3 Sections: Poems by Vijay Seshadri

By Vijay Seshadri

Winner of the 2014 Pulitzer Prize in Poetry

Vijay Seshadri’s new poetry is guaranteed and professional, his line as canny as ever. In an array of poetic types from the rhyming lyric to the philosophical meditation to the prose essay, 3 Sections confronts puzzling divisions of latest life—a wayward historical past, an indeterminate destiny, and a gift of desirous to outthink time. this can be a rare publication, witty and vivacious, through certainly one of America’s most sensible poets.

The long-awaited 3rd poetry booklet by way of Vijay Seshadri, “one of the main revered poets operating in the USA today” - Time Out New York

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677) 40 · REFLECTIONS ON WRITING of unconscious receptivity. Writing of this sort produces the kind of reading Valery compared to falling asleep or to "letting go" with a potentially treacherous mistress. Like his Symbolist contemporaries whom A. France frequently ridiculed for their elitism and obscurity, Valery clearly despised this kind of com­ mercial discourse produced by liberal Republican humanists for consumption by a naive public. It is one of the ironies of history that Valery should finally have inherited France's seat in the French Academy.

Henri Mondor attributes Valery's lifelong hostility toward Anatole France to France's rejection m 1874 of Mallarme's "Apres-midi d'un faune" for publication in the third installment of Le Pamasse contemporam. France voted against Mallarme's friends Francois Coppee and Theodore de Banville, claiming that the pubhc would laugh at them if they were to publish it. See Vte de Mallarme (Pans: Gallimard, 1941), pp. 372-73. 42 · REFLECTIONS ON WRITING seeks through a variety of deviations to call attention to itself as artifice, and in so doing invites the kind of recreative ap­ proach which we have seen characterizes Valery's own reading habits.

42 · REFLECTIONS ON WRITING seeks through a variety of deviations to call attention to itself as artifice, and in so doing invites the kind of recreative ap­ proach which we have seen characterizes Valery's own reading habits. This kind of writing is superior to the first, then, be­ cause it is generative of new forms and may even produce a great writer like Baudelaire. But precisely because self-consciously experimental texts of the sort produced by the Par­ nassians and many of the minor Symbolists reveal no pro­ found, critical insight into the ambiguities of their own structures, they are prey to the designing intellects of the very writers who turn to them as a source of inspiration.

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