Stephen Spender Livres

Virtually from its first appearance in 1951, this book was considered one of the most illuminating literary autobiographies to have come out of the 1930s and 40s. In writing it the author was concerned with the themes of love, poetry, politics, the life of literature, childhood, travel and the development of certain attitudes towards moral problems. He relates these personal themes to the background of public and private events in this period of his life. This book provides an intimate and deeply felt commentary on the relationship between literature and politics in England and Germany during these years. In the course of the book there are portraits of Virginia Woolf, W.B. Yeats, T.S. Eliot, Lady Ottoline Morrell, W.H. Auden, Christopher Isherwood and others.

1971 First American Edition.THE GENEROUS DAYS. Please view our other rare books by famous Poetry Artists.

En proie à de multiples doutes quant à son inspiration, confronté à l’angoisse de la maladie dont il vient de connaître les affres, Rainer Maria Rilke se promène sur les rochers du château de Duino, non loin de Trieste, quand il entend soudain une voix. Celle-ci lui dicte ces mots : "Qui donc, si je criais, m'écouterait dans les ordres des anges ?" Il tient là la première sentence des Élégies de Duino, recueil dont la rédaction s'échelonne de 1912 à 1922. Ces dix années résument à elles seules les interrogations fondamentales du poète et y répondent. Dans ces poèmes, vie et mort ne s'opposent plus. Elles constituent des forces qui forment une "grande unité", un éternel devenir. Une inspiration entièrement renouvelée guide cette prose poétique, expression d'une vie intérieure intense dont elle suit le rythme. Comment vivre avec la menace de la mort ? Comment accepter les limites de l'homme, qui n'est ni animal ni Ange ? L'amour peut lui offrir ce soupçon d'éternité, permettre un dépassement. En acceptant de se plier à sa condition terrestre, l'homme peut résolument accepter la mort. Avec la figure tutélaire de l'Ange, intercesseur entre le monde visible et l'Invisible, la mort devient une condition de l'éternité.

Stephen Spender and David Hockney's illustrated diary of the trip they took together to China takes in not just the famous sites - the Great Wall, the Temple of the jade Buddha, the magical landscape of Kweilin but the unexpected incidents of everyday Chinese life. And both discuss their meetings with contemporary Chinese poets and painters. Hockney's photographs, drawings and watercolours are a unique revelation of China, while Spender discourses in rich prose. Together they provide a glimpse of this ever-mysterious land.

For the revised and enlarged edition of his collected poems - reissued to celebrate his 80th birthday - Stephen Spender has made considerable changes from the text of the original edition of 1955. He has included a number of recent and unpublished poems, discarded several others and recast and rewritten much of the work in the earlier collection.

A central figure in the political and cultural life of our time for over fifty years, Sir Stephen Spender has witnessed and participated in some of this century's most significant events and has known many of its most interesting and gifted individuals. Having kept journals intermittently for most of this time, Spender has recorded his vivid observations and reflections on the scenes he has witnessed, portrayed his friends and acquaintances--including W.H. Auden, T.S. Eliot, Christopher Isherwood, Igor Stravinsky, Francis Bacon, David Hockney, and many others--and set down his ideas, hopes, aims, and regrets. This first paperback edition of Stephen Spender's journals makes for constantly entertaining and illuminating reading. One comes away from this fascinating inside look at one man's extraordinary life full of admiration for his vitality, his enduring interest in others, and his remarkable honesty about himself.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Letters from the poet to the novelist discuss Spender's work, travel experiences, meetings with other literary figures, emotional problems, and opinions on literature

The artist Don Bachardy lived with Isherwood for more than 30 years and during Isherwood's last illness Bachardy drew him almost every day - sometimes several times a day. The 100 drawings from this period are published here alongside Bachardy's journal and an interview with Stephen Spender.

A central figure in the political and cultural life of our time for over fifty years, Sir Stephen Spender has witnessed and participated in some of this century's most significant events and has known many of its most interesting and gifted individuals. Having kept journals intermittently for most of this time, Spender has recorded his vivid observations and reflections on the scenes he has witnessed, portrayed his friends and acquaintances—including W.H. Auden, T.S. Eliot, Christopher Isherwood, Igor Stravinsky, Francis Bacon, David Hockney, and many others—and set down his ideas, hopes, aims, and regrets. This collection of Stephen Spender's journals offers an entertaining and illuminating look at one man's extraordinary life, showcasing his vitality, enduring interest in others, and remarkable honesty about himself.

Kniha o poválečném Německu, kterou Stephen Spender napsal po své cestě do Německa v létě 1945.