By Czeslaw Milosz
"A choice of three hundred poems from writers all over the world, chosen and edited via Nobel laureate Czeslaw Milosz Czesław Miłosz's A booklet of Luminous Things—his own number of poems from the previous and present—is a testomony to the beautiful different types of human event, provided up in order that we might even see the myriad ways in which adventure may be shared in phrases and photographs. Miłosz presents a preface to every of those poems, divided into thematic (and usually beguiling) sections, akin to “Travel,” “History,” and “The mystery of a Thing,” that make the studying as tutorial because it is inspirational and remind us how powerfully poetry can contact our minds and hearts. "
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Additional resources for A Book of Luminous Things: An International Anthology of Poetry
42 Some love songs were less romantic; young men imitated and parodied young women, who overheard them and teased back. Some sang charms to enthrall and obsess their targets. Such charms often reflect the suspicion that love based on sexual attraction was ridiculous and dangerous, a form of the power that turned rutting animals, especially males, into slapstick comedians and easy prey. The poems in section nine, "Hunting," suggest the hunters' skill and their selfless attention to their prey and its habitat.
The songs state isolated details, frequently in ceremonial, ancient, or shaman's words. Often such words did not make explicit narrative sense. Instead they served as an index to the story that the songs recalled to the audience and singer. For example, one song contains two lines, repeated often: Emu kayovbak kange Tiyam onge kanga Three words carried explicit meaning: mu (leg), vak (step), tiym (go). The other syllables, vocables or obsolete or esoteric words, fill out the rhythm. The song reminded the audience that, after burning the body of the culture hero and creator Matevilye, the First People returned to the mountain Avikome.
Songs recalled the configurations of stars or the places of daybreak on the horizon that marked the times for ceremonies, hunting, planting, and harvesting. The songs they sang to prepare to hunt and while hunting often suggested the habits and psychology of their prey. Such usefulness for hunting, gathering, and farming may be a source of one of the most powerful currents flowing beneath the surface of this poetry: the urge to achieve a selfless attention to the universe and its contents and a determination to see and delight in that universe on its own terms.