By Gustaf Sobin
The poems in Gustaf Sobin's most recent assortment, Breaths' Burials, identify a discussion with silence. Breath, its syllables buried within the resonant area among the observe and the void, unlocks the gloriole, the hoop of items published. no matter if Sobin is writing approximately irises, Venetian structure, or the wind-blown plateaus of his followed Provence, his poems are not anything extra nor under a look for the redemptive, celebrating the regeneration of language out of itself. Breaths' Burials once more confirms the compliment of Robert Duncan, who defined Sobin's paintings as a poetry of significant contrast, awakening the spirit to a global of errant clarities renewed.
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Extra resources for Breaths' Burials
59 56 57 58 59 BBC WAC R27/3/1: Music General/Alien Composers/File 1 (1939–40), ‘Copyright Music by Enemy Composers’ (28 Oct. 1940). The poem is annotated with a withering ‘Oh how I hear the dark disgrace, of poetry in Portland Place’. S. Thatcher, ‘Copyright Music by Composers of Enemy Nationality: Report and recommendations based on a summary of evidence after experimental period of six months’ (21 March 1941), 2. S. Thatcher) to C (P): ‘Copyright Music by Enemy Alien Composers’ (22 May 1941), 1.
In broadcasting, one is not really conscious of the sort of underlying philosophy, which is chief ly evoked by the night on the stage of those silly helmets and huge swords. For varying reasons one would probably exclude ‘Kaisermarsch’, ‘Heldenleben’, perhaps Brahms’s ‘Triumphlied’, but 60 Ralph Hill, ‘Radio Music’ Radio Times (1 Nov. 1940), 7. 61 BBC WAC R27/3/2 Music General/Alien Composers/File 2. 62 BBC WAC R27/3/2 Music General/Alien Composers/File 2. Sounding the Nations 43 I think the making of a list would be a controversial business.
Hitler fêtait ses anniversaries avec l’Ode à la joie. On lui a pourtant opposé cette musique, jusqu’à dans les camps de concentration. , 132. Sounding the Nations 31 à la joie résonne regulièrement aux jeux Olympiques, elle résonnait il n’y a guère longtemps, à Sarajevo. 36 That both interpretation and reception change because of the added meanings that a work gathers through extra-musical associations is also something that could not have occurred on the same scale had it not been for the new means of transmission via radio broadcast; the possibility of repeated listening created by commercial recordings; and the new f lexibility of listening environments brought about in their dif ferent ways by both.
Breaths' Burials by Gustaf Sobin