[讨论]重新整理后的阅读逻辑更清晰（截至到51篇阅读）

kingerkinger

真棒

格格小公主

你人真的是太好了，一直持续的更新，真想来个拥抱一下，哈哈~

还要不段更新喔~

考试就靠这个了~

谢谢~

obserea

這篇是我在網路上抓到的 第28 詩歌演變 Testimony，不知道有沒有幫助

• Charles Reznikoff (1894-1976) worked relentlessly, never leaving New York but for a brief stay in Hollywood,
  of all places. He was admired by Pound and Kenneth Burke, and often
  published his own works; in the Depression era, he managed a treadle
  printing press in his basement. He wrote three sorts of poems:
  exceptionally short imagistic lyrics; longer pieces crafted and cobbled
  from other sources, often from the Judaic tradition; and book-length
  poems wrought from the testimony both of Holocaust trials and from the
  courtrooms of turn-of-the-century America.
  Two of these full-length volumes were indeed titled "Testimony," as was
  an earlier prose work; it was a word that kept him close company. When
  asked late in life to define his poetry, it was not the word he chose.
  　　"Objectivist,"
  he wrote, naming his longstanding group, and mimicking poetic style
  with a single prose sentence: "images clear but the meaning not stated
  but suggested by the objective details and the music of the verse;
  words pithy and plain; without the artifice of regular meters; themes,
  chiefly Jewish, American, urban." If the sentence sounds hard-won, this
  is perhaps because it was. Four decades earlier, he wrote in a letter
  to friends, "There is a learned article about my verse in Poetry this
  month, from which I learn that I am an objectivist." The learned fellow
  was Louis Zukofsky, brilliant eminence of the Objectivists, "with whom
  I disagree as to both form and content of verse, but to whom I am
  obliged for placing some of my things here and there." So read
  Reznikoff's conclusion in 1931, with its fillip of polite resentment.
  　　Movements
  and schools are arbitrary and immaterial things by which poetic history
  is told. This must have rankled Reznikoff, who spent his writing life
  tracing the material and the necessary.
  　　Born a child of immigrants in Brooklyn
  in 1894, he was in journalism school at 16, took a law degree at 21.
  Though he was little interested in legal practice, the ideas would be
  near the heart of his writing. Ideal poetic language, he wrote, "is
  restricted almost to the testimony of a witness in a court of law." If
  this suggests a congenital optimism about the law, it made for
  astonishingly care-filled poetry. Reznikoff is unsurpassed in conveying
  the sense that the world is worth getting right. Not the glorious or
  the damaged world, but the world that is everything that is the case.
  Reznikoff's faith in the facts of the case takes on an intensity no
  less social than spiritual, no greater when surveying the Old Testament
  than New York.
  This collection gathers all his poems (but for those already
  book-length) by the technique of compressing onto single pages as many
  as five or six at a time. This can lessen the force; each is a sort of
  American haiku, though no more impressionistic than a hand-operated
  printing press. One such, numbered 69 in the volume "Jerusalem
  the Golden," runs in its length: "Among the heaps of brick and plaster
  lies / a girder, still itself among the rubbish." This exemplary
  couplet is sometimes taken to represent Reznikoff's poetry itself,
  immutable and certain amid the transitory.
  

饔牛

回ls

考到的人说不是原文，我就不跟新了。

饔牛

更新了一篇新文章但是细节不够，就不添加到主文档了。

格格小公主

又更新了，感动~

谢谢了~感激不尽

饔牛

添加高分区原文：诗歌的演变。

banban_mini

谢谢LZ！9号考了 不知道能不能用的上

饔牛

重新整理一遍，累死，这次应该更加逻辑清晰了。

没考的可以做参考。