Tender toward innocence, tough-minded when faced with brutality and injustice, Milosz could be at one moment susceptible, at another remorseless. Now he is evoking the dewy eroticism of some adolescent girl haunting the grounds of a Lithuanian manor house, now he is anatomizing the traits of character and misdirected creative gifts that led some of his contemporaries into the Marxist web. From start to finish, merciless analytic power coexisted with helpless sensuous relish. He recollects the fresh bread smells on the streets of Paris when he was a student at the same moment as he summons up the faces of fellow students from Indochina, young revolutionaries preparing to seize power and "kill in the name of the universal beautiful ideas." Book jacket.
What I love most about reading modern poetry is the open friendliness of the poets. I usually have two or three books in the works and picking them up and reading them is like sitting down with the poets in my kitchen and having a wide ranging conversation with a really smart friend over coffee. Not Milosz. Reading Milosz is like enjoying an evening in someone's formal living room, silent as an invited guest should be. It is a privilege to read these poems. Here is a contemporary who lived through it all and was not ground to dust. Here is a survivor who grew suspicious of all -- ALL -- easy solutions and was absolutely confident that, whatever The World threw at him -- and by extension, at us -- he could wrap his mind around it. Seamus Heaney's introduction says Milosz was "tender toward innocence, tough-minded when faced with brutality and injustice." In the end, he retained his awe of the natural world and his believe in the holiness of everyday things. In short, when Milosz sees us being distracted by the insistence of externals, people and things that feast on our enegy leaving us with nothing, he calls us back to ourselves, the point from which everything is adorned with meaning for each of us, the context in which even the most horrible is endurable.
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