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Hugh Selwyn Mauberley
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
24 pages, Paperback
First published January 1, 1920
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Displaying 1 - 19 of 19 reviews
October 21, 2015
It surprises me to think just how annoying this poem is. It doesn't read like a nostalgia for classcial beauty, but like an unnatural obsession.
It is no big news that modernists had unlocked level crazy when it came to acting stuck-up. So Pound is hell-bent on proving how no one knows a shit about beauty and how he is burdened under the weight of not letting the classics die in this age of intellectual "peasants". And those Italian, Greek, Latin, French, etc. words that Pound throws in here and there! Seems like the man was trying too hard to show that he had done his homework and was ready to send everyone in stupor.
At least when Dryden insulted his contemporaries, he managed to crack some good jokes, but Pound takes himself too seriously. He wouldn't laugh, he will wrinkle his nose and shut his eyes, and then blabber in Greek that everyone is blind to beauty. But simply put, this poem sucks. So much for 'Make It New' and 'Imagism'!
It is no big news that modernists had unlocked level crazy when it came to acting stuck-up. So Pound is hell-bent on proving how no one knows a shit about beauty and how he is burdened under the weight of not letting the classics die in this age of intellectual "peasants". And those Italian, Greek, Latin, French, etc. words that Pound throws in here and there! Seems like the man was trying too hard to show that he had done his homework and was ready to send everyone in stupor.
At least when Dryden insulted his contemporaries, he managed to crack some good jokes, but Pound takes himself too seriously. He wouldn't laugh, he will wrinkle his nose and shut his eyes, and then blabber in Greek that everyone is blind to beauty. But simply put, this poem sucks. So much for 'Make It New' and 'Imagism'!
March 23, 2020
"And no one knows, at sight a masterpiece.
And give up verse, my boy,
There's nothing in it."
This is an interesting early published piece by Ezra Pound. It is a semi-autobiographical retelling of how Pound first got into the poetry business, but also an early tribute to The Love Song of J. Alfred Prufrock by his pupil turned muse: T.S. Eliot. Pound also intended this as his "farewell" to London. The poem itself is not really trying to impress with substance the same way as his Cantos project, but the style is what makes this rank among his early classics. This is where Pound started to get his signature style that he would modify and build on for the rest of his career.
Pound himself considered the work immature late in his life because of the reasons listed above (only writing it for style), but he did record in audio version of part one which you can listen to here: https://www.youtube.com/watch?v=mZ3uB...
"The face-oval beneath the glaze,
Bright in its suave bounding-line, as
Beneath half-watt rays
The eyes turn topaz."
And give up verse, my boy,
There's nothing in it."
This is an interesting early published piece by Ezra Pound. It is a semi-autobiographical retelling of how Pound first got into the poetry business, but also an early tribute to The Love Song of J. Alfred Prufrock by his pupil turned muse: T.S. Eliot. Pound also intended this as his "farewell" to London. The poem itself is not really trying to impress with substance the same way as his Cantos project, but the style is what makes this rank among his early classics. This is where Pound started to get his signature style that he would modify and build on for the rest of his career.
Pound himself considered the work immature late in his life because of the reasons listed above (only writing it for style), but he did record in audio version of part one which you can listen to here: https://www.youtube.com/watch?v=mZ3uB...
"The face-oval beneath the glaze,
Bright in its suave bounding-line, as
Beneath half-watt rays
The eyes turn topaz."
August 26, 2025
Great WW1 Stanzas.
I read Part II as a precursor to his exile and exclusion from modern society. Pound was a genius (As admitted by the BBC) He was keenly in touch with the truth of the age. But this did not favour him with the relevant authorities. Leading to his torturous exile.
“For this agility chance found
Him of all men, unfit”
“Invitation, mere invitation to perceptivity
Gradually led him to the isolation”
“Non-esteem of self-styled ‘his betters’
Leading, as he well knew,
To his final
Exclusion from the world of letters.”
I read Part II as a precursor to his exile and exclusion from modern society. Pound was a genius (As admitted by the BBC) He was keenly in touch with the truth of the age. But this did not favour him with the relevant authorities. Leading to his torturous exile.
“For this agility chance found
Him of all men, unfit”
“Invitation, mere invitation to perceptivity
Gradually led him to the isolation”
“Non-esteem of self-styled ‘his betters’
Leading, as he well knew,
To his final
Exclusion from the world of letters.”
September 30, 2025
Really liked part 1. Couldn't get to grips with part 2.
September 21, 2021
Ο Πάουντ ήταν πολέμιος της αστικής δημοκρατίας. Στα ποιήματα του υπάρχει μια σπουδαία κριτική για τις αξίες της ελεύθερης αγοράς, των τοκογλύφων, των κερδοσκόπων. Το μίσος του για την αμερικάνικη δημοκρατία τον έσπρωξε στον φασισμό. Παρόλα ταύτα η ποίηση του είναι σπουδαία και μεγάλη.
ο ποιητής, λοιπον, " αποφασισμένος κρίνα να βγάλει από το βελανίδι". Η ειρωνία, ο αυτοσαρκασμός του Πάουντ, η επίθεση του σε μια κοινωνία που μειώνει την αξία της ποίησης είναι φοβερή.
"Αντί όστιας έχουμε τον Τύπο/ αντί περιτομής την ψήφο" 29
η ασέβεια και η περιφρόνηση του είναι χρήσιμες, πέρα από την αισθητική τους αξία.
ο πόλεμος είναι οι χαμένες ζωές των νέων. Είναι η επιστροφή σε μια χώρα ψευτών και τοκογλύφων
"καγχασμός μέσα απο νεκρές κοιλιές" 31 γράφει για τους νεκρούς στρατιώτες
Το δε ποίημα "Ο κ. Νίξον" περιγράφει την απαξίωση της ποίησης και την τακτική πολλών πρώην ποιητών και νυν πεζογράφων να θυσιάζουν τα πάντα για το κέρδος.
η ποίηση του είναι μεγάλη γιατι αναγνωρίζει πως
"Κοντά σ' αυτή τη λεωφόρο/ η πώληση καλτσών έχει/ αντικαταστήσει προ πολλού την καλλιέργεια/ των Πιέριων ρόδων" 49
ο ποιητής, λοιπον, " αποφασισμένος κρίνα να βγάλει από το βελανίδι". Η ειρωνία, ο αυτοσαρκασμός του Πάουντ, η επίθεση του σε μια κοινωνία που μειώνει την αξία της ποίησης είναι φοβερή.
"Αντί όστιας έχουμε τον Τύπο/ αντί περιτομής την ψήφο" 29
η ασέβεια και η περιφρόνηση του είναι χρήσιμες, πέρα από την αισθητική τους αξία.
ο πόλεμος είναι οι χαμένες ζωές των νέων. Είναι η επιστροφή σε μια χώρα ψευτών και τοκογλύφων
"καγχασμός μέσα απο νεκρές κοιλιές" 31 γράφει για τους νεκρούς στρατιώτες
Το δε ποίημα "Ο κ. Νίξον" περιγράφει την απαξίωση της ποίησης και την τακτική πολλών πρώην ποιητών και νυν πεζογράφων να θυσιάζουν τα πάντα για το κέρδος.
η ποίηση του είναι μεγάλη γιατι αναγνωρίζει πως
"Κοντά σ' αυτή τη λεωφόρο/ η πώληση καλτσών έχει/ αντικαταστήσει προ πολλού την καλλιέργεια/ των Πιέριων ρόδων" 49
November 10, 2013
Captivating poem. Now if I could just figure out all of its cruxes...
March 23, 2020
The age demanded an image
Of its accelerated grimace,
Something for the modern stage,
Not, at any rate, an Attic grace.
Of its accelerated grimace,
Something for the modern stage,
Not, at any rate, an Attic grace.
March 17, 2024
Ezra Pound is an infamous figure of indescribable importance; one could argue that the man was quite possibly the most important writer of the 20th century, by the mere fact alone that he basically birthed or platformed the most other important writers of the era, having had connections to numerous authors who'd go on to shape the world of literature in a profound way, yet at the same time, the man was a notorious fascist who did more wrong than right, or at least so much wrong that his achievements in the arts don't necessarily outweigh the awful political involvements that originated from complex fallacies of assessment. I fear that I have to say this each time I talk about Pound, but at the same time, I am aware of how important it is to share my position on it, as encouraging to read his work can lead people to fall into some massive rabbit holes if you do not warn them to be cautious prior to exposing them to your recommendation.
'Hugh Selwyn Mauberley' is a hard poem to talk about. It actually reminds me a lot of Eliot's 'The Waste Land' (which Pound himself had a significant part in during the process of its creation), though from a much more personal and autobiographical approach rather than Eliot's broad analysis of culture and society of the 20th century. Both poems similarly deal with a disheartened speaker that can't find satisfaction in the world that he finds himself in, and what Ezra Pound does with this poem is quite interesting on its own. It's certainly not as steeped in allusion as everything that Eliot was writing around this time (though, let it be know, this thing still contains so many references itself), but instead of having a complexity that needs to be unpacked with research, a lot of the perplexity of the poem originates from peculiar intents in loose form and complicated messaging. A lot of the verse in this poem is quite short, and packs a punch in the most efficient manner possible (no wonder that this "better craftsman" is responsible for the shorter version of the aforementioned Eliot masterpiece), and some of these stanzas, no matter how often I read them, are still fairly obtuse to me. Yet, I feel a lot of the charm this poem has (if you want to call it "charm") comes from the intriguing way in which Pound mixes modernity, talkative poetic expression and classical connections. While many parts may come off as a bit out of place and confusing, I think the convolutedness of it all adds a certain quality to the content which is mostly about a poet (or, rather two poets) feeling torn and not being able to become the cultural figures of acclaim that they would like to be.
I do think some of the sentiments expressed here leave a bad taste in my mouth, I certainly am not so fond of the whole "oh back in the ancient times we created these classic masterpieces and now everything is dull"-attitude of it all, though I do think Pound concerns with commercialism and the appeal to the masses is certainly very relevant (possibly even more now) and they come from good intentions, though as we would later see, and this would the second thing of which I wasn't so fond of, these problems he saw in commercial capitalism eventually transformed into his infatuation with fascism and his tendency to use Jewish people as a scapegoat for his issues, of which we would see at least some vaguely anti-semitic depiction in this poem, though thankfully that's only a short part of it all. At the end of the day, I don't think this takes away from the overall artistic expression here, though I do think that it is baffling how a poet known for his sharp and concise editing wrote a poem that goes off on so many tangents that honestly could've been left out to make it a more digestible and potent poem. Some digressions that go more into these weird sections of just random author names and conversations in British company that just don't feel very purposeful at all aside from portraying his contemporaries or other scholarly influences that Pound wants to mention to make it more oddly modern, but all in all, this poem is really good - even if a little too long for its own sake. I especially adore the more philosophical, natural and dark ones, whether they are psychological impressions and conflicts, imagist descriptions of sublime pictures or lamentations on war and passing time. Some parts in here are absolutely genius with some really superb phrasing and a technical expertise matched by very few. It does get dull here and there, but when I read it, I mostly feel in awe of the complex simplicity within the text and the absolutely beautiful language at play.
Not a poem that I'll ever consider one of my all time favorites, but a really great one, even with some of its rougher edges.
'Hugh Selwyn Mauberley' is a hard poem to talk about. It actually reminds me a lot of Eliot's 'The Waste Land' (which Pound himself had a significant part in during the process of its creation), though from a much more personal and autobiographical approach rather than Eliot's broad analysis of culture and society of the 20th century. Both poems similarly deal with a disheartened speaker that can't find satisfaction in the world that he finds himself in, and what Ezra Pound does with this poem is quite interesting on its own. It's certainly not as steeped in allusion as everything that Eliot was writing around this time (though, let it be know, this thing still contains so many references itself), but instead of having a complexity that needs to be unpacked with research, a lot of the perplexity of the poem originates from peculiar intents in loose form and complicated messaging. A lot of the verse in this poem is quite short, and packs a punch in the most efficient manner possible (no wonder that this "better craftsman" is responsible for the shorter version of the aforementioned Eliot masterpiece), and some of these stanzas, no matter how often I read them, are still fairly obtuse to me. Yet, I feel a lot of the charm this poem has (if you want to call it "charm") comes from the intriguing way in which Pound mixes modernity, talkative poetic expression and classical connections. While many parts may come off as a bit out of place and confusing, I think the convolutedness of it all adds a certain quality to the content which is mostly about a poet (or, rather two poets) feeling torn and not being able to become the cultural figures of acclaim that they would like to be.
I do think some of the sentiments expressed here leave a bad taste in my mouth, I certainly am not so fond of the whole "oh back in the ancient times we created these classic masterpieces and now everything is dull"-attitude of it all, though I do think Pound concerns with commercialism and the appeal to the masses is certainly very relevant (possibly even more now) and they come from good intentions, though as we would later see, and this would the second thing of which I wasn't so fond of, these problems he saw in commercial capitalism eventually transformed into his infatuation with fascism and his tendency to use Jewish people as a scapegoat for his issues, of which we would see at least some vaguely anti-semitic depiction in this poem, though thankfully that's only a short part of it all. At the end of the day, I don't think this takes away from the overall artistic expression here, though I do think that it is baffling how a poet known for his sharp and concise editing wrote a poem that goes off on so many tangents that honestly could've been left out to make it a more digestible and potent poem. Some digressions that go more into these weird sections of just random author names and conversations in British company that just don't feel very purposeful at all aside from portraying his contemporaries or other scholarly influences that Pound wants to mention to make it more oddly modern, but all in all, this poem is really good - even if a little too long for its own sake. I especially adore the more philosophical, natural and dark ones, whether they are psychological impressions and conflicts, imagist descriptions of sublime pictures or lamentations on war and passing time. Some parts in here are absolutely genius with some really superb phrasing and a technical expertise matched by very few. It does get dull here and there, but when I read it, I mostly feel in awe of the complex simplicity within the text and the absolutely beautiful language at play.
Not a poem that I'll ever consider one of my all time favorites, but a really great one, even with some of its rougher edges.
July 16, 2023
Ezra Pound’s “Hugh Selwyn Mauberley" is a poem of multiple parts which has been regarded as a turning point in Pound's poetic career. Shortly after its completion, Pound made his departure from London, and relocated to Paris.
“Mauberley, despite its ambiguities and its general aura of despair,”is viewed by a number of critics as Pound's admission of failure as a poet. To this end, Cambridge critic F. R. Leavis went so far as to term it Pound’s "quintessential autobiography."
In the voice of the third person, Pound criticizes his earlier poetry, and questions the saliency of his profession:
For three years, out of key with his time,
He strove to resuscitate the dead art
Of poetry; to maintain "the sublime"
In the old sense.
Things are in the saddle, and all values must be revalued:
All things are a flowing,
Sage Heracleitus says;
But a tawdry cheapness
Shall reign throughout our days.
Pound states that he is "wrong from the start", but this is questioned and refuted: "No, hardly–". The denouement of the poem is a defense of the poet's vocation. Alas, even the early Pound is the supreme egoist, a man who views himself as a world historical figure holding the line at the bloody crossroads between literature and philistinism:.
There died a myriad,
And of the best, among them,
For an old bitch gone in the teeth,
For a botched civilization,
Charm, smiling at the good mouth,
Quick eyes gone under earth's lid,
For two gross of broken statues,
For a few thousand battered books.
Albeit abstruse, “Mauberley” is illustrative of Pound. The author was a poet, critic and editor who molded the Modernist movement; hence, to gain insights into “Mauberley,” is to access an era.
“Mauberley, despite its ambiguities and its general aura of despair,”is viewed by a number of critics as Pound's admission of failure as a poet. To this end, Cambridge critic F. R. Leavis went so far as to term it Pound’s "quintessential autobiography."
In the voice of the third person, Pound criticizes his earlier poetry, and questions the saliency of his profession:
For three years, out of key with his time,
He strove to resuscitate the dead art
Of poetry; to maintain "the sublime"
In the old sense.
Things are in the saddle, and all values must be revalued:
All things are a flowing,
Sage Heracleitus says;
But a tawdry cheapness
Shall reign throughout our days.
Pound states that he is "wrong from the start", but this is questioned and refuted: "No, hardly–". The denouement of the poem is a defense of the poet's vocation. Alas, even the early Pound is the supreme egoist, a man who views himself as a world historical figure holding the line at the bloody crossroads between literature and philistinism:.
There died a myriad,
And of the best, among them,
For an old bitch gone in the teeth,
For a botched civilization,
Charm, smiling at the good mouth,
Quick eyes gone under earth's lid,
For two gross of broken statues,
For a few thousand battered books.
Albeit abstruse, “Mauberley” is illustrative of Pound. The author was a poet, critic and editor who molded the Modernist movement; hence, to gain insights into “Mauberley,” is to access an era.
March 30, 2026
Logging in after several years just to give my take on a poem like this one. I think that if I was given more time and energy (and perhaps some level of craze) to appreciate this, I would treat this kinder.
The use of multiple languages in an attempt to impress really falls flat. Are the references necessary? When writers use them, they often remind me of a constellation in terms of how the texts are interconnected, meaningful and rewards the people who study their intertextual interactions. It feels shallow here, less of a constellation and more of a word salad. It looks good on paper, but falls flat in its desperation. I’m not a creative writer myself, so maybe I know jack shit about creative composition the likes of EP, but he clearly wasn’t writing for a reader who is non dulce et non decor.
Perhaps to give some credit to this, it’s a good (or even excellent) example of how poems are made interesting to analyse in a class, but arguably it serves little to no value for the general reader to enjoy. This isn’t something you want to sit through in the comfort of your chair to read, unless you like pain, suffering, and want to feel like you’re exclusive and so special nobody gets you. Obviously, modernist poetry like this wasn’t meant for every reader, and surely I must be too basic to understand his high art and how amazing and elite EP is saving the world through his immaculate conception of literature. In every feature of poetry analysis that we can pick out in this, I can ironically recall a poet who can do it better in every context / situation.
The use of multiple languages in an attempt to impress really falls flat. Are the references necessary? When writers use them, they often remind me of a constellation in terms of how the texts are interconnected, meaningful and rewards the people who study their intertextual interactions. It feels shallow here, less of a constellation and more of a word salad. It looks good on paper, but falls flat in its desperation. I’m not a creative writer myself, so maybe I know jack shit about creative composition the likes of EP, but he clearly wasn’t writing for a reader who is non dulce et non decor.
Perhaps to give some credit to this, it’s a good (or even excellent) example of how poems are made interesting to analyse in a class, but arguably it serves little to no value for the general reader to enjoy. This isn’t something you want to sit through in the comfort of your chair to read, unless you like pain, suffering, and want to feel like you’re exclusive and so special nobody gets you. Obviously, modernist poetry like this wasn’t meant for every reader, and surely I must be too basic to understand his high art and how amazing and elite EP is saving the world through his immaculate conception of literature. In every feature of poetry analysis that we can pick out in this, I can ironically recall a poet who can do it better in every context / situation.
October 5, 2024
короче сразу готовьте три словаря: английский, древнегреческий и французский (и может латинский). а также стоит быть готовыми перечитывать пару раз, и в добавок биографию Паунда молодого тоже чекнуть не помешает!
March 31, 2018
An interesting, apparently autobiographical, read. I liked it, but it didn't stun me.
June 4, 2022
yani şiir formunda olduğu doğru ama şiir mi bilemedim...
Read
December 26, 2023Girl I swear I'm shit at getting poetry but this was fun enough given its compulsory nature lol
February 22, 2025
Πραγματικά άθλια μετάφραση
May 30, 2020
Οι εκδόσεις Πατάκη, το 2010, προχώρησαν σε μία ιδιαίτερα επιμελημένη έκδοση της ποιητικής συλλογής του Αμερικανού ποιητή Έζρα Πάουντ που φέρει τον τίτλο 'Χιου Σέλγουιν Μώμπερλυ.' Η μετάφραση και ο πρόλογος στην δίγλωσση έκδοση ανήκουν στον Χάρη Βλαβιανό και συμβάλλουν στο να καταστεί αυτή η έκδοση ολοκληρωμένη, ιδίως από την στιγμή που συνοδεύεται από ένα χρονολόγιο της ζωής του Έζρα Πάουντ στο τέλος του βιβλίου. Μάλιστα, μετά την έκδοση του 2010, ακολούθησε και η ανατύπωση της, το 2013. Το έργο αυτό, γραμμένο στα 1920, σημασιοδοτεί μία τομή στη μέχρι τότε ποιητική πορεία του ποιητή, κάτι που επισημαίνει και ο Χάρης Βλαβιανός στον κατατοπιστικό του πρόλογο που έπεται της απόδοσης του ποιήματος. Μοιάζει ωσάν ο ποιητής να βάζει στο 'ζύγι' την μέχρι τότε ποιητική του πορεία-δημιουργία, συναρθρώνοντας με τέτοιον τρόπο το ατομικό με το ευρύτερο ιστορικό πλαίσιο, ώστε τα όρια διάκρισης καθίστανται δυσδιάκριτα. Με εύγλωττο ύφος, και μία διαλείπουσα ειρωνεία ιδίως στο πρώτο μέρος της συλλογής, ο ποιητής δίπλα στο δικό του ποιητικό έργο τοποθετεί την πρόσληψη του από την λογοτεχνική κριτική του καιρού του, προβαίνοντας σε έναν ιδιαίτερο αυτο-προσδιορισμό: "Για τρία χρόνια, ασυντόνιστος με την εποχή του, αγωνίστηκε να ξαναζωντανέψει τη νεκρή τέχνη της ποίησης.'' Έτσι ξεκινά η ποιητική συλλογή 'Χιου Σέλγουιν Μώμπερλυ,' με τον Πάουντ να συντάσσει, περισσότερο από τον δικό του 'επικήδειο' όπως δηλώνει στον τίτλο της πρώτης σύνθεσης, τον 'επικήδειο' μίας ολόκληρης ιστορικής εποχής, εντός της οποίας, η 'αίγλη' ενός φωτεινού εικοστού αιώνα, δίνει τη θέση της στον πόλεμο των χαρακωμάτων, ήτοι στον Α' Παγκόσμιο Πόλεμο. "Ο ασυντόνιστος με την εποχή του" ποιητής, αναδεικνύει, δραστικά θα προσθέταμε, τους όρους διεξαγωγής του Α' Παγκοσμίου Πολέμου, ασκεί κριτική στις κυβερνήσεις από μία σχεδόν ριζοσπαστική σκοπιά, νοηματοδοτεί εκ νέου τον σωματικό θάνατο εν καιρώ πολέμου, συγκεκριμενοποιώντας το περιεχόμενο του από την στιγμή όπου και φίλοι του ποιητή έχασαν την ζωή τους, 'πιστεύοντας.' Οι αντιφάσεις μίας εποχής πυκνώνουν, διαπερνούν το έργο του, προσδίδοντας του τα επι-γενόμενα χαρακτηριστικά της 'αποκάλυψης.' Ο Έζρα Πάουντ, κεκαλυμμένα και μη, αποκαλύπτει τον εαυτό του, συγκροτεί μία εποχή που επιβραβεύει το 'ορθό,' ("η εποχή απαιτούσε"), προσδιορίζοντας παράλληλα, ή αλλιώς, διαμορφώνοντας και προσδιορίζοντας 'φορτισμένα,' τον 'Χιου Σέλγουιν Μώμπερλυ' που κινείται σε παράλληλη τροχιά με τον ποιητή. Ο 'Χιου' καθίσταται ένα ποιητικό προσωπείο που εν προκειμένω προβάλλει και μεγεθύνει τις αντιφάσεις του 'Εζρα, πρωταρχικά την σημαίνουσα αντίφαση με την εποχή του, χαμηλώνοντας τους τόνους σε σχέση με την ένταση της κριτικής του πρώτου μέρους, αλλά, διατηρώντας την ίδια αίσθηση 'μαρτυρίας': Ομολογώντας τον 'θάνατο' του, ο 'Χιου Σέλγουιν Μώμπερλυ,' εκ νέου ονομάζεται σε Έζρα Πάουντ, τον οποίο και κερδίζει η ποίηση, η ποίηση που δεν κάνει κύκλους, όσο θέτει κάθε φορά τα διακυβεύματα. Κάνουμε λόγο για μία έκδοση που έλειπε από την ελληνική εκδοτική παραγωγή και γλώσσα, η οποία και επιτρέπει στον αναγνώστη μία πρώτη γνωριμία με το ποιητικό έργο του Έζρα Πάουντ.
March 3, 2016
Ah, alas what can I say? I was totally lost in the understanding of this work. Possibly because I have never studied literature to such a depth that this would require. Perhaps when I become more literate I will be able to appreciate this work as others have, one can only hope.
April 13, 2016
I had to read this short "book" or collection of poems for college and I didn't enjoy it even the slightest bit. I don't know if it was because I really am not a poetry person or because it actually made no sense at all. Maybe someday I'll get to enjoy this, maybe not but absolutely not a fan.
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