@article{b822b6c9-797f-4982-931b-ca260a17edb1,
author = {Paweł Marcinkiewicz},
title = {Miłosz and Twentieth-century American Avant-gardes},
journal = {Przekładaniec},
volume = {Issues in English},
number = {Issue 25/2011– Between Miłosz and Milosz},
year = {2013},
issn = {1425-6851},
pages = {109-131},keywords = {Miłosz; avant-garde; Pound; ideogrammatic method; synecdochic space; Ashbery; scenic mode; unheimlich; “really real”},
abstract = {Miłosz was an avant-garde poet who consequently realized his program
	of rejuvenating mid-twentieth-century Polish poetry: he wanted to cure the maladies
	of Romantic and nationalistic discourses in order to prevent poetry from addressing
	important contemporary issues. Although he fi nally became very critical of avantgardes,
	his initial, restoring impulse came from the Poundian need to “make it new.”
	Miłosz’s great poetry of the 1970s developed Pound’s formal inventions, particularly
	the “ideogrammatic method,” thus generating meanings in the poem by setting its
	fragments against one another. The Polish poet often criticized the achievements of the
	New York School poets, yet he admired their artistic freedom. He realized, however,
	that he himself could not contradict the “poetics of rescue” he had been following for
	years. The world presented in Miłosz’s late poems is not obvious. Its most astonishing
	feature is the perspective from which the narrator addresses the reader: the timeless
	space, where the dead meet the living, has nothing to do with a picture of the world
	based on mimesis. Miłosz’s “second space” has a lot in common with the “real reality”
	designed by surrealists, which John Ashbery evokes in his recent poems. Both poets
	reach a similar mystical point where the word touches upon the mystery.},
doi = {10.4467/16891864ePC.13.019.1208},
url = {https://ejournals.eu/en/journal/przekladaniec/article/milosz-and-twentieth-century-american-avant-gardes}
}