Giannēs Ritsos

Yannis Ritsos

Called 'the greatest poet of our age' by Louis Aragon, Yannis Ritsos is a poet whose writing life is thoroughly entwined with the contemporary history of his homeland, Greece. Nowhere is this more apparent that in Diary of Exile, a series of diaries-in-poetry written by Ritsos between 1948 and 1950, during Greece's Civil War, while a political prisoner on the island of Limnos and later at the infamous camp on the desert island Makronisos. The poems offer glimpses into the quiet violence of prison life and the struggle to maintain humanity through language.

Diaries of Exile

Hē sonata tou selēnophōtos

John Berger

Tahar Ben Jelloun

Gérard Chaliand

John Reed

Victor Serge

Salvador Espriu

Roque Dalton

Violeta Parra

Nâzim Hikmet

Taos Amrouche

Eric Didier

Djamal Almansour Haddad

Mehmet Hikmet

Nacer Khemir

Du Hûu Quynh

R. Fernandez Retamar

Nicole-Édith Thévenin

Edmond Thomas

Poètes et textes de la terre entière, réunis par Fanchita Gonzales Batlle

Voix

Bir Mayis Gunu Birakip Gittin

Perhaps Greece's most important poet, Yannis Ritsos follows such eminent predecessors as Cavafy, Sikelianos, and Seferis in the dramatic and symbolic expression of a tragic sense of life. The three volumes of Ritsos's poetry translated here—Parentheses, 1946-47, Parentheses, 1950-61, and The Distant, 1975—represent a thirty year poetic journey and a developing sensibility that link the poet's subtler perceptions at different moments of his maturity. In his introduction to the poems, and as an explanation of the book's title, Edmund Keeley writes: "The two signs of the parenthesis are like cupped hands facing each other across a distance, hands that are straining to come together, to achieve a meeting that would serve to reaffirm human contact between isolated presences; but though there are obvious gestures toward closing the gap between the hands, the gestures seem inevitably to fail, and the meeting never quite occurs." In terms of the development of Ritsos's poetic vision, the distance within the parenthesis is shorter in each of the two earlier volumes than in the most recent volume. There the space has become almost infinite, yet Ritsos's powerfully evocative if stark landscape reveals a stylistic purity that is the latest mark of his greatness. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Ritsos in Parentheses

Ritsos, una de las más grandes voces de la lírica europea, creó una serie de monólogos de excepcional belleza en los que se transmite el pathos de la tragedia griega. Con la Sonata de claro de luna, considerada una de las obras maestras del poeta griego, continuamos la publicación de estos soliloquios dramáticos en versión de Selma Ancira.

Sonata del claro de luna

Ritsos, una de las más grandes voces de la lírica europea, extrajo del caudal trágico griego una serie de monólogos de excepcional sutileza, en los que cada palabra, surgida de un fondo lejanísimo, se traslada a nuestro tiempo con mágica ductilidad. Con el que hoy presentamos, dedicado a Fedra, emprendemos la publicación de sus soliloquios dramáticos en versión de Selma Ancira.

Fedra

Selected Poems, 1967-74

Exile and Return

Yannis Ritsos is a poet whose writing life is entwined with the contemporary history of his homeland. Nowhere is this more apparent than in this volume, which presents a series of three diaries in poetry that Ritsos wrote between 1948 and 1950, during and just after the Greek Civil War, while a political prisoner first on the island of Limnos and then at the infamous camp on Makronisos. Even in this darkest of times, Ritsos dedicated his days to poetry, trusting in writing and in art as collective endeavors capable of resisting oppression and bringing people together across distance and time. These poems offer glimpses into the daily routines of life in exile, the quiet violence Ritsos and his fellow prisoners endured, the fluctuations in the prisoners’ sense of solidarity, and their struggle to maintain humanity through language. This moving volume justifies Ritsos’s reputation as one of the truly important poets in Greece’s modern literary history.

The celebrated modern Greek poet Yannis Ritsos follows such distinguished predecessors as C. P. Cavafy and George Seferis in a dramatic and symbolic expression of a tragic sense of life. The shorter poems gathered in this volume present what Ritsos calls "simple things" that turn out not to be simple at all. Here we find a world of subtle nuances, in which everyday events hide much that is threatening, oppressive, and spiritually vacuous--but the poems also provide lyrical and idyllic interludes, along with cunning re-creations of Greek mythology and history. This collection of Ritsos's work--perhaps most of all those poems written while he was in forced exile under the dictatorship of the Colonels--testifies to his just place among the major European poets of this century. The distinguished translator of modern Greek poetry Edmund Keeley has chosen for this anthology selections from seven of Ritsos's volumes of shorter poems written between 1946 and 1975. Two of these volumes are represented here in English versions for the first time, two others have been translated only sporadically, and the remaining three were first published in a bilingual edition now out of print (Ritsos in Parentheses). The collection thus covers thirty years of a poetic career that is the most prolific, and among the most honored, in Greece's modern history.

Repetitions, Testimonies, Parentheses

A Broken Man in Flower presents new versions of work by one of the most significant Greek poets of the last century, translated by one of the UK's most renowned contemporary poets. The life of Yannis Ritsos was, to say the least, troubled. From an early age, he was dogged by the tuberculosis that killed his mother and brother. His father and sister suffered breakdowns and spent time in institutions. His poem Epitaphios (1936), a lament for a young man shot dead by the police during a tobacco workers' strike, was publicly burned by the Metaxas regime and his books banned. Throughout his life he wa repeatedly persecuted, arrested and placed under house arrest by the oppressive Greek authorities. The violence and tyranny of dictatorship is often fractured by the surreal. In the poems collected here, written by Ritsos while in prison and under house arrest, that fracture in perception is a wound. A Broken Man in Flower has an introduction by John Kittmer and includes the text of an illuminating and vivid letter sent by Ritsos to his publisher in 1969 while under house arrest on Samos describing his life - and the lives of Greeks - under the repressive rule of the Colonels. Harsent's versions of Ritsos' poems express the revolutionary and experimental nature of his work while also remaining accurate translations from the Greek.

Versions of Yannis Ritsos

A Broken Man in Flower

Manolis Aligizakis

When Yannis Ritsos's 'Moonlight Sonata' was published in France in 1961 the famous surrealist poet Louis Aragon called Ritsos the best poet in the world. Having read and studied the works of innumerable poets over the years, I have concluded that Aragon was right. I would also add that not only was Ritsos the greatest poet of his own time, he truly is the greatest poet ever. Not only for his colossal volume of work but for his expressiveness, his crystal-clear images, and the unique way he sees through his personal lens. His keen eye presents the reader with anything and everything pertaining to human life in such excruciating detail, with such amazing clarity, and in such beautiful poetics as no other poet has ever accomplished. Only a poet with these gifts could capture such an image as the following: The sea, the sun, the trees. And again, the trees, the sun, the sea.Pay attention: in this reversed repetition, the sun is stillthe center like lust is the center of the bodyManolis Aligizakis, Cretan, author, poet, translat

Selected Books - Volume II

Yannis Ritsos - Poems

Athan Anagnostopoulos

1991 Outstanding Academic Book of the Year--Choice. "Friar and Mysiades deserve much credit for providing, in one volume, the first full-range sampling of this fecund, variegated, and highly original poet in English."--The New Republic

Yannis Ritsos, Selected Poems, 1938-1988

In the dramatic monologues that make up The Fourth Dimension--especially those based on the grim history of Mycenae and its royal protagonists--the celebrated modern Greek poet Yannis Ritsos presents a timeless poetic paradigm of the condition of Greece, past and present. The volume also contains a group of modern narratives, including the famous, and much-anthologized, "Moonlight Sonata." Ritsos, rightly, regarded the The Fourth Dimension as his finest achievement. It is now presented to English- speaking readers for the first time in its entirety. From "Philoctetes" All the speeches of great men, about the dead and about heroes. Astonishing, awesome words, pursued us even in our sleep, slipping beneath closed doors, from the banqueting hall where glasses and voices sparkled, and the veil of an unseen dancer rippled silently like a diaphanous, whirling wall between life and death. This throbbing our childhood nights, lightening the shadows of shields etched on white walls by slow moonlight.

The Fourth Dimension

Shadows of Birds

Perhaps Greece's most important poet, Yannis Ritsos follows such eminent predecessors as Cavafy, Sikelianos, and Seferis in the dramatic and symbolic expression of a tragic sense of life. The three volumes of Ritsos's poetry translated here--Parentheses, 1946-47, Parentheses, 1950-61, and The Distant, 1975--represent a thirty year poetic journey and a developing sensibility that link the poet's subtler perceptions at different moments of his maturity. In his introduction to the poems, and as an explanation of the book's title, Edmund Keeley writes: "The two signs of the parenthesis are like cupped hands facing each other across a distance, hands that are straining to come together, to achieve a meeting that would serve to reaffirm human contact between isolated presences; but though there are obvious gestures toward closing the gap between the hands, the gestures seem inevitably to fail, and the meeting never quite occurs." In terms of the development of Ritsos's poetic vision, the distance within the parenthesis is shorter in each of the two earlier volumes than in the most recent volume. There the space has become almost infinite, yet Ritsos's powerfully evocative if stark landscape reveals a stylistic purity that is the latest mark of his greatness. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Poetry. Translated from the Greek by Paul Merchant. "The poems in this volume were written in the village of Karlovasi on Samos at the rate of about ten a day in the summer of 1979, a first draft written August 1st through 26th, the second completed by September 1st. After becoming dangerously ill in 1968, Ritsos had been released from the prison island of Leros and sent to strict house arrest on Samos, where his wife had a medical practice. He was allowed to return to Athens and to publish again in 1971. He subsequently spent summers on Samos, for instance in 1972, 1975, and 1979, when these poems were composed."--Paul Merchant

Yannis Ritsos

About

Books

Join the club