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Sämtliche Gedichte: Amerikanisch / Deutsch (1979)

von Ernest Hemingway

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Ernest Hemingway never wished to be widely known as a poet. He concentrated on writing short stories and novels, for which he won the Nobel Prize in 1956. But his poetry deserves close attention, if only because it is so revealing. Through verse he expressed anger and disgust--at Dorothy Parker and Edmund Wilson, among others. He parodied the poems and sensibilities of Rudyard Kipling, Joyce Kilmer, Robert Graves, Robert Louis Stevenson, and Gertrude Stein. He recast parts of poems by the likes of Ezra Pound and T. S. Eliot, giving them his own twist. And he invested these poems with the preoccupations of his novels: sex and desire, battle and aftermath, cats, gin, and bullfights. Nowhere is his delight in drubbing snobs and overrefined writers more apparent. In this revised edition of the Complete Poems, the editor, Nicholas Gerogiannis, offers here an afterword assessing the influence of the collection, first published in 1979, and an updated bibliography. Readers will be particularly interested in the addition of "Critical Intelligence," a poem written soon after Hemingway's divorce from his first wife in 1927. Also available as a Bison Book: Hemingway's Quarrel with Androgyny by Mark Spilka.… (mehr)
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A collection of inconsequential (and sometimes outright terrible) poetry, most of which Hemingway would never have expected to see the light of day. Some pieces were published in obscure publications in the 1920s, when Hemingway was still developing as a writer and probably not sure whether to direct himself towards poetry or prose, but most of the poems in this collection are throwaways, loose pieces of doggerel that Hemingway would write as 'warm-up exercises' to get the juices flowing (pg. 148) before he got down to the serious business of writing his prose masterpieces.

Consequently, it seems rather harsh to criticize the book. It even includes poems he wrote in high school, for Christ's sake, and no man should ever be judged on that. But aside from a couple of pieces of merit – I quite liked 'Poem, 1928' and the caustic 'To a Tragic Poetess' – there’s nothing of literary value here.

This is why even the editor of the book writes somewhat apologetically about Complete Poems. There is some truth in Nicholas Gerogiannis' assertion that "as is so often the case with posthumous publications of lesser works, the reader recognizes the man beyond the myth" (pg. xxiv), but it does mean the book is useful only for biography, and therefore only for the Hemingway completists. ( )
  MikeFutcher | Oct 5, 2018 |
Let's be truthful: As "literary" poetry, it stinks. But if poetry had a punk rock genre in the 1920s, this would be it. It's the work of a disillusioned man in his early twenties whose legs were ripped by shrapnel on the Italian front — while still a teenager! — in World War One, wounds he would carry the rest of his life. And then his first love, the woman he intended to marry, had dumped him for an Italian officer (who subsequently dumped her). Hemingway was a hurt, angry man, barely beyond a teen, when he wrote poems like this:

The age demanded that we sing
And cut away our tongue.

The age demanded that we flow
And hammered in the bung.

The age demanded that we dance
And jammed us into iron pants.

And in the end the age was handed
The sort of sh*t that it demanded.


(Hemingway didn't use the asterisk.) ( )
  JoeCottonwood | Apr 1, 2013 |
That such a master of prose could write such wretched poetry is astonishing. Only for those curious (like me) or for the obsessed Hemingway completist, or the Hemingway scholar. This book could only have been published posthumously, as Hemingway, no doubt, could not have tolerated the negative criticism his poetry would have elicited. ( )
3 abstimmen absurdeist | May 11, 2008 |
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Wikipedia auf Englisch (2)

Ernest Hemingway never wished to be widely known as a poet. He concentrated on writing short stories and novels, for which he won the Nobel Prize in 1956. But his poetry deserves close attention, if only because it is so revealing. Through verse he expressed anger and disgust--at Dorothy Parker and Edmund Wilson, among others. He parodied the poems and sensibilities of Rudyard Kipling, Joyce Kilmer, Robert Graves, Robert Louis Stevenson, and Gertrude Stein. He recast parts of poems by the likes of Ezra Pound and T. S. Eliot, giving them his own twist. And he invested these poems with the preoccupations of his novels: sex and desire, battle and aftermath, cats, gin, and bullfights. Nowhere is his delight in drubbing snobs and overrefined writers more apparent. In this revised edition of the Complete Poems, the editor, Nicholas Gerogiannis, offers here an afterword assessing the influence of the collection, first published in 1979, and an updated bibliography. Readers will be particularly interested in the addition of "Critical Intelligence," a poem written soon after Hemingway's divorce from his first wife in 1927. Also available as a Bison Book: Hemingway's Quarrel with Androgyny by Mark Spilka.

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