Tristan Tzara

Lee Harwood

Chanson Dada contains all the poems of legendary Dada Poet Tristan Tzara (1896-1963) translated by English poet Lee Harwood. Begun in 1963 with Tzara's enthusiastic approval, the translations are selected from the full range of Tzara's published works, from those informed with the rebellious impulse towards absolute artistic freedom and the 'destruction' of formal language, to those concerned with the human act of struggle, and with political and moral affirmation.

Tristan Tzara Selected Poems

Chanson Dada

Seven Dada Manifestos and Lampisteries (A Calderbook, Cb 358)

Mary Ann Caws

The only English language source for Tzara's majestic and powerful epic poem "Approximate Man." This completley revised title (originally published in 1973) also contains an extensive collection of other writings by Tzara not often found in the English language. Translator and editor Mary Ann Caws also provides an essay new to this edition that helps set the context of "Approximate Man." A critical introduction and extensive notes on text variants are included.

Approximate Man and Other Writings

Scoperta delle arti cosiddette primitive

Seven Dada Manifestos and Lampisteries

Siete Manifiestos Dada

Vingt-cinq poèmes

Dada Manifestolari ve Diger Metinler

Poetry. Translated from the French by Heather Green. Bilingual Edition. In NOONTIMES WON, Tristan Tzara floods the pages with a torrent of images. In Heather Green's translation of Tzara's 1939 collection, in cosmic imagery beside communist imagery, we see Tzara's peripatetic mind haunted by the death and destruction he'd witnessed in Madrid and elsewhere in Spain during the Spanish Civil War. Unpunctuated lines move like gears, one phrase turning into the next in a relentless forward motion. By contrast, the voice, at times halting and desolate, is made of a profoundly human doubt: "I sang I bit the hook / of what I know."

Noontimes Won

Tristan Tzara—poet, literary iconoclast, and catalyst—was the founder of the Dada movement that began in Zürich during World War I. His ideas were inspired by his contempt for the bourgeois values and traditional attitudes towards art that existed at the time. This volume contains the famous manifestos that first appeared between 1916 and 1921 that would become the basic texts upon which Dada was based. For Tzara, art was both deadly serious and a game. The playfulness of Dada is evident in the manifestos, both in Tzara's polemic—which often uses dadaist typography—as well as in the delightful doodles and drawings contributed by Francis Picabia. Also included are Tzara's Lampisteries, a series of articles that throw light on the various art forms contemporary to his own work. Post-war art had grown weary of the old certainties and the carnage they caused. Tzara was on the cutting edge at a time when art was becoming more subjective and abstract, and beginning to reject the reality of the mind for that of the senses.

"Contains all of the poems of ... Tristan Tzara translated by ... Lee Harwood"--[page 4] of cover.

Selected Poems

Oeuvres complètes

Henri Béhar

Œuvres complètes

the Dada masterpiece of drama

The gas heart

René Lacôte

明·浜田

トリスタン・ツァラ

Cinéma, calendrier du coeur abstrait, maisons

Le signe de vie

This volume contains Tristan Tzara's famous manifestos, which first appeared between 1916 and 1921 and became essential texts of the modern movement and models for Breton's Surrealist manifestos. Art for Tzara was both deadly serious and a game, and the playfulness of his character is apparent not only in his polemic, which often uses dadaist typography, but in the delightful drawings contributed by Francis Picabia. In addition, this volume also contains Tzara's Lampisteries – articles that throw light on various art forms contemporary with his own work, at a time when art, weary of the old certainties, turned into subjective and often abstract forms, favouring the reality of the mind over that of the senses.

La première aventure céleste de mr Antipyrine

Tristan Tzara

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