The Visionary The Drunken Boat Vowels "The sun has wept rose" Rimbaud's Contributions to the Album Zutique Stupra: Three Scatological Sonnets The Wastelands of Love Fragments from the Book of John "0 seasons, 0 chateaus!" Remembrance Tear The Comedy of Thirst "Hear how it bellows" Lovely Thoughts for Morning Michael and Christine The River of Cordial The Triumph of Patience The Newlyweds at Home Brussels "Does she dance?" The Triumph of Hunger Shame Childhood Tale Parade Antique Being Beauteous Fairyġ40 140 149 150 152 155 155 157 158 161 162 163 164 The Stolen Heart A Heart Beneath a Cassock The Tonnented Heart Evening Prayer The Sitters Squatting Poor People in Church Venus Anadyomene My Little Lovelies The Sisters of Charity The Ladies Who Look for Lice Seven-Year-Old Poets First Communions "The Savior bumped upon his heavy butt" "What do we care, my heart" "You dead of ninety-two and ninety-three" The Brilliant Victory of Saarebruck Evil Asleep in the Valley Angry Caesar Parisian War Cry The Hands ofJeanne-Marie Parisian Orgy Crows
The Open Road Faun's Head The Sideboard The Tease At the Green Cabaret Wandering Dream in Wintertime Prologue "Ver erat" "It Was Springtime" The Otphans' New Year The Blacksmith Credo in Unam Feelings Ophelia The Hanged Men Dance Kids in a Daze Tartufe Chastised First Evening Romance By the Bandstand Rimbaud, Arthur, 1854-1891-Translations into English. ISBN 0'-0'6-0'95550'-3 Includes bibliographical references. Complete works / Arthur Rimbaud translated by Paul Schmidt.Perennial Classics ed. The Library of Congress has catalogued the previous edition as follows: Rimbaud, Arthur, 1854-1891. First Harper Perennial Modern Classics edition published 20'0'8. First Perennial Classics edition published 20'0'0'. First Harper Colophon edition published 1976. For information please write: Special Markets Department, HarperCollins Publishers, 10' East 53rd Street, New York, NY 10'0'22. HarperCol1ins books may be purchased for educational, business, or sales promotional use. For information address HarperCoUins Publishers, 10' East 53td Street, New York, NY 10'0'22. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. P.S.TM is a trademark of HarperCollins Publishers.
Portions of this work originally appeared in Arion, Delos, Prose, and the New York Review of Books. HARPERPERENNIALe MODERNCLASSICS NlW YORK. Non-subscribers can purchase the individual issues.COMPLETE WORK.S Translated from the French by Paul Schmidt _The Flanner and MacFarquhar articles-and the complete archives of The New Yorker, back to 1925-are available to subscribers. Since he is always dipping the bucket into the same stream his poems will resemble one another, but because the stream varies according to climatic conditions-what’s on his mind, the weather, interruptions-they will also be different. Whatever the bucket brings up will be his poem…. What he is trying to do (and here the metaphors get a little screwy, but these are the pictures that come to him) is jump-start a poem by lowering a bucket down into what feels like a kind of underground stream flowing through his mind-a stream of continuously flowing poetry, or perhaps poetic stuff would be a better way to put it. They do the trick for him, whatever the trick is, perhaps because their poems seem to him to begin in the middle and wander around and finally break off without any kind of formal conclusion, and that somehow makes starting a poem of his own feel easier, as if he’d already begun it, or as if they had…. He reaches for a book by one of the poets he keeps around for dehydrated moments like this one because they get his poetry going-Mandelstam, Pasternak, Hölderlin. He stares at the paper in his typewriter and is reminded for the millionth time that one of the worst things about being a poet is that you’re confronted by an empty page, a nothing-at-all, practically every time you sit down to write (unless you’re in the middle of a long poem, which you aren’t usually).
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