Complete Poems

Complete Poems by Blaise Cendrars, published by Univ of California Press in 1992, presents the full range of the poet’s work in English for the first time. This edition encompasses 392 pages and showcases Cendrars’s evolution as a pioneer of modernist literature, reflecting his diverse experiences from classical rhymed alexandrines to innovative “cubist” modernism. The collection captures the essence of his life, marked by significant historical events and artistic collaborations.
Readers will find a rich tapestry of poetry that spans various moods and styles, from visionary depths to lighthearted expressions. Cendrars’s adventures, including his travels through Russia, New York, and Brazil, inform his unique voice and perspective. This comprehensive collection not only highlights his contributions to poetry but also situates him within the broader context of European literary movements, making it a significant addition for those interested in literary criticism and modernist poetry.
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Blaise Cendrars was a pioneer of modernist literature. The full range of his poetry—from classical rhymed alexandrines to “cubist” modernism, and from feverish, even visionary, depression to airy good humor—offers a challenge no translator has accepted until now.
Here, for the first time in English translation, is the complete poetry of a legendary twentieth-century French writer. Cendrars, born Frederick Louis Sauser in 1887, invented his life as well as his art. His adventures took him to Russia during the revolution of 1905 (where he traveled on the Trans-Siberian Railway), to New York in 1911, to the trenches of World War I (where he lost his right arm), to Brazil in the 1920s, to Hollywood in the 1930s, and back and forth across Europe.
With Guillaume Apollinaire and Max Jacob he was a pioneer of modernist literature, working alongside artist friends such as Chagall, Delaunay, Modigliani, and Léger, composers Eric Satie and Darius Milhaud, and filmmaker Abel Gance. The range of Cendrars’s poetry—from classical rhymed alexandrines to “cubist” modernism, and from feverish, even visionary, depression to airy good humor—offers a challenge no translator has accepted until now.
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