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All poets, according to Wislawa Szymborska, are in a perpetual dialogue with the phrase I don't know. "Each poem," she writes in her 1996 Nobel Lecture, "marks an effort to answer this statement, but as soon as the final period hits the page, the poet begins to hesitate, starts to realize that this particular answer was pure makeshift, absolutely inadequate." As a self-portrait, at least, this is fairly accurate. From the beginning, Szymborska has indeed wrestled with the demon of epistemology. Yet even in her earliest poems, such as "Atlantis," she delivered her speculations with a human--which is to say, a gently ironic--face:

They were or they weren't.
On an island or not.
An ocean or not an ocean
Swallowed them up or it didn't.

Fifteen years later, when her 1972 collection, Could Have, appeared, Szymborska seemed to have made some major inroads into her notorious ignorance. Now she confessed to at least a shred of comprehension, stressing, however, that such knowledge has come at a terrible price: "We read the letters of the dead like helpless gods, / but gods, nonetheless, since we know the dates that follow. / We know which debts will never be repaid. / Which widows will remarry with the corpse still warm." And even in her most recent work, the poet continues to gravitate toward the admirable emptiness of, say, the clouds: "Unburdened by memory of any kind, / they float easily over the facts." Ultimately, though, the joke is on Szymborska, whose poems have grown more witty, more humane, and more tender--in other words, more knowing--with each passing year. View with a Grain of Sand remains an excellent point of entry to Szymborska's oeuvre, but Poems New and Collected is the place to go for a wide-angle view of this superlative and sardonic writer..
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True, the gentlemen of the Swedish Academy have made more than their share of bloopers But when they bestowed the Nobel Prize upon Wislawa Szymborska in 1996, they got it right, rescuing a major poet from minor obscurity. Two previous collections of her work had appeared in English, of course. Yet View with a Grain of Sand is by far the best introduction to the Polish writer, conveying not only the fantastic lightness of her touch but the entire worlds she manages to pack into, as it were, a grain of sand. Miniscule wonders are her specialty, such as the tableau she records in "Miracle Fair": "The usual miracle: / invisible dogs barking / in the dead of night. / One of many miracles: / a small and airy cloud / is able to upstage the massive moon." Yet Szymborska is also a love poet of peculiar tartness:

True love. Is it really necessary?
Tact and common sense tell us to pass over it in silence,
like a scandal in Life's highest circles.
Perfectly good children are born without its help.
It couldn't populate the planet in a million years,
it comes along so rarely.

What comes along so rarely, in fact, is a writer of this quality--and a translation that does her justice. Szymborska's brilliance would probably overpower even a second-rate rendering into English. But thanks to the efforts of Stanislaw Baranczak and Clare Cavanagh, she is not only brilliant but supremely readable--an intellectual comedian for whom "there's nothing more debauched than thinking.".
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(11/01/2005).
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Winner of the Heldt Prize for Translation A new translation of the Nobel Prize-winning Polish poet, with an introduction by Czeslaw Milosz. This long-awaited volume samples the full range of Wislawa Szymborska's major themes: the ironies of love, the wonders of nature's beauty, and the illusory character of art. Szymborska's voice emerges as that of a gentle subversive, self-deprecating in its wit, yet graced with a gift for coaxing the extraordinary out of the ordinary..
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Translated and Introduced by Magnus J. Krynski and Robert A. Maguire Regarded as one of the best representatives since World War II of the rich and ancient art of poetry in Poland, Wislawa Szymborska (b. 1923) is, in the translators' words, "that rarest of phenomena: a serious poet who commands a large audience in her native land." The seventy poems in this bilingual edition are among the largest and most representative offering of her work in English, with particular emphasis on the period since 1967. They illustrate virtually all her major themes and most of her important techniques.

Describing Szymborka's poetry, Magnus Krynski and Robert Maguire write that her verse is marked by high seriousness, delightful inventiveness, a prodigal imagination, and enormous technical skill. She writes of the diversity, plenitude, and richness of the world, taking delight in observing and naming its phenomena. She looks on with wonder, astonishment, and amusement, but almost never with despair.

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This digital document is an article from World Literature Today, published by University of Oklahoma on January 1, 1997. The length of the article is 2075 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

From the supplier: Poets are constantly saying and inspired by the phrase 'I don't know.' Their poems are actually an effort to resolve this statement. Because a poem does not usually yield the answer to their questions, poets become dissatisfied with a previous work and start another poem, a pattern which repeats endlessly for true poets. The result of their self-dissatisfaction is a body of work, a series of poems that mark their attempt to resolve 'I don't know.'

Citation Details
Title: I don't know: the 1996 Nobel lecture. (Wislawa Szymborska speech)
Publication:World Literature Today (Refereed)
Date: January 1, 1997
Publisher: University of Oklahoma
Volume: v71 Issue: n1 Page: p4(4)

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