003) Grimus - `Narodna knjiga` (2004) Klovn Šalimar - `Narodna Knjiga` (2007) Čarobnica iz Firence - `Alnari` (2009) Luka i vatra života - `Alnari` (2011)

NAZIM HIKMET ŽIVOT JE DIVNA STVAR Prevod i pogovor - Marija Đukanović Izdavač - Rad, Beograd Godina - 1969 146 strana 18 cm Edicija - Biblioteka `Reč i misao` Povez - Broširan Stanje - Kao na slici, tekst bez podvlačenja `Initially published in Turkey in 1964, this novel by one of the country’s greatest poets portrays a chaotic time between wars in justifiably haphazard fashion. It’s 1925, and young communists Ahmet and Ismail have cached themselves in a cottage in the small town of Izmir. Ahmet’s paranoid cousin, a former member of the Young Turks, arrives, bringing with him memories of the Great Fire of Smyrna three years prior, when Izmir burned to the ground, effectively ending the Greco-Turkish War. During an excursion, Ahmet is bitten by a potentially rabid dog but refuses to seek treatment. While he imagines a 50% chance of getting rabies, “the chance the doctor will inform the police is one hundred percent.” So Ahmet stays put, counting days in anticipation of the sickness. Throughout this ordeal, the narrative skips around in time and voice. We hear of Ahmet’s student days in Moscow, his affection for a woman, and the rivalry with her other suitor, a Chinese student. We also learn of Ismail’s later ordeal as a political prisoner, the vivid details of which are the book’s strongest feature. Although reflective of the turbulent era, the back-and-forth structure weakens narrative cohesion, especially considering how little there is to distinguish the inner lives of the characters. However, many graceful gems outweigh the faults, making it worth the time. (May)` Ako Vas nešto zanima, slobodno pošaljite poruku. Yaşamak güzel şeydir kardeşim Life`s Good, Brother

Kao na slikama The Painted Bird Jerzy Kosinski Published by The Modern Library, 1970 Cover design by Leonard Baskin First Modern Library edition. Leonard Baskin (August 15, 1922 – June 3, 2000) was an American sculptor, draughtsman and graphic artist, as well as founder of the Gehenna Press (1942–2000). One of America`s first fine arts presses, it went on to become `one of the most important and comprehensive art presses of the world`, often featuring the work of celebrated poets, such as Sylvia Plath, Ted Hughes, Anthony Hecht, and James Baldwin side by side with Baskin`s bold, stark, energetic and often dramatic black-and-white prints.[1] Called a `Sculptor of Stark Memorials` by the New York Times, Baskin is also known for his wood, limestone, bronze, and large-scale woodblock prints, which ranged from naturalistic to fanciful, and were frequently grotesque, featuring bloated figures or humans merging with animals.[2] `His monumental bronze sculpture, The Funeral Cortege, graces the Franklin Delano Roosevelt Memorial in Washington, D.C.`[3] Major work[edit] Leonard Baskin, Isak, Marabouparken, Sundbyberg, Sweden A committed figurative artist, and the son and brother of rabbis, Baskin`s work often focused on mortality, Judaism, the Holocaust and other angst-ridden themes. Repeating a Baskin quote first published in Time magazine, the New York Times` Roberta Smith cites it to explain Baskin`s allegiance to figurative work and respect for tradition, which was at odds with the abstract expressionist movement that dominated modern art for many decades of his life, and which he firmly rejected: Our human frame, our gutted mansion, our enveloping sack of beef and ash is yet a glory. Glorious in defining our universal sodality and in defining our utter uniqueness. The human figure is the image of all men and of one man. It contains all and can express all.[2] As a young man, at the height of the flowering Boston Expressionist movement centered around the city`s Boris Mirski Gallery, Baskin had his first major solo exhibition there in 1956,[4] on the heels of being one of 11 artists featured in the opening exhibition at the Terrain Gallery. He would go on to participate in another 40 exhibitions.[5] Within a decade, he was featured in the 1966 documentary `Images of Leonard Baskin` by American filmmaker Warren Forma. In 1972, Baskin won a Caldecott honor for his illustrations of Hosie’s Alphabet, written by his wife, Lisa, and sons Tobias and Hosea, and published by Viking Press.[6] In 1994, he received one of his most important commissions for a 30-foot bas relief for the Franklin Delano Roosevelt Memorial and a bronze statue of a seated figure, also erected in 1994, for the Holocaust Memorial in Ann Arbor, Michigan. The Gehenna Press[edit] See also: The Gehenna Press Baskin founded the Gehenna Press in 1942, one of the first fine art presses in the US, as a student at Yale, inspired by the illustrated books of William Blake which so impressed him he decided to learn to print and make his own books. The name was taken from a line in Paradise Lost: `and black Gehenna call`d, the type of hell`.[7] The Gehenna Press printed over 100 books and ran until Baskin`s death in 2000.[7] In 1974, Baskin moved with his family to Britain, to Lurley Manor, near Tiverton, Devon, to be close to his friend Ted Hughes, for whom he had illustrated the poetry volume Crow published in 1970.[8] Baskin and Hughes collaborated on several further works, including A Primer of Birds, published by Gehenna Press in 1981.[7] Other poets who collaborated with the Gehenna Press included James Baldwin, Anthony Hecht, Ruth Fainlight, and Anne Halley.[9] Sylvia Plath dedicated `Sculptor` to Leonard Baskin in her work, The Colossus and Other Poems (1960).[9] `In 1992, a 50-year retrospective of Gehenna Press books toured the country, including a major exhibition at the Library of Congress.`[1] Academic affiliations[edit] Having vowed to become a sculptor at the age of 15,[2] Baskin studied sculpting as an apprentice to Maurice Glickman from 1937 to 1939 at the Educational Alliance in New York City.[5] Baskin studied at the New York University School of Architecture and Applied Arts from 1939 to 1941.[7] In 1941, he won a scholarship to Yale where he studied for two years, and founded the Gehenna Press.[7] Baskin served in the US Navy during the final years of World War II, and then in the Merchant Navy. He then studied at The New School for Social Research, where he obtained his B.A. in 1949.[2] `In 1950 he went to Paris where he studied at the Academie de la Grande Chaumiere, and the following year to Florence to work at the Accademia di Belle Arti.`[2] Between 1952 and 1953, he was an instructor in printmaking at the Worcester Art Museum[3] where he taught the artists Joyce Reopel and Mel Zabarsky. In 1953, he began a twenty-year career teaching printmaking and sculpture at Smith College in Northampton, Massachusetts.[10] He was also a member of the Society of American Graphic Artists. After spending several years in the 1970s in England, Baskin returned to the U.S. in 1984, and subsequently taught at Hampshire College in Amherst, Massachusetts.[2] Public collections[edit] Baskin`s work is held by major museums worldwide, including the American Numismatic Society, the Amon Carter Museum, the Art Institute of Chicago, the Art Museum of Southeast Texas, Boca Raton Museum of Art, the British Museum, Brooklyn Museum, Brooks Memorial Art Gallery, Detroit Institute of Arts, Hirshhorn Museum and Sculpture Garden, the Honolulu Museum of Art, Indianapolis Museum of Art, the Jewish Museum, the Library of Congress, Metropolitan Museum of Art, MOMA, Museum of Fine Arts, Boston, Muscarelle Museum of Art, the National Gallery of Art, the New Jersey State Museum, The Newark Museum of Art, Princeton University, Seattle Art Museum, Smithsonian American Art Museum, the Udinotti Museum of Figurative Art, Victoria and Albert Museum, the Vatican Museums, Wesleyan University, Whitney Museum of American Art, and the Worcester Art Museum. The archive of his work at the Gehenna Press was acquired by the Bodleian Library at Oxford, England, in 2009.[9] `A catalogue raisonné of Baskin`s graphic works includes 739 works,`[3] and the McMaster Museum of Art in Hamilton, Ontario owns over 200 of his works, most of which were donated by his brother Rabbi Bernard Baskin.[11][12] The Philadelphia Museum of Art has a collection of over 800 of his works. Awards and honors[edit] Baskin was the recipient of six honorary doctorates, and a member of various national and royal academies in Belgium, Italy, and U.S. The National Foundation of Jewish Culture in the U.S. presented him with its Jewish Cultural Achievement Award in Visual Arts in 2000. Other honors and commendations include the: Alonzo C. Mather Prize, Art Institute of Chicago American Academy of Arts and Sciences, Fellow Gold Medal of The American Academy of Arts and Letters Gold Medal of the National Academy of Design Guggenheim Fellowship in Creative Printings Louis Comfort Tiffany Foundation Fellowship for Sculpture National Academy of Design, elected an Associate in 1985; became full member in 1994 Ohara Museum Prize Prix de Rome, Honorable Mention for Sculpture Special Medal of Merit of the American Institute of Graphic Arts Widener Medal from the Pennsylvania Academy of the Fine Art Personal life[edit] Baskin was born in New Brunswick, NJ.[13] When Baskin was seven, the family relocated to the Jewish Orthodox section of Williamsburg in Brooklyn, New York.[2] Baskin was first cousin to American modern dancer and choreographer Sophie Maslow. His first wife Esther Baskin, a nature writer, the author of Creatures of Darkness and The Poppy and Other Deadly Plants, and mother to son Tobias, died in 1973 at age 47.[14] Baskin died at age 77 on June 3, 2000, in Northampton, where he resided.[13] He was survived by his second wife Lisa Unger Baskin and their two children Hosea and Lucretia.[2] Ježi Kosinski (polj. Jerzy Kosiński; Lođ, 14. jun 1933. — Menhetn, 3. maj 1991) je bio američki književnik i scenarista poljsko-jevrejskog porekla. Biografija[uredi | uredi izvor] Rođen je 14. juna 1933. godine u Lođu kao Jožef Levinkopf (polj. Józef Lewinkopf) u jevrejskoj porodici. Izvršio je samoubistvo 3. maja 1991. godine u Menhetnu.[1] Dela[uredi | uredi izvor] (Kao Džosef Novak; engl. Joseph Novak) „Budućnost je naša, druže” (1960) „Nema trećeg puta” (1962) (Kao Ježi Kosinski) „Obojena ptica” (1965) „Koraci” (1968) „Prisutnost” (1971) „Vražje drvo” (1973) „Kokpit” (1975) „Sastanak na slepo” (1977) „Dobrodošli g. Čens” (film, 1979) „Igra strasti” (1979) „Pinbol” (1982) „Pustinjak iz 69. ulice” (1988) „U prolazu” (1992)

The Collected Poems of W.B. Yeats Introduction by Cedric Watts Wordsworth, 1994. Mek povez, 402 strane. William Butler Yeats[a] (13 June 1865 – 28 January 1939) was an Irish poet, dramatist and writer, and one of the foremost figures of 20th-century literature. He was a driving force behind the Irish Literary Revival, and along with Lady Gregory founded the Abbey Theatre, serving as its chief during its early years. He was awarded the 1923 Nobel Prize in Literature, and later served two terms as a Senator of the Irish Free State. A Protestant of Anglo-Irish descent, Yeats was born in Sandymount, Ireland. His father practised law and was a successful portrait painter. He was educated in Dublin and London and spent his childhood holidays in County Sligo. He studied poetry from an early age, when he became fascinated by Irish legends and the occult. While in London he became part of the Irish literary revival. His early poetry was influenced by John Keats, William Wordsworth, William Blake and many more. These topics feature in the first phase of his work, lasting roughly from his student days at the Metropolitan School of Art in Dublin until the turn of the century. His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display debts to Edmund Spenser, Percy Bysshe Shelley and the poets of the Pre-Raphaelite Brotherhood. From 1900 his poetry grew more physical, realistic and politicised. He moved away from the transcendental beliefs of his youth, though he remained preoccupied with some elements including cyclical theories of life. He had become the chief playwright for the Irish Literary Theatre in 1897, and early on promoted younger poets such as Ezra Pound. His major works include The Land of Heart`s Desire (1894), Cathleen ni Houlihan (1902), Deirdre (1907), The Wild Swans at Coole (1919), The Tower (1928) and Last Poems and Plays (1940). Biography Early years William Butler Yeats was born in Sandymount in County Dublin, Ireland.[1] His father, John Butler Yeats (1839–1922), was a descendant of Jervis Yeats, a Williamite soldier, linen merchant, and well-known painter, who died in 1712.[2] Benjamin Yeats, Jervis`s grandson and William`s great-great-grandfather, had in 1773[3] married Mary Butler[4] of a landed family in County Kildare.[5] Following their marriage, they kept the name Butler. Mary was of the Butler of Neigham (pronounced Nyam[needs IPA]) Gowran family, descended from an illegitimate brother of The 8th Earl of Ormond.[6] At the time of his marriage, his father, John, was studying law but later pursued art studies at Heatherley School of Fine Art, in London.[7] William`s mother, Susan Mary Pollexfen, from Sligo, came from a wealthy merchant family, who owned a milling and shipping business. Soon after William`s birth, the family relocated to the Pollexfen home at Merville, Sligo, to stay with her extended family, and the young poet came to think of the area as his childhood and spiritual home. Its landscape became, over time, both personally and symbolically, his `country of the heart`.[8] So too did its location by the sea; John Yeats stated that `by marriage with a Pollexfen, we have given a tongue to the sea cliffs`.[9] The Butler Yeats family were highly artistic; his brother Jack became an esteemed painter, while his sisters Elizabeth and Susan Mary—known to family and friends as Lollie and Lily—became involved in the Arts and Crafts movement.[10] Their cousin Ruth Pollexfen, who was raised by the Yeats sisters after her parents` separation, designed the interior of the Australian prime minister`s official residence.[11] Yeats was raised a member of the Protestant Ascendancy, which was at the time undergoing a crisis of identity. While his family was supportive of the changes Ireland was experiencing, the nationalist revival of the late 19th century directly disadvantaged his heritage and informed his outlook for the remainder of his life. In 1997, his biographer R. F. Foster observed that Napoleon`s dictum that to understand the man you have to know what was happening in the world when he was twenty `is manifestly true of W.B.Y.`[12] Yeats`s childhood and young adulthood were shadowed by the power-shift away from the minority Protestant Ascendancy. The 1880s saw the rise of Charles Stewart Parnell and the home rule movement; the 1890s saw the momentum of nationalism, while the Irish Catholics became prominent around the turn of the century. These developments had a profound effect on his poetry, and his subsequent explorations of Irish identity had a significant influence on the creation of his country`s biography.[13] In 1867, the family moved to England to aid their father, John, to further his career as an artist. At first, the Yeats children were educated at home. Their mother entertained them with stories and Irish folktales. John provided an erratic education in geography and chemistry and took William on natural history explorations of the nearby Slough countryside.[14] On 26 January 1877, the young poet entered the Godolphin School,[15] which he attended for four years. He did not distinguish himself academically, and an early school report describes his performance as `only fair. Perhaps better in Latin than in any other subject. Very poor in spelling`.[16] Though he had difficulty with mathematics and languages (possibly because he was tone deaf[17] and had dyslexia[18]), he was fascinated by biology and zoology. In 1879 the family moved to Bedford Park taking a two-year lease at 8 Woodstock Road.[19] For financial reasons, the family returned to Dublin toward the end of 1880, living at first in the suburbs of Harold`s Cross[20] and later in Howth. In October 1881, Yeats resumed his education at Dublin`s Erasmus Smith High School.[21] His father`s studio was nearby and William spent a great deal of time there, where he met many of the city`s artists and writers. During this period he started writing poetry, and, in 1885, the Dublin University Review published Yeats`s first poems, as well as an essay entitled `The Poetry of Sir Samuel Ferguson`. Between 1884 and 1886, William attended the Metropolitan School of Art—now the National College of Art and Design—in Thomas Street.[1] In March 1888 the family moved to 3 Blenheim Road in Bedford Park [22] where they would remain until 1902.[19] The rent on the house in 1888 was £50 a year.[19] He began writing his first works when he was seventeen; these included a poem—heavily influenced by Percy Bysshe Shelley—that describes a magician who set up a throne in central Asia. Other pieces from this period include a draft of a play about a bishop, a monk, and a woman accused of paganism by local shepherds, as well as love-poems and narrative lyrics on German knights. The early works were both conventional and, according to the critic Charles Johnston, `utterly unIrish`, seeming to come out of a `vast murmurous gloom of dreams`.[23] Although Yeats`s early works drew heavily on Shelley, Edmund Spenser, and on the diction and colouring of pre-Raphaelite verse, he soon turned to Irish mythology and folklore and the writings of William Blake. In later life, Yeats paid tribute to Blake by describing him as one of the `great artificers of God who uttered great truths to a little clan`.[24] In 1891, Yeats published John Sherman and `Dhoya`, one a novella, the other a story. The influence of Oscar Wilde is evident in Yeats`s theory of aesthetics, especially in his stage plays, and runs like a motif through his early works.[25] The theory of masks, developed by Wilde in his polemic The Decay of Lying can clearly be seen in Yeats`s play The Player Queen,[26] while the more sensual characterisation of Salomé, in Wilde`s play of the same name, provides the template for the changes Yeats made in his later plays, especially in On Baile`s Strand (1904), Deirdre (1907), and his dance play The King of the Great Clock Tower (1934).[27] Young poet 1900 portrait by Yeats`s father, John Butler Yeats The family returned to London in 1887. In March 1890 Yeats joined the Hermetic Order of the Golden Dawn, and with Ernest Rhys co-founded the Rhymers` Club,[28] a group of London-based poets who met regularly in a Fleet Street tavern to recite their verse. Yeats later sought to mythologize the collective, calling it the `Tragic Generation` in his autobiography,[29] and published two anthologies of the Rhymers` work, the first one in 1892 and the second one in 1894. He collaborated with Edwin Ellis on the first complete edition of William Blake`s works, in the process rediscovering a forgotten poem, `Vala, or, the Four Zoas`.[30][31] Yeats had a lifelong interest in mysticism, spiritualism, occultism and astrology. He read extensively on the subjects throughout his life, became a member of the paranormal research organisation `The Ghost Club` (in 1911) and was influenced by the writings of Emanuel Swedenborg.[32] As early as 1892, he wrote: `If I had not made magic my constant study I could not have written a single word of my Blake book, nor would The Countess Kathleen ever have come to exist. The mystical life is the centre of all that I do and all that I think and all that I write.`[33] His mystical interests—also inspired by a study of Hinduism, under the Theosophist Mohini Chatterjee, and the occult—formed much of the basis of his late poetry. Some critics disparaged this aspect of Yeats`s work.[34] His first significant poem was `The Island of Statues`, a fantasy work that took Edmund Spenser and Shelley for its poetic models. The piece was serialized in the Dublin University Review. Yeats wished to include it in his first collection, but it was deemed too long, and in fact, was never republished in his lifetime. Quinx Books published the poem in complete form for the first time in 2014. His first solo publication was the pamphlet Mosada: A Dramatic Poem (1886), which comprised a print run of 100 copies paid for by his father. This was followed by the collection The Wanderings of Oisin and Other Poems (1889), which arranged a series of verse that dated as far back as the mid-1880s. The long title poem contains, in the words of his biographer R. F. Foster, `obscure Gaelic names, striking repetitions [and] an unremitting rhythm subtly varied as the poem proceeded through its three sections`:[35] We rode in sorrow, with strong hounds three, Bran, Sceolan, and Lomair, On a morning misty and mild and fair. The mist-drops hung on the fragrant trees, And in the blossoms hung the bees. We rode in sadness above Lough Lean, For our best were dead on Gavra`s green. `The Wanderings of Oisin` is based on the lyrics of the Fenian Cycle of Irish mythology and displays the influence of both Sir Samuel Ferguson and the Pre-Raphaelite poets.[36] The poem took two years to complete and was one of the few works from this period that he did not disown in his maturity. Oisin introduces what was to become one of his most important themes: the appeal of the life of contemplation over the appeal of the life of action. Following the work, Yeats never again attempted another long poem. His other early poems, which are meditations on the themes of love or mystical and esoteric subjects, include Poems (1895), The Secret Rose (1897), and The Wind Among the Reeds (1899). The covers of these volumes were illustrated by Yeats`s friend Althea Gyles.[37] During 1885, Yeats was involved in the formation of the Dublin Hermetic Order. That year the Dublin Theosophical lodge was opened in conjunction with Brahmin Mohini Chatterjee, who travelled from the Theosophical Society in London to lecture. Yeats attended his first séance the following year. He later became heavily involved with the Theosophy and with hermeticism, particularly with the eclectic Rosicrucianism of the Hermetic Order of the Golden Dawn. During séances held from 1912, a spirit calling itself `Leo Africanus` apparently claimed it was Yeats`s Daemon or anti-self, inspiring some of the speculations in Per Amica Silentia Lunae.[38] He was admitted into the Golden Dawn in March 1890 and took the magical motto Daemon est Deus inversus—translated as `Devil is God inverted`.[b] He was an active recruiter for the sect`s Isis-Urania Temple, and brought in his uncle George Pollexfen, Maud Gonne, and Florence Farr. Although he reserved a distaste for abstract and dogmatic religions founded around personality cults, he was attracted to the type of people he met at the Golden Dawn.[39] He was involved in the Order`s power struggles, both with Farr and Macgregor Mathers, and was involved when Mathers sent Aleister Crowley to repossess Golden Dawn paraphernalia during the `Battle of Blythe Road`. After the Golden Dawn ceased and splintered into various offshoots, Yeats remained with the Stella Matutina until 1921.[40] Maud Gonne Main article: Maud Gonne Maud Gonne (c. 1900) In 1889, Yeats met Maud Gonne, a 23-year-old English heiress and ardent Irish nationalist.[c] She was eighteen months younger than Yeats and later claimed she met the poet as a `paint-stained art student.`[41] Gonne admired `The Island of Statues` and sought out his acquaintance. Yeats began an obsessive infatuation, and she had a significant and lasting effect on his poetry and his life thereafter.[42] In later years he admitted, `it seems to me that she [Gonne] brought into my life those days—for as yet I saw only what lay upon the surface—the middle of the tint, a sound as of a Burmese gong, an over-powering tumult that had yet many pleasant secondary notes.`[43] Yeats`s love was unrequited, in part due to his reluctance to participate in her nationalist activism.[44] In 1891 he visited Gonne in Ireland and proposed marriage, but was rejected. He later admitted that from that point `the troubling of my life began`.[45] Yeats proposed to Gonne three more times: in 1899, 1900 and 1901. She refused each proposal, and in 1903, to his dismay, married the Irish nationalist Major John MacBride.[46] His only other love affair during this period was with Olivia Shakespear, whom he first met in 1894, and parted from in 1897. W. B. Yeats (no date) Yeats derided MacBride in letters and in poetry. He was horrified by Gonne`s marriage, at losing his muse to another man; in addition, her conversion to Catholicism before marriage offended him; Yeats was Protestant/agnostic. He worried his muse would come under the influence of the priests and do their bidding.[47] Gonne`s marriage to MacBride was a disaster. This pleased Yeats, as Gonne began to visit him in London. After the birth of her son, Seán MacBride, in 1904, Gonne and MacBride agreed to end the marriage, although they were unable to agree on the child`s welfare. Despite the use of intermediaries, a divorce case ensued in Paris in 1905. Gonne made a series of allegations against her husband with Yeats as her main `second`, though he did not attend court or travel to France. A divorce was not granted, for the only accusation that held up in court was that MacBride had been drunk once during the marriage. A separation was granted, with Gonne having custody of the baby and MacBride having visiting rights.[48] In 1895, Yeats moved into number 5 Woburn Walk and resided there until 1919.[49] Charcoal portrait of Yeats by John Singer Sargent (1908) Yeats`s friendship with Gonne ended, yet, in Paris in 1908, they finally consummated their relationship. `The long years of fidelity rewarded at last` was how another of his lovers described the event. Yeats was less sentimental and later remarked that `the tragedy of sexual intercourse is the perpetual virginity of the soul.`[45] The relationship did not develop into a new phase after their night together, and soon afterwards Gonne wrote to the poet indicating that despite the physical consummation, they could not continue as they had been: `I have prayed so hard to have all earthly desire taken from my love for you and dearest, loving you as I do, I have prayed and I am praying still that the bodily desire for me may be taken from you too.`[50] By January 1909, Gonne was sending Yeats letters praising the advantage given to artists who abstain from sex. Nearly twenty years later, Yeats recalled the night with Gonne in his poem `A Man Young and Old`:[51] My arms are like the twisted thorn And yet there beauty lay; The first of all the tribe lay there And did such pleasure take; She who had brought great Hector down And put all Troy to wreck. In 1896, Yeats was introduced to Lady Gregory by their mutual friend Edward Martyn. Gregory encouraged Yeats`s nationalism and convinced him to continue focusing on writing drama. Although he was influenced by French Symbolism, Yeats concentrated on an identifiably Irish content and this inclination was reinforced by his involvement with a new generation of younger and emerging Irish authors. Together with Lady Gregory, Martyn, and other writers including J. M. Synge, Seán O`Casey, and Padraic Colum, Yeats was one of those responsible for the establishment of the `Irish Literary Revival` movement.[52] Apart from these creative writers, much of the impetus for the Revival came from the work of scholarly translators who were aiding in the discovery of both the ancient sagas and Ossianic poetry and the more recent folk song tradition in Irish. One of the most significant of these was Douglas Hyde, later the first President of Ireland, whose Love Songs of Connacht was widely admired. Abbey Theatre Main article: Abbey Theatre Yeats photographed in 1908 by Alvin Langdon Coburn In 1899, Yeats, Lady Gregory, Edward Martyn and George Moore founded the Irish Literary Theatre to promote Irish plays.[53] The ideals of the Abbey were derived from the avant-garde French theatre, which sought to express the `ascendancy of the playwright rather than the actor-manager à l`anglais.`[54][55] The group`s manifesto, which Yeats wrote, declared, `We hope to find in Ireland an uncorrupted & imaginative audience trained to listen by its passion for oratory ... & that freedom to experiment which is not found in the theatres of England, & without which no new movement in art or literature can succeed.`[56] Yeats`s interest in the classics and his defiance of English censorship were also fueled by a tour of America he took between 1903 and 1904. Stopping to deliver a lecture at the University of Notre Dame, he learned about the student production of the Oedipus Rex.[57] This play was banned in England, an act he viewed as hypocritical as denounced as part of `British Puritanism`.[58] He contrasted this with the artistic freedom of the Catholicism found at Notre Dame, which had allowed such a play with themes such as incest and parricide.[58] He desired to stage a production of the Oedipus Rex in Dublin.[57][58] The collective survived for about two years but was unsuccessful. Working with the Irish brothers with theatrical experience, William and Frank Fay, Yeats`s unpaid but independently wealthy secretary Annie Horniman, and the leading West End actress Florence Farr, the group established the Irish National Theatre Society. Along with Synge, they acquired property in Dublin and on 27 December 1904 opened the Abbey Theatre. Yeats`s play Cathleen ni Houlihan and Lady Gregory`s Spreading the News were featured on the opening night. Yeats remained involved with the Abbey until his death, both as a member of the board and a prolific playwright. In 1902, he helped set up the Dun Emer Press to publish work by writers associated with the Revival. This became the Cuala Press in 1904, and inspired by the Arts and Crafts Movement, sought to `find work for Irish hands in the making of beautiful things.`[59] From then until its closure in 1946, the press—which was run by the poet`s sisters—produced over 70 titles; 48 of them books by Yeats himself. Yeats met the American poet Ezra Pound in 1909. Pound had travelled to London at least partly to meet the older man, whom he considered `the only poet worthy of serious study.`[60] From 1913 until 1916, the two men wintered in the Stone Cottage at Ashdown Forest, with Pound nominally acting as Yeats`s secretary. The relationship got off to a rocky start when Pound arranged for the publication in the magazine Poetry of some of Yeats`s verse with Pound`s own unauthorised alterations. These changes reflected Pound`s distaste for Victorian prosody. A more indirect influence was the scholarship on Japanese Noh plays that Pound had obtained from Ernest Fenollosa`s widow, which provided Yeats with a model for the aristocratic drama he intended to write. The first of his plays modelled on Noh was At the Hawk`s Well, the first draft of which he dictated to Pound in January 1916.[61] The emergence of a nationalist revolutionary movement from the ranks of the mostly Roman Catholic lower-middle and working class made Yeats reassess some of his attitudes. In the refrain of `Easter, 1916` (`All changed, changed utterly / A terrible beauty is born`), Yeats faces his own failure to recognise the merits of the leaders of the Easter Rising, due to his attitude towards their ordinary backgrounds and lives.[62] Yeats was close to Lady Gregory and her home place of Coole Park, County Galway. He would often visit and stay there as it was a central meeting place for people who supported the resurgence of Irish literature and cultural traditions. His poem, `The Wild Swans at Coole` was written there, between 1916 and 1917. He wrote prefaces for two books of Irish mythological tales, compiled by Lady Gregory: Cuchulain of Muirthemne (1902), and Gods and Fighting Men (1904). In the preface of the latter, he wrote: `One must not expect in these stories the epic lineaments, the many incidents, woven into one great event of, let us say the War for the Brown Bull of Cuailgne or that of the last gathering at Muirthemne.`[63] Politics Yeats in Dublin on 12 December 1922, at the start of his term as member of the Seanad Eireann Yeats was an Irish nationalist, who sought a kind of traditional lifestyle articulated through poems such as `The Fisherman`. But as his life progressed, he sheltered much of his revolutionary spirit and distanced himself from the intense political landscape until 1922, when he was appointed Senator for the Irish Free State.[64][65] In the earlier part of his life, Yeats was a member of the Irish Republican Brotherhood.[66] In the 1930s, Yeats was fascinated with the authoritarian, anti-democratic, nationalist movements of Europe, and he composed several marching songs for the Blueshirts, although they were never used. He was a fierce opponent of individualism and political liberalism and saw the fascist movements as a triumph of public order and the needs of the national collective over petty individualism. He was an elitist who abhorred the idea of mob-rule, and saw democracy as a threat to good governance and public order.[67] After the Blueshirt movement began to falter in Ireland, he distanced himself somewhat from his previous views, but maintained a preference for authoritarian and nationalist leadership.[68] Marriage to Georgie Hyde-Lees Main article: Georgie Hyde-Lees Walter de la Mare, Bertha Georgie Yeats (née Hyde-Lees), William Butler Yeats, unknown woman, summer 1930; photo by Lady Ottoline Morrell By 1916, Yeats was 51 years old and determined to marry and produce an heir. His rival, John MacBride, had been executed for his role in the 1916 Easter Rising, so Yeats hoped that his widow, Maud Gonne, might remarry.[69] His final proposal to Gonne took place in mid-1916.[70] Gonne`s history of revolutionary political activism, as well as a series of personal catastrophes in the previous few years of her life—including chloroform addiction and her troubled marriage to MacBride—made her a potentially unsuitable wife;[45] biographer R. F. Foster has observed that Yeats`s last offer was motivated more by a sense of duty than by a genuine desire to marry her. Yeats proposed in an indifferent manner, with conditions attached, and he both expected and hoped she would turn him down. According to Foster, `when he duly asked Maud to marry him and was duly refused, his thoughts shifted with surprising speed to her daughter.` Iseult Gonne was Maud`s second child with Lucien Millevoye, and at the time was twenty-one years old. She had lived a sad life to this point; conceived as an attempt to reincarnate her short-lived brother, for the first few years of her life she was presented as her mother`s adopted niece. When Maud told her that she was going to marry, Iseult cried and told her mother that she hated MacBride.[71] When Gonne took action to divorce MacBride in 1905, the court heard allegations that he had sexually assaulted Iseult, then eleven. At fifteen, she proposed to Yeats. In 1917, he proposed to Iseult but was rejected. That September, Yeats proposed to 25-year-old Georgie Hyde-Lees (1892–1968), known as George, whom he had met through Olivia Shakespear. Despite warnings from her friends—`George ... you can`t. He must be dead`—Hyde-Lees accepted, and the two were married on 20 October 1917.[45] Their marriage was a success, in spite of the age difference, and in spite of Yeats`s feelings of remorse and regret during their honeymoon. The couple went on to have two children, Anne and Michael. Although in later years he had romantic relationships with other women, Georgie herself wrote to her husband `When you are dead, people will talk about your love affairs, but I shall say nothing, for I will remember how proud you were.`[72] During the first years of marriage, they experimented with automatic writing; she contacted a variety of spirits and guides they called `Instructors` while in a trance. The spirits communicated a complex and esoteric system of philosophy and history, which the couple developed into an exposition using geometrical shapes: phases, cones, and gyres.[73] Yeats devoted much time to preparing this material for publication as A Vision (1925). In 1924, he wrote to his publisher T. Werner Laurie, admitting: `I dare say I delude myself in thinking this book my book of books`.[74] Nobel Prize Main article: 1923 Nobel Prize in Literature Yeats photographed in 1923 In December 1923, Yeats was awarded the Nobel Prize in Literature `for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation`.[75] Politically aware, he knew the symbolic value of an Irish winner so soon after Ireland had gained independence, and highlighted the fact at each available opportunity. His reply to many of the letters of congratulations sent to him contained the words: `I consider that this honour has come to me less as an individual than as a representative of Irish literature, it is part of Europe`s welcome to the Free State.`[76] Yeats used the occasion of his acceptance lecture at the Royal Academy of Sweden to present himself as a standard-bearer of Irish nationalism and Irish cultural independence. As he remarked, `The theatres of Dublin were empty buildings hired by the English travelling companies, and we wanted Irish plays and Irish players. When we thought of these plays we thought of everything that was romantic and poetical because the nationalism we had called up—the nationalism every generation had called up in moments of discouragement—was romantic and poetical.`[77] The prize led to a significant increase in the sales of his books, as his publishers Macmillan sought to capitalise on the publicity. For the first time he had money, and he was able to repay not only his own debts but those of his father.[78] Old age and death By early 1925, Yeats`s health had stabilised, and he had completed most of the writing for A Vision (dated 1925, it actually appeared in January 1926, when he almost immediately started rewriting it for a second version). He had been appointed to the first Irish Senate in 1922, and was re-appointed for a second term in 1925.[79][80] Early in his tenure, a debate on divorce arose, and Yeats viewed the issue as primarily a confrontation between the emerging Roman Catholic ethos and the Protestant minority.[81] When the Roman Catholic Church weighed in with a blanket refusal to consider their anti position, The Irish Times countered that a measure to outlaw divorce would alienate Protestants and `crystallise` the partition of Ireland. In response, Yeats delivered a series of speeches that attacked the `quixotically impressive` ambitions of the government and clergy, likening their campaign tactics to those of `medieval Spain.`[82] `Marriage is not to us a Sacrament, but, upon the other hand, the love of a man and woman, and the inseparable physical desire, are sacred. This conviction has come to us through ancient philosophy and modern literature, and it seems to us a most sacrilegious thing to persuade two people who hate each other... to live together, and it is to us no remedy to permit them to part if neither can re-marry.`[82] The resulting debate has been described as one of Yeats`s `supreme public moments`, and began his ideological move away from pluralism towards religious confrontation.[83] His language became more forceful; the Jesuit Father Peter Finlay was described by Yeats as a man of `monstrous discourtesy`, and he lamented that `It is one of the glories of the Church in which I was born that we have put our Bishops in their place in discussions requiring legislation`.[82] During his time in the Senate, Yeats further warned his colleagues: `If you show that this country, southern Ireland, is going to be governed by Roman Catholic ideas and by Catholic ideas alone, you will never get the North... You will put a wedge in the midst of this nation`.[84] He memorably said of his fellow Irish Protestants, `we are no petty people`. In 1924 he chaired a coinage committee charged with selecting a set of designs for the first currency of the Irish Free State. Aware of the symbolic power latent in the imagery of a young state`s currency, he sought a form that was `elegant, racy of the soil, and utterly unpolitical`.[85] When the house finally decided on the artwork of Percy Metcalfe, Yeats was pleased, though he regretted that compromise had led to `lost muscular tension` in the finally depicted images.[85] He retired from the Senate in 1928 because of ill health.[86] Towards the end of his life—and especially after the Wall Street Crash of 1929 and Great Depression, which led some to question whether democracy could cope with deep economic difficulty—Yeats seems to have returned to his aristocratic sympathies. During the aftermath of the First World War, he became sceptical about the efficacy of democratic government, and anticipated political reconstruction in Europe through totalitarian rule.[87] His later association with Pound drew him towards Benito Mussolini, for whom he expressed admiration on a number of occasions.[77] He wrote three `marching songs`—never used—for the Irish General Eoin O`Duffy`s Blueshirts. William Butler Yeats, 1933; photo by Pirie MacDonald (Library of Congress) At the age of 69 he was `rejuvenated` by the Steinach operation which was performed on 6 April 1934 by Norman Haire.[88] For the last five years of his life Yeats found a new vigour evident from both his poetry and his intimate relations with younger women.[89] During this time, Yeats was involved in a number of romantic affairs with, among others, the poet and actress Margot Ruddock, and the novelist, journalist and sexual radical Ethel Mannin.[90] As in his earlier life, Yeats found erotic adventure conducive to his creative energy, and, despite age and ill-health, he remained a prolific writer. In a letter of 1935, Yeats noted: `I find my present weakness made worse by the strange second puberty the operation has given me, the ferment that has come upon my imagination. If I write poetry it will be unlike anything I have done`.[91] In 1936, he undertook editorship of the Oxford Book of Modern Verse, 1892–1935.[46] From 1935 to 1936 he travelled to the Western Mediterranean island of Majorca with Indian-born Shri Purohit Swami and from there the two of them performed the majority of the work in translating the principal Upanishads from Sanskrit into common English; the resulting work, The Ten Principal Upanishads, was published in 1938.[92] He died at the Hôtel Idéal Séjour, in Menton, France, on 28 January 1939, aged 73.[1] He was buried after a discreet and private funeral at Roquebrune-Cap-Martin. Attempts had been made at Roquebrune to dissuade the family from proceeding with the removal of the remains to Ireland due to the uncertainty of their identity. His body had earlier been exhumed and transferred to the ossuary.[93] Yeats and George had often discussed his death, and his express wish was that he be buried quickly in France with a minimum of fuss. According to George, `His actual words were `If I die, bury me up there [at Roquebrune] and then in a year`s time when the newspapers have forgotten me, dig me up and plant me in Sligo`.`[94] In September 1948, Yeats`s body was moved to the churchyard of St Columba`s Church, Drumcliff, County Sligo, on the Irish Naval Service corvette LÉ Macha.[95] The person in charge of this operation for the Irish Government was Seán MacBride, son of Maud Gonne MacBride, and then Minister of External Affairs.[96] Yeats`s final resting place in the shadow of the Dartry Mountains, County Sligo His epitaph is taken from the last lines of `Under Ben Bulben`,[97] one of his final poems: Cast a cold Eye On Life, on Death. Horseman, pass by! French ambassador Stanislas Ostroróg was involved in returning the remains of the poet from France to Ireland in 1948; in a letter to the European director of the Foreign Ministry in Paris, `Ostrorog tells how Yeats`s son Michael sought official help in locating the poet`s remains. Neither Michael Yeats nor Sean MacBride, the Irish foreign minister who organised the ceremony, wanted to know the details of how the remains were collected, Ostrorog notes. He repeatedly urges caution and discretion and says the Irish ambassador in Paris should not be informed.` Yeats`s body was exhumed in 1946 and the remains were moved to an ossuary and mixed with other remains. The French Foreign Ministry authorized Ostrorog to secretly cover the cost of repatriation from his slush fund. Authorities were worried about the fact that the much-loved poet`s remains were thrown into a communal grave, causing embarrassment for both Ireland and France. Per a letter from Ostroróg to his superiors, `Mr Rebouillat, (a) forensic doctor in Roquebrune would be able to reconstitute a skeleton presenting all the characteristics of the deceased.`[98] Style Yeats is considered one of the key 20th-century English-language poets. He was a Symbolist poet, using allusive imagery and symbolic structures throughout his career. He chose words and assembled them so that, in addition to a particular meaning, they suggest abstract thoughts that may seem more significant and resonant. His use of symbols[99] is usually something physical that is both itself and a suggestion of other, perhaps immaterial, timeless qualities.[100] Unlike the modernists who experimented with free verse, Yeats was a master of the traditional forms.[101] The impact of modernism on his work can be seen in the increasing abandonment of the more conventionally poetic diction of his early work in favour of the more austere language and more direct approach to his themes that increasingly characterises the poetry and plays of his middle period, comprising the volumes In the Seven Woods, Responsibilities and The Green Helmet.[102] His later poetry and plays are written in a more personal vein, and the works written in the last twenty years of his life include mention of his son and daughter,[103] as well as meditations on the experience of growing old.[104] In his poem `The Circus Animals` Desertion`, he describes the inspiration for these late works: Now that my ladder`s gone I must lie down where all the ladders start In the foul rag and bone shop of the heart.[105] During 1929, he stayed at Thoor Ballylee near Gort in County Galway (where Yeats had his summer home since 1919) for the last time. Much of the remainder of his life was lived outside Ireland, although he did lease Riversdale house in the Dublin suburb of Rathfarnham in 1932. He wrote prolifically through his final years, and published poetry, plays, and prose. In 1938, he attended the Abbey for the final time to see the premiere of his play Purgatory. His Autobiographies of William Butler Yeats was published that same year.[106] The preface for the English translation of Rabindranath Tagore`s Gitanjali (Song Offering) (for which Tagore won the Nobel prize in Literature) was written by Yeats in 1913.[107] While Yeats`s early poetry drew heavily on Irish myth and folklore, his later work was engaged with more contemporary issues, and his style underwent a dramatic transformation. His work can be divided into three general periods. The early poems are lushly pre-Raphaelite in tone, self-consciously ornate, and, at times, according to unsympathetic critics, stilted. Yeats began by writing epic poems such as The Isle of Statues and The Wanderings of Oisin.[108] His other early poems are lyrics on the themes of love or mystical and esoteric subjects. Yeats`s middle period saw him abandon the pre-Raphaelite character of his early work[109] and attempt to turn himself into a Landor-style social ironist.[110] Critics characterize his middle work as supple and muscular in its rhythms and sometimes harshly modernist, while others find the poems barren and weak in imaginative power. Yeats`s later work found new imaginative inspiration in the mystical system he began to work out for himself under the influence of spiritualism. In many ways, this poetry is a return to the vision of his earlier work. The opposition between the worldly-minded man of the sword and the spiritually minded man of God, the theme of The Wanderings of Oisin, is reproduced in A Dialogue Between Self and Soul.[111] Some critics hold that Yeats spanned the transition from the 19th century into 20th-century modernism in poetry much as Pablo Picasso did in painting; others question whether late Yeats has much in common with modernists of the Ezra Pound and T. S. Eliot variety.[112] Modernists read the well-known poem `The Second Coming` as a dirge for the decline of European civilisation, but it also expresses Yeats`s apocalyptic mystical theories and is shaped by the 1890s. His most important collections of poetry started with The Green Helmet (1910) and Responsibilities (1914). In imagery, Yeats`s poetry became sparer and more powerful as he grew older. The Tower (1928), The Winding Stair (1933), and New Poems (1938) contained some of the most potent images in 20th-century poetry.[113] Yeats`s mystical inclinations, informed by Hinduism, theosophical beliefs and the occult, provided much of the basis of his late poetry,[114] which some critics have judged as lacking in intellectual credibility. The metaphysics of Yeats`s late works must be read in relation to his system of esoteric fundamentals in A Vision (1925).[115] Legacy Yeats is commemorated in Sligo town by a statue, created in 1989 by sculptor Rowan Gillespie. On the 50th anniversary of the poet`s death, it was erected outside the Ulster Bank, at the corner of Stephen Street and Markievicz Road. Yeats had remarked on receiving his Nobel Prize that the Royal Palace in Stockholm `resembled the Ulster Bank in Sligo`. Across the river is the Yeats Memorial Building, home to the Sligo Yeats Society.[116] Standing Figure: Knife Edge by Henry Moore is displayed in the W. B. Yeats Memorial Garden at St Stephen`s Green in Dublin.[117][118] Composer Marcus Paus` choral work The Stolen Child (2009) is based on poetry by Yeats. Critic Stephen Eddins described it as `sumptuously lyrical and magically wild, and [...] beautifully [capturing] the alluring mystery and danger and melancholy` of Yeats.[119] Argentine composer Julia Stilman-Lasansky based her Cantata No. 4 on text by Yeats.[120] There is a blue plaque dedicated to Yeats at Balscadden House on the Balscadden Road in Howth; his cottage home from 1880-1883.[121] In 1957 the London County Council erected a plaque at his former residence on 23 Fitzroy Road, Primrose Hill, London.[122] Вилијам Батлер Јејтс (енгл. William Butler Yeats; Даблин, 13. јун 1865 — Ментона, 28. јануар 1939), био је ирски песник и драмски писац, најзначајнија личност ирског националног препорода, један од оснивача и управник народног позоришта. Учествовао у јавном политичком животу и био сенатор од 1922. до 1928. Добио је Нобелову награду за књижевност 1923. године. Вилијам Батлер Јејтс Животопис Вилијам Батлер Јејтс рођен је 13. јуна 1865. у Дублину у Ирској.[1] Његов отац Џон Батлер Јејтс (1839–1922) био је сликар, и потомак Џервиса Јејтса, вилијаског војника, трговца платном и познатог сликара, који је умро 1712.[2] Бенџамин Јејтс, Џервисов унук и Вилијамов прадеда, оженио се 1773. године[3] са Мери Батлер[4] из властелинске породице у округу Килдер.[5] Након венчања задржали су име Батлер. Марија је била из породице Бутлера из Најама Говрана, која потиче од ванбрачног брата 8. грофа Ормонда.[6] Породица Јејтс се 1867. привремено сели у Лондон, тачније у Бедфорд Парк. Јејтс лета проводи у Слигоу, родном месту његове мајке, грофовији на западној обали Ирске, која ће са својим крајоликом, фолклором и старим легендама оставити дубок печат на његовим делима. Дом у којем је В. Јејтс одрастао био је обељежен уметношћу, те је његов брат Џек постао цењени сликар, а сестре Елизабет и Сузан Меру су се бавиле примењеном уметношћу. Године 1877. Вилијам се уписује у школу Годолфин коју похађа 4 године. Јејтс се својим школским успесима није претерано истицао. Јеацови се поткрај 1880. године, из финанцијски разлога, враћају у Даблин, изпочетка живећи у центру града, а касније се селе у предграђе Ховт. У октобру 1881. Јејтс наставља своје школовање у Ерасмус Смит средњој школи у Дублину, коју похађа до новембра 1883. године. Атеље његовог оца био је близу те школе; В. Јејтс је ту много боравио и упознао многе Даблинске уметнике. Године Јејтсовог сазревања у претежно католичкој Ирској у којој се будио ирски национализам обележене су његовом припадношћу протестантској заједници - његова је породица дапаче спадала у ред привилегиране заједнице протестанатске господе која је управљала Ирском од 18. века - тзв. Протестантска надмоћ. Од 1884. до 1886. год. Јејтс похађа Метрополитанску школу уметности (данашњи Националнио колеџ уметности и дизајна) у Даблину, где упознаје Џеорџа Расела. Од своје 17 године Јејтс пише: искушава се у писању поема и драма које се још не одликују особитом литерарном вредношћу. Годне 1885. му је у Дублински универзитетски преглед објављено прво значајније дело The Island of Statues, приповетка фантастикне тематике (о вилама и чаробњацима). Године 1886. његов отац финансира штампање 100 примерака његове прве самосталне књиге (књижице) Mosada: A Dramatic Poem. Млади Јејтс је 1885. године учествује у оснивању Даблинског херметичког реда, чији се чланови интересирају за магију. У наредним годинама се дубоко упустио у тада помодну теозофију. Године 1887. породица се поново сели у Лондон; и тамо ће Вилијам Јејтс ући у друштво младих уметника који се занимају за езотерију, те 1890. године и формално постаје члан окултног Херметичког реда златне зоре. Године 1889. објављује збирку The Wanderings of Oisin and Other Poems (1889); и надаље се бави митском тематиком везаном за ирску народну митологију. Године 1891. Јејтс одлази у Ирску запросити 25-годишњу Мод Гон, младу сликарку и ватрену ирску националискињу коју је упознао две године раније и у коју се био снажно заљубио: она одбија његову просидбу. Јејтс остаје несретно заљубљен, те понавља неуспешне просидбе 1899, 1900. и 1901. Напослетку 1903. године Мод Гон се удала за другог; јавно је изражавао (чак у песмама) своје незадовољство њеним избором - удала се за познатог ирског националисту Мајора Џона Макбрајда, који је усто био католик, те је и Мод прешла на католичанство. Тек ће 1908. године, након што се Мод раставила од супруга, Јејтс моћи да конзумира своју дуготрајну страст, та га по његовим речима „трагедија сексуалног односа” са својом дугогодишњом несретном љубави заправо збунила и њихова веза се одатле није развила. Године 1896, Јејтс улази у круг даме Изабеле Грегори, важне Ирске културне раднице која се бави фолклором и драмом; она ће своју љубав према Ирској успети да на крају ипак подстакне у правцу национализма. С њеним кругом од 1899. године делује у Ирском литерарном театру, који делује до 1901. године настојећи да у Ирској пренесе манир авангардног театра из Француске. Након финанцијског неуспеха Ирског литерарног театра, припадници групе оснивају успешнији Аби театар (који до данас делује под именом Ирско национално позориште); Јејтс је с тим кругом активно сарађивао до краја живота. Године 1902. учествује у оснивању Dun Emer Press, издавачке куће која ће под вођством његових сестара до 1946. године штампати преко 70 књига ирских аутора, од тога 48 Јејтсових. Године 1909. Јејтс упознаје великог америчког песника Езру Паундa: путовао је у Лондон како би упознао тог „јединог песника вреднога пажљивог проучавања”, како је сам рекао. Од 1909. до 1916. године њих су двојица заједно зимовали у кућици у Сасексу (један дан пута од Лондона), Јејтс је номинално био секретар старијем Поунду. Пријатељство је почело бледити када је 1916. године Поунд уредио да се неке Јејтсове пјесме објаве у америчком магазину Poetry, али уз знатне Поундове промене које Јејтс није био одобрио. Те исте године, у својој 51. години, Јејтс се одлучио да се ожени и има децу. Одлучује да по задњи пут запроси Мод Гон, чији је муж Џон Макбрајд управо те године погубљен због учествовања у ирском Ускршњем устанку. Након што га Гон опет одбија (изгледа да је просидба дугогодишње несретне љубави ионако била више формалне природе и понуђена с мањком осећаја, уз разне услове), Јејтс нуди брак 25-годишњој Џорџији Хајд Лис (1892–1968). Након просидбе у септембру, венчање је уследило већ у октобру 1916. године. Успркос разлици у годинама и Јејтсовој иницијалној збуњености (имао је грижњу савести због уласка у брак), брак је био успешан, те је пар имао и двоје деце. Јејтс је своју супругу убрзо увео у езотеријске праксе, те су у сарадњи развили један езотеријски филозофски систем, и историје: Џорџија је служила као медијум за „аутоматско писање”, којим је комуницирала разне „поруке духовних водича”. Убрзо након окончања Ирског рата на независност (1919-1921), Јејтс је у децембру 1922. године прихватио именовање за сенатора, дужност у Сенату, ту дужност обавља 6 година. Године 1923. Јејтс је добио Нобелову награду за књижевност, за велики допринос Ирској литератури и култури генерално где је „његова увек инспирисана поезија у високо уметничкој форми дала израз духу читаве нације”. Награда је представљала и охрабрење Ирској, која је недуго пре успела да задобије неовисност; сам Јејтс је тога био свестан, те је своју награду настојао да користи за промовисање Ирског националног угледа и поноса. Након награде је продаја Јејтсових дела на читавом енглеском говорном подручју још више порасла. У задњим годинама свог живота је Јејтс, као јавни интелектуалац, упућивао критику социјално конзервативном водству младе ирске државе, залажући се за либералније устројство друштва. Међутим није пуно веровао у демократију, те је исказивао симпатије према аристократској форми државе. Оставши до краја живота активни аутор, те боривши се са старошћу једним ставом којега је називао „други пубертет” (што је укључивао оживљени интерес за еротику), умро је 28. јанурара 1939. године (у 73 години живота) у Француској, у Hôtel Idéal Séjour у граду Ментону. Од своје супруге је захтевао дискретан погреб у месту смрти, како би га се након годину дана - након што новинари забораве на његову смрт - без помпе пренели у ирски Слиго, место његовог дјетињства. Тек након рата, 1948. године, та је Јејтсова жеља и испуњена. Његов гроб се налази у Друмклифу, грофовија Слиго. Пренос тела изведен је ирском корветом LÉ Macha; активности преноса тела надзирао је лично ирски министар спољашњеих послова Син Макбрајд - иначе син Мод Гон Макбрајд, коју је Јејтс више пута просио. На гробу стоји епитаф с речима из „Under Ben Bulben”, једне од његових задњих поема. Наслеђе Јејтсу је у граду Слајго подигнута статуа, коју је 1989. направио вајар Рован Гилеспи. На 50. годишњицу песникове смрти, подигнута је испред Алстер банке, на углу улица Стивен и Маркиевиц. Јејтс је приликом добијања Нобелове награде приметио да Краљевска палата у Стокхолму „личи на Алстер банку у Слајгу“. Преко реке је Јеатсова меморијална зграда, дом Слајговског Јејтсовог друштва.[7] Стојећа фигура: Оштрица ножа Хенрија Мура приказана је у Меморијалној башти у Даблину.[8][9]

Dylan Thomas - Under Milk Wood A Play For Voices Penguin, 2000. Mek povez, 76 strana, potpis bivseg vlasnika. RETKO! Under Milk Wood is a 1954 radio drama by Welsh poet Dylan Thomas. The BBC commissioned the play, which was later adapted for the stage. A film version directed by Andrew Sinclair, was released in 1972, and another adaptation of the play, directed by Pip Broughton, was staged for television for the 60th anniversary in 2014. An omniscient narrator invites the audience to listen to the dreams and innermost thoughts of the inhabitants of the fictional small Welsh fishing town, Llareggub, (buggerall spelt backwards). They include Mrs. Ogmore-Pritchard, relentlessly nagging her two dead husbands; Captain Cat, reliving his seafaring times; the two Mrs. Dai Breads; Organ Morgan, obsessed with his music; and Polly Garter, pining for her dead lover. Later, the town awakens, and, aware now of how their feelings affect whatever they do, we watch them go about their daily business. Origins and development Background The Coach & Horses in Tenby, where Thomas is reputed to have been so drunk that he left his manuscript to Under Milk Wood on a stool In 1931, the 17-year-old Thomas created a piece for the Swansea Grammar School magazine that included a conversation of Milk Wood stylings, between Mussolini and Wife, similar to those between Mrs. Ogmore-Pritchard and her two husbands that would later be found in Under Milk Wood.[1] In 1933, Thomas talked at length with his mentor and friend, Bert Trick,[2] about creating a play about a Welsh town: He read it to Nell and me in our bungalow at Caswell around the old Dover stove, with the paraffin lamps lit at night ... the story was then called Llareggub, which was a mythical village in South Wales, a typical village, with terraced houses with one ty bach to about five cottages and the various characters coming out and emptying the slops and exchanging greetings and so on; that was the germ of the idea which ... developed into Under Milk Wood.[3] In February 1937, Thomas outlined his plans for a Welsh Journey, following a route that would “be decided by what incidents arose, what people told me stories, what pleasant or unpleasant or curious things...I encountered in the little-known villages among the lesser-known people.” [4] A year later, in March 1938, Thomas suggested that a group of Welsh writers should prepare a verse-report of their `own particular town, village, or district.`[5] Laugharne In May 1938, the Thomas family moved to Laugharne, a small town on the estuary of the river Tâf in Carmarthenshire, Wales. They lived there intermittently[6] for just under two years until July 1941, but did not return to live there until 1949.[7] The author Richard Hughes, who lived in Laugharne, has recalled that Thomas spoke to him in 1939 about writing a play about Laugharne in which the townsfolk would play themselves,[8] an idea pioneered on the radio by Cornish villagers in the 1930s.[9] Four years later, in 1943, Thomas again met Hughes, and this time outlined a play about a Welsh village certified as mad by government inspectors.[10] Hughes was of the view that when Thomas `came to write Under Milk Wood, he did not use actual Laugharne characters.`[11] Nevertheless, there are some elements of Laugharne that are discernible in the play. A girl, age 14, named Rosie Probert (`Rosie Probert, thirty three Duck Lane. Come on up, boys, I`m dead.`) was living in Horsepool Road in Laugharne at the 1921 census.[12] Although there is no-one of that name in Laugharne in the 1939 War Register,[13] nor anyone named Rosie, Laugharne resident, Jane Dark, has described how she told Thomas about her.[14] Dark has also described telling Thomas about the ducks of Horsepool Road (`Duck Lane`) and the drowning of the girl who went in search of them.[15] Both Laugharne and Llareggub have a castle,[16] and, like Laugharne, Llareggub is on an estuary (`boat-bobbing river and sea`), with cockles, cocklers and Cockle Row. Laugharne also provides the clock tower of Myfanwy Price`s dreams,[17] as well as Salt House Farm which may have inspired the name of Llareggub`s Salt Lake Farm.[18] Llareggub`s Butcher Beynon almost certainly draws on butcher and publican Carl Eynon, though he was not in Laugharne but in nearby St Clears.[19] New Quay In September 1944, the Thomas family moved to a bungalow called Majoda on the cliffs outside New Quay, Cardiganshire (Ceredigion), Wales, and left in July the following year. Thomas had previously visited New Quay whilst living in nearby Talsarn in 1942–1943,[20] and had an aunt and cousins living in New Quay.[21] He had written a New Quay pub poem, Sooner than you can water milk, in 1943,[22] which has several words and ideas that would later re-appear in Under Milk Wood.[23] Thomas` bawdy letter-poem from New Quay to T. W. Earp, written just days after moving into Majoda,[24] contains the name `No-good`, anticipating Nogood Boyo of Under Milk Wood. Thomas`s wife, Caitlin, has described the year at Majoda as `one of the most important creative periods of his life...New Quay was just exactly his kind of background, with the ocean in front of him ... and a pub[25] where he felt at home in the evenings.`[26] Thomas` biographers have taken a similar view. His time there, recalled Constantine FitzGibbon, his first biographer, was `a second flowering, a period of fertility that recalls the earliest days … [with a] great outpouring of poems`, as well as a good deal of other material.[27] Biographer Paul Ferris agreed: “On the grounds of output, the bungalow deserves a plaque of its own.”[28] Thomas’ third biographer, George Tremlett, concurred, describing the time in New Quay as “one of the most creative periods of Thomas’s life.” [29] Some of those who knew him well, including FitzGibbon, have said that Thomas began writing Under Milk Wood in New Quay.[30] The play`s first producer, Douglas Cleverdon, agreed, noting that Thomas `wrote the first half within a few months; then his inspiration seemed to fail him when he left New Quay.`[31] One of Thomas` closest friends and confidantes, Ivy Williams of Brown`s Hotel, Laugharne, has said `Of course, it wasn’t really written in Laugharne at all. It was written in New Quay, most of it.`[32] The writer and puppeteer, Walter Wilkinson, visited New Quay in 1947, and his essay on the town captures its character and atmosphere as Thomas would have found it two years earlier.[33] Photos of New Quay in Thomas` day, as well as a 1959 television programme about the town, can be found here.[34] There were many milestones[35] on the road to Llareggub, and these have been detailed by Professor Walford Davies in his Introduction to the definitive edition of Under Milk Wood.[36] The most important of these was Quite Early One Morning,[37] Thomas` description of a walk around New Quay, broadcast by the BBC in 1945, and described by Davies as a `veritable storehouse of phrases, rhythms and details later resurrected or modified for Under Milk Wood.`[38] For example, the “done-by-hand water colours” of Quite Early One Morning appear later as the “watercolours done by hand” of Under Milk Wood.[39] Another striking example from the 1945 broadcast is Mrs Ogmore-Pritchard who later appears as a major character in Under Milk Wood: Open the curtains, light the fire, what are servants for? I am Mrs. Ogmore-Pritchard and I want another snooze. Dust the china, feed the canary, sweep the drawing-room floor; And before you let the sun in, mind he wipes his shoes. Mrs Ogmore Davies[40] and Mrs Pritchard-Jones[41] both lived on Church Street in New Quay.[42] Mrs Pritchard-Jones was constantly cleaning, recalled one of her neighbours, `a real matron-type, very strait-laced, house-proud, ran the house like a hospital ward.`[43] In her book on New Quay, Mrs Pritchard-Jones’ daughter notes that her mother had been a Queen`s Nurse before her marriage and afterwards `devoted much of her time to cleaning and dusting our home ... sliding a small mat under our feet so we would not bring in any dirt from the road.`[44] Jack Lloyd, a New Quay postman and the Town Crier, also lived on Church Street.[45] He provided the character of Llareggub`s postman Willy Nilly, whose practice of opening letters, and spreading the news, reflects Lloyd`s role as Town Crier, as Thomas himself noted on a work sheet for the play: `Nobody minds him opening the letters and acting as [a] kind of town-crier. How else could they know the news?`[46] It is this note, together with our knowledge that Thomas knew Jack Lloyd (`an old friend`),[47] that establish the link between Willy Nilly and Lloyd.[48] There were also other New Quay residents in Under Milk Wood. Dai Fred Davies the donkeyman on board the fishing vessel, the Alpha, appears in the play as Tom-Fred the donkeyman.[49] Local builder, Dan Cherry Jones,[50] appears as Cherry Owen in the play, as Cherry Jones in Thomas’ sketch of Llareggub,[51] and as Cherry Jones in one of Thomas` work sheets for the play, where Thomas describes him as a plumber and carpenter.[52] The time-obsessed, `thin-vowelled laird`, as Thomas described him,[53] New Quay`s reclusive English aristocrat, Alastair Hugh Graham, lover of fish, fishing and cooking, and author of Twenty Different Ways of Cooking New Quay Mackerel,[54] is considered to be the inspiration for `Lord Cut-Glass … that lordly fish-head nibbler … in his fish-slimy kitchen ... [who] scampers from clock to clock`.[55] Third Drowned’s question at the beginning of the play “How’s the tenors in Dowlais?” reflects the special relationship that once existed between New Quay and Dowlais, an industrial town in South Wales. Its workers traditionally holidayed in New Quay and often sang on the pier on summer evenings.[56] Such was the relationship between the two towns that when St Mair`s church in Dowlais was demolished in 1963,[57] its bell was given to New Quay`s parish church.[58] Other names and features from New Quay in the play include Maesgwyn farm [59] the Sailor`s Home Arms,[60] the river Dewi,[61] the quarry,[62] the harbour,[63] Manchester House,[64] the hill of windows[65] and the Downs.[66] The Fourth Drowned`s line `Buttermilk and whippets` also comes from New Quay,[67] as does the stopped clock in the bar of the Sailors` Arms.[68][69] Walford Davies has concluded that New Quay `was crucial in supplementing the gallery of characters Thomas had to hand for writing Under Milk Wood.[70] FitzGibbon had come to a similar conclusion many years earlier, noting that Llareggub `resembles New Quay more closely [than Laugharne] and many of the characters derive from that seaside village in Cardiganshire...`[71] John Ackerman has also suggested that the story of the drowned village and graveyard of Llanina, that lay in the sea below Majoda, `is the literal truth that inspired the imaginative and poetic truth` of Under Milk Wood.[72] Another part of that literal truth were the 60 acres of cliff between New Quay and Majoda, including Maesgwyn farm, that collapsed into the sea in the early 1940s.[73] Elba, South Leigh and Prague In April 1947, Thomas and family went to Italy. He intended to write a radio play there, as his letters home make clear.[74] Several words and phrases that appear in Under Milk Wood can be found in some of Thomas’ letters from the island of Elba, where he stayed for three weeks. The `fishers and miners` and `webfooted waterboys` [75] of the letters become the `fishers` and `webfoot cocklewomen` of the first page of Under Milk Wood.[76] The `sunblack` and `fly-black` adjectives of Elba anticipate the `crowblack` and `bible-black` descriptions of Llareggub. The play`s Fourth Drowned, Alfred Pomeroy Jones, `died of blisters`, and so, almost, did Thomas, as he vividly describes in a letter home.[75] And, in time, the island`s `blister-biting blimp-blue bakehouse sea` would re-appear as Llareggub`s `slow, black, crowblack, fishingboat-bobbing sea.`[77] On their return from Italy in August 1947, the Thomases moved to South Leigh, near Witney in Oxfordshire, where Thomas declared his intent to work further on the play.[78] It was here that he knocked the play into shape, as one biographer described it.[79] There are various accounts of his work on the play at South Leigh, where he lived until May 1949.[80] He also worked on filmscripts here, including The Three Weird Sisters, which includes the familiar Llareggub names of Daddy Waldo and Polly Probert. Just a month or so after moving to South Leigh, Thomas met the BBC producer, Philip Burton, in the Café Royal in London, where he outlined his ideas for `The Village of the Mad…a coastal town in south Wales which was on trial because they felt it was a disaster to have a community living in that way… For instance, the organist in the choir in the church played with only the dog to listen to him…A man and a woman were in love with each other but they never met… they wrote to each other every day…And he had the idea that the narrator should be like the listener, blind.…`[81] Burton`s friendship with Thomas, and his influence on the play, has been set within the context of the work done by Burton and T. Rowland Hughes in developing community portraiture on the radio.[82] Thomas went to Prague in March 1949 for a writers’ conference. His guide and interpreter, Jiřina Hauková, has recalled that, at a party, Thomas `narrated the first version of his radio play Under Milk Wood`. She mentions that he talked about the organist who played to goats and sheep, as well as a baker with two wives.[83] Another at the party remembered that Thomas also talked about the two Voices.[84] The testimony from Prague, when taken with that of Burton about the meeting in the Café Royal in 1947, indicates that several of the characters of the play were already in place by the time Thomas had moved to the Boat House in Laugharne in May 1949: the organist, the two lovers who never met but wrote to each other, the baker with two wives, the blind narrator and the Voices. The first known sighting of a script for the play was its first half, titled The Town that was Mad, which Thomas showed to the poet Allen Curnow in October 1949 at the Boat House.[85] A draft first half of the play was delivered to the BBC in late October 1950.[86] It consisted of thirty-five handwritten pages containing most of the places, people and topography of Llareggub, and which ended with the line `Organ Morgan`s at it early…` A shortened version of this first half was published in Botteghe Oscure in May 1952 with the title Llareggub. A Piece for Radio Perhaps. By the end of that year, Thomas had been in Laugharne for just over three years, but his half-play had made little progress since his South Leigh days. On 6 November 1952, he wrote to the editor of Botteghe Oscure to explain why he hadn`t been able to `finish the second half of my piece for you.` He had failed shamefully, he said, to add to `my lonely half of a looney maybe-play`.[87] America Thomas gave a reading of the unfinished play to students at Cardiff University in March 1953.[88] He then travelled to America in April to give the first public readings of the play, even though he had not yet written its second half. He gave a solo reading of the first half on 3 May at the Fogg Museum, Harvard, where the audience responded enthusiastically.[89] Rehearsals for the play`s premiere on 14 May had already started but with only half the play, and with Thomas unavailable as he left to carry out a series of poetry readings and other engagements. He was up at dawn on 14 May to work on the second half, and he continued writing on the train between Boston and New York, as he travelled to the 92nd Street Y`s Poetry Center for the premiere. With the performance just 90 minutes away, the `final third of the play was still unorganised and but partially written.`[90] The play`s producer, Liz Reitell, locked Thomas in a room to continue work on the script, the last few lines of which were handed to the actors as they were preparing to go on stage.[91] Thomas subsequently added some 40 new lines to the second half for the play`s next reading in New York on 28 May. The former Salad Bowl Café, Tenby 2–3 The Croft, the former Salad Bowl Café Blue plaque indicating that Thomas first read from Under Milk Wood on 2 October 1953 On his return to Laugharne, Thomas worked in a desultory fashion on Under Milk Wood throughout the summer.[92] His daughter, Aeronwy, noticed that his health had `visibly deteriorated. ... I could hear his racking cough. Every morning he had a prolonged coughing attack. ... The coughing was nothing new but it seemed worse than before.`[93] She also noted that the blackouts that Thomas was experiencing were `a constant source of comment` amongst his Laugharne friends.[94] Thomas gave readings of the play in Porthcawl and Tenby,[95] before travelling to London to catch his plane to New York for another tour, including three readings of Under Milk Wood. He stayed with the comedian Harry Locke, and worked on the play, re-writing parts of the first half, and writing Eli Jenkins` sunset poem and Waldo`s chimney sweep song for the second half.[96] Locke noticed that Thomas was very chesty, with `terrible` coughing fits that made him go purple in the face.[97] On 15 October 1953, Thomas delivered another draft of the play to the BBC, a draft that his producer, Douglas Cleverdon, described as being in `an extremely disordered state...it was clearly not in its final form.`[98] On his arrival in New York on 20 October 1953, Thomas added a further 38 lines to the second half, for the two performances on 24 and 25 October. Thomas had been met at the airport by Liz Reitell, who was shocked at his appearance: `He was very ill when he got here.`[99] Thomas` agent John Brinnin, deeply in debt and desperate for money, also knew Thomas was very ill, but did not cancel or curtail his programme, a punishing schedule of four rehearsals and two performances of Under Milk Wood in just five days, as well as two sessions of revising the play.[100] After the first performance on 24 October, Thomas was close to collapse, standing in his dressing room, clinging to the back of a chair. The play, he said, `has taken the life out of me for now.`[101] At the next performance, the actors realised that Thomas was very ill and had lost his voice: `He was desperately ill … we didn`t think that he would be able to do the last performance because he was so ill … Dylan literally couldn`t speak he was so ill … still my greatest memory of it is that he had no voice.`[102] After a cortisone injection, he recovered sufficiently to go on stage. The play`s cast noticed Thomas` worsening illness during the first three rehearsals, during one of which he collapsed. Brinnin was at the fourth and was shocked by Thomas` appearance: `I could barely stop myself from gasping aloud. His face was lime-white, his lips loose and twisted, his eyes dulled, gelid, and sunk in his head.`[103] Then through the following week, Thomas continued to work on the script for the version that was to appear in Mademoiselle, and for the performance in Chicago on 13 November. However, he collapsed in the early hours of 5 November and died in hospital on 9 November 1953. Inspiration The inspiration for the play has generated intense debate. Thomas himself declared on two occasions that his play was based on Laugharne,[104] but this has not gone unquestioned. Llansteffan, Ferryside and particularly New Quay also have their claims. An examination of these respective claims was published in 2004.[105] Surprisingly little scholarship has been devoted to Thomas and Laugharne, and about the town`s influence on the writing of Under Milk Wood.[106] Thomas’ four years at the Boat House were amongst his least productive, and he was away for much of the time. As his daughter, Aeronwy, has recalled, `he sought any pretext to escape.`[107] Douglas Cleverdon has suggested that the topography of Llareggub `is based not so much on Laugharne, which lies on the mouth of an estuary, but rather on New Quay, a seaside town...with a steep street running down to the harbour.” [108] The various topographical references in the play to the top of the town, and to its ‘top and sea-end’ are also suggestive of New Quay, as are Llareggub`s terraced streets and hill of windows.[109] The play is even true to the minor topographical details of New Quay. For example, Llareggub`s lazy fishermen walk uphill from the harbour to the Sailors` Arms. Thomas drew a sketch map of the fictional town, which is now held by the National Library of Wales and can be viewed online.[110] The Dylan Thomas scholar, James Davies, has written that `Thomas`s drawing of Llareggub is... based on New Quay`[111] and there has been very little disagreement, if any, with this view. An examination of the sketch has revealed some interesting features: Thomas uses the name of an actual New Quay resident, Dan Cherry Jones, for one of the people living in Cockle Street. The Rev. Eli Jenkins is not in the sketch, however, and there are also three characters in the sketch who do not appear in the draft of the play given by Thomas to the BBC in October 1950.[112] Thomas also seems to have drawn on New Quay in developing Llareggub`s profile as an ocean-going, schooner and harbour town, as he once described it.[113] Captain Cat lives in Schooner House. He and his sailors have sailed the clippered seas, as First Voice puts it. They have been to San Francisco, Nantucket and more, bringing back coconuts and parrots for their families. The Rev. Eli Jenkins` White Book of Llareggub has a chapter on shipping and another on industry, all of which reflect New Quay`s history of both producing master mariners[114] and building ocean-going ships, including schooners.[115] In his 1947 visit to New Quay, Walter Wilkinson noted that the town “abounds” in sea captains [116] The following year, another writer visiting New Quay noted that there were “dozens of lads who knew intimately the life and ways of all the great maritime cities of the world.”[117] Llareggub`s occupational profile as a town of seafarers, fishermen, cockle gatherers and farmers has also been examined through an analysis of the returns in the 1939 War Register for New Quay, Laugharne, Ferryside and Llansteffan. This analysis also draws upon census returns and the Welsh Merchant Mariners Index. It shows that New Quay and Ferryside provide by far the best fit with Llareggub`s occupational profile.[118] Thomas is reported to have commented that Under Milk Wood was developed in response to the atomic bombing of Hiroshima, as a way of reasserting the evidence of beauty in the world.[119] It is also thought that the play was a response by Thomas both to the Nazi concentration camps, and to the internment camps that had been created around Britain during World War II.[120] Llareggub A boat bearing the name of the fictional location of Under Milk Wood The fictional name Llareggub was derived by reversing the phrase `bugger all`.[121] In some published editions of the play,[122] it is often rendered (contrary to Thomas`s own use - see below) as Llaregyb or similar. It is pronounced [ɬaˈrɛɡɪb].[123] The name bears some resemblance to many actual Welsh place names, which often begin with Llan, meaning church or, more correctly, sanctified enclosure, although a double g is not used in written Welsh. The name Llareggub was first used by Thomas in two short stories published in 1936. They were The Orchards[124] (`This was a story more terrible than the stories of the reverend madmen in the Black Book of Llareggub.`) and The Burning Baby[125] (`Death took hold of his sister`s legs as she walked through the calf-high heather up the hill... She was to him as ugly as the sowfaced woman Llareggub who had taught him the terrors of the flesh.`) Thomas’ first known use of the name Llareggub in relation to Under Milk Wood was at a recitation of an early version of the play at a party in London in 1945.[126] Thomas had also referred to the play as The Village of the Mad or The Town that was Mad.[127] By the summer of 1951, he was calling the play Llareggub Hill[128] but by October 1951, when the play was sent to Botteghe Oscure,[129] its title had become Llareggub. A Piece for Radio Perhaps. By the summer of 1952, the title was changed to Under Milk Wood because John Brinnin thought Llareggub Hill would be too thick and forbidding to attract American audiences.[130] In the play, the Rev Eli Jenkins writes a poem that describes Llareggub Hill and its `mystic tumulus`. This was based on a lyrical description of Twmbarlwm`s `mystic tumulus` in Monmouthshire that Thomas imitated from Arthur Machen`s autobiography Far Off Things (1922).[131] The town`s name is thought to be the inspiration for the country of Llamedos (sod `em all) in Terry Pratchett`s Discworld novel Soul Music.[132] In this setting, Llamedos is a parody of Wales. Plot The play opens at night, when the citizens of Llareggub are asleep. The narrator (First Voice/Second Voice) informs the audience that they are witnessing the townspeople`s dreams. Captain Cat, the blind sea captain, is tormented in his dreams by his drowned shipmates, who long to live again and enjoy the pleasures of the world. Mog Edwards and Myfanwy Price dream of each other; Mr. Waldo dreams of his childhood and his failed marriages; Mrs. Ogmore-Pritchard dreams of her deceased husbands. Almost all of the characters in the play are introduced as the audience witnesses a moment of their dreams. Morning begins. The voice of a guide introduces the town, discussing the facts of Llareggub. The Reverend Eli Jenkins delivers a morning sermon on his love for the village. Lily Smalls wakes and bemoans her pitiful existence. Mr. and Mrs. Pugh observe their neighbours; the characters introduce themselves as they act in their morning. Mrs. Cherry Owen merrily rehashes her husband`s drunken antics. Butcher Beynon teases his wife during breakfast. Captain Cat watches as Willy Nilly the postman goes about his morning rounds, delivering to Mrs. Ogmore-Pritchard, Mrs. Pugh, Mog Edwards and Mr. Waldo. At Mrs. Organ-Morgan`s general shop, women gossip about the townspeople. Willy Nilly and his wife steam open a love letter from Mog Edwards to Myfanwy Price; he expresses fear that he may be in the poor house if his business does not improve. Mrs. Dai Bread Two swindles Mrs. Dai Bread One with a bogus fortune in her crystal ball. Polly Garter scrubs floors and sings about her past paramours. Children play in the schoolyard; Gwennie urges the boys to `kiss her where she says or give her a penny.` Gossamer Beynon and Sinbad Sailors privately desire each other. During dinner, Mr. Pugh imagines poisoning Mrs. Pugh. Mrs. Organ-Morgan shares the day`s gossip with her husband, but his only interest is the organ. The audience sees a glimpse of Lord Cut-Glass`s insanity in his `kitchen full of time`. Captain Cat dreams of his lost lover, Rosie Probert, but weeps as he remembers that she will not be with him again. Nogood Boyo fishes in the bay, dreaming of Mrs. Dai Bread Two and geishas. On Llareggub Hill, Mae Rose Cottage spends a lazy afternoon wishing for love. Reverend Jenkins works on the White Book of Llareggub, which is a history of the entire town and its citizens. On the farm, Utah Watkins struggles with his cattle, aided by Bessie Bighead. As Mrs. Ogmore-Pritchard falls asleep, her husbands return to her. Mae Rose Cottage swears that she will sin until she explodes. The Sailor`s Home Arms, New Quay, now known as the Seahorse Inn, which provided the name for the Sailors Arms[133] As night begins, Reverend Jenkins recites another poem. Cherry Owen heads to the Sailor`s Arms, where Sinbad still longs for Gossamer Beynon. The town prepares for the evening, to sleep or otherwise. Mr. Waldo sings drunkenly at the Sailors Arms. Captain Cat sees his drowned shipmates—and Rosie—as he begins to sleep. Organ-Morgan mistakes Cherry Owen for Johann Sebastian Bach on his way to the chapel. Mog and Myfanwy write to each other before sleeping. Mr. Waldo meets Polly Garter in a forest. Night begins and the citizens of Llareggub return to their dreams again. Characters Captain Cat – The old blind sea captain who dreams of his deceased shipmates and lost lover Rosie Probert. He is one of the play`s most important characters as he often acts as a narrator. He comments on the goings-on in the village from his window. Rosie Probert – Captain Cat`s deceased lover, who appears in his dreams. Myfanwy Price – The sweetshop-keeper who dreams of marrying Mog Edwards. Mr. Mog Edwards – The draper, enamoured of Myfanwy Price. Their romance, however, is restricted strictly to the letters they write one another and their interactions in their dreams. Jack Black – The cobbler, who dreams of scaring away young couples. Evans the Death – The undertaker, who dreams of his childhood. Mr. Waldo – Rabbit catcher, barber, herbalist, cat doctor, quack, dreams of his mother and his many unhappy, failed marriages. He is a notorious alcoholic and general troublemaker and is involved in an affair with Polly Garter. Mrs. Ogmore-Pritchard – The owner of a guesthouse, who dreams of nagging her two late husbands. She refuses to let anyone stay at the guesthouse because of her extreme penchant for neatness. Mr. Ogmore – Deceased, Linoleum salesman, late of Mrs. Ogmore-Pritchard. Mr. Pritchard – Deceased, failed bookmaker, late of Mrs. Ogmore-Pritchard. He committed suicide `ironically` by ingesting disinfectant. Gossamer Beynon – The schoolteacher (daughter of Butcher Beynon), dreams of a fox-like illicit love. During the day, she longs to be with Sinbad Sailors, but the two never interact. Organ Morgan – The church organ player has perturbed dreams of music and orchestras within the village. His obsession with music bothers his wife intensely. Mrs. Organ Morgan – A shop owner who dreams of `silence,` as she is disturbed during the day by Organ Morgan`s constant organ-playing. Mr. & Mrs. Floyd – The cocklers, an elderly couple, seemingly the only couple to sleep peacefully in the village. They are mentioned only during the dream sequence and when Mrs Floyd is `talking flatfish` with Nogood Boyo. Utah Watkins – The farmer, dreams of counting sheep that resemble his wife. Ocky Milkman – The milkman, dreams of pouring his milk into a river, `regardless of expense`. Mr. Cherry Owen – Dreams of drinking and yet is unable to, as the tankard turns into a fish, which he drinks. Mrs. Cherry Owen – Cherry Owen`s devoted wife, who cares for him and delights in rehashing his drunken antics. Police Constable Attila Rees – The policeman, relieves himself into his helmet at night, knowing somehow he will regret this in the morning. Mr. Willy Nilly – The postman, dreams of delivering the post in his sleep, and physically knocks upon his wife as if knocking upon a door. In the morning they open the post together and read the town`s news so that he can relay it around the village. Mrs. Willy Nilly – who, because of her husband`s knocking upon her, dreams of being spanked by her teacher for being late for school. She assists Willy Nilly in steaming open the mail. Mary Ann Sailors – 85 years old, dreams of the Garden of Eden. During the day she announces her age (`I`m 85 years, 3 months and a day!`) to the town. Sinbad Sailors – The barman, dreams of Gossamer Beynon, whom he cannot marry because of his grandmother`s disapproval. Mae Rose Cottage – Seventeen and never been kissed, she dreams of meeting her `Mr. Right`. She spends the day in the fields daydreaming and unseen, draws lipstick circles around her nipples. Bessie Bighead – Hired help, dreams of the one man that kissed her `because he was dared`. Butcher Beynon – The butcher, dreams of riding pigs and shooting wild giblets. During the day he enjoys teasing his wife about the questionable meat that he sells. Mrs. Butcher Beynon – Butcher Beynon`s wife, dreams of her husband being `persecuted` for selling `owl`s meat, dogs` eyes, manchop.` Rev. Eli Jenkins – The reverend, poet and preacher, dreams of Eisteddfodau. Author of the White Book of Llareggub. Mr. Pugh – Schoolmaster, dreams of poisoning his domineering wife. He purchases a book named `Lives of the Great Poisoners` for ideas on how to kill Mrs. Pugh; however, he does not do it. Mrs. Pugh – The nasty and undesirable wife of Mr. Pugh. Dai Bread – The bigamist baker who dreams of harems. Mrs. Dai Bread One – Dai Bread`s first wife, traditional and plain. Mrs. Dai Bread Two – Dai Bread`s second wife, a mysterious and sultry gypsy. Polly Garter – has affairs with married men of the village, and a young mother, who dreams of her many babies. During the day, she scrubs floors and sings of her lost love. Nogood Boyo – A lazy young fisherman who dreams peevishly of `nothing`, though he later fantasises about Mrs. Dai Bread Two in a wet corset. He is known for causing shenanigans in the wash house. Lord Cut-Glass – A man of questionable sanity, who dreams of the 66 clocks that he keeps in his house, all telling different times. Lily Smalls – Dreams of love and a fantasy life. She is the Beynons` maid, but longs for a more exciting life. Gwennie – A child in Llareggub, who insists that her male schoolmates `kiss her where she says or give her a penny`. Publication and translation The first publication of Under Milk Wood, a shortened version of the first half of the play, appeared in Botteghe Oscure in April 1952.[134] Two years later, in February 1954, both The Observer newspaper and Mademoiselle magazine published abridged versions.[135] The first publications of the complete play were also in 1954: J. M. Dent in London in March and New Directions in America in April. An Acting Edition of the play was published by Dent in 1958. The Definitive Edition, with one Voice, came out in 1995, edited by Walford Davies and Ralph Maud and published by Dent. A Project Gutenberg of Australia eBook for free use went online in November 2006, produced by Colin Choat.[136] The first translation was published in November 1954 by Drei Brücken Verlag in Germany, as Unter dem Milchwald, translated by Erich Fried. A few months later, in January 1955, the play appeared in the French journal Les Lettres Nouvelles as Le Bois de Lait, translated by Roger Giroux, with two further instalments in February and March.[137] Over the next three years, Under Milk Wood was published in Dutch, Polish, Danish, Estonian, Norwegian, Finnish, Swedish, Japanese and Italian. It`s estimated that it has now been translated into over thirty languages, including Welsh with a translation by T. James Jones, (Jim Parc Nest), published in 1968 as Dan Y Wenallt.[138] The original manuscript of the play was lost by Thomas in a London pub, a few weeks before his death in 1953. The alleged gift of the manuscript, to BBC producer Douglas Cleverdon, formed the subject of litigation in Thomas v Times Book Co (1966), which is a leading case on the meaning of gift in English property law. Under Milk Wood, along with all other published works by Thomas, entered the public domain in the United Kingdom on 1 January 2024.[139] Dylan Marlais Thomas (27 October 1914 – 9 November 1953)[1] was a Welsh poet and writer whose works include the poems `Do not go gentle into that good night` and `And death shall have no dominion`, as well as the `play for voices` Under Milk Wood. He also wrote stories and radio broadcasts such as A Child`s Christmas in Wales and Portrait of the Artist as a Young Dog. He became widely popular in his lifetime; and remained so after his death at the age of 39 in New York City.[2] By then, he had acquired a reputation, which he had encouraged, as a `roistering, drunken and doomed poet`.[3] He was born in Uplands, Swansea, in 1914, leaving school in 1932 to become a reporter for the South Wales Daily Post. Many of his works appeared in print while he was still a teenager. In 1934, the publication of `Light breaks where no sun shines` caught the attention of the literary world. While living in London, Thomas met Caitlin Macnamara; they married in 1937 and had three children: Llewelyn, Aeronwy, and Colm. He came to be appreciated as a popular poet during his lifetime, though he found earning a living as a writer difficult. He began augmenting his income with reading tours and radio broadcasts. His radio recordings for the BBC during the late 1940s brought him to the public`s attention, and he was frequently featured by the BBC as an accessible voice of the literary scene. Thomas first travelled to the United States in the 1950s; his readings there brought him a degree of fame; while his erratic behaviour and drinking worsened. His time in the United States cemented his legend; and he went on to record to vinyl such works as A Child`s Christmas in Wales. During his fourth trip to New York in 1953, Thomas became gravely ill and fell into a coma. He died on 9 November and his body was returned to Wales. On 25 November, he was interred at St. Martin`s churchyard in Laugharne, Carmarthenshire. Although Thomas wrote exclusively in the English language, he has been acknowledged as one of the most important Welsh poets of the 20th century. He is noted for his original, rhythmic, and ingenious use of words and imagery.[4][5][6][7] His position as one of the great modern poets has been much discussed, and he remains popular with the public.[8][9] Life and career Early life On a hill street stands a two-storeyed semi-detached house with bay windows to the front and a sloped tiled roof with a chimney. 5 Cwmdonkin Drive, Swansea, the birthplace of Dylan Thomas Dylan Thomas was born on 27 October 1914[nb 1] in Swansea, the son of Florence Hannah (née Williams; 1882–1958), a seamstress, and David John `Jack` Thomas (1876–1952), a teacher. His father had a first-class honours degree in English from University College, Aberystwyth, and ambitions to rise above his position teaching English literature at the local grammar school.[10] Thomas had one sibling, Nancy Marles (1906–1953), who was eight years his senior.[11] At the 1921 census, Nancy and Dylan are noted as speaking both Welsh and English.[12] Their parents were also bilingual in English and Welsh, and Jack Thomas taught Welsh at evening classes.[13] One of their Swansea relations has recalled that, at home, `Both Auntie Florrie and Uncle Jack always spoke Welsh.`[14] There are three accounts from the 1940s of Dylan singing Welsh hymns and songs, and of speaking a little Welsh.[15] Thomas`s father chose the name Dylan, which could be translated as `son of the sea` after Dylan ail Don, a character in The Mabinogion.[16] His middle name, Marlais, was given in honour of his great-uncle, William Thomas, a Unitarian minister and poet whose bardic name was Gwilym Marles.[11][17] Dylan, pronounced ˈ [ˈdəlan] (Dull-an) in Welsh, caused his mother to worry that he might be teased as the `dull one`.[18] When he broadcast on Welsh BBC early in his career, he was introduced using this pronunciation. Thomas favoured the Anglicised pronunciation and gave instructions that it should be Dillan /ˈdɪlən/.[11][19] The red-brick semi-detached house at 5 Cwmdonkin Drive (in the respectable area of the Uplands),[20] in which Thomas was born and lived until he was 23, had been bought by his parents a few months before his birth.[17] Childhood Thomas has written a number of accounts of his childhood growing up in Swansea,[21] and there are also accounts available by those who knew him as a young child.[22] Thomas wrote several poems about his childhood and early teenage years, including `Once it was the colour of saying` and `The hunchback in the park`, as well as short stories such as The Fight and A Child`s Christmas in Wales.[23] Thomas`s four grandparents played no part in his childhood.[24] For the first ten years or so of his life, Thomas`s Swansea aunts and uncles helped with his upbringing. These were his mother`s three siblings, Polly and Bob, who lived in the St Thomas district of Swansea[25] and Theodosia, and her husband, the Rev. David Rees, in Newton, Swansea, where parishioners recall Thomas sometimes staying for a month or so at a time.[26] All four aunts and uncles spoke Welsh and English.[27] Thomas`s childhood also featured regular summer trips to the Llansteffan peninsula, a Welsh-speaking part of Carmarthenshire.[28] In the land between Llangain and Llansteffan, his mother`s family, the Williamses and their close relatives, worked a dozen farms with over a thousand acres between them.[29] The memory of Fernhill, a dilapidated 15-acre farm rented by his maternal aunt, Ann Jones, and her husband, Jim Jones, is evoked in the 1945 lyrical poem `Fern Hill`,[30] but is portrayed more accurately in his short story, The Peaches.[nb 2] Thomas also spent part of his summer holidays with Jim`s sister, Rachel Jones,[31] at neighbouring Pentrewyman farm, where he spent his time riding Prince the cart horse, chasing pheasants and fishing for trout.[32] All these relatives were bilingual,[33] and many worshipped at Smyrna chapel in Llangain where the services were always in Welsh, including Sunday School which Thomas sometimes attended.[34] There is also an account of the young Thomas being taught how to swear in Welsh.[35] His schoolboy friends recalled that `It was all Welsh—and the children played in Welsh...he couldn`t speak English when he stopped at Fernhill...in all his surroundings, everybody else spoke Welsh...`[36] At the 1921 census, 95% of residents in the two parishes around Fernhill were Welsh speakers. Across the whole peninsula, 13%—more than 200 people—spoke only Welsh.[37] A few fields south of Fernhill lay Blaencwm,[38] a pair of stone cottages to which his mother`s Swansea siblings had retired,[39] and with whom the young Thomas and his sister, Nancy, would sometimes stay.[40] A couple of miles down the road from Blaencwm is the village of Llansteffan, where Thomas used to holiday at Rose Cottage with another Welsh-speaking aunt, Anne Williams, his mother`s half-sister[41] who had married into local gentry.[42] Anne`s daughter, Doris, married a dentist, Randy Fulleylove. The young Dylan also holidayed with them in Abergavenny, where Fulleylove had his practice.[43] Thomas`s paternal grandparents, Anne and Evan Thomas, lived at The Poplars in Johnstown, just outside Carmarthen. Anne was the daughter of William Lewis, a gardener in the town. She had been born and brought up in Llangadog,[44] as had her father, who is thought to be `Grandpa` in Thomas`s short story A Visit to Grandpa`s, in which Grandpa expresses his determination to be buried not in Llansteffan but in Llangadog.[45] Evan worked on the railways and was known as Thomas the Guard. His family had originated[46] in another part of Welsh-speaking Carmarthenshire, in the farms that lay around the villages of Brechfa, Abergorlech, Gwernogle and Llanybydder, and which the young Thomas occasionally visited with his father.[47] His father`s side of the family also provided the young Thomas with another kind of experience; many lived in the towns of the South Wales industrial belt, including Port Talbot,[48] Pontarddulais[49] and Cross Hands.[50] Thomas had bronchitis and asthma in childhood and struggled with these throughout his life. He was indulged by his mother, Florence, and enjoyed being mollycoddled, a trait he carried into adulthood, becoming skilled in gaining attention and sympathy.[51] But Florence would have known that child deaths had been a recurring event in the family`s history,[52] and it`s said that she herself had lost a child soon after her marriage.[53] But if Thomas was protected and spoilt at home, the real spoilers were his many aunts and older cousins, those in both Swansea and the Llansteffan countryside.[54] Some of them played an important part in both his upbringing and his later life, as Thomas`s wife, Caitlin, has observed: `He couldn`t stand their company for more than five minutes... Yet Dylan couldn`t break away from them, either. They were the background from which he had sprung, and he needed that background all his life, like a tree needs roots.`.[55] Education The main surviving structure of the former Swansea Grammar School on Mount Pleasant, mostly destroyed during the Swansea Blitz of 1941, was renamed the Dylan Thomas Building in 1988 to honour its former pupil. It was then part of the former Swansea Metropolitan University campus Memorial plaque on the former Mount Pleasant site of Swansea Grammar School Thomas`s formal education began at Mrs Hole`s dame school, a private school on Mirador Crescent, a few streets away from his home.[56] He described his experience there in Reminiscences of Childhood: Never was there such a dame school as ours, so firm and kind and smelling of galoshes, with the sweet and fumbled music of the piano lessons drifting down from upstairs to the lonely schoolroom, where only the sometimes tearful wicked sat over undone sums, or to repent a little crime – the pulling of a girl`s hair during geography, the sly shin kick under the table during English literature.[57] Alongside dame school, Thomas also took private lessons from Gwen James, an elocution teacher who had studied at drama school in London, winning several major prizes. She also taught `Dramatic Art` and `Voice Production`, and would often help cast members of the Swansea Little Theatre (see below) with the parts they were playing.[58] Thomas`s parents` storytelling and dramatic talents, as well as their theatre-going interests, could also have contributed to the young Thomas`s interest in performance.[59] In October 1925, Thomas enrolled at Swansea Grammar School for boys, in Mount Pleasant, where his father taught English. There are several accounts by his teachers and fellow pupils of Thomas`s time at grammar school. [60] He was an undistinguished pupil who shied away from school, preferring reading and drama activities.[61] In his first year one of his poems was published in the school`s magazine, and before he left he became its editor.[62][63] Thomas`s various contributions to the school magazine can be found here:[64] During his final school years he began writing poetry in notebooks; the first poem, dated 27 April (1930), is entitled `Osiris, come to Isis`.[65] In June 1928, Thomas won the school`s mile race, held at St. Helen`s Ground; he carried a newspaper photograph of his victory with him until his death.[66][67] In 1931, when he was 16, Thomas left school to become a reporter for the South Wales Daily Post, where he remained for some 18 months.[68] After leaving the newspaper, Thomas continued to work as a freelance journalist for several years, during which time he remained at Cwmdonkin Drive and continued to add to his notebooks, amassing 200 poems in four books between 1930 and 1934. Of the 90 poems he published, half were written during these years.[11] On the stage A wide three storied building with windows to the upper two stories and an entrance on the ground floor. A statue of Thomas sits outside. The Little Theatre relocated to Swansea`s Maritime Quarter in 1979 and was renamed the Dylan Thomas Theatre in 1983 The stage was also an important part of Thomas`s life from 1929 to 1934, as an actor, writer, producer and set painter. He took part in productions at Swansea Grammar School, and with the YMCA Junior Players and the Little Theatre, which was based in the Mumbles. It was also a touring company that took part in drama competitions and festivals around South Wales.[69] Between October 1933 and March 1934, for example, Thomas and his fellow actors took part in five productions at the Mumbles theatre, as well as nine touring performances.[70] Thomas continued with acting and production throughout his life, including his time in Laugharne, South Leigh and London (in the theatre and on radio), as well as taking part in nine stage readings of Under Milk Wood.[71] The Shakespearian actor, John Laurie, who had worked with Thomas on both the stage[72] and radio[73] thought that Thomas would `have loved to have been an actor` and, had he chosen to do so, would have been `Our first real poet-dramatist since Shakespeare.`[74] Painting the sets at the Little Theatre was just one aspect of the young Thomas`s interest in art. His own drawings and paintings hung in his bedroom in Cwmdonkin Drive, and his early letters reveal a broader interest in art and art theory.[75] Thomas saw writing a poem as an act of construction `as a sculptor works at stone,`[76] later advising a student `to treat words as a craftsman does his wood or stone...hew, carve, mould, coil, polish and plane them...`[77] Throughout his life, his friends included artists, both in Swansea[78] and in London,[79] as well as in America.[80] In his free time, Thomas visited the cinema in Uplands, took walks along Swansea Bay, and frequented Swansea`s pubs, especially the Antelope and the Mermaid Hotels in Mumbles.[81][82] In the Kardomah Café, close to the newspaper office in Castle Street, he met his creative contemporaries, including his friend the poet Vernon Watkins and the musician and composer, Daniel Jones with whom, as teenagers, Thomas had helped to set up the `Warmley Broadcasting Corporation`.[83] This group of writers, musicians and artists became known as `The Kardomah Gang`.[84] This was also the period of his friendship with Bert Trick, a local shopkeeper, left-wing political activist and would-be poet,[85] and with the Rev. Leon Atkin, a Swansea minister, human rights activist and local politician.[86] In 1933, Thomas visited London for probably the first time.[nb 3] London, 1933–1939 Thomas was a teenager when many of the poems for which he became famous were published: `And death shall have no dominion`, `Before I Knocked` and `The Force That Through the Green Fuse Drives the Flower`. `And death shall have no dominion` appeared in the New English Weekly in May 1933.[11] When `Light breaks where no sun shines` appeared in The Listener in 1934, it caught the attention of three senior figures in literary London, T. S. Eliot, Geoffrey Grigson and Stephen Spender.[17][88][89] They contacted Thomas and his first poetry volume, 18 Poems, was published in December 1934. 18 Poems was noted for its visionary qualities which led to critic Desmond Hawkins writing that the work was `the sort of bomb that bursts no more than once in three years`.[11][90] The volume was critically acclaimed and won a contest run by the Sunday Referee, netting him new admirers from the London poetry world, including Edith Sitwell and Edwin Muir.[17] The anthology was published by Fortune Press, in part a vanity publisher that did not pay its writers and expected them to buy a certain number of copies themselves. A similar arrangement was used by other new authors including Philip Larkin.[91] In May 1934, Thomas made his first visit to Laugharne, `the strangest town in Wales`, as he described it in an extended letter to Pamela Hansford Johnson, in which he also writes about the town`s estuarine bleakness, and the dismal lives of the women cockle pickers working the shore around him.[92] The following year, in September 1935, Thomas met Vernon Watkins, thus beginning a lifelong friendship.[93] Thomas introduced Watkins, working at Lloyds Bank at the time, to his friends, now known as The Kardomah Gang. In those days, Thomas used to frequent the cinema on Mondays with Tom Warner who, like Watkins, had recently suffered a nervous breakdown. After these trips, Warner would bring Thomas back for supper with his aunt. On one occasion, when she served him a boiled egg, she had to cut its top off for him, as Thomas did not know how to do this. This was because his mother had done it for him all his life, an example of her coddling him.[94] Years later, his wife Caitlin would still have to prepare his eggs for him.[95][96] In December 1935, Thomas contributed the poem `The Hand That Signed the Paper` to Issue 18 of the bi-monthly New Verse.[97] In 1936, his next collection Twenty-five Poems, published by J. M. Dent, also received much critical praise.[17] Two years later, in 1938, Thomas won the Oscar Blumenthal Prize for Poetry; it was also the year in which New Directions offered to be his publisher in the United States. In all, he wrote half his poems while living at Cwmdonkin Drive before moving to London. During this time Thomas`s reputation for heavy drinking developed.[90][98] By the late 1930s, Thomas was embraced as the `poetic herald` for a group of English poets, the New Apocalyptics.[99] Thomas refused to align himself with them and declined to sign their manifesto. He later stated that he believed they were `intellectual muckpots leaning on a theory`.[99] Despite this, many of the group, including Henry Treece, modelled their work on Thomas`s.[99] In the politically charged atmosphere of the 1930s Thomas`s sympathies were very much with the radical left, to the point of his holding close links with the communists; he was also decidedly pacifist and anti-fascist.[100] He was a supporter of the left-wing No More War Movement and boasted about participating in demonstrations against the British Union of Fascists.[100] Bert Trick has provided an extensive account of an Oswald Mosley rally in the Plaza cinema in Swansea in July 1933 that he and Thomas attended.[101] Marriage In early 1936, Thomas met Caitlin Macnamara (1913–1994), a 22-year-old dancer of Irish and French Quaker descent.[102] She had run away from home, intent on making a career in dance, and aged 18 joined the chorus line at the London Palladium.[103][104][105] Introduced by Augustus John, Caitlin`s lover, they met in The Wheatsheaf pub on Rathbone Place in London`s West End.[103][105][106] Laying his head in her lap, a drunken Thomas proposed.[104][107] Thomas liked to assert that he and Caitlin were in bed together ten minutes after they first met.[108] Although Caitlin initially continued her relationship with John, she and Thomas began a correspondence, and in the second half of 1936 were courting.[109] They married at the register office in Penzance, Cornwall, on 11 July 1937.[110] In May 1938, they moved to Wales, renting a cottage in the village of Laugharne, Carmarthenshire.[111] They lived there intermittently[112] for just under two years until July 1941, and did not return to live in Laugharne until 1949.[113] Their first child, Llewelyn Edouard, was born on 30 January 1939.[114] Wartime, 1939–1945 In 1939, a collection of 16 poems and seven of the 20 short stories published by Thomas in magazines since 1934, appeared as The Map of Love.[115] Ten stories in his next book, Portrait of the Artist as a Young Dog (1940), were based less on lavish fantasy than those in The Map of Love and more on real-life romances featuring himself in Wales.[11] Sales of both books were poor, resulting in Thomas living on meagre fees from writing and reviewing. At this time he borrowed heavily from friends and acquaintances.[116] Hounded by creditors, Thomas and his family left Laugharne in July 1940 and moved to the home of critic John Davenport in Marshfield near Chippenham in Gloucestershire.[nb 4] There Thomas collaborated with Davenport on the satire The Death of the King`s Canary, though due to fears of libel the work was not published until 1976.[118][119] At the outset of the Second World War, Thomas was worried about conscription, and referred to his ailment as `an unreliable lung`. Coughing sometimes confined him to bed, and he had a history of bringing up blood and mucus.[120] After initially seeking employment in a reserved occupation, he managed to be classified Grade III, which meant that he would be among the last to be called up for service.[nb 5] Saddened to see his friends going on active service, he continued drinking and struggled to support his family. He wrote begging letters to random literary figures asking for support, a plan he hoped would provide a long-term regular income.[11] Thomas supplemented his income by writing scripts for the BBC, which not only gave him additional earnings but also provided evidence that he was engaged in essential war work.[122] In February 1941, Swansea was bombed by the Luftwaffe in a `three nights` blitz`. Castle Street was one of many streets that suffered badly; rows of shops, including the Kardomah Café, were destroyed. Thomas walked through the bombed-out shell of the town centre with his friend Bert Trick. Upset at the sight, he concluded: `Our Swansea is dead`.[123] Thomas later wrote a feature programme for the radio, Return Journey, which described the café as being `razed to the snow`.[124] The programme, produced by Philip Burton, was first broadcast on 15 June 1947. The Kardomah Café reopened on Portland Street after the war.[125] Making films In five film projects, between 1942 and 1945, the Ministry of Information (MOI) commissioned Thomas to script a series of documentaries about both urban planning and wartime patriotism, all in partnership with director John Eldridge: Wales: Green Mountain, Black Mountain, New Towns for Old, Fuel for Battle, Our Country and A City Reborn.[126][127][128] In May 1941, Thomas and Caitlin left their son with his grandmother at Blashford and moved to London.[129] Thomas hoped to find employment in the film industry and wrote to the director of the films division of the Ministry of Information.[11] After being rebuffed, he found work with Strand Films, providing him with his first regular income since the South Wales Daily Post.[130] Strand produced films for the MOI; Thomas scripted at least five films in 1942, This Is Colour (a history of the British dyeing industry) and New Towns For Old (on post-war reconstruction). These Are The Men (1943) was a more ambitious piece in which Thomas`s verse accompanies Leni Riefenstahl`s footage of an early Nuremberg Rally.[nb 6] Conquest of a Germ (1944) explored the use of early antibiotics in the fight against pneumonia and tuberculosis. Our Country (1945) was a romantic tour of Britain set to Thomas`s poetry.[132][133] In early 1943, Thomas began a relationship with Pamela Glendower, one of several affairs he had during his marriage.[134] The affairs either ran out of steam or were halted after Caitlin discovered his infidelity.[134] In March 1943, Caitlin gave birth to a daughter, Aeronwy, in London.[134] They lived in a run-down studio in Chelsea, made up of a single large room with a curtain to separate the kitchen.[135] Escaping to Wales The Thomas family also made several escapes back to Wales. Between 1941 and 1943, they lived intermittently in Plas Gelli, Talsarn, in Cardiganshire.[136] Plas Gelli sits close by the River Aeron, after whom Aeronwy is thought to have been named.[137] Some of Thomas`s letters from Gelli can be found in his Collected Letters[138] whilst an extended account of Thomas`s time there can be found in D. N. Thomas`s book, Dylan Thomas: A Farm, Two Mansions and a Bungalow (2000).[139] The Thomases shared the mansion with his childhood friends from Swansea, Vera and Evelyn Phillips. Vera`s friendship with the Thomases in nearby New Quay is portrayed in the 2008 film The Edge of Love.[140][nb 7] In July 1944, with the threat in London of German flying bombs, Thomas moved to the family cottage at Blaencwm near Llangain, Carmarthenshire,[141] where he resumed writing poetry, completing `Holy Spring` and `Vision and Prayer`.[142] In September that year, the Thomas family moved to New Quay in Cardiganshire (Ceredigion), where they rented Majoda, a wood and asbestos bungalow on the cliffs overlooking Cardigan Bay.[143] It was there that Thomas wrote a radio piece about New Quay, Quite Early One Morning, a sketch for his later work, Under Milk Wood.[144] Of the poetry written at this time, of note is Fern Hill, started while living in New Quay, continued at Blaencwm in July and August 1945 and first published in October 1945 [145][nb 8] Thomas`s nine months in New Quay, said first biographer, Constantine FitzGibbon, were `a second flowering, a period of fertility that recalls the earliest days…[with a] great outpouring of poems`, as well as a good deal of other material.[146] His second biographer, Paul Ferris, agreed: `On the grounds of output, the bungalow deserves a plaque of its own.`[147] Thomas`s third biographer, George Tremlett, concurred, describing the time in New Quay as `one of the most creative periods of Thomas`s life.`[148] Professor Walford Davies, who co-edited the 1995 definitive edition of the play, has noted that New Quay `was crucial in supplementing the gallery of characters Thomas had to hand for writing Under Milk Wood.`[149] Broadcasting years, 1945–1949 The Boat House, Laugharne, the Thomas family home from 1949 Although Thomas had previously written for the BBC, it was a minor and intermittent source of income. In 1943, he wrote and recorded a 15-minute talk titled `Reminiscences of Childhood` for the Welsh BBC. In December 1944, he recorded Quite Early One Morning (produced by Aneirin Talfan Davies, again for the Welsh BBC) but when Davies offered it for national broadcast BBC London turned it down.[144] On 31 August 1945, the BBC Home Service broadcast Quite Early One Morning and, in the three years beginning in October 1945, Thomas made over a hundred broadcasts for the corporation.[150] Thomas was employed not only for his poetry readings, but for discussions and critiques.[151][152] In the second half of 1945, Thomas began reading for the BBC Radio programme, Book of Verse, broadcast weekly to the Far East.[153] This provided Thomas with a regular income and brought him into contact with Louis MacNeice, a congenial drinking companion whose advice Thomas cherished.[154] On 29 September 1946, the BBC began transmitting the Third Programme, a high-culture network which provided opportunities for Thomas.[155] He appeared in the play Comus for the Third Programme, the day after the network launched, and his rich, sonorous voice led to character parts, including the lead in Aeschylus`s Agamemnon and Satan in an adaptation of Paradise Lost.[154][156] Thomas remained a popular guest on radio talk shows for the BBC, who regarded him as `useful should a younger generation poet be needed`.[157] He had an uneasy relationship with BBC management and a staff job was never an option, with drinking cited as the problem.[158] Despite this, Thomas became a familiar radio voice and within Britain was `in every sense a celebrity`.[159] Dylan Thomas`s writing shed By late September 1945, the Thomases had left Wales and were living with various friends in London.[160] In December, they moved to Oxford to live in a summerhouse on the banks of the Cherwell. It belonged to the historian, A.J.P. Taylor. His wife, Margaret, would prove to be Thomas`s most committed patron.[161] The publication of Deaths and Entrances in February 1946 was a major turning point for Thomas. Poet and critic Walter J. Turner commented in The Spectator, `This book alone, in my opinion, ranks him as a major poet`.[162] Italy, South Leigh and Prague... The following year, in April 1947, the Thomases travelled to Italy, after Thomas had been awarded a Society of Authors scholarship. They stayed first in villas near Rapallo and then Florence, before moving to a hotel in Rio Marina on the island of Elba.[163] On their return, Thomas and family moved, in September 1947, into the Manor House in South Leigh, just west of Oxford, found for him by Margaret Taylor. He continued with his work for the BBC, completed a number of film scripts and worked further on his ideas for Under Milk Wood,[164] including a discussion in late 1947 of The Village of the Mad (as the play was then called) with the BBC producer Philip Burton. He later recalled that, during the meeting, Thomas had discussed his ideas for having a blind narrator, an organist who played for a dog and two lovers who wrote to each other every day but never met.[165] In March 1949 Thomas travelled to Prague. He had been invited by the Czech government to attend the inauguration of the Czechoslovak Writers` Union. Jiřina Hauková, who had previously published translations of some of Thomas`s poems, was his guide and interpreter.[nb 9] In her memoir, Hauková recalls that at a party in Prague, Thomas `narrated the first version of his radio play

Kao na slikama Retko the Penguin Dorothy Parker contains stories and poems published collectively in 1944; later uncollected stories, articles and reviews; and the contents of Constant Reader (her New Yorker book reviews) - in all of which she sharpens her legendary wits on the foibles of others. Publisher ‏ : ‎ Penguin (30 Jun. 1977) Language ‏ : ‎ English Paperback ‏ : ‎ 640 pages Doroti Parker bila je američka pesnikinja, pisala je kratke priče, bile je i kritičarka, scenaristkinja. Ipak u širokim narodnim masama ostala je najpoznatija po svojim dovitljivim, duhovitim izjavama i opaskama. Rođena je na današnji dan (22. avgusta 1893. godine) u braku Henrija i Elizabet. Dottie, kako su je zvali, nije imala sretno detinjstvo odrastajući u Njujorku, budući da je majku izgubila vrlo rano, a kasnije je izgubila i maćehu, dok joj je stric nastradao na Titaniku 1912. godine. Već sledeće godine umro je i njen otac. Doroti je već 1914. godine prodala svoju prvu pesmu časopisu Vanity Fair, ali je već sa 22 godine u Vogue-u radila kao urednik. Nastavila je pisati pesme za novine i časopise, pa se 1917. godine pridružila Vanity Fairu, gde je preuzela mjesto dramske kritičarke. U istom je časopisu dobila otkaz zbog dosetki na račun glumice Billie Burke, inače supruge jednog od najvećih oglašivača časopisa. Godine 1922. objavljuje svoju prvu kratku priču `Such a Pretty Little Picture`, a postala je i urednica časopisa The New Yorker kada se pojavio 1925. godine. Njena prva zbirka poezije `Enough Rope` objavljena je 1926. da bi potom usledile i zbirke `Sunset Gun`, `Death and Taxes, kao i zbirka priča `Laments for the Living`. Tokom 20-ih godina Doroti je nekoliko puta putovala u Europu gde se sprijateljila sa Ernestom Hemingvejem, i Skotom Ficdžeraldom, pa je pisala članke za The New Yorker i Life. Udala se za glumca i pisca Alana Campbella, i preselili su se u Los Anđeles, gde su postali visoko plaćeni scenaristički dvojac, a 1937. godine su nominovani za Oskara za film Zvijezda je rođena. Rastali su se 1947. pa opet venčali 1950. godine. Iako uspešna i cenjena, patila je od depresije i alkoholizma i dva puta je pokušala samoubistvo. Za sebe je tvrdila da nije spisateljica koja ima problema sa pićem, nego pijanica koja ima problem sa pisanjem. Ovo su neki od njenih najpoznatijih izjava i citata: Ja zahtevam jedino tri stvari od muškaraca. Mora biti zgodan, nemilosrdan i glup. Žene nisu stvorene da bi bile shvaćene, već da bi bile voljene. Ljubav je poput žive u ruci. Otvorite šaku i ona će ostati. Stisnite je i onda će pobeći Jedini način da američke žene dobiju toliko željenu ravnopravnost jeste da se odreknu nekih svojih prava Uopšte me nije briga što pišu o meni sve dok je istina. Želite li znati šta Bog misli o novcu, pogledajte ljude kojima ga je dao. Žene su te koje pokreću skalu emocija od točke A do točke B. Znam da postoje stvari koje nikad neće biti niti su bile zabavne. Takođe znam da ismejavanje može biti štit, ali nikako oružje. Ženin najbolji prijatelj je njena majka. Da bi se sačuvala knjiga, potrebne su korice. Isto važi i za žene. Muževi koji shvataju ovu mudrost, ukoričavaju svoje žene u krzno. Sifražetkinja je osoba koja je prestala biti žena, a još nije postala muškarac. Radoznalost je lek za dosadu. Ne postoji lek za radoznalost. Ujutro prvo operem zube i naoštrim jezik. Dorothy Parker (née Rothschild; August 22, 1893 – June 7, 1967) was an American poet, writer, critic, and satirist based in New York; she was known for her wit, wisecracks, and eye for 20th-century urban foibles. From a conflicted and unhappy childhood, Parker rose to acclaim, both for her literary works published in magazines, such as The New Yorker, and as a founding member of the Algonquin Round Table. Following the breakup of the circle, Parker traveled to Hollywood to pursue screenwriting. Her successes there, including two Academy Award nominations, were curtailed when her involvement in left-wing politics resulted in her being placed on the Hollywood blacklist. Dismissive of her own talents, she deplored her reputation as a `wisecracker`. Nevertheless, both her literary output and reputation for sharp wit have endured. Some of her works have been set to music. Early life and education[edit] Also known as Dot or Dottie,[citation needed] Parker was born Dorothy Rothschild in 1893 to Jacob Henry Rothschild and his wife Eliza Annie (née Marston)[1][2] (1851–1898) at 732 Ocean Avenue in Long Branch, New Jersey.[3] Her parents had a summer beach cottage there. Parker wrote in her essay `My Home Town` that her parents returned to their Manhattan apartment shortly after Labor Day so that she could be called a true New Yorker. Parker`s mother was of Scottish descent. Her father was the son of Sampson Jacob Rothschild (1818–1899) and Mary Greissman (b. 1824), both Prussian-born Jews. Sampson Jacob Rothschild was a merchant who immigrated to the United States around 1846, settling in Monroe County, Alabama. Dorothy`s father Jacob Henry Rothschild was one of five known siblings. The others were Simon (1854–1908); Samuel (b. 1857); Hannah (1860–1911), later Mrs. William Henry Theobald; and Martin, born in Manhattan on December 12, 1865, who perished in the sinking of the Titanic in 1912.[4] Her mother died in Manhattan in July 1898, a month before Parker`s fifth birthday.[5] Her father remarried in 1900 to Eleanor Frances Lewis (1851–1903).[6] Parker has been said to have hated her father, who allegedly physically abused her, and her stepmother, whom she is said to have refused to call `mother`, `stepmother`, or `Eleanor`, instead referring to her as `the housekeeper`.[7] However, her biographer Marion Meade refers to this account as `largely false`, stating that the atmosphere in which Parker grew up was indulgent, affectionate, supportive and generous.[8] Parker grew up on the Upper West Side and attended a Roman Catholic elementary school at the Convent of the Blessed Sacrament on West 79th Street with her sister, Helen, although their father was Jewish and her stepmother was Protestant.[9] (Mercedes de Acosta was a classmate.) Parker once joked that she was asked to leave following her characterization of the Immaculate Conception as `spontaneous combustion`.[10] Her stepmother died in 1903, when Parker was nine.[11] Parker later attended Miss Dana`s School, a finishing school in Morristown, New Jersey.[12] She graduated from Miss Dana`s School in 1911, at the age of 18, according to Authur,[13] although Rhonda Pettit[14] and Marion Meade state she never graduated from either school. Following her father`s death in 1913, she played piano at a dancing school to earn a living[15] while she worked on her poetry. She sold her first poem to Vanity Fair magazine in 1914 and some months later was hired as an editorial assistant for Vogue, another Condé Nast magazine. She moved to Vanity Fair as a staff writer after two years at Vogue.[16] In 1917, she met a Wall Street stockbroker, Edwin Pond Parker II[17] (1893–1933)[18] and they married before he left to serve in World War I with the U.S. Army 4th Division. She filed for divorce in 1928.[19] Dorothy retained her married name Parker, though she remarried to Alan Campbell, screenwriter and former actor, and moved to Hollywood.[14] Algonquin Round Table years[edit] Parker, with Algonquin Round Table members and guests (l–r) Art Samuels (editor of Harper`s and, briefly, The New Yorker), Charles MacArthur, Harpo Marx, and Alexander Woollcott, circa 1919 Parker`s career took off in 1918 while she was writing theater criticism for Vanity Fair, filling in for the vacationing P. G. Wodehouse.[20] At the magazine, she met Robert Benchley, who became a close friend, and Robert E. Sherwood.[21] The trio began lunching at the Algonquin Hotel almost daily and became founding members of what became known as the Algonquin Round Table. This numbered among its members the newspaper columnists Franklin P. Adams and Alexander Woollcott, as well as the editor Harold Ross, the novelist Edna Ferber, the reporter Heywood Broun, and the comedian Harpo Marx.[22] Through their publication of her lunchtime remarks and short verses, particularly in Adams` column `The Conning Tower`, Parker began developing a national reputation as a wit.[citation needed] Parker`s caustic wit as a critic initially proved popular, but she was eventually dismissed by Vanity Fair on January 11, 1920 after her criticisms had too often offended the playwright–producer David Belasco, the actor Billie Burke, the impresario Florenz Ziegfeld, and others. Benchley resigned in protest.[22] (Sherwood is sometimes reported to have done so too, but in fact had been fired in December 1919.[citation needed]) She soon started working for Ainslee`s Magazine, which had a higher circulation. She also published pieces in Vanity Fair, which was happier to publish her than employ her, The Smart Set, and The American Mercury, but also in the popular Ladies’ Home Journal, Saturday Evening Post, and Life.[23] When Harold Ross founded The New Yorker in 1925, Parker and Benchley were part of a board of editors he established to allay the concerns of his investors. Parker`s first piece for the magazine was published in its second issue.[24] She became famous for her short, viciously humorous poems, many highlighting ludicrous aspects of her many (largely unsuccessful) romantic affairs and others wistfully considering the appeal of suicide.[citation needed] The next 15 years were Parker`s period of greatest productivity and success. In the 1920s alone she published some 300 poems and free verses in Vanity Fair, Vogue, `The Conning Tower` and The New Yorker as well as Life, McCall`s and The New Republic.[25] Her poem `Song in a Minor Key` was published during a candid interview with New York N.E.A. writer Josephine van der Grift.[26] Cover of the first edition of Enough Rope Parker published her first volume of poetry, Enough Rope, in 1926. It sold 47,000 copies[27] and garnered impressive reviews. The Nation described her verse as `caked with a salty humor, rough with splinters of disillusion, and tarred with a bright black authenticity`.[28] Although some critics, notably The New York Times` reviewer, dismissed her work as `flapper verse`,[29] the book helped Parker`s reputation for sparkling wit.[27] She released two more volumes of verse, Sunset Gun (1928) and Death and Taxes (1931), along with the short story collections Laments for the Living (1930) and After Such Pleasures (1933). Not So Deep as a Well (1936) collected much of the material previously published in Rope, Gun, and Death; and she re-released her fiction with a few new pieces in 1939 as Here Lies. Parker collaborated with playwright Elmer Rice to create Close Harmony, which ran on Broadway in December 1924. The play was well received in out-of-town previews and favorably reviewed in New York, but it closed after only 24 performances. As The Lady Next Door, it became a successful touring production.[30] Some of Parker`s most popular work was published in The New Yorker in the form of acerbic book reviews under the byline `Constant Reader`. Her response to the whimsy of A. A. Milne`s The House at Pooh Corner was `Tonstant Weader fwowed up.`[31] Her reviews appeared semi-regularly from 1927 to 1933,[32] were widely read, and were posthumously published in 1970 in a collection titled Constant Reader. Her best-known short story, `Big Blonde`, published in The Bookman, was awarded the O. Henry Award as the best short story of 1929.[33] Her short stories, though often witty, were also spare and incisive, and more bittersweet than comic;[citation needed] her poetry has been described as sardonic.[34] Parker eventually separated from her husband Edwin Parker, divorcing in 1928. She had a number of affairs, her lovers including reporter-turned-playwright Charles MacArthur and the publisher Seward Collins. Her relationship with MacArthur resulted in a pregnancy. Parker is alleged to have said, `how like me, to put all my eggs into one bastard”.[35] She had an abortion, and fell into a depression that culminated in her first attempt at suicide.[36] Toward the end of this period, Parker began to become more politically aware and active. What would become a lifelong commitment to activism began in 1927, when she became concerned about the pending executions of Sacco and Vanzetti. Parker traveled to Boston to protest the proceedings. She and fellow Round Tabler Ruth Hale were arrested, and Parker eventually pleaded guilty to a charge of `loitering and sauntering`, paying a $5 fine.[37] Hollywood[edit] In 1932, Parker met Alan Campbell,[38] an actor hoping to become a screenwriter. They married two years later in Raton, New Mexico. Campbell`s mixed parentage was the reverse of Parker`s: he had a German-Jewish mother and a Scottish father. She learned that he was bisexual and later proclaimed in public that he was `queer as a billy goat`.[39] The pair moved to Hollywood and signed ten-week contracts with Paramount Pictures, with Campbell (also expected to act) earning $250 per week and Parker earning $1,000 per week. They would eventually earn $2,000 and sometimes more than $5,000 per week as freelancers for various studios.[40] She and Campbell `[received] writing credit for over 15 films between 1934 and 1941`.[41] In 1933, when informed that famously taciturn former president Calvin Coolidge had died, Parker remarked, `How could they tell?`[42] In 1935, Parker contributed lyrics for the song `I Wished on the Moon`, with music by Ralph Rainger. The song was introduced in The Big Broadcast of 1936 by Bing Crosby.[43] With Campbell and Robert Carson, she wrote the script for the 1937 film A Star Is Born, for which they were nominated for an Academy Award for Best Writing—Screenplay. She wrote additional dialogue for The Little Foxes in 1941. Together with Frank Cavett, she received a `Writing (Motion Picture Story)` Oscar nomination for Smash-Up, the Story of a Woman (1947),[44] starring Susan Hayward. After the United States entered the Second World War, Parker and Alexander Woollcott collaborated to produce an anthology of her work as part of a series published by Viking Press for servicemen stationed overseas. With an introduction by W. Somerset Maugham,[45] the volume compiled over two dozen of Parker`s short stories, along with selected poems from Enough Rope, Sunset Gun, and Death and Taxes. It was published in the United States in 1944 as The Portable Dorothy Parker. Hers is one of three volumes in the Portable series, including volumes devoted to William Shakespeare and the Bible, that had remained in continuous print as of 1976.[46] During the 1930s and 1940s, Parker became an increasingly vocal advocate of civil liberties and civil rights and a frequent critic of authority figures. During the Great Depression, she was among numerous American intellectuals and artists who became involved in related social movements. She reported in 1937 on the Loyalist cause in Spain for the Communist magazine New Masses.[47] At the behest of Otto Katz, a covert Soviet Comintern agent and operative of German Communist Party agent Willi Münzenberg, Parker helped to found the Hollywood Anti-Nazi League in 1936, which the FBI suspected of being a Communist Party front.[48] The League`s membership eventually grew to around 4,000. According to David Caute, its often wealthy members were `able to contribute as much to [Communist] Party funds as the whole American working class`, although they may not have been intending to support the Party cause.[49] Parker also chaired the Joint Anti-Fascist Refugee Committee`s fundraising arm, `Spanish Refugee Appeal`. She organized Project Rescue Ship to transport Loyalist veterans to Mexico, headed Spanish Children`s Relief, and lent her name to many other left-wing causes and organizations.[50] Her former Round Table friends saw less and less of her, and her relationship with Robert Benchley became particularly strained (although they would reconcile).[51] Parker met S. J. Perelman at a party in 1932 and, despite a rocky start (Perelman called it `a scarifying ordeal`),[52] they remained friends for the next 35 years. They became neighbors when the Perelmans helped Parker and Campbell buy a run-down farm in Bucks County, Pennsylvania, near New Hope, a popular summer destination among many writers and artists from New York.[citation needed] Parker was listed as a Communist by the publication Red Channels in 1950.[53] The FBI compiled a 1,000-page dossier on her because of her suspected involvement in Communism during the era when Senator Joseph McCarthy was raising alarms about communists in government and Hollywood.[54] As a result, movie studio bosses placed her on the Hollywood blacklist. Her final screenplay was The Fan, a 1949 adaptation of Oscar Wilde`s Lady Windermere`s Fan, directed by Otto Preminger.[citation needed] Her marriage to Campbell was tempestuous, with tensions exacerbated by Parker`s increasing alcohol consumption and Campbell`s long-term affair with a married woman in Europe during World War II.[55] They divorced in 1947,[56] remarried in 1950,[57] then separated in 1952 when Parker moved back to New York.[58] From 1957 to 1962, she wrote book reviews for Esquire.[citation needed] Her writing became increasingly erratic owing to her continued abuse of alcohol. She returned to Hollywood in 1961, reconciled with Campbell, and collaborated with him on a number of unproduced projects until Campbell died from a drug overdose in 1963.[59] Later life and death[edit] Following Campbell`s death, Parker returned to New York City and the Volney residential hotel. In her later years, she denigrated the Algonquin Round Table, although it had brought her such early notoriety: These were no giants. Think who was writing in those days—Lardner, Fitzgerald, Faulkner and Hemingway. Those were the real giants. The Round Table was just a lot of people telling jokes and telling each other how good they were. Just a bunch of loudmouths showing off, saving their gags for days, waiting for a chance to spring them ... There was no truth in anything they said. It was the terrible day of the wisecrack, so there didn`t have to be any truth ...[60] Parker occasionally participated in radio programs, including Information Please (as a guest) and Author, Author (as a regular panelist). She wrote for the Columbia Workshop, and both Ilka Chase and Tallulah Bankhead used her material for radio monologues.[61] Parker died on June 7, 1967, of a heart attack[3] at the age of 73. In her will, she bequeathed her estate to Martin Luther King Jr., and upon King`s death, to the NAACP.[62] At the time of her death, she was living at the Volney residential hotel on East 74th Street.[63] Burial[edit] Following her cremation, Parker`s ashes were unclaimed for several years. Finally, in 1973, the crematorium sent them to her lawyer`s office; by then he had retired, and the ashes remained in his colleague Paul O`Dwyer`s filing cabinet for about 17 years.[64][65] In 1988, O`Dwyer brought this to public attention, with the aid of celebrity columnist Liz Smith; after some discussion, the NAACP claimed Parker`s remains and designed a memorial garden for them outside its Baltimore headquarters.[66] The plaque read: Here lie the ashes of Dorothy Parker (1893–1967) humorist, writer, critic. Defender of human and civil rights. For her epitaph she suggested, `Excuse my dust`. This memorial garden is dedicated to her noble spirit which celebrated the oneness of humankind and to the bonds of everlasting friendship between black and Jewish people. Dedicated by the National Association for the Advancement of Colored People. October 28, 1988.[67] Plaque at Parker`s birthplace In early 2020, the NAACP moved its headquarters to downtown Baltimore and how this might affect Parker`s ashes became the topic of much speculation, especially after the NAACP formally announced it would later move to Washington, D.C.[68] The NAACP restated that Parker`s ashes would ultimately be where her family wished.[69] `It’s important to us that we do this right,` said the NAACP.[68] Relatives called for the ashes to be moved to the family`s plot in Woodlawn Cemetery, in the Bronx, where a place had been reserved for Parker by her father. On August 18, 2020, Parker`s urn was exhumed.[70] `Two executives from the N.A.A.C.P. spoke, and a rabbi who had attended her initial burial said Kaddish.` On August 22, 2020, Parker was re-buried privately in Woodlawn, with the possibility of a more public ceremony later.[65] `Her legacy means a lot,` added representatives from the NAACP.[68] Honors[edit] On August 22, 1992, the 99th anniversary of Parker`s birth, the United States Postal Service issued a 29¢ U.S. commemorative postage stamp in the Literary Arts series. The Algonquin Round Table, as well as the number of other literary and theatrical greats who lodged at the hotel, contributed to the Algonquin Hotel`s being designated in 1987 as a New York City Historic Landmark.[71] In 1996, the hotel was designated as a National Literary Landmark by the Friends of Libraries USA, based on the contributions of Parker and other members of the Round Table. The organization`s bronze plaque is attached to the front of the hotel.[72] Parker`s birthplace at the Jersey Shore was also designated a National Literary Landmark by Friends of Libraries USA in 2005[73] and a bronze plaque marks the former site of her family house.[74] In 2014, Parker was elected to the New Jersey Hall of Fame. In popular culture[edit] Parker inspired a number of fictional characters in several plays of her day. These included `Lily Malone` in Philip Barry`s Hotel Universe (1932), `Mary Hilliard` (played by Ruth Gordon) in George Oppenheimer`s Here Today (1932), `Paula Wharton` in Gordon`s 1944 play Over Twenty-one (directed by George S. Kaufman), and `Julia Glenn` in the Kaufman–Moss Hart collaboration Merrily We Roll Along (1934). Kaufman`s representation of her in Merrily We Roll Along led Parker, once his Round Table compatriot, to despise him.[75] She also was portrayed as `Daisy Lester` in Charles Brackett`s 1934 novel Entirely Surrounded.[76] She is mentioned in the original introductory lyrics in Cole Porter`s song `Just One of Those Things` from the 1935 Broadway musical Jubilee, which have been retained in the standard interpretation of the song as part of the Great American Songbook. Parker is a character in the novel The Dorothy Parker Murder Case by George Baxt (1984), in a series of Algonquin Round Table Mysteries by J. J. Murphy (2011– ), and in Ellen Meister`s novel Farewell, Dorothy Parker (2013).[77] She is the main character in `Love For Miss Dottie`, a short story by Larry N Mayer, which was selected by writer Mary Gaitskill for the collection Best New American Voices 2009 (Harcourt). She has been portrayed on film and television by Dolores Sutton in F. Scott Fitzgerald in Hollywood (1976), Rosemary Murphy in Julia (1977),[78] Bebe Neuwirth in Dash and Lilly (1999), and Jennifer Jason Leigh in Mrs. Parker and the Vicious Circle (1994). Neuwirth was nominated for an Emmy Award for her performance, and Leigh received a number of awards and nominations, including a Golden Globe nomination. Television creator Amy Sherman-Palladino named her production company `Dorothy Parker Drank Here Productions` in tribute to Parker.[79] Tucson actress Lesley Abrams wrote and performed the one-woman show Dorothy Parker`s Last Call in 2009 in Tucson, Arizona, presented by the Winding Road Theater Ensemble.[80] She reprised the role at the Live Theatre Workshop in Tucson in 2014.[81] The play was selected to be part of the Capital Fringe Festival in DC in 2010.[82] In 2018, American drag queen Miz Cracker played Parker in the celebrity-impersonation game show episode of the Season 10 of Rupaul`s Drag Race.[83] In the 2018 film Can You Ever Forgive Me? (based on the 2008 memoir of the same name), Melissa McCarthy plays Lee Israel, an author who for a time forged original letters in Dorothy Parker`s name. Adaptations[edit] In the 2010s some of her poems from the early 20th century have been set to music by the composer Marcus Paus as the operatic song cycle Hate Songs for Mezzo-Soprano and Orchestra (2014);[84][85] Paus`s Hate Songs was described by musicologist Ralph P. Locke as `one of the most engaging works` in recent years; `the cycle expresses Parker`s favorite theme: how awful human beings are, especially the male of the species`.[86][87] With the authorization of the NAACP,[88][better source needed] lyrics taken from her book of poetry Not So Deep as a Well were used in 2014 by Canadian singer Myriam Gendron to create a folk album of the same title.[89] Also in 2014, Chicago jazz bassist/singer/composer Katie Ernst issued her album Little Words, consisting of her authorized settings of seven of Parker`s poems.[90][91] In 2021 her book Men I`m Not Married To was adapted as an opera of the same name by composer Lisa DeSpain and librettist Rachel J. Peters. It premiered virtually as part of Operas in Place and Virtual Festival of New Operas commissioned by Baldwin Wallace Conservatory Voice Performance, Cleveland Opera Theater, and On Site Opera on February 18, 2021.[92] Bibliography[edit] This list is incomplete; you can help by adding missing items. (November 2016) Essays and reporting[edit] Parker, Dorothy (February 28, 1925). `A certain lady`. The New Yorker. 1 (2): 15–16. Parker, Dorothy (1970). Constant Reader. New York: Viking Press. (a collection of 31 literary reviews originally published in The New Yorker, 1927–1933) Fitzpatrick, Kevin (2014). Complete Broadway, 1918–1923. iUniverse. ISBN 978-1-4917-2267-1. (compilation of reviews, edited by Fitzpatrick; most of these reviews have never been reprinted)[23] Short story: A Telephone Call Short fiction[edit] Collections 1930: Laments for the Living (includes 13 short stories) 1933: After Such Pleasures (includes 11 short stories) 1939: Here Lies: The Collected Stories of Dorothy Parker (reprints of the stories from both previous collections, plus 3 new stories) 1942: Collected Stories 1944: The Portable Dorothy Parker (reprints of the stories from the previous collections, plus 5 new stories and verse from 3 poetry books) 1995: Complete Stories (Penguin Books)[93] Poetry collections[edit] 1926: Enough Rope 1928: Sunset Gun 1931: Death and Taxes 1936: Collected Poems: Not So Deep as a Well 1944: Collected Poetry 1996: Not Much Fun: The Lost Poems of Dorothy Parker (UK title: The Uncollected Dorothy Parker) 2009: Not Much Fun: The Lost Poems of Dorothy Parker (2nd ed., with additional poems) Plays[edit] 1929: Close Harmony (with Elmer Rice) 1949: The Coast of Illyria (with Ross Evans), about the murder of Mary and Charles Lamb`s mother by Mary 1953: Ladies of the Corridor (with Arnaud D`Usseau) Screenplays[edit] 1936: Suzy (with Alan Campbell, Horace Jackson and Lenore J. Coffee; based on a novel by Herman Gorman) 1937: A Star is Born (with William A. Wellman, Robert Carson and Alan Campbell) 1938: Sweethearts (with Alan Campbell, Laura Perelman and S.J. Perelman) 1938: Trade Winds (with Alan Campbell and Frank R. Adams; story by Tay Garnett) 1941: Week-End for Three (with Alan Campbell; story by Budd Schulberg) 1942: Saboteur (with Peter Viertel and Joan Harrison) 1947: Smash-Up, the Story of a Woman (with Frank Cavett, John Howard Lawson and Lionel Wiggam) 1949: The Fan (with Walter Reisch and Ross Evans; based on Lady Windermere`s Fan by Oscar Wilde) Critical studies and reviews of Parker`s work[edit] Lauterbach, Richard E. (1953). `The legend of Dorothy Parker`. In Birmingham, Frederic A. (ed.). The girls from Esquire. London: Arthur Barker. pp. 192–202. Doroti Eseji, prikazi, priče, pesme feminizam zenska književnost žene pisci xx veka

Odlično Rumunska književnost Poezija Geo Bogza (Romanian pronunciation: [ˈd͡ʒe.o ˈboɡza]; born Gheorghe Bogza; February 6, 1908 – September 14, 1993) was a Romanian avant-garde theorist, poet, and journalist, known for his left-wing and communist political convictions. As a young man in the interwar period, he was known as a rebel and was one of the most influential Romanian Surrealists. Several of his controversial poems twice led to his imprisonment on grounds of obscenity, and saw him partake in the conflict between young and old Romanian writers, as well as in the confrontation between the avant-garde and the far right. At a later stage, Bogza won acclaim for his many and accomplished reportage pieces, being one of the first to cultivate the genre in Romanian literature, and using it as a venue for social criticism. After the establishment of Communist Romania, Bogza adapted his style to Socialist realism, and became one of the most important literary figures to have serviced the government. With time, he became a subtle critic of the regime, especially under the rule of Nicolae Ceaușescu, when he adopted a dissident position. Beginning in the late 1960s, he publicized his uncomfortable attitudes as subtext to apparently innocent articles and essays. An editor for Viața Românească and România Literară magazines, Geo Bogza was one of the leaders of the Romanian Writers` Union and a member of the Romanian Academy. He was the older brother of Radu Tudoran, himself a known writer, whose political choices were in stark contrast with those of Geo Bogza, and made Tudoran the object of communist persecution. Bogza had lifelong contacts with some representatives of the Romanian avant-garde, among them Victor Brauner, Max Blecher, Sesto Pals, Sașa Pană, and Paul Păun, and was friends with, among others, the essayist and theologian Nicolae Steinhardt, the dissident Gheorghe Ursu, and the filmmaker Mircea Săucan. Biography[edit] Early years and the avant-garde[edit] Geo Bogza was born in Blejoi, Prahova County. At one point during the late 1930s, Bogza was irritated after reading an article authored by one of his fascist adversaries, Alexandru Hodoș (later a member of the Iron Guard). Hodoș implied that Bogza was not an ethnic Romanian, which prompted the latter to elaborate on his origins and his name.[1][2] Bogza refuted the allegation by indicating that his father was originally from the village of Bogzești, in Secuieni, Neamț County, and that his mother (née Georgescu) was the daughter of a Romanian Transylvanian activist who had fled from Austria-Hungary to the Kingdom of Romania.[1][2] The lineage was confirmed by literary critic George Călinescu as part of a short biographical essay.[3] Geo Bogza, who indicated that he was baptized Romanian Orthodox, also stressed that his given name, Gheorghe, had been turned into the hypocoristic Geo while he was still a child, and that he had come to prefer the shortened form.[1][2] During the early stages of his career, he is known to have signed writings with the name George Bogza (George being a variant of Gheorghe).[1][2] Bogza attended school in Ploiești and trained as a sailor at the Naval Academy in Constanța, but never sought employment in the Romanian Naval Forces.[1] Until the age of 28, he made part of his income as a sailor on a commercial vessel.[3] He returned to his native Prahova County, lived in Buștenari, and eventually settled in Bucharest. In 1927, he made his debut in poetry, writing for the Prahova-based modernist magazine Câmpina, which was edited by poet Alexandru Tudor-Miu.[1][2] The following year, he contributed to Sașa Pană`s avant-garde magazine unu (also known as Unu), edited a short-lived Surrealist and anti-bourgeois magazine that drew inspiration from Urmuz (and was titled after that writer),[1][2][4] and published in Tudor Arghezi`s Bilete de Papagal.[1][2][5] Arghezi admired the younger writer, and he is credited with having suggested the name Urmuz for the magazine.[1] During that period, Geo Bogza became one of the most recognizable young rebellious authors, a category that also included, among others, Marcel Avramescu, Gherasim Luca, Paul Păun, Constantin Nisipeanu, and Sesto Pals.[6][7] In time, he became a noted contributor to the leftist and socialist press, and one of the most respected Romanian authors of reportage prose. One of his articles-manifestos read: `I always had the uncomfortable impression that any beauty may enter the consciousness of a bourgeois only on all fours [italics in the original].`[1][2] Writing for Urmuz, he condemned convention as `a false sun` and `intellectual acrobatics`, depicting his magazine as `a lash that whips the mind`.[4] Winning the praise of his fellow young authors Stephan Roll and Ilarie Voronca,[8] he was criticized by prominent literary figure George Călinescu, who accused him of `priapism`,[3][8] based on Bogza`s irreverent tone and erotic imagery. It was also during the late 1920s that Bogza began touring the Prahova Valley, becoming a close observer of local life in the shadow of the oil industry.[1] He had a conflict with Tudor-Miu in August 1928, after the latter modified a poem Bogza sent to be published in Câmpina—the two reconciled later in the year, and later wrote a special poem for its one-year anniversary.[1] His collaboration with Pană, Roll, Ion Vinea, Simion Stolnicu, and others led to the ad hoc establishment of a literary group, which was defined by writer and critic Camil Petrescu as `the revolutionaries from Câmpina` (after the town where Bogza spend much of his time).[1] Among other writers who joined Bogza in publishing the five issues of Urmuz were Voronca and the Dadaist Tristan Tzara.[4] He also established a friendship and collaboration with the photographer Iosif Bernea[9] and the painter Victor Brauner,[4] and was close to the writer and future Orthodox hermit Nicolae Steinhardt.[10] After 1930, he was involved in polemics with traditionalist young authors, including poet Otilia Cazimir (whom he accused of writing with `hypocrisy`) and members of the eclectic grouping known as Criterion (who, he claimed, were guilty of `ridicule and opportunism`).[1] His relations with Arghezi also grew more distant, after Bogza expressed disapproval for Arghezi`s 1930 decision to collaborate with the Romanian Radio—Geo Bogza drew attention to his older colleague`s previous public statements, in which he had criticized the national station on various grounds.[1] Early in his youth, while in Buștenari, Geo Bogza met and fell in love with Elisabeta (also known as Bunty), whom he married soon after.[3][8] Their love affair was celebrated by Bogza`s friend Nicolae Tzone, who also stated that she `lived simply and without any sort of commotion in his shadow`.[8] Initially, the couple lived in Sașa Pană`s Bucharest house, and, for a while afterwards, at the headquarters of unu.[1] In old age, he spoke of one of these lodgings as `an unsanitary loft, where one would either suffocate from the heat or starve with cold.`[11] Trials and jail terms[edit] Bogza`s work was at the center of scandals in the 1930s: he was first arrested on charges of having produced pornography in 1930, for his Sex Diary, and was temporarily held in Văcărești Prison, until being acquitted.[1][2][6][8] At the time, he responded to the hostile atmosphere by publishing an article in unu which included the words `ACADEMICIANS, SHAVE YOUR BRAINS! [capitals in the original]`[1][2][6][8] (also rendered as `disinfect your brains!`).[4] In reference to his trial, the magazine unu wrote: `Bogza will be tried and receive punishment for having the imprudence of not letting himself be macerated by «proper behavior», for having dunked his arms down to the feces, for having raised them up to his nose, smelling them and then spattering all those who were dabbling with their nostrils unperceptive of his exasperated nature.`[1][2] Other positive reactions to his writings notably included that of teachers at a high school in Ploiești, who invited him to attend a celebration marking the start of the school year.[1] Reportedly, Bogza asked to be defended by Ionel Teodoreanu, a known writer who had training in law, but he was ultimately represented by Ionel Jianu.[6] After his success in court, he issued business cards reading: `GEO BOGZA/ACQUITTED/NOVEMBER 28, 1932 [capitals in the original]`.[6] Late in 1933, he edited a new magazine, titled Viața Imediată (`The Immediate Life`), of which only one issue was ever published.[12] Its cover photograph showed a group of derelict workers (it was titled Melacolia celor șezând pe lângă ziduri, `The Melancholy of Those Sitting by the Walls`).[12] The same year, he was taken into custody for a second time, after publishing his Offensive Poem—which depicted his sexual encounter with a servant girl[13]—and was sentenced to six days in jail; in 1937, at the same time as H. Bonciu, Bogza again served time for Offensive Poem,[6][8][14] after the matter was brought up by Ioan Alexandru Brătescu-Voinești on behalf of the Romanian Academy.[8][14] Similar demands for punishment were voiced by historian Nicolae Iorga and by the poet and fascist politician Octavian Goga.[8] Bogza was frequently attacked by Iorga`s nationalist magazine Cuget Clar.[15] During the same period, his friends and fellow Surrealists Luca and Pals were also jailed on similar charges, after they were denounced by Iorga.[6][7][16] Other young authors imprisoned on such grounds included Păun, Aurel Baranga, and Jules Perahim.[6] Writing for Azi, a review edited by Zaharia Stancu, Bogza dismissed the accusation as a cover-up for an increase in authoritarianism as King Carol II was attempting to compete with the fascist Iron Guard.[17] The latter`s press welcomed the move, and, using strong antisemitic language, instigated the authorities to intervene in similar cases of alleged obscenity—which it viewed as characteristic of both Surrealism and the Jewish-Romanian authors who were associated with Bogza.[18] In 1934, while visiting Brașov in the company of his wife, Bogza met Max Blecher, a young man who was beddriden by Pott`s disease and had started work on the novel later known as Întâmplări din irealitatea imediată (`Events in Immediate Unreality`).[19] The three were to become good friends, and Bogza encouraged him to continue writing.[19] Adoption of communism and official status[edit] His growing sympathy for communism and his connections with the outlawed Romanian Communist Party (PCR) made Bogza a target of the authorities` surveillance. Siguranța Statului, the country`s secret service, kept a file on him, which contained regular reports by unknown informers.[20] One of them claims: `given that he was a communist, [Bogza] covered the puberty of his writing in the cape of social revolt.`[20] Late in 1937, Geo Bogza traveled to Spain as a war correspondent in the Civil War, supporting the Republican side.[2][13][20][21] His position of the time drew comparisons with those of other leftist intellectuals who campaigned against or fought Nationalist forces, including W. H. Auden and George Orwell.[21] He was accompanied on this journey by Constantin Lucreția Vâlceanu, who had ambitions of becoming a writer, and whom Bogza asked to contribute to a never-completed novel inspired by the war.[20] Soon after their return, in what was a surprising gesture, Vâlceanu split with the leftist camp and rallied with the Iron Guard.[20] The writer had grown close to the PCR, but their relations soured c. 1940, when Bogza was confronted with news that the Soviet Union and Nazi Germany had signed a non-aggression pact.[20] Physician G. Brătescu, who maintained contacts with Sașa Pană and other figures in the Romanian avant-garde and, like him, was then a Communist Party militant, recorded that, by 1943, there was a hint of tension between Pană and Bogza.[12] Bogza did not however cut off links with Surrealism, and was one of the few to be acquainted with the literature of his friend Sesto Pals, which he later helped promote at home and abroad.[16] After World War II and the establishment of a communist regime, the writer adopted and included in his works the themes of Socialist realism,[22] and was awarded several honors.[23] During the 1950s, he traveled extensively to the Soviet Union[24] and Latin America, writing several works on topics such as Decolonization.[25] In 1955, Bogza became a full member of the Romanian Academy. Historian Vladimir Tismăneanu indicated that he was one of the few genuine left-wing intellectuals associated with the regime during the 1950s—alongside Anatol E. Baconsky, Ovid Crohmălniceanu, Geo Dumitrescu, Petru Dumitriu, Paul Georgescu, Gheorghe Haupt, Eugen Jebeleanu, Mihail Petroveanu, and Nicolae Tertulian.[26] According to Tismăneanu, this group was able to interpret the cultural policies endorsed by Romania`s leader Gheorghe Gheorghiu-Dej after the Hungarian Revolution of 1956 threatened to disrupt communism in neighboring countries, when the regime turned against advocates of liberalization such as Miron Constantinescu, Mihail Davidoglu, Alexandru Jar, and Ion Vitner.[26] Commenting on this, Tismăneanu noted that Geo Bogza and all others failed to distance himself from the new repressive mood, and that the group`s silence indirectly helped chief ideologist Leonte Răutu and his subordinate Mihai Beniuc to restore effective control over the Romanian Writers` Union.[26] Bogza was, however, skeptical about the goals of the PCR, and his support for it was much reduced in time. Literary historian Eugen Simion discussed the writer`s effort to tone down the scale of cultural repression, and included him among the `decent men` to have done so.[27] Bogza`s brother Radu Tudoran, an anti-communist who had risked a prison sentence in the late 1940s after attempting to flee the country, was condemned by the communist press, and lived in relative obscurity.[28] In 1958, Geo Bogza himself was exposed to official criticism in the official Communist Party paper, Scînteia, which claimed that he and other writers had been exposed to `bourgeois tendencies` and `cosmopolitanism`, no longer caring about `the desires of the Romanian people`.[29] This subject drew attention in the Socialist Federal Republic of Yugoslavia, a country which, under Josip Broz Tito, had engaged on an independent path and was criticizing the Eastern Bloc countries for their commitment to Stalinism (see Titoism). In an article he contributed to Borba, Yugoslav writer Marko Ristić, who spoke of the Romanian as `my friend [...], the nostalgic, gifted and loyal Geo Bogza`, took the Scînteia campaign as proof that the Gheorghiu-Dej regime was still reminiscent of Joseph Stalin`s.[29] Ristić, who feared the purpose and effect such attacks had on Romanian culture, noted that Bogza had `in vain, done his utmost, by trying to adapt himself to the circumstances, not to betray himself, even in the period when Stalin alone [...] was solving esthetic problems, appraising artistic works and giving the tone in his well-known method.`[29] In February 1965, as Gheorghiu-Dej was succumbing to cancer, the Writers` Union Conference facilitated an unprecedented attack on Socialist Realism.[30] This dispute saw writers attacking Union president Beniuc, who was identified with Stalinism—as a result of the confrontation, in what was an early sign of liberalization, Beniuc was dismissed from his post, and replaced with Zaharia Stancu.[30][31] According to literary historian Valeriu Râpeanu, Bogza, who attended the Conference, went so far as to demand that Beniuc`s chair be burned.[31] In opposition to Ceaușescu[edit] A member of the Writers` Union leadership board after 1965, he was editor of the influential literary magazine Viața Românească.[32] Despite his official status, Bogza himself was critical of the adoption of nationalist themes in official discourse after the ascendancy of Nicolae Ceaușescu in the 1960s.[33] The new doctrine, eventually consecrated in Ceaușescu`s July Theses, saw him taking the opposing side: during the early 1970s, Bogza published pieces in which he voiced covert criticism of the new policies.[34] Tismăneanu cited him among the most important intellectuals of various backgrounds to have done so, in a class also comprising members of the Oniric group, as well as the cultural figures Jebeleanu, Ion Caraion, Ștefan Augustin Doinaș, Dan Hăulică, Nicolae Manolescu, Alexandru Paleologu, and Mircea Zaciu.[34] His nonconformist stance drew comparisons with that assumed by his generation colleague, the ethnic Hungarian poet and prominent Writers` Union member József Méliusz.[32] In 1976, Bogza discussed the issue of disappointment, stating: `Life is not like a tournament, but like an outage. From the first to the last day.`[35] In reference to such an attitude, which believed was related the political context, literary critic and novelist B. Elvin, himself a former leftist and dissident, saw in Bogza a symbol of `verticality, refusal, contempt`.[35] Bogza was nonetheless often ambiguous in his relations with the authorities, while his public statements oscillated between covert satire and open praise.[5] Between 1966 and 1973, he was a contributor to Contemporanul magazine, and was well known in Romania for regularly publishing short essays in that magazine[5][32] (some of them were also read on national radio).[5] Bogza also had a permanent column in the influential magazine România Literară.[36] His gestures of defiance include his display of support for Lucian Pintilie, a director whose work was being censored. In 1968, having just seen Pintilie`s subversive film The Reenactment shortly before it was banned, Bogza scribbled in the snow set on the director`s car the words: `Long live Pintilie! The humble Geo Bogza`; the statement was recorded with alarm by agents of Romania`s secret police, the Securitate, who had witnessed the incident.[37] In the 1970s, Bogza and several of his Writers` Union colleagues became involved in a bitter conflict with the nationalist Săptămâna magazine, which was led by novelist Eugen Barbu (who was also one of the persons overseeing censorship in Communist Romania). In 1979, România Literară published evidence that, in his writings, Barbu had plagiarized works of Russian literature. Rumors spread that Geo Bogza had orchestrated the scandal, after he had been confronted with an initiative to transform the Union into a `Union of Communist Writers`.[38] The latter initiative was recorded by the Securitate, who, in a report of 1978, attributed it to Barbu and poet Adrian Păunescu.[38] According to various speculations made ever since, Bogza contacted one of Barbu`s former protegés, who admitted that he had earlier copied texts by various authors to be selectively included in Eugen Barbu`s novels.[38] In autumn 1980, the Securitate, was alarmed of his alleged intention to condemn the country`s officials for allowing antisemitism to be expressed in the press. This came after nationalist poet Corneliu Vadim Tudor signed an article in Săptămâna, which outraged representatives of the Jewish community. Romania`s Chief Rabbi, Moses Rosen, was quoted saying that Tudor`s piece was evidence of `fascism` and the prosecutable offense of `instigations to racial hatred`.[39] A Securitate note, published by Ziua journal in 2004, claimed that Rosen was preparing to bring up for debate the issue of antisemitism in Romanian society, and depicted Bogza, alongside Jebeleanu and Dan Deșliu, as `exercising influence` over the Rabbi in order to have him `publicly demand the unmasking of «antisemitism» in the S[ocialist] R[epublic] of Romania`.[39] End of communism and final years[edit] Bogza was also close to the outspoken dissident Gheorghe Ursu (who, in 1985, was beaten to death on orders from the Securitate), as well as to filmmaker Mircea Săucan, himself an adversary of the communist regime.[40] One theory attributes Ursu`s violent death to him having refused to incriminate his writer friends during interrogations—among those whose activities may have interested the investigators were Bogza, Nina Cassian, and Iordan Chimet.[41] In late March 1989, ten months before the Romanian Revolution overthrew communism, Bogza, together with Paleologu, Doinaș, Hăulică, Octavian Paler, Mihail Șora, and Andrei Pleșu, signed the Letter of the Seven, addressed to Dumitru Radu Popescu (head of the Writers` Union) in protest over poet Mircea Dinescu`s house arrest by the Securitate.[42][43] Yosef Govrin, who served as Israel`s Ambassador to Romania during the era, commented on the document, which was sent to members of the diplomatic corps and to other circles: `Despite its restrained style, the letter sharply accused the Writers` Union for not having defended its members and for the alienation rife between Romanian culture and its themes.`[42] During the final stages of his life, Geo Bogza granted a series of interviews to journalist Diana Turconi, who published them as Eu sunt ținta (`I Am the Target`).[1] He died in Bucharest, after a period during which he was interned at the local Elias Hospital. Work[edit] Avant-garde aesthetics[edit] Geo Bogza`s lifelong but uneven involvement with Surrealism has endured as a topic of interest, and was considered by many to have resulted in some of his best writings. Bogza was defined by art critic S. A. Mansbach as `the most scandalous of Romania`s avant-garde poets and editor of and contributor to a plethora of its radical publications`, while Sex Diary was argued to be `the touchstone of Romania`s emerging Surrealist avant-garde`.[4] In 1992, the American avant-garde magazine Exquisite Corpse accompanied some of his early poems with the observation `It is the younger Bogza we love.`[13] Much of Bogza`s work is related to social criticism, reflecting his political convictions. This was the case in many of his reportage and satirical pieces. In reference to this trait, Mihuleac commented that the 20-year-old Bogza was in some ways a predecessor of later generations of protesters, such as the American Beatniks and the United Kingdom`s `angry young men`.[5] In 1932, Bogza stated: `We write not because we wish to become writers, but because we are doomed to write, just as we would be condemned to insanity, to suicide.`[1] The young Bogza made obscenity an aesthetic credo. Shortly after his acquittal, he wrote: `In order to reach a new form of nobility, one is required, beforehand, to vaccinate one`s soul with mud.`[2] He elaborated: `The word must be stripped of the unctuous senses that have come to depose themselves on it. Cleansed of ash. The flame inside kindled, for the introduction of words, like that of women, is [currently] a privilege reserved for the great landowners.`[1][2] Geo Bogza`s spoke in defense of taboo words such as căcat (`shit`) and țâță (`tit`), arguing that the original frankness of Romanian profanity had been corrupted by modern society.[1] One of his usual and highly controversial poems of the period read: Adunați pe întâiul meridian al sexului proxeneții continentelor au hotărât să aleagă marele Mongol al vaginurilor Pentru cele mai frumoase fete ale popoarelor ziarele continentale au întocmit elogii pe mii de coloane Pentru bijuteria vaginului premiat miliardarii continentelor își ascut în umbră phalusul lor de aur.[1][2] Gathered on the first meridian of sex the pimps of the continents have decided to elect a great mogul of the vaginae For the most beautiful girls of the peoples the continental newspapers have composed eulogies on thousands of columns For the jewel of the prized vagina the billionaires of the continents sharpen their golden phallus in the shadows. As a youth, he extended his protest to the cultural establishment as a whole—while visiting the high school in Ploieşti, where he was supposed to address the staff, he attacked local educational institutions for `taking care to castrate [...] the glands of any outright affirmation`, and for resembling `the Bastille`.[1][2] In his early prose poems, Bogza addressed workers in the oil industry in his native Prahova, claiming to define himself in relation to their work (while still appealing to the imagery of filth). The series has been defined by critic Constantin Stănescu as poems `rehabilitating, among other things, the compromised «genre» of the social poem`.[2] One such piece, published in 1929 and titled Poem cu erou (`Poem with a Hero`), documented the unusual death of a roughneck named Nicolae Ilie, who burned after his clothes caught fire.[1][2] The incident was discussed in the press of his day, and the poet is credited with having personally aided in publicizing it.[1] Bogza allegorically spoke of feeling `the țuică and pumpkin-like` smell of Nicolae Ilie`s feces `every time I raise a loaf of bread or a mug of milk to my mouth`.[2] He wrote: Mă rog de tine, Nicolae Ilie, mântuiește-mă de cumplita duhoare putrezește mai curând topește-te în pământ și rămâi numai oase albe cum se cuvine unui martir.[2] I pray of thee, Nicolae Ilie, deliver me from the awful stench putrefy quicker melt in the earth and remain just white bones as is befitting of a martyr. He extended an appeal to the oil industry workers, in which he identify oil with foulness and with himself: Eu, care sunt mârșav și violent, și care asemeni dealurilor petrolifere am mocnit întotdeauna ceva groaznic în măruntaiele mele eu, care pângăresc tot ce ating eu, care asemeni petrolului sunt cum nu se poate mai pătimaș și izbucnesc din mine și nu-mi pasă de prăpădul pe care îl aduc în lume. Eu, acesta, vă voi vorbi despre petrol și crimele lui.[2] I, who am black and ugly, who, like the oil-bearing hills, have always had something horrible smoldering in my innards, I, who soil and destroy everything I touch, who am as foul, fervent and ignorant as oil and, like it, explode without caring about the calamity my words bring into the world. That`s me. Now I will tell you about oil and its crimes.[4] In another one of his earliest poetry works (Destrămări la ore fixe, `Unravellings at Pre-Convened Hours`), Geo Bogza elaborated on the theme of melancholy and loss: Mari, ca și mici, ne paște același program; un clopoțel suna atunci la ora de geografie; azi clopotele catedralei în aer se destram se tânguiesc chemând, la ora de melancolie. Mă doare caietul pe care m-ai iscălit tu în el am vrut să conturez un suflet nebulos – dacă vei bate la ușe – eu am să strig: NU! fiindcă m-ai găsi împrăștiat, în țăndări, pe jos.[1] Big and small alike, we are destined to the same program; a school bell was sounding the geography class; nowadays the cathedral bells decompose in the air they bewail calling, to the melancholy class. My notebook that you signed hurts me presently in it, I wished to contour a nebulous soul —if you should knock on the door—I will shout: NO! because you would find me scattered, splintered, on the ground. Reportage and agitprop[edit] One of the first and most acclaimed authors of reportage in Romanian literature, Bogza was credited by journalist Cătălin Mihuleac with establishing and `ennobling` the genre.[5] He is occasionally cited alongside his contemporary F. Brunea-Fox, whose equally famous reportages were less artistic and had more to do with investigative journalism.[44] Mihuleac, who noted that Bogza was `unnervingly talented`, also argued that: `Romanian journalism is indebted to Geo Bogza more than to anyone else.`[5] Also according to Mihuleac, Bogza went through a radical change around 1935, when his writing turned professional and his subjects turned from `himself` to `the multitudes`.[5] This writings were eventually structured into two main series: Cartea Oltului (`The Book of the Olt River`), and Țări de piatră, de foc, de pământ (`Lands of Stone, Fire, Earth`).[5][45] The writer traveled the land in search of subjects, and the results of these investigations were acclaimed for their power of suggestion and observation.[5][45] One of his reportages of the period notably discussed the widespread poverty he had encountered during his travels to the eastern province of Bessarabia, and was titled Basarabia: Țară de pământ (`Bessarabia: Land of Soil`).[46] In it, the writer spoke of how most tailors were almost always commissioned by locals not to produce new clothes, but to mend old ones (at a time when the larger part of family incomes in the region were spent on food and clothing).[46] He toured the impoverished areas of Bucharest, recording activities around the city landfill and the lives of dog catchers who gassed their victims and turned them into cheap soap.[5] George Călinescu proposed that, `although written in the most normal of syntaxes`, his pieces were still connected with avant-garde styles such as Surrealism and Dada, and answered to a call issued by unu`s Paul Sterian to seek life at its purest.[3] In parallel, Călinescu contended, Bogza`s path mirrored those of Italian Futurists such as Ardengo Soffici and Filippo Tommaso Marinetti and that of the French Hussards leader Paul Morand.[3] A reportage authored after Bogza visited the town of Mizil was also a study in experimental literature.[47] Titled 175 de minute la Mizil (`175 Minutes in Mizil`), it has been summarized as `the adventure of the banal`, and, together with a satirical sketch by his predecessor Ion Luca Caragiale, credited with having helped impress on the public Mizil`s image as a place where nothing important ever happens.[47] Similarly, his travels in Bessarabia saw him depicting Hotin as the epitome of desert places and Bălți as the source of `a pestilent stench`.[48] In one of his satirical pieces, Bogza mocked the Romanian Post seemingly excessive regulations to have writing utensils made available for the public, but secured in place with a string: `A million penholders stolen in Romania would almost be an act of culture. And one would [consequently] forget the degrading spectacle of people writing with chained penholders. Of what importance would any loss be, compared with the beauty of penholders having been set free?`[5] The next stage in Bogza`s literary career was described by Mihuleac as `embarrassing`.[5] This was in reference to his assimilation of communist tenets, and his willingness to offer praise to the official heroes of Communist Party history such as Vasile Roaită (a participant in the Grivița Strike of 1933).[5] In one such article, Bogza claimed to have witnessed the sight of proletarians who were living in `new and white-painted houses` and had manufactured business cards for themselves, proudly advertising their qualifications in the field of work and positions in the state-run factory.[5] More controversial still was his agitprop piece of 1950, Începutul epopeii (`The Start of the Epic`). The text praised the regime for designing and ordering work to begin on the Danube–Black Sea Canal, which, in reality, was to prove one of the harshest sites for penal labor, where thousands of political prisoners were to be killed.[49] Historian Adrian Cioroianu cited the reportage, alongside Petru Dumitriu`s Drum fără pulbere and other writings of the time, as an example of `mobilizing-deferential literature`.[49] He summarized the content of such texts as claiming to depict a `final battle, of mythological proportions, between the old and new Romania—offering [...] a clear prognostic in respect to who would win.`[49] Subtle dissent[edit] During the Ceaușescu years, Bogza developed a unique style, which, under the cover of apparently insignificant and docile metaphors, hid subversive messages.[5] According to Mihuleac, the writer was critical of his own position in relation to the Communist Party and explained it as a compromise—he believed this message to be evident in Bogza`s poem Treceam (`I Was Passing`): Treceam printre tigri Și le aruncam garoafe Treceam printre leoparzi Și le aruncam crizanteme Treceam printre gheparzi Și le aruncam trandafiri Iar ei, cuprinși de perplexitate Mă lăsau să trec mai departe.[5] I was passing among tigers And was throwing them carnations I was passing among leopards And was throwing them chrysanthemums I was passing among cheetahs And was throwing them roses And they, taken over by perplexity Allowed me to move on. He thus wrote a piece entitled Bau Bau (Romanian for `Bogeyman`), telling of how his parents encouraged him to fear things watching him from outside his window as a means of ensuring he behaved himself while they were absent—the subtext was interpreted by journalist Victor Frunză as an allegory of Ceaușescu`s anti-Soviet policies (which attempted to prevent opposition by, among other things, alluding to the threat of Soviet intervention).[50] At some point during the second half of 1969, instead of his usual column, Geo Bogza sent for publication a drawing of three poplars, with a caption which read: `The line of poplars above is meant to suggest not just the beauty of this autumn, but also my sympathy towards all things having a certain height and a verticality.`[5] The poplar metaphor was one of Bogza`s favorite: he had first used it in reference to himself, as early as 1931, in an interview with Sașa Pană.[1] Facing a jail term for his scandalous poetry, he spoke of the tree as a symbol of both aloofness and his own fate.[1] His subtle technique, like similar ones developed by other România Literară contributors, was at times detected by the regime. Thus, a secret Securitate report of 1984, made available ten years later, read: `The present line-up of România Literară magazine is characterized by a gap between the political content of its editorials (perfectly in line [and] in which declarations of adherence are being made in respect to the state and party policies) and the content of the magazine which, of course, is different; [...] the criticism of content which is discussed on [România Literară`s] front page grows aesthetizing through the rest of the magazine.`[51] Legacy[edit] Bogza on a 2018 stamp of Romania In literature[edit] A central figure in Romanian literature for much of his life, Bogza took special interest in the works of other writers, and contributed to establishing their reputation. During his early period at Urmuz, he actively encouraged various avant-garde trends, and his eclectic interests, as well as his calls to intellectual rebellion played an important role in shaping the work and activity of both Constructivists and Surrealists.[4] Among the most noted writers whom he aided to express themselves freely were his co-contributors Tristan Tzara, Stephan Roll and Ilarie Voronca,[4] and he was also noted for being the first to publish Urmuz`s Fuchsiada (a few years after its author committed suicide).[1] Max Blecher also expressed gratitude to Geo and Ecaterina Bogza for helping him complete and publish Întâmplări din irealitatea imediată.[19] His role as critic, patron and promoter of art continued under the communist regime, and he kept a vivid interest in reviewing literature of all kinds. After the 1960s, he was involved in recuperating the Romanian avant-garde, and, together with Paul Păun and Marcel Avramescu, helped introduce the previously unpublished works of Sesto Pals to an international audience.[7][16] In 1978, he also republished his earliest poems for Urmuz, as part of the new volume Orion.[1][2] His position also allowed him to extend a degree of protection to literary figures persecuted by the authorities. According to Eugen Simion, during the 1950s, a common initiative of Bogza and philosopher Tudor Vianu attempted to rescue the academic and essayist D. D. Panaitescu from Communist imprisonment.[27] Antonie Plămădeală, a political prisoner of the communist regime and future Romanian Orthodox Metropolitan of Transylvania, credited Bogza and the writer and theologian Gala Galaction with having insured recognition for his debut novel in spite of political obstacles.[52] The relevancy of Bogza`s dissidence, like the similar attitudes of Eugen Jebeleanu, Marin Preda and others, was nonetheless debated by author Gheorghe Grigurcu, who described it as a `coffee-house opposition`.[53] Grigurcu, who placed stress on the closeness between these writers and dissenting but high-ranking Communist Party activists such as Gheorghe Rădulescu and George Macovescu, called attention to the fact that Bogza had refused to sign his name to an appeal for radical change, drafted by novelist Paul Goma in 1977.[53] Reportedly, when confronted with Goma`s grassroots movement, Geo Bogza had asked: `Who is this Goma person?`[53] Bogza often credited real-life events and persons in his poetry. Alongside Nicolae Ilie and his death, his early poems make direct references to Alexandru Tudor-Miu, to the poets Simion Stolnicu and Virgil Gheorghiu, and to Voronca`s wife, Colomba.[1] During the same stage of his career, Geo Bogza dedicated a short piece to the 19th century writer Mihai Eminescu, to whose sad poems he attributed his own momentary adolescent urge to commit suicide[1]—as an old man, he would depose flowers at Eminescu`s statue in front of the Romanian Athenaeum each January 15 (the poet`s birthday).[11] A short essay he authored late in life, titled Ogarii (`The Borzois`), drew a comparison between the breed, seen as an example of elegance, and the eccentric Symbolist author Mateiu Caragiale.[5] The innovative reportages he authored later in life were credited with setting guidelines and opening the road for a series of notable authors, among whom were Paul Anghel...Te Deum la Grivita, Traian T. Coșovei, Ioan Grigorescu and Ilie Purcaru.[44] Cornel Nistorescu, himself a columnist and author of reportage, is also seen as one of Bogza and F. Brunea-Fox`s disciples.[54] Critics have noted the potential impact his early poetry has or may have on Postmodern literature in Romania.[2][55][56] Several commentators, including Nicolae Manolescu, have traced a connection between his poems of the 1920s and 1930s and many of those authored by Florian Iaru between 1982 and the early 2000s.[55][56] In contrast to both his status as a former political prisoner and his new-found Christian faith, Nicolae Steinhardt continued to value Bogza`s contributions, and, in 1981, authored an essay dedicated to his work and their friendship.[10][57] Titled Geo Bogza – un poet al Efectelor, Exaltării, Grandiosului, Solemnității, Exuberanței și Patetismului (`Geo Bogza – a Poet of Impressions, Exaltation, Grandeur, Solemnity, Exuberance and Pathetism`) and edited by writer Mircea Sântimbreanu,[57] it was characterized by literary critic Ion Bogdan Lefter as a `eulogy [...] to their shared youth, seen as a paradise of liberty`.[10] G. Brătescu, who was himself involved in editing and claims to have aided in publishing Steinhardt`s volume, recalled being `fascinated` by both Bogza`s `impertuosity`, as well as by Steihardt`s `art of evidencing such an impertuousity.`[12] Sesto Pals also authored Epitaf pentru Geo Bogza (`Epitaph for Geo Bogza`), first published by Nicolae Tzone in 2001.[16] The writer was also the subject for one of B. Elvin`s essays, collected as Datoria de a ezita (`The Duty to Hesitate`) and first published in 2003.[35] In the same year, his correspondence with various Transylvanian writers was published as Rânduri către tinerii scriitori ardeleni (`Letters to the Young Transylvanian Writers`).[1] The relation between Bogza and Mircea Săucan served as the basis for a short work of fiction, which the latter authored and dictated as part of a 2007 book of interviews.[40] Other tributes[edit] Memorial plaque in Bucharest Bogza was the subject of a portrait painted by his friend Victor Brauner, which was itself the topic of scandal.[4] The piece, defined by S. A. Mansbach as one of Brauner`s `most fully realized Surrealist canvases of [the early 1930s]`, depicted the subject nude, with a severed head and elongated sex organs (symbols which probably alluded to elements present in Bogza`s own texts).[4] Bogza`s novella, Sfârșitul lui Iacob Onisia (`The End of Iacob Onisia`), has served as the basis for a 1988 film, Iacob (translated into English as Jacob, or, in full, The Miseries of a Gold Miner – Jacob).[58][59] A story of violent workers leading miserable lives and tempted to steal for their livelihood, it was adapted for the screen and directed by Mircea Danieliuc, and starred Dorel Vișan in the title role (other actors credited include Cecilia Bîrbora, Ion Fiscuteanu and Dinu Apetrei).[58][59] Writing for The New York Times, American critic Vincent Canby described the production as `uncharacterized and murky`.[58] Nevertheless, Romanian critics saw Danieliuc`s production as an accomplished piece of subversiveness, arguing that the director had used a Socialist realist pretext to comment on the conflict between the Ceauşescu regime and the Jiu Valley miners (see Jiu Valley miners` strike of 1977).[59] Bogza`s trial has been the subject of an episode in the series București, strict secret (`Bucharest, Top Secret`), produced by writer and political scientist Stelian Tănase and aired by Realitatea TV in 2007.[60] A school in Bucharest and one in Bălan were named in Bogza`s honor, as were a culture house and a street in Câmpina. A memorial plaque was raised on downtown Bucharest`s Știrbei Vodă Street, at a house where he lived between 1977 and 1993.[61] Câmpina also hosts the annual Geo Bogza Theater Festival. Selected works[edit] Collected poems[edit] Jurnal de sex (`Sex Diary`), 1929 Poemul invectivă (`Offensive Poem` or `Contemptuous Poem`), 1933 Ioana Maria: 17 poeme (`Ioana Maria: 17 Poems`), 1937 Cântec de revoltă, de dragoste și de moarte (`Song of Revolt, Love and Death`), 1947 Orion, 1978 Collected journalism[edit] Cartea Oltului (`The Book of the Olt`), 1945 Țări de piatră, de foc, de pământ (`Lands of Stone, Fire, Earth`), 1939 Oameni și carbuni în Valea Jiului (`Men and Coal in the Jiu Valley`), 1947 Trei călătorii în inima țării (`Three Journeys into the Heart of the Land`), 1951 Tablou Geografic (`Geographical Survey`), 1954 Years of Darkness, 1955 Meridiane sovietice (`Soviet Meridians`), 1956 Azi, ín România: carte radiofonică de reportaj (`Today, in Romania: a Radio Reportage Book`), 1972 Statui în lună (`Statues on the Moon`), 1977 Other[edit] Sfârșitul lui Iacob Onisia (`The End of Iacob Onisia`), 1949; novella Eu sunt ținta: Geo Bogza în dialog cu Diana Turconi (`I Am the Target: Geo Bogza Interviewed by Diana Turconi`), 1994 Rânduri către tinerii scriitori ardeleni (`Letters to the Young Transylvanian Writers`), 2003 rumunska avangarda

ERNEST HEMINGVEJ PREKO REKE I U ŠUMU Tvrdi povez Izdavač Matica Srpska Ернест Милер Хемингвеј (енгл. Ernest Miller Hemingway; Оук Парк, 21. јул 1899 — Кечум, 2. јул 1961) био је амерички писац и новинар. Био је припадник париског удружења изгнаника двадесетих година двадесетог века и један од ветерана Првог светског рата, који су касније били познати као „изгубљена генерација“, како их је назвала Гертруда Стајн. Добио је Пулицерову награду 1953. године за свој роман Старац и море, као и Нобелову награду за књижевност 1954. године. Својим посебним начином писања који карактеришу кратке реченице, насупрот стилу његовог књижевног супарника Вилијама Фокнера, Хемингвеј је значајно утицао на развој лепе књижевности двадесетог века. Многи његови романи се данас сматрају класичним делима америчке књижевности. Детињство и младост Ернест Милер Хемингвеј рођен је 21. јула 1899. године у Оак Парку у држави Илиноис, предграђу Чикага,[1] од Кларенса Хемингвеја, лекара, и Грејс Хемингвеј, музичарке. Његови родитељи су били добро образовани и поштовани у Оак Парку,[2] конзервативној заједници о којој је становник Франк Лојд Рајт рекао: „Толико добрих цркава за толико добрих људи.“ [2] Када су се Кларенс и Грејс Хемингвеј узели 1896. године, живели су са Грејсиним оцем, Ернестом Халом,[3] по коме су назвали свог првог сина, друго од њихово шесторо деце. Његова сестра Марселин претходила му је 1898, а следе Урсула 1902, Маделајн 1904, Карол 1911. и Лестер 1915.[2] Хемингвеј је похађао средњу школу Oak Park and River Forest High School од 1913. до 1917. Био је добар спортиста, бавио се бројним спортовима - боксом, атлетиком, ватерполом и фудбалом; две године наступао у школском оркестру са сестром Марселин; и добио добре оцене на часовима енглеског језика.[4] Грејс и Ернест Хемингвеј, 1899. година Хемингвеј је од оца наследио авантуристички дух и немиран темперамент што је врло рано одредило његов животни пут. Није хтео да троши време на стицање универзитетског образовања. Почео је да ради као новинар, открио је свој списатељски дар и писање му је постало животни позив. Иако га новинарство није дуго задржало, ослањао се на новинарски стил писања; `Користите кратке реченице. Користите кратке прве пасусе. Користите енергичан енглески језик. Будите позитивни, а не негативни.`[5] Риболов и лов су му били омиљени хоби. Кад год је путовао, а био је страствени путник, обавезно је носио три ствари: удице, пушку и писаћу машину. Физички снажан, радознао и жедан живота, обишао је Европу, Америку, Кину, Африку, а живео је у Паризу, Ки Весту и Хавани. Први светски рат У децембру 1917. Хемингвеј је одговорио на позив Црвеног крста и пријавио се за возача хитне помоћи у Италији,[6] након што није успео да се пријави у америчку војску због лошег вида.[7] У мају 1918. испловио је из Њујорка и стигао у Париз док је град био бомбардован од стране немачке артиљерије.[8] Тог јуна стигао је на италијански фронт. Првог дана у Милану, послат је на место експлозије фабрике муниције како би се придружио спасиоцима који су преузимали остатке женских радника. Инцидент је описао у својој нефиктивној књизи `Смрт у поподневним часовима`: „Сећам се да смо, након што смо прилично темељито тражили мртве, сакупили само њихове фрагменте.“[9] Неколико дана касније, био је смештен у Фосалту ди Пјаве. Ернест Хемингвеј у Милану, 1918. година. Дана 8. јула био је тешко рањен минобацачком ватром, вративши се из мензе, доносећи чоколаду и цигарете за мушкарце на првој линији фронта.[9] Упркос ранама, Хемингвеј је помогао италијанским војницима да се повуку на сигурно, за шта је добио италијанску сребрну медаљу за храброст.[10] Тада је још увек имао само 18 година. Хемингвеј је касније рекао за инцидент: `Кад као дечак одете у рат имате велику илузију бесмртности. Други људи страдају; не ви... Онда када бивате тешко рањени тад први пут изгубите ту илузију и сазнате шта вам се може догодити.“[11] Задобио је тешке гелерске ране на обе ноге, оперисан је одмах у дистрибутивном центру и провео је пет дана у пољској болници пре него што је пребачен на опоравак у миланску болницу Црвеног крста.[12] Док се опорављао, заљубио се у Агнес фон Куровски, седам година старију медицинску сестру Црвеног крста. Када се Хемингвеј вратио у Сједињене Државе у јануару 1919, веровао је да ће му се Агнес придружити за неколико месеци и да ће се њих двоје венчати. Уместо тога, у марту је добио писмо са њеном најавом да је верена за италијанског официра. Биограф Џефри Мејерс пише да је Агнесино одбијање девастирало и застрашило младића; у будућим везама Хемингвеј је следио образац напуштања жене пре него што би она могла да га напусти.[13] Када се из рата вратио у Америку, физички и психички рањен на италијанском ратишту, није могао да се смири. Уговорио је дописнички рад за један амерички лист, оженио се и вратио се у Париз, који је у то време био средиште књижевног и културног живота старог континента. Торонто и Чикаго Хемингвеј се вратио кући рано 1919. године. Пре 20. године, из рата је стекао зрелост која се косила са животом код куће без посла и са потребом за опоравком.[14] Као што Рејнолдс објашњава, „Хемингвеј није заиста могао рећи родитељима шта мисли када је видео своје крваво колено. Није могао да им каже колико се уплашио „у другој земљи са хирурзима који му на енглеском нису могли рећи да ли ће му ампутирати ногу или не.`[15] Хемингвеј у болници Црвеног Крста, 1918. година Када је Хедли Ричардсон дошла у Чикаго у посету сестри Хемингвејевог цимера, Хемингвеј се заљубио. Касније је тврдио: „Знао сам да је она девојка за коју ћу се оженити.“ [16] Хедли, црвенокоса, са „негујућим инстинктом“, била је осам година старија од Хемингвеја.[16] Упркос разлици у годинама, Хедли, која је одрасла са презаштитничком мајком, изгледала је мање зрело него обично за младу жену њених година.[17] Бернис Керт, ауторка књиге `Жене Хемингвеја`, тврди да је Хедли била „евокативна“ у односу на Агнес, али да је Хедли имала детињство које је Агнес недостајало. Њих двоје су се дописивали неколико месеци, а затим су одлучили да се венчају и отпутују у Европу.[16] Желели су да посете Рим, али их је Шервуд Андерсон убедио да посете Париз, пишући писма за млади пар.[18] Венчали су се 3. септембра 1921; два месеца касније, Хемингвеј је ангажован као страни дописник Торонто Стара, а пар је отишао у Париз. О Хемингвејевом браку са Хедли, Мејерс тврди: „Са Хедли је Хемингвеј постигао све чему се надао са Агнес: љубав лепе жене, добар приход, живот у Европи.“[19] Париз Био је ратни дописник, али и борац, што му је омогућило да стекне огромно искуство и скупи солидну грађу за своје писање. Хемингвеј је волео интензивно живљење које је подразумевало путовања, лов, кориду. Истовремено је путовао, ратовао, уживао у лепотама живота и непрекидно писао. Хемингвеј се огласио као писац у Паризу. Ернест Хемингвеј, слика из пасоша, 1923. година Гертруда Стајн и Џек Хемингвеј у Паризу. Ту је ушао у круг Гертруде Стајн и Езре Паунда, који су подржали Хемингвејеве књижевне амбиције. Објавио је Три приче и десет писама (1923), У наше време (1924) и Пролећне бујице (1926). Ове књиге скренуле су пажњу на ново књижевно име, а оно је одједном блеснуло 1926. године када је изашао један од његових најбољих романа Сунце се поново рађа. То је био роман о људима „изгубљене генерације“ — израз Гертруде Стајн, којим је означена генерација младих која је преживела страхоте светског рата и из њега понела не само физичке него и душевне ожиљке, али и дубоко разочарање због изневерених идеала и померених вредности у послератној стварности. У Паризу је склопио бројна пријатељства са тамошњим писцима и уметницима. Ова група истакнутих уметника названа је „Изгубљена генерација“. Неки од ових уметника били су: Езра Паунд, Гетруда Стајн, Френсис Скот Фицџералд, Силвија Бич, Џејмс Џојс, Макс Истмен и други. У Паризу је Хемингвеј упознао славног Пикаса. Хемингвеј је путовао и написао: Збогом оружје (1929), Снегови Килиманџара (1935), Имати и немати (1937). Искуство из Шпанског грађанског рата преточио је у роман За ким звона звоне (1940), још један роман који је освојио велики број читалаца и још више учврстио репутацију Ернеста Хемингвеја као великог писца. Популарности овог романа допринела је његова филмска верзија са Гари Купером и Ингрид Бергман у улогама Роберта Џордана и Марије. Вратили су се на Кубу пре објаве рата Сједињених Држава тог децембра, када је убедио кубанску владу да му помогне у преуређивању Пилара, који је намеравао да користи у заседи немачких подморница код обала Кубе.[20] Са Хедли је добио сина, Џека Хемингвеја. Ки Вест и Кариби Ернест Хемингвеј и његова жена Паулин, 1927. година Хемингвеј и његова нова жена Паулин отпутовали су у Канзас Сити, где се њихов син Патрик родио 28. јуна 1928. Паулин је имала тешке порођаје; Хемингвеј је измислио верзију догађаја као део `Опроштаја од оружја`. Након Патриковог рођења, Паулин и Хемингвеј путовали су у Вајоминг, Масачусетс и Њујорк.[21] Спремајући се да се укрца на воз за Флориду, примио је вест да му се отац убио.[22] Хемингвеј је био скрхан, пошто је раније писао свом оцу и говорио му да се не брине због финансијских потешкоћа; писмо је стигло неколико минута након самоубиства. Схватио је како се Хедли морала осећати након самоубиства сопственог оца 1903. године и прокоментарисао је: „Вероватно ћу ићи истим путем“.[22] Хемингвеј је имао два сина са Паулин. Шпански грађански рат Године 1937. Хемингвеј је отишао у Шпанију да извештава о шпанском грађанском рату за Северноамеричку новинску алијансу (НАНА), упркос оклевању Паулин да не ради у ратној зони.[23] Хемингвеју се у Шпанији придружила новинарка и списатељица Марта Гелхорн, коју је годину дана раније упознао у Ки Весту. Попут Хедли, Марта је била родом из Сент Луиса, и попут Паулин, радила је за Воуг у Паризу. О Марти, Керт објашњава, „никада му није удовољавала онако као што су то чиниле друге жене“.[24] Гелхорн и Хемингвеј, 1941. година Крајем 1937. године, док је био у Мадриду са Мартом, Хемингвеј је написао своју једину драму, `Пета колона`, док су град бомбардовале франкистичке снаге.[25] Враћао се у Ки Вест на неколико месеци, а затим се два пута враћао у Шпанију 1938. године, где је био присутан у бици код Ебра, последњем републичком штанду, и био је међу британским и америчким новинарима који су једни од последњих напусти битку док су прелазили реку.[26] Четири године је ова веза одржавана у тајности, а онда се развео од супруге, како би се венчао са Мартом. Још један од разлога брачног краха били су њихови различити ставови у вези политичких питања. Паулин је била на страни фашистичког режима, док је Хемингвеј био на страни комунистичких лојалиста.[27] Куба Ернест Хемингвеј ради на роману `За ким звона звоне` Почетком 1939. Хемингвеј је својим чамцем прешао на Кубу да би живео у хотелу Амбос Мундос у Хавани. Ово је била фаза спорог и болног раздвајања од Паулин, која је започела када је Хемингвеј упознао Марту Гелхорн.[28] Марта му се убрзо придружила на Куби и они су изнајмили имање од 6,1 ha (15 acres), удаљено 24 km од Хаване. Паулин и деца напустили су Хемингвеја тог лета, након што се породица поново окупила током посете Вајомингу; када је завршен његов развод од Паулин, он и Марта су се венчали 20. новембра 1940. у Шајену, Вајоминг.[29] Био је згађен када је видео да један његов пријатељ дозвољава мачкама да једу са стола, али је заволео мачке док је био на Куби. Имао их је на десетине, а чак и дан данас, потомци његових мачака су на сигурном, на његовом имању недалеко од Хаване.[30] Гелхорн га је инспирисала да напише свој најпознатији роман `За ким звона звоне`. Дело је постало `најбоља књига месеца`, и продато је пола милиона примерака у року од неколико месеци, номинованo је за Пулицерову награду и, према речима Мејерса, „тријумфално је поново успоставило Хемингвејеву књижевну репутацију.`[31] Други светски рат Хемингвеј је био у Европи од маја 1944. до марта 1945. Када је стигао у Лондон, упознао је дописницу часописа `Time` Мери Велш, у коју се заљубио. Марта је била приморана да пређе Атлантик бродом напуњеним експлозивом јер је Хемингвеј одбио да јој помогне да добије пропусницу за штампу у авиону, а она је стигла у Лондон како би га пронашла хоспитализованог са потресом мозга у саобраћајној несрећи.[32] Ернест Хемингвеј и Бак Ланхам, 1944. година. Била је неемпатична према његовој несрећи; оптужила га је за насилника и рекла му да је „готова, апсолутно готова`.[32] Марту је Хемингвеј последњи пут видео у марту 1945. године, док се припремао за повратак на Кубу[33], а њихов развод је завршен касније те године.[32] У међувремену, замолио је Мери Велш да се уда за њега на њиховом трећем састанку.[32] Хемингвеј је пратио трупе до искрцавања у Нормандији носећи велики завој за главу, према Мејерсу сматран „драгоценим теретом“ и није му дозвољено да оде на обалу.[34] Десантни брод се нашао на видику плаже Омаха пре него што се нашао под непријатељском ватром и окренуо се назад. Хемингвеј је касније написао у Колијеру да је могао да види „први, други, трећи, четврти и пети талас [десантних трупа], лежали су тамо где су пали, изгледајући као тешко натоварени снопови на равном шљунчаном потезу између мора и првог покривача.`[35] Мелов објашњава да, тог првог дана, ниједном дописнику није било дозвољено да слети и Хемингвеј је враћен у Доротеа Дикс.[36] Дана 25. августа био је присутан ослобађању Париза као новинар; супротно Хемингвејевој легенди, он није био први у граду.[37] У Паризу је посетио Силвију и Пабла Пикаса са Мери Велш, која му се тамо придружила; у духу среће опростио је Гертруди Стајн.[38] Касније те године, приметио је тешке борбе у бици код Хуртген шуме.[37] 17. децембра 1944, сам се одвезао у Луксембург, упркос болести, да извештава о биткама. Чим је стигао, Ланхам га је предао лекарима, који су га хоспитализовали због упале плућа; опоравио се недељу дана касније, али већи део борби био је завршен.[39] 1947. године Хемингвеј је награђен Бронзаном звездом за храброст током Другог светског рата. Препознали су да је био „под ватром у борбеним областима како би стекао тачну слику услова“, уз похвалу да је „својим талентом изражавања, господин Хемингвеј омогућио читаоцима да стекну живу слику о потешкоћама и тријумфима војник фронта и његова организација у борби.` [20] Куба и Нобелова награда Хемингвеј је рекао да је „био без посла као писац“ од 1942. до 1945. током свог боравка на Куби.[40] 1946. оженио се Мери, која је пет месеци касније имала ванматеричну трудноћу. Породица Хемингвеј претрпела је низ несрећа и здравствених проблема у годинама после рата: у саобраћајној несрећи 1945. године „сломио је колено“ и задобио још једну „дубоку рану на челу“; У узастопним скијашким несрећама Мери је сломила прво десни, а затим и леви чланак. У саобраћајној несрећи 1947. године Патрик је био рањен у главу и тешко болестан.[41] Хемингвеј је утонуо у депресију кад су његови књижевни пријатељи почели да умиру: 1939. Вилијам Батлер Итс и Форд Мадок Форд; 1940. Ф. Скот Фицџералд; 1941. Шервуд Андерсон и Џејмс Џојс; 1946. Гертруда Стајн; а следеће 1947. године Мек Перкинс, Хемингвејев дугогодишњи уредник и пријатељ.[42] Током овог периода патио је од јаких главобоља, високог крвног притиска, проблема са тежином и на крају дијабетеса - од којих је већина била резултат претходних несрећа и дугогодишњег обилног опијања.[43] Ипак, у јануару 1946, започео је рад на Рајском врту, завршивши 800 страница до јуна.[44] Ернест Хемингвеј са мачком, 1955. година. 1948. године Хемингвеј и Мери отпутовали су у Европу, боравећи у Венецији неколико месеци. Док је био тамо, Хемингвеј се заљубио у тада 19-годишњу Адриану Иванчич. Иванчич је била његова инспирација за дело `Преко реке па у шуму` 1950. године, ког је критика прогласила најслабијим делом Ернеста Хемингвеја. То је погодило писца који је 1952. године објавио роман Старац и море и њиме задобио неподељена признања критике, Пулицерову награду за књижевност, а 1954. године и Нобелову награду. Ернест и Мери Хемингвеј у Африци, 1953. година Хемингвеј је затим отпутовао у Африку. 1954. године, Хемингвеј је био готово смртно повређен у две узастопне авионске несреће. Лет за разгледање града изнад Белгијског Конга унајмио је као божићни поклон Мери. На путу да фотографишу Мурчисон Фолс из ваздуха, авион је ударио у напуштени комунални стуб и пао. Хемингвеј је повредио главу, док је Мери сломила два ребра.[45] Следећег дана, покушавајући да дођу до медицинске помоћи у Ентебеу, укрцали су се на други авион који је експлодирао при полетању, а Хемингвеј је задобио опекотине и још један потрес мозга, овај довољно озбиљан да проузрокује цурење церебралне течности.[46] После тога, задесила га је још једна несрећа када је у његовом кампу избио пожар и он је задобио опекотине другог степена.[47] Несреће су довеле до физичког и психичког погоршања. После пада авиона, Хемингвеј је пио јаче него обично да би се борио против болова због повреда.[48] Хемингвеј због повреда није могао да отпутује у Стокхолм на доделу Нобелове награде, али је зато припремио говор који гласи: Писање је, у најбољем случају, усамљени живот. Организације за писце умањују пишчеву усамљеност, али сумњам да побољшавају његово писање. Како јавно расте, тако одбацује усамљеност и често му се посао погоршава. Јер свој посао ради сам, а ако је довољно добар писац, свакодневно се мора суочавати са вечношћу или њеним недостатком.[49] Политичку и економску неправду осудио је у делима „Имати и немати“ и „Пета колона“. У делу „Коме звоно звони“ тематизује проблем губитка слободе.[27] Смрт Пуштен је из болнице крајем јуна и стигао је кући у Кечум 30. јуна. Откључао је подрумско спремиште у коме су се налазиле његове пушке, попео се горе до предсобља предњег улаза и пуцао у себе са „двоцевком сачмарицом коју је толико често користио да је могла бити пријатељ“.[50] Завршио је исто као и његов отац. Мери је позвала болницу, а лекар је брзо стигао у кућу утврдивши да је Хемингвеј „умро од самонанесене ране у глави“. Мери је седирана и одвезена у болницу, а сутрадан се вратила кући коју је очистила и побринула се за сахрану и путне аранжмане. Бернис Керт пише да јој се самоубиство Хемингвеја чинило нереалним и новинарима је рекла да је његова смрт била случајна.[51] У интервјуу за штампу пет година касније, Мери је потврдила да је пуцао у себе.[52] Хемингвејово понашање током последњих година било је слично понашању његовог оца пре него што се и он сам убио;[53] његов отац је можда имао наследну хемохроматозу, при чему прекомерно нагомилавање гвожђа у ткивима кулминира менталним и физичким погоршањем.[53] Његова сестра Урсула и брат Лестер су такође починили самоубиство.[54] На његовом гробу је неколико деценија касније написано следеће:[55] `Највише од свега што је волео је јесен, лишће жуто на памучном дрвету, лишће које плута потоцима, пастрмке а изнад брда, високо плаво небо без ветра, ... Сад ће заувек бити део њих.` Наслеђе Споменик Ернесту Хемингвеју у Памплони. Постхумно је 1964. године објављена мемоарска проза Покретни празник — о животу у Паризу и „изгубљеној генерацији“. После његове смрти остало је необјављено више прича од којих су две планиране за објављивање 2019. године.[56] Постоји међународна конференција о животу и делу Ернеста Хемингвеја која је 17. пут одржана 2016. године у Чикагу.[57] Његова дечачка кућа, у Оак Парку у држави Илиноис, музеј је и архива посвећена Хемингвеју,[58] као и његова резиденција на Хавани.[59] О његовом животу 2021. је снимљена троделни документарна серија Хемингвеј.[60][61] Цитати Овако је Хемингвеј говорио о животу: Не постоји пријатељ тако лојалан као књига. Срећа је код интелигентних људи најређа ствар коју знам. Волим да спавам. Мој живот има тенденцију да се распадне када сам будан, знате? Увек уради трезан оно што си рекао да ћеш урадити пијан. То ће те научити да држиш језик за зубима. Најбољи начин да откријеш да ли некоме можеш да верујеш – јесте да му верујеш. Све што треба да урадиш је да напишеш једну истиниту реченицу. Напиши најистинитију реченицу коју знаш. Ја пијем да бих друге људе учинио занимљивијим. Када људи причају, слушај у потпуности. Већина људи никада не слуша. Живот сваког човека се заврши исто. Постоје само детаљи како је живео и како је умро који га разликују од других. Никад не мешај покрет са акцијом. Мачка има потпуну емоционалну искреност, људска бића, из једног или другог разлога, могу сакрити своја осећања, али мачка не може. Мој циљ је да ставим на папир све што видим или доживим, на најбољи и најједноставнији начин. Дела (Књиге издате након 1961. су Хемингвејева постхумна дела.)[62][63] Матица српска објавила је Изабрана дела Ернеста Хемингвеја 1982. године. Романи и новеле (1926) Пролетње бујице (1926) Сунце се поново рађа (1929) Збогом оружје (1937) Имати и немати (1940) За ким звоно звони (1950) Преко реке и у шуму (1952) Старац и море (1970) Отоци у струји (1986) Рајски врт (1999) Истина у свитање Документарна литература (1932) Смрт поподне (1935) Зелени брегови Африке (1962) Hemingway, The Wild Years (1964) Покретни празник (1967) By-Line: Ernest Hemingway (1970) Ernest Hemingway: Cub Reporter (1985) Опасно лето (1985) Dateline: Toronto (2005) Under Kilimanjaro Писма (1981) Ernest Hemingway Selected Letters 1917–1961 (2011–) The Cambridge Edition of the Letters of Ernest Hemingway (2011) The Letters of Ernest Hemingway: Volume 1, 1907–1922 (2013) The Letters of Ernest Hemingway: Volume 2, 1923–1925 (2015) The Letters of Ernest Hemingway: Volume 3, 1926–1929 (2017) The Letters of Ernest Hemingway: Volume 4, 1929–1931 (2020) The Letters of Ernest Hemingway: Volume 5, 1932–1934 Антологије (1942) Men at War: The Best War Stories of All Time edited, with introduction, by Hemingway, although he is not the primary author. Збирке кратких прича (1923) Три приче и десет песама (1924) У наше време (Поново објављена 1925. са четрнаест додатних кратких прича) (1927) Мушкарци без жена (1933) Победник ништа не добија (1938) The Fifth Column and the First Forty-Nine Stories (1947) The Essential Hemingway (1961) Снегови Килиманџара и друге приче (1969) The Fifth Column and Four Stories of the Spanish Civil War (1972) Приче о Нику (1979) 88 Poems (1979) Complete Poems (1984) The Short Stories of Ernest Hemingway (1987) The Complete Short Stories of Ernest Hemingway (1995) The Collected Stories (Everyman`s Library) (1999) Hemingway on Writing (2000) Hemingway on Fishing (2003) Hemingway on Hunting (2003) Hemingway on War

SN Liber, 1978. Čuvena edicija Američki roman Prevod Antun Šoljan Srpski prevod romana izašao pod naslovom `Sunce se ponovo rađa`. Najvažniji roman takozvane izgubljene generacije, A sunce izlazi jedno je od remek-djela nobelovca Ernesta Hemingwaya (1899. – 1961.) i najpoznatiji primjer njegova suzdržanog, ali britkog i snažnog stila. U ovom bolnom uvidu u razočaranje i tjeskobu generacije koju je iznjedrio Prvi svjetski rat, Hemingway nas upoznaje s dva fantastična lika: Jakeom Barnesom i lady Brett Ashley. Isprepletena tugom, žudnjom, trenutcima razularenog pijančevanja i trenutcima bolne onemoćalosti, radnja romana prati Brett, Jakea i živopisnu skupinu iseljenika na putu iz noćnog života Pariza dvadesetih godina prošlog stoljeća do brutalnih arena za borbe bikova u Španjolskoj. To je doba moralnog bankrota, duševnog rasapa, neostvarenih ljubavi i snova koji se izjalovljuju. Prvi put objavljen 1926., roman A sunce izlazi odigrao je ključnu ulogu u izgradnji Hemingwayeve reputacije kao jednog od najpoznatijih pisaca dvadesetog stoljeća. Ernest Miler Hemingvej (engl. Ernest Miller Hemingway; Ouk Park, 21. jul 1899 — Kečum, 2. jul 1961) bio je američki pisac i novinar. Bio je pripadnik pariskog udruženja izgnanika dvadesetih godina dvadesetog veka i jedan od veterana Prvog svetskog rata, koji su kasnije bili poznati kao „izgubljena generacija“, kako ih je nazvala Gertruda Stajn. Dobio je Pulicerovu nagradu 1953. godine za svoj roman Starac i more, kao i Nobelovu nagradu za književnost 1954. godine. Svojim posebnim načinom pisanja koji karakterišu kratke rečenice, nasuprot stilu njegovog književnog suparnika Vilijama Foknera, Hemingvej je značajno uticao na razvoj lepe književnosti dvadesetog veka. Mnogi njegovi romani se danas smatraju klasičnim delima američke književnosti. Detinjstvo i mladost Ernest Miler Hemingvej rođen je 21. jula 1899. godine u Oak Parku u državi Ilinois, predgrađu Čikaga,[1] od Klarensa Hemingveja, lekara, i Grejs Hemingvej, muzičarke. Njegovi roditelji su bili dobro obrazovani i poštovani u Oak Parku,[2] konzervativnoj zajednici o kojoj je stanovnik Frank Lojd Rajt rekao: „Toliko dobrih crkava za toliko dobrih ljudi.“ [2] Kada su se Klarens i Grejs Hemingvej uzeli 1896. godine, živeli su sa Grejsinim ocem, Ernestom Halom,[3] po kome su nazvali svog prvog sina, drugo od njihovo šestoro dece. Njegova sestra Marselin prethodila mu je 1898, a slede Ursula 1902, Madelajn 1904, Karol 1911. i Lester 1915.[2] Hemingvej je pohađao srednju školu Oak Park and River Forest High School od 1913. do 1917. Bio je dobar sportista, bavio se brojnim sportovima - boksom, atletikom, vaterpolom i fudbalom; dve godine nastupao u školskom orkestru sa sestrom Marselin; i dobio dobre ocene na časovima engleskog jezika.[4] Grejs i Ernest Hemingvej, 1899. godina Hemingvej je od oca nasledio avanturistički duh i nemiran temperament što je vrlo rano odredilo njegov životni put. Nije hteo da troši vreme na sticanje univerzitetskog obrazovanja. Počeo je da radi kao novinar, otkrio je svoj spisateljski dar i pisanje mu je postalo životni poziv. Iako ga novinarstvo nije dugo zadržalo, oslanjao se na novinarski stil pisanja; `Koristite kratke rečenice. Koristite kratke prve pasuse. Koristite energičan engleski jezik. Budite pozitivni, a ne negativni.`[5] Ribolov i lov su mu bili omiljeni hobi. Kad god je putovao, a bio je strastveni putnik, obavezno je nosio tri stvari: udice, pušku i pisaću mašinu. Fizički snažan, radoznao i žedan života, obišao je Evropu, Ameriku, Kinu, Afriku, a živeo je u Parizu, Ki Vestu i Havani. Prvi svetski rat U decembru 1917. Hemingvej je odgovorio na poziv Crvenog krsta i prijavio se za vozača hitne pomoći u Italiji,[6] nakon što nije uspeo da se prijavi u američku vojsku zbog lošeg vida.[7] U maju 1918. isplovio je iz Njujorka i stigao u Pariz dok je grad bio bombardovan od strane nemačke artiljerije.[8] Tog juna stigao je na italijanski front. Prvog dana u Milanu, poslat je na mesto eksplozije fabrike municije kako bi se pridružio spasiocima koji su preuzimali ostatke ženskih radnika. Incident je opisao u svojoj nefiktivnoj knjizi `Smrt u popodnevnim časovima`: „Sećam se da smo, nakon što smo prilično temeljito tražili mrtve, sakupili samo njihove fragmente.“[9] Nekoliko dana kasnije, bio je smešten u Fosaltu di Pjave. Ernest Hemingvej u Milanu, 1918. godina. Dana 8. jula bio je teško ranjen minobacačkom vatrom, vrativši se iz menze, donoseći čokoladu i cigarete za muškarce na prvoj liniji fronta.[9] Uprkos ranama, Hemingvej je pomogao italijanskim vojnicima da se povuku na sigurno, za šta je dobio italijansku srebrnu medalju za hrabrost.[10] Tada je još uvek imao samo 18 godina. Hemingvej je kasnije rekao za incident: `Kad kao dečak odete u rat imate veliku iluziju besmrtnosti. Drugi ljudi stradaju; ne vi... Onda kada bivate teško ranjeni tad prvi put izgubite tu iluziju i saznate šta vam se može dogoditi.“[11] Zadobio je teške gelerske rane na obe noge, operisan je odmah u distributivnom centru i proveo je pet dana u poljskoj bolnici pre nego što je prebačen na oporavak u milansku bolnicu Crvenog krsta.[12] Dok se oporavljao, zaljubio se u Agnes fon Kurovski, sedam godina stariju medicinsku sestru Crvenog krsta. Kada se Hemingvej vratio u Sjedinjene Države u januaru 1919, verovao je da će mu se Agnes pridružiti za nekoliko meseci i da će se njih dvoje venčati. Umesto toga, u martu je dobio pismo sa njenom najavom da je verena za italijanskog oficira. Biograf Džefri Mejers piše da je Agnesino odbijanje devastiralo i zastrašilo mladića; u budućim vezama Hemingvej je sledio obrazac napuštanja žene pre nego što bi ona mogla da ga napusti.[13] Kada se iz rata vratio u Ameriku, fizički i psihički ranjen na italijanskom ratištu, nije mogao da se smiri. Ugovorio je dopisnički rad za jedan američki list, oženio se i vratio se u Pariz, koji je u to vreme bio središte književnog i kulturnog života starog kontinenta. Toronto i Čikago Hemingvej se vratio kući rano 1919. godine. Pre 20. godine, iz rata je stekao zrelost koja se kosila sa životom kod kuće bez posla i sa potrebom za oporavkom.[14] Kao što Rejnolds objašnjava, „Hemingvej nije zaista mogao reći roditeljima šta misli kada je video svoje krvavo koleno. Nije mogao da im kaže koliko se uplašio „u drugoj zemlji sa hirurzima koji mu na engleskom nisu mogli reći da li će mu amputirati nogu ili ne.`[15] Hemingvej u bolnici Crvenog Krsta, 1918. godina Kada je Hedli Ričardson došla u Čikago u posetu sestri Hemingvejevog cimera, Hemingvej se zaljubio. Kasnije je tvrdio: „Znao sam da je ona devojka za koju ću se oženiti.“ [16] Hedli, crvenokosa, sa „negujućim instinktom“, bila je osam godina starija od Hemingveja.[16] Uprkos razlici u godinama, Hedli, koja je odrasla sa prezaštitničkom majkom, izgledala je manje zrelo nego obično za mladu ženu njenih godina.[17] Bernis Kert, autorka knjige `Žene Hemingveja`, tvrdi da je Hedli bila „evokativna“ u odnosu na Agnes, ali da je Hedli imala detinjstvo koje je Agnes nedostajalo. Njih dvoje su se dopisivali nekoliko meseci, a zatim su odlučili da se venčaju i otputuju u Evropu.[16] Želeli su da posete Rim, ali ih je Šervud Anderson ubedio da posete Pariz, pišući pisma za mladi par.[18] Venčali su se 3. septembra 1921; dva meseca kasnije, Hemingvej je angažovan kao strani dopisnik Toronto Stara, a par je otišao u Pariz. O Hemingvejevom braku sa Hedli, Mejers tvrdi: „Sa Hedli je Hemingvej postigao sve čemu se nadao sa Agnes: ljubav lepe žene, dobar prihod, život u Evropi.“[19] Pariz Bio je ratni dopisnik, ali i borac, što mu je omogućilo da stekne ogromno iskustvo i skupi solidnu građu za svoje pisanje. Hemingvej je voleo intenzivno življenje koje je podrazumevalo putovanja, lov, koridu. Istovremeno je putovao, ratovao, uživao u lepotama života i neprekidno pisao. Hemingvej se oglasio kao pisac u Parizu. Ernest Hemingvej, slika iz pasoša, 1923. godina Gertruda Stajn i Džek Hemingvej u Parizu. Tu je ušao u krug Gertrude Stajn i Ezre Paunda, koji su podržali Hemingvejeve književne ambicije. Objavio je Tri priče i deset pisama (1923), U naše vreme (1924) i Prolećne bujice (1926). Ove knjige skrenule su pažnju na novo književno ime, a ono je odjednom blesnulo 1926. godine kada je izašao jedan od njegovih najboljih romana Sunce se ponovo rađa. To je bio roman o ljudima „izgubljene generacije“ — izraz Gertrude Stajn, kojim je označena generacija mladih koja je preživela strahote svetskog rata i iz njega ponela ne samo fizičke nego i duševne ožiljke, ali i duboko razočaranje zbog izneverenih ideala i pomerenih vrednosti u posleratnoj stvarnosti. U Parizu je sklopio brojna prijateljstva sa tamošnjim piscima i umetnicima. Ova grupa istaknutih umetnika nazvana je „Izgubljena generacija“. Neki od ovih umetnika bili su: Ezra Paund, Getruda Stajn, Frensis Skot Ficdžerald, Silvija Bič, Džejms Džojs, Maks Istmen i drugi. U Parizu je Hemingvej upoznao slavnog Pikasa. Hemingvej je putovao i napisao: Zbogom oružje (1929), Snegovi Kilimandžara (1935), Imati i nemati (1937). Iskustvo iz Španskog građanskog rata pretočio je u roman Za kim zvona zvone (1940), još jedan roman koji je osvojio veliki broj čitalaca i još više učvrstio reputaciju Ernesta Hemingveja kao velikog pisca. Popularnosti ovog romana doprinela je njegova filmska verzija sa Gari Kuperom i Ingrid Bergman u ulogama Roberta Džordana i Marije. Vratili su se na Kubu pre objave rata Sjedinjenih Država tog decembra, kada je ubedio kubansku vladu da mu pomogne u preuređivanju Pilara, koji je nameravao da koristi u zasedi nemačkih podmornica kod obala Kube.[20] Sa Hedli je dobio sina, Džeka Hemingveja. Ki Vest i Karibi Ernest Hemingvej i njegova žena Paulin, 1927. godina Hemingvej i njegova nova žena Paulin otputovali su u Kanzas Siti, gde se njihov sin Patrik rodio 28. juna 1928. Paulin je imala teške porođaje; Hemingvej je izmislio verziju događaja kao deo `Oproštaja od oružja`. Nakon Patrikovog rođenja, Paulin i Hemingvej putovali su u Vajoming, Masačusets i Njujork.[21] Spremajući se da se ukrca na voz za Floridu, primio je vest da mu se otac ubio.[22] Hemingvej je bio skrhan, pošto je ranije pisao svom ocu i govorio mu da se ne brine zbog finansijskih poteškoća; pismo je stiglo nekoliko minuta nakon samoubistva. Shvatio je kako se Hedli morala osećati nakon samoubistva sopstvenog oca 1903. godine i prokomentarisao je: „Verovatno ću ići istim putem“.[22] Hemingvej je imao dva sina sa Paulin. Španski građanski rat Godine 1937. Hemingvej je otišao u Španiju da izveštava o španskom građanskom ratu za Severnoameričku novinsku alijansu (NANA), uprkos oklevanju Paulin da ne radi u ratnoj zoni.[23] Hemingveju se u Španiji pridružila novinarka i spisateljica Marta Gelhorn, koju je godinu dana ranije upoznao u Ki Vestu. Poput Hedli, Marta je bila rodom iz Sent Luisa, i poput Paulin, radila je za Voug u Parizu. O Marti, Kert objašnjava, „nikada mu nije udovoljavala onako kao što su to činile druge žene“.[24] Gelhorn i Hemingvej, 1941. godina Krajem 1937. godine, dok je bio u Madridu sa Martom, Hemingvej je napisao svoju jedinu dramu, `Peta kolona`, dok su grad bombardovale frankističke snage.[25] Vraćao se u Ki Vest na nekoliko meseci, a zatim se dva puta vraćao u Španiju 1938. godine, gde je bio prisutan u bici kod Ebra, poslednjem republičkom štandu, i bio je među britanskim i američkim novinarima koji su jedni od poslednjih napusti bitku dok su prelazili reku.[26] Četiri godine je ova veza održavana u tajnosti, a onda se razveo od supruge, kako bi se venčao sa Martom. Još jedan od razloga bračnog kraha bili su njihovi različiti stavovi u vezi političkih pitanja. Paulin je bila na strani fašističkog režima, dok je Hemingvej bio na strani komunističkih lojalista.[27] Kuba Ernest Hemingvej radi na romanu `Za kim zvona zvone` Početkom 1939. Hemingvej je svojim čamcem prešao na Kubu da bi živeo u hotelu Ambos Mundos u Havani. Ovo je bila faza sporog i bolnog razdvajanja od Paulin, koja je započela kada je Hemingvej upoznao Martu Gelhorn.[28] Marta mu se ubrzo pridružila na Kubi i oni su iznajmili imanje od 6,1 ha (15 acres), udaljeno 24 km od Havane. Paulin i deca napustili su Hemingveja tog leta, nakon što se porodica ponovo okupila tokom posete Vajomingu; kada je završen njegov razvod od Paulin, on i Marta su se venčali 20. novembra 1940. u Šajenu, Vajoming.[29] Bio je zgađen kada je video da jedan njegov prijatelj dozvoljava mačkama da jedu sa stola, ali je zavoleo mačke dok je bio na Kubi. Imao ih je na desetine, a čak i dan danas, potomci njegovih mačaka su na sigurnom, na njegovom imanju nedaleko od Havane.[30] Gelhorn ga je inspirisala da napiše svoj najpoznatiji roman `Za kim zvona zvone`. Delo je postalo `najbolja knjiga meseca`, i prodato je pola miliona primeraka u roku od nekoliko meseci, nominovano je za Pulicerovu nagradu i, prema rečima Mejersa, „trijumfalno je ponovo uspostavilo Hemingvejevu književnu reputaciju.`[31] Drugi svetski rat Hemingvej je bio u Evropi od maja 1944. do marta 1945. Kada je stigao u London, upoznao je dopisnicu časopisa `Time` Meri Velš, u koju se zaljubio. Marta je bila primorana da pređe Atlantik brodom napunjenim eksplozivom jer je Hemingvej odbio da joj pomogne da dobije propusnicu za štampu u avionu, a ona je stigla u London kako bi ga pronašla hospitalizovanog sa potresom mozga u saobraćajnoj nesreći.[32] Ernest Hemingvej i Bak Lanham, 1944. godina. Bila je neempatična prema njegovoj nesreći; optužila ga je za nasilnika i rekla mu da je „gotova, apsolutno gotova`.[32] Martu je Hemingvej poslednji put video u martu 1945. godine, dok se pripremao za povratak na Kubu[33], a njihov razvod je završen kasnije te godine.[32] U međuvremenu, zamolio je Meri Velš da se uda za njega na njihovom trećem sastanku.[32] Hemingvej je pratio trupe do iskrcavanja u Normandiji noseći veliki zavoj za glavu, prema Mejersu smatran „dragocenim teretom“ i nije mu dozvoljeno da ode na obalu.[34] Desantni brod se našao na vidiku plaže Omaha pre nego što se našao pod neprijateljskom vatrom i okrenuo se nazad. Hemingvej je kasnije napisao u Kolijeru da je mogao da vidi „prvi, drugi, treći, četvrti i peti talas [desantnih trupa], ležali su tamo gde su pali, izgledajući kao teško natovareni snopovi na ravnom šljunčanom potezu između mora i prvog pokrivača.`[35] Melov objašnjava da, tog prvog dana, nijednom dopisniku nije bilo dozvoljeno da sleti i Hemingvej je vraćen u Dorotea Diks.[36] Dana 25. avgusta bio je prisutan oslobađanju Pariza kao novinar; suprotno Hemingvejevoj legendi, on nije bio prvi u gradu.[37] U Parizu je posetio Silviju i Pabla Pikasa sa Meri Velš, koja mu se tamo pridružila; u duhu sreće oprostio je Gertrudi Stajn.[38] Kasnije te godine, primetio je teške borbe u bici kod Hurtgen šume.[37] 17. decembra 1944, sam se odvezao u Luksemburg, uprkos bolesti, da izveštava o bitkama. Čim je stigao, Lanham ga je predao lekarima, koji su ga hospitalizovali zbog upale pluća; oporavio se nedelju dana kasnije, ali veći deo borbi bio je završen.[39] 1947. godine Hemingvej je nagrađen Bronzanom zvezdom za hrabrost tokom Drugog svetskog rata. Prepoznali su da je bio „pod vatrom u borbenim oblastima kako bi stekao tačnu sliku uslova“, uz pohvalu da je „svojim talentom izražavanja, gospodin Hemingvej omogućio čitaocima da steknu živu sliku o poteškoćama i trijumfima vojnik fronta i njegova organizacija u borbi.` [20] Kuba i Nobelova nagrada Hemingvej je rekao da je „bio bez posla kao pisac“ od 1942. do 1945. tokom svog boravka na Kubi.[40] 1946. oženio se Meri, koja je pet meseci kasnije imala vanmateričnu trudnoću. Porodica Hemingvej pretrpela je niz nesreća i zdravstvenih problema u godinama posle rata: u saobraćajnoj nesreći 1945. godine „slomio je koleno“ i zadobio još jednu „duboku ranu na čelu“; U uzastopnim skijaškim nesrećama Meri je slomila prvo desni, a zatim i levi članak. U saobraćajnoj nesreći 1947. godine Patrik je bio ranjen u glavu i teško bolestan.[41] Hemingvej je utonuo u depresiju kad su njegovi književni prijatelji počeli da umiru: 1939. Vilijam Batler Its i Ford Madok Ford; 1940. F. Skot Ficdžerald; 1941. Šervud Anderson i Džejms Džojs; 1946. Gertruda Stajn; a sledeće 1947. godine Mek Perkins, Hemingvejev dugogodišnji urednik i prijatelj.[42] Tokom ovog perioda patio je od jakih glavobolja, visokog krvnog pritiska, problema sa težinom i na kraju dijabetesa - od kojih je većina bila rezultat prethodnih nesreća i dugogodišnjeg obilnog opijanja.[43] Ipak, u januaru 1946, započeo je rad na Rajskom vrtu, završivši 800 stranica do juna.[44] Ernest Hemingvej sa mačkom, 1955. godina. 1948. godine Hemingvej i Meri otputovali su u Evropu, boraveći u Veneciji nekoliko meseci. Dok je bio tamo, Hemingvej se zaljubio u tada 19-godišnju Adrianu Ivančič. Ivančič je bila njegova inspiracija za delo `Preko reke pa u šumu` 1950. godine, kog je kritika proglasila najslabijim delom Ernesta Hemingveja. To je pogodilo pisca koji je 1952. godine objavio roman Starac i more i njime zadobio nepodeljena priznanja kritike, Pulicerovu nagradu za književnost, a 1954. godine i Nobelovu nagradu. Ernest i Meri Hemingvej u Africi, 1953. godina Hemingvej je zatim otputovao u Afriku. 1954. godine, Hemingvej je bio gotovo smrtno povređen u dve uzastopne avionske nesreće. Let za razgledanje grada iznad Belgijskog Konga unajmio je kao božićni poklon Meri. Na putu da fotografišu Murčison Fols iz vazduha, avion je udario u napušteni komunalni stub i pao. Hemingvej je povredio glavu, dok je Meri slomila dva rebra.[45] Sledećeg dana, pokušavajući da dođu do medicinske pomoći u Entebeu, ukrcali su se na drugi avion koji je eksplodirao pri poletanju, a Hemingvej je zadobio opekotine i još jedan potres mozga, ovaj dovoljno ozbiljan da prouzrokuje curenje cerebralne tečnosti.[46] Posle toga, zadesila ga je još jedna nesreća kada je u njegovom kampu izbio požar i on je zadobio opekotine drugog stepena.[47] Nesreće su dovele do fizičkog i psihičkog pogoršanja. Posle pada aviona, Hemingvej je pio jače nego obično da bi se borio protiv bolova zbog povreda.[48] Hemingvej zbog povreda nije mogao da otputuje u Stokholm na dodelu Nobelove nagrade, ali je zato pripremio govor koji glasi: Pisanje je, u najboljem slučaju, usamljeni život. Organizacije za pisce umanjuju piščevu usamljenost, ali sumnjam da poboljšavaju njegovo pisanje. Kako javno raste, tako odbacuje usamljenost i često mu se posao pogoršava. Jer svoj posao radi sam, a ako je dovoljno dobar pisac, svakodnevno se mora suočavati sa večnošću ili njenim nedostatkom.[49] Političku i ekonomsku nepravdu osudio je u delima „Imati i nemati“ i „Peta kolona“. U delu „Kome zvono zvoni“ tematizuje problem gubitka slobode.[27] Smrt Pušten je iz bolnice krajem juna i stigao je kući u Kečum 30. juna. Otključao je podrumsko spremište u kome su se nalazile njegove puške, popeo se gore do predsoblja prednjeg ulaza i pucao u sebe sa „dvocevkom sačmaricom koju je toliko često koristio da je mogla biti prijatelj“.[50] Završio je isto kao i njegov otac. Meri je pozvala bolnicu, a lekar je brzo stigao u kuću utvrdivši da je Hemingvej „umro od samonanesene rane u glavi“. Meri je sedirana i odvezena u bolnicu, a sutradan se vratila kući koju je očistila i pobrinula se za sahranu i putne aranžmane. Bernis Kert piše da joj se samoubistvo Hemingveja činilo nerealnim i novinarima je rekla da je njegova smrt bila slučajna.[51] U intervjuu za štampu pet godina kasnije, Meri je potvrdila da je pucao u sebe.[52] Hemingvejovo ponašanje tokom poslednjih godina bilo je slično ponašanju njegovog oca pre nego što se i on sam ubio;[53] njegov otac je možda imao naslednu hemohromatozu, pri čemu prekomerno nagomilavanje gvožđa u tkivima kulminira mentalnim i fizičkim pogoršanjem.[53] Njegova sestra Ursula i brat Lester su takođe počinili samoubistvo.[54] Na njegovom grobu je nekoliko decenija kasnije napisano sledeće:[55] `Najviše od svega što je voleo je jesen, lišće žuto na pamučnom drvetu, lišće koje pluta potocima, pastrmke a iznad brda, visoko plavo nebo bez vetra, ... Sad će zauvek biti deo njih.` Nasleđe Spomenik Ernestu Hemingveju u Pamploni. Posthumno je 1964. godine objavljena memoarska proza Pokretni praznik — o životu u Parizu i „izgubljenoj generaciji“. Posle njegove smrti ostalo je neobjavljeno više priča od kojih su dve planirane za objavljivanje 2019. godine.[56] Postoji međunarodna konferencija o životu i delu Ernesta Hemingveja koja je 17. put održana 2016. godine u Čikagu.[57] Njegova dečačka kuća, u Oak Parku u državi Ilinois, muzej je i arhiva posvećena Hemingveju,[58] kao i njegova rezidencija na Havani.[59] O njegovom životu 2021. je snimljena trodelni dokumentarna serija Hemingvej.[60][61] Citati Ovako je Hemingvej govorio o životu: Ne postoji prijatelj tako lojalan kao knjiga. Sreća je kod inteligentnih ljudi najređa stvar koju znam. Volim da spavam. Moj život ima tendenciju da se raspadne kada sam budan, znate? Uvek uradi trezan ono što si rekao da ćeš uraditi pijan. To će te naučiti da držiš jezik za zubima. Najbolji način da otkriješ da li nekome možeš da veruješ – jeste da mu veruješ. Sve što treba da uradiš je da napišeš jednu istinitu rečenicu. Napiši najistinitiju rečenicu koju znaš. Ja pijem da bih druge ljude učinio zanimljivijim. Kada ljudi pričaju, slušaj u potpunosti. Većina ljudi nikada ne sluša. Život svakog čoveka se završi isto. Postoje samo detalji kako je živeo i kako je umro koji ga razlikuju od drugih. Nikad ne mešaj pokret sa akcijom. Mačka ima potpunu emocionalnu iskrenost, ljudska bića, iz jednog ili drugog razloga, mogu sakriti svoja osećanja, ali mačka ne može. Moj cilj je da stavim na papir sve što vidim ili doživim, na najbolji i najjednostavniji način. Dela (Knjige izdate nakon 1961. su Hemingvejeva posthumna dela.)[62][63] Matica srpska objavila je Izabrana dela Ernesta Hemingveja 1982. godine. Romani i novele (1926) Proletnje bujice (1926) Sunce se ponovo rađa (1929) Zbogom oružje (1937) Imati i nemati (1940) Za kim zvono zvoni (1950) Preko reke i u šumu (1952) Starac i more (1970) Otoci u struji (1986) Rajski vrt (1999) Istina u svitanje Dokumentarna literatura (1932) Smrt popodne (1935) Zeleni bregovi Afrike (1962) Hemingway, The Wild Years (1964) Pokretni praznik (1967) By-Line: Ernest Hemingway (1970) Ernest Hemingway: Cub Reporter (1985) Opasno leto (1985) Dateline: Toronto (2005) Under Kilimanjaro Pisma (1981) Ernest Hemingway Selected Letters 1917–1961 (2011–) The Cambridge Edition of the Letters of Ernest Hemingway (2011) The Letters of Ernest Hemingway: Volume 1, 1907–1922 (2013) The Letters of Ernest Hemingway: Volume 2, 1923–1925 (2015) The Letters of Ernest Hemingway: Volume 3, 1926–1929 (2017) The Letters of Ernest Hemingway: Volume 4, 1929–1931 (2020) The Letters of Ernest Hemingway: Volume 5, 1932–1934 Antologije (1942) Men at War: The Best War Stories of All Time edited, with introduction, by Hemingway, although he is not the primary author. Zbirke kratkih priča (1923) Tri priče i deset pesama (1924) U naše vreme (Ponovo objavljena 1925. sa četrnaest dodatnih kratkih priča) (1927) Muškarci bez žena (1933) Pobednik ništa ne dobija (1938) The Fifth Column and the First Forty-Nine Stories (1947) The Essential Hemingway (1961) Snegovi Kilimandžara i druge priče (1969) The Fifth Column and Four Stories of the Spanish Civil War (1972) Priče o Niku (1979) 88 Poems (1979) Complete Poems (1984) The Short Stories of Ernest Hemingway (1987) The Complete Short Stories of Ernest Hemingway (1995) The Collected Stories (Everyman`s Library) (1999) Hemingway on Writing (2000) Hemingway on Fishing (2003) Hemingway on Hunting (2003) Hemingway on War (2008) Hemingway on Paris