Here is an excerpt from Ron Padgett's essay, "A Few Things about Apollinaire and Me." The occasion for this essay was the publication, by New York Review Books, of Ron's long-awaited translation of Guillaume Apollinaire's Selected Poems. It is a coincidence only in the sense Gertrude Stein gave that word, that I, too, was influenced deeply by Apollinaire in my time in Paris, a few years after Padgett's year there. Unlike Ron's, my attempts to translate Apollinaire are limited to two of his poems, "Zone" and "Hotel," and that makes me appreciate all the more the accuracy and the intelligence that Ron brings to the translator's task. He has done a noble service to literature. — DL
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I wish I could recall the first time I learned of [Apollinaire, pictured left]. I do remember hearing, in the very early 1960s, Kenneth Koch talking enthusiastically and often about his poetry. I also recall being attracted to the sound of his name, which of course was not his real one. Would I have felt as much allure in a poet named Wilhelm de Kostrowitzsky (his real name)? Probably not: less euphony and no suggestion of Apollo.
The first two poems of his that I tried translating, “The Pont Mirabeau” and “The White Snow,” have moments of complex word play, but, being enthusiastic and naïve, I didn’t let that deter me. Over the years I got deeper into his work by translating more of his poems, as well as his novella The Poet Assassinated, which I tackled as a student in Paris in 1965. Well, I wasn’t really a student, I was a Fulbright fellow who attended no classes; instead I kept on being the poet that I had become, but now one who was falling deeper and deeper into what I imagined to have been Paris before World War One, a Paris whose writers and artists I had been drawn to since my teen years. Living below the poverty level—my wife and I subsisted on a Fulbright stipend allocated for one person—gave me the impression that I had even more in common with the threadbare poets I was captivated by, such as Reverdy, Cendrars, and Jacob, and among them Gui stood at the center of things, representing the exciting and innovative cultural world of pre-war Paris. My just being there, walking his neighborhoods—there were back streets whose buildings still had turn-of-the-century signs painted on them, cafes and restaurants that had hardly changed in 70 years—visiting his grave and sensing him there in the ground, standing mesmerized in front of the Bateau Lavoir, feeling the late-night danger and poverty of the Montmartre of 1907, and, perhaps above all, holding in my hands, just as he had, his manuscripts, corrected proofs, and letters—I was hooked for life. More than that, I assumed that as a young (avant-garde!) poet I had every right to be hooked, for we had something in common. However, fueled by youthful energy and adoration, I never stopped to ask myself exactly what it might be.
Although the poems I wrote that year in Paris reflect my being there, only a few of them show an obvious influence of Apollinaire, despite the fact that the book I cherished most was the Pléiade edition of his Oeuvres poétiques (the same copy I use today). I was already well acquainted with the two major collections he published in his lifetime, Alcools and Calligrammes, but the Pléiade edition included many poems I had never seen, and among them I found some gems, some of which didn’t sound like “Apollinaire.” All the better! For I was bent on not sounding like myself all the time, either, and I didn’t mind sounding like him sometimes. Take a look at his little poem, “Hotel”:
My room looks like a cage
The sun sticks its arm through the window
But I who want to smoke and make mirages
I light my cigarette with daylight
I don’t want to work I want to smoke
“I light my cigarette with daylight” is fanciful (and delightful), but it’s the final line that determines the feeling of the whole poem. The poet is feeling dreamy and lazy. Plunk. That’s it. The epigraph of a poem of mine I wrote in Paris that year, “Tone Arm,” runs in a similar vein:
The clouds go rolling over
The rooftops of the 17th-
18th- or 19th-century buildings—
They are really rolling
You people of the future
How I hate you
You are alive and I’m not
I don’t care whether you read my poetry or not
Fifty years apart, two poets sit in their hotel rooms in Paris and thumb their noses at the conventional bourgeois world, he charmingly, I arrogantly.
Apollinaire’s influence on me consisted of more than a superficial and temporary adoption of a self-indulgent attitude. What affected me more deeply was the elasticity of his work, which ranged from traditional, euphonious forms to avant-garde calligrammatic verbal collages. He certainly wasn’t the only experimenter of his day, but I can’t name another poet of his time who showed such aesthetic range, aside from Mallarmé, and even then the latter’s Coup de dés is an aberration for him. As for myself, coming from a country whose emblematic monument was the Statue of Liberty, and from a state (Oklahoma) with a freewheeling history, and from a father who liberated himself from social conventions (and laws) when it suited him, I was primed to become an adept of a poet of freedom and adventure such as Apollinaire, who, in one of his last poems, says, “We want to give you vast and strange territories / Where flowering mystery offers itself to anyone who wishes to gather it.” While cherishing the formal music and sweet diction of the Elizabethan and Metaphysical poets, the way Apollinaire revered Villon and Racine, I saw myself as a fellow explorer of those vast and strange territories, though I would never have articulated such a thought. It was yet another unspoken assumption that carried me forward.
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