Livro Altazor e Outros Poemas

OTL - Livro sem uso. Dimensão 14 x 21, 216 págs. Tradução de Antonio Risério e Paulo César Sousa. Coleção Toda Poesia nº 11. Sinopse: O grande poema de Huidobro é Altazor: o açor no avanço das alturas e que desaparece queimado pelo sol. As palavras perdem seu peso significativo e tornam-se, mais que signos, marcas de uma catástrofe estelar. Na figura do aviador-poeta reaparece o mito romântico de Lúcifer - Octavio Paz. A importância de Huidobro, como poeta e como teórico da poesia, é fundamental, para quem queira pensar no problema da renovação dos meios póeticos na América Espanhola - Haroldo de Campos. Vicente Huidobro saturou-se da elegância cubista e conseguiu divisar, dentro de seu humanismo interplanetário, a cabeleira surrealista que ia flutuar até agora sobre o oceano Atlântico, como as algas flutuantes - Pablo Neruda.

OTL - Livro sem uso. Dimensão 14 x 21, 216 págs. Tradução de Antonio Risério e Paulo César Sousa. Coleção Toda Poesia nº 11. Sinopse: O grande poema de Huidobro é Altazor: o açor no avanço das alturas e que desaparece queimado pelo sol. As palavras perdem seu peso significativo e tornam-se, mais que signos, marcas de uma catástrofe estelar. Na figura do aviador-poeta reaparece o mito romântico de Lúcifer - Octavio Paz. A importância de Huidobro, como poeta e como teórico da poesia, é fundamental, para quem queira pensar no problema da renovação dos meios póeticos na América Espanhola - Haroldo de Campos. Vicente Huidobro saturou-se da elegância cubista e conseguiu divisar, dentro de seu humanismo interplanetário, a cabeleira surrealista que ia flutuar até agora sobre o oceano Atlântico, como as algas flutuantes - Pablo Neruda.

OTL - Livro sem uso. Dimensão 14 x 21, 216 págs. Tradução de Antonio Risério e Paulo César Sousa. Coleção Toda Poesia nº 11. Sinopse: O grande poema de Huidobro é Altazor: o açor no avanço das alturas e que desaparece queimado pelo sol. As palavras perdem seu peso significativo e tornam-se, mais que signos, marcas de uma catástrofe estelar. Na figura do aviador-poeta reaparece o mito romântico de Lúcifer - Octavio Paz. A importância de Huidobro, como poeta e como teórico da poesia, é fundamental, para quem queira pensar no problema da renovação dos meios póeticos na América Espanhola - Haroldo de Campos. Vicente Huidobro saturou-se da elegância cubista e conseguiu divisar, dentro de seu humanismo interplanetário, a cabeleira surrealista que ia flutuar até agora sobre o oceano Atlântico, como as algas flutuantes - Pablo Neruda.

OTL - Livro sem uso. Dimensão 14 x 21, 216 págs. Tradução de Antonio Risério e Paulo César Sousa. Coleção Toda Poesia nº 11. Sinopse: O grande poema de Huidobro é Altazor: o açor no avanço das alturas e que desaparece queimado pelo sol. As palavras perdem seu peso significativo e tornam-se, mais que signos, marcas de uma catástrofe estelar. Na figura do aviador-poeta reaparece o mito romântico de Lúcifer - Octavio Paz. A importância de Huidobro, como poeta e como teórico da poesia, é fundamental, para quem queira pensar no problema da renovação dos meios póeticos na América Espanhola - Haroldo de Campos. Vicente Huidobro saturou-se da elegância cubista e conseguiu divisar, dentro de seu humanismo interplanetário, a cabeleira surrealista que ia flutuar até agora sobre o oceano Atlântico, como as algas flutuantes - Pablo Neruda.

Disponível para retirada na loja. Livro sem uso. Dimensão 14 x 21, 216 págs. Tradução de Antonio Risério e Paulo César Sousa. Coleção Toda Poesia nº 11. Sinopse: O grande poema de Huidobro é Altazor: o açor no avanço das alturas e que desaparece queimado pelo sol. As palavras perdem seu peso significativo e tornam-se, mais que signos, marcas de uma catástrofe estelar. Na figura do aviador-poeta reaparece o mito romântico de Lúcifer - Octavio Paz. A importância de Huidobro, como poeta e como teórico da poesia, é fundamental, para quem queira pensar no problema da renovação dos meios póeticos na América Espanhola - Haroldo de Campos. Vicente Huidobro saturou-se da elegância cubista e conseguiu divisar, dentro de seu humanismo interplanetário, a cabeleira surrealista que ia flutuar até agora sobre o oceano Atlântico, como as algas flutuantes - Pablo Neruda.

Disponível para retirada na loja. Livro sem uso. Dimensão 14 x 21, 216 págs. Tradução de Antonio Risério e Paulo César Sousa. Coleção Toda Poesia nº 11. Sinopse: O grande poema de Huidobro é Altazor: o açor no avanço das alturas e que desaparece queimado pelo sol. As palavras perdem seu peso significativo e tornam-se, mais que signos, marcas de uma catástrofe estelar. Na figura do aviador-poeta reaparece o mito romântico de Lúcifer - Octavio Paz. A importância de Huidobro, como poeta e como teórico da poesia, é fundamental, para quem queira pensar no problema da renovação dos meios póeticos na América Espanhola - Haroldo de Campos. Vicente Huidobro saturou-se da elegância cubista e conseguiu divisar, dentro de seu humanismo interplanetário, a cabeleira surrealista que ia flutuar até agora sobre o oceano Atlântico, como as algas flutuantes - Pablo Neruda.

Disponível para retirada na loja. Livro sem uso. Dimensão 14 x 21, 216 págs. Tradução de Antonio Risério e Paulo César Sousa. Coleção Toda Poesia nº 11. Sinopse: O grande poema de Huidobro é Altazor: o açor no avanço das alturas e que desaparece queimado pelo sol. As palavras perdem seu peso significativo e tornam-se, mais que signos, marcas de uma catástrofe estelar. Na figura do aviador-poeta reaparece o mito romântico de Lúcifer - Octavio Paz. A importância de Huidobro, como poeta e como teórico da poesia, é fundamental, para quem queira pensar no problema da renovação dos meios póeticos na América Espanhola - Haroldo de Campos. Vicente Huidobro saturou-se da elegância cubista e conseguiu divisar, dentro de seu humanismo interplanetário, a cabeleira surrealista que ia flutuar até agora sobre o oceano Atlântico, como as algas flutuantes - Pablo Neruda.

Disponível para retirada na loja. Livro sem uso. Dimensão 14 x 21, 216 págs. Tradução de Antonio Risério e Paulo César Sousa. Coleção Toda Poesia nº 11. Sinopse: O grande poema de Huidobro é Altazor: o açor no avanço das alturas e que desaparece queimado pelo sol. As palavras perdem seu peso significativo e tornam-se, mais que signos, marcas de uma catástrofe estelar. Na figura do aviador-poeta reaparece o mito romântico de Lúcifer - Octavio Paz. A importância de Huidobro, como poeta e como teórico da poesia, é fundamental, para quem queira pensar no problema da renovação dos meios póeticos na América Espanhola - Haroldo de Campos. Vicente Huidobro saturou-se da elegância cubista e conseguiu divisar, dentro de seu humanismo interplanetário, a cabeleira surrealista que ia flutuar até agora sobre o oceano Atlântico, como as algas flutuantes - Pablo Neruda.

Disponível para retirada na loja. Livro sem uso. Dimensão 14 x 21, 216 págs. Tradução de Antonio Risério e Paulo César Sousa. Coleção Toda Poesia nº 11. Sinopse: O grande poema de Huidobro é Altazor: o açor no avanço das alturas e que desaparece queimado pelo sol. As palavras perdem seu peso significativo e tornam-se, mais que signos, marcas de uma catástrofe estelar. Na figura do aviador-poeta reaparece o mito romântico de Lúcifer - Octavio Paz. A importância de Huidobro, como poeta e como teórico da poesia, é fundamental, para quem queira pensar no problema da renovação dos meios póeticos na América Espanhola - Haroldo de Campos. Vicente Huidobro saturou-se da elegância cubista e conseguiu divisar, dentro de seu humanismo interplanetário, a cabeleira surrealista que ia flutuar até agora sobre o oceano Atlântico, como as algas flutuantes - Pablo Neruda.

Brochura em ótima apresentação. Espanhol. 63 pp

Livro com páginas amareladas, brochura com leves desgastes; 97p.

Brochura em bom estado. Corte superior com sujidades. Miolo em excelente estado, sem avarias, carimbos, grifos ou anotações. 190p. Em caso de dúvidas solicite fotos.

LIVRO USADO (edição bilíngue) em bom estado de conservação. Capa e miolo firmes com grifos e anotações em páginas aleatórias. Folhas de corte amareladas com pontos de oxidação em decorrência do tempo. Possui sinais de manuseio. Apresenta vincos e sujidades na capa, na contracapa e na lombada. Contém etiquetas de nosso controle interno (código de barras 100000022105 e bolinha azul FG na lombada).

Exemplar em bom estado, páginas estão levemente escurecidas devido ao tempo, possui anotações.

bom estado. sem rasuras ou grifos. contem dedicatoria na primeira página. edição bilingue

Doli5; Livro em bom estado - 201657216

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement (Creationism) in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the antipoet) hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinbergers celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.