Prose Poetry Research Articles

ARIF NIHAT ASYA'S PROSE POEMS

Cumhuriyet Dönemi Türk edebiyatının önemli isimlerinden biri olan Arif Nihat Asya, sanatla ilgilenmeye başladığı 1920’li yıllardan ölümüne kadar geçen elli beş yıllık süreçte sanat ve edebiyatla olan bağlarını hiç koparmaz. Çok yönlü bir sanatçı olan Arif Nihat Asya, her ne kadar şiir alanında verdiği eserlerle adından çokça söz ettirmiş olsa da nesir alanında kaleme aldığı eserlerle de Türk edebiyatında mühim bir yere sahip olur. Nesir alanında fıkra, mensur şiir, gezi yazısı, mektup ve kısa nesir gibi türleri deneyen sanatçı bu alanda vermiş olduğu eserleri on adet kitapta toplar.
 Asya sanat hayatına şiir yazarak başlamış olsa da özellikle 1930- 1945 yılları arasında Batı edebiyatından tercümeler yoluyla edebiyatımıza giren Tanzimat, Servet-i Fünûn ve millî edebiyat sanatçıları tarafından sıkça tercih edilen mensur şiire olan ilgisi bu süre zarfında artar. Bu yıllar arasında mensur şiire yoğunlaşan sanatçı bu türde verdiği eserlerle döneminin pek çok yazar ve şairinin dikkatini çekmeyi başarır. 
 Bu çalışmada Arif Nihat Asya’nın sanat hayatı boyunca kaleme aldığı mensur şiirler tematik ve teknik olarak incelenecek, mensur şiirlerden örnekler verilerek açıklamalar yapılacaktır.

Herbivore Omnivore Vector

Other| November 01 2022 Herbivore Omnivore Vector Abigail Frankfurt Abigail Frankfurt Abigail Frankfurt is a writer and artist. Her prose poetry is coupled with collage. Her writing has appeared in Lit Magazine, Unbroken Literary Journal, and New York Quarterly and will be in the Yale Review in November 2021. Search for other works by this author on: This Site Google the minnesota review (2022) 2022 (99): 7. https://doi.org/10.1215/00265667-9992788 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Abigail Frankfurt; Herbivore Omnivore Vector. the minnesota review 1 November 2022; 2022 (99): 7. doi: https://doi.org/10.1215/00265667-9992788 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll Journalsthe minnesota review Search Advanced Search The text of this article is only available as a PDF. Copyright © 2022 Abigail Frankfurt2022 Article PDF first page preview Close Modal Issue Section: Creative You do not currently have access to this content.

Lucky Breaks by Yevgenia Belorusets

Reviewed by: Lucky Breaks by Yevgenia Belorusets Ali Kinsella Yevgenia Belorusets Lucky Breaks Trans. Eugene Ostashevsky. New York. New Directions. 2022. 112 pages. LUCKY BREAKS, by Yevgenia Belorusets, is an experimental approach to the novel that neither follows a traditional story arc nor adheres to strict notions of fiction or non. Comprising thirty vignettes, the book offers glimpses of Ukraine following the 2014 Russian invasion through the lives of ordinary women whose lives have been upset by displacement, death, and loss. Individually no one story serves as a synecdoche for life in contemporary Ukraine, but collectively they offer a polyphonic portrait of a resilient society under siege. Belorusets mostly works as a photographer, which is reflected in her storytelling—momentary glimpses wrapped in imagined histories. Despite its short one hundred pages, the slim volume (printed in an unusually small typeface) is a bit of a slog. The intense brutality of war, which cuts people off from their pasts and futures, operates on the page as well. Belorusets's fractured ultrapresent may well reflect the reality of life in a prolonged, stagnant war. As a novel, however, it fails to provide the cohesion and momentum that pull a reader from one existential disappointment to the next flash of mundane happiness. Perhaps it is better to think of it as a collection of prose poetry, which might also be how translator (and poet) Eugene Ostashevsky sees it. If it is dipped into sporadically, rather than read straight through, each story imprints on the imagination without getting lost in the litany of despair. Fortuitously timed for its publisher, Lucky Breaks offers us an opportunity to reflect on the politics of publishing. Belorusets writes in Russian and has here a Russian-born translator. Neither of these facts is inherently objectionable. Today, however, when the literary world has taken a sudden, intense interest in words coming out of Ukraine, there is a severe dearth of Ukrainian material available in English. Most books on top 10 lists about Ukraine are not written by Ukrainians. The prizewinning I Will Die in a Foreign Land was not written by a Ukrainian. As a translator of Ukrainian myself, I know there are books and articles and essays that deserve a wide, English-speaking readership, yet the link between Ukrainian pen and American press is mostly missing. At a time when Ukrainian culture and language are enduring their most intense attack since the early twentieth century, what does it mean for we anglophones to persist in approaching the country via a colonial power? If nothing else, why are we not more curious about the power of this language that the Russian Empire has fought to suppress, to the brink of self-destruction and the collapse of democracy? (Editor's note: To read Michael M. Naydan's recent recommended reading list of more than forty works by Ukrainian writers translated into English, visit worldlit.org.) Ali Kinsella Chicago Copyright © 2022 World Literature Today and the Board of Regents of the University of Oklahoma

When a King of Norway Became a King of Russia

When a King of Norway Became a King of Russia

‘As Simple as Music’: Kinds of Noise in Sean Bonney’s Poetry

This article considers Sean Bonney’s texts Happiness: Poems After Rimbaud (2011), Letters Against the Firmament (2015), Our Death (2019) and antimatter (2019). I write about each of these texts in terms of Bonney’s representation within them of music and noise. Rather than discussing this from a musicological perspective, or in relation to particular musical works, I address the metaphorical use that Bonney makes of figures of music and noise in general. I argue that in each case, the way in which Bonney conceives of music is indicative of a wider perspective on political and social reality and its capacity to be transformed by collective action. The article begins by elaborating the relationship between music and noise as I understand it to exist in Bonney’s writing. Following this, I elaborate the conditions of economic austerity under which Bonney lived during the writing of Happiness and Letters Against the Firmament. The article then aims to elaborate the relationship between a thinking of music and a thinking of community in Happiness before considering how harmony functions as a metaphor for class-domination in Bonney’s prose poetry. The article ends with a consideration of antimatter as a work whose use of rhyme and song-like structures is indicative of a specific ontology of catastrophe developed in Our Death.

The Ministry of Flowers by Andrea Witzke Slot

Reviewed by: The Ministry of Flowers by Andrea Witzke Slot Phill Provance (bio) the ministry of flowers Andrea Witzke Slot Valley Press https://www.valleypressuk.com/book/146/the_ministry_of_flowers 104 pages; Print, $12.52 What does it mean to be human in an uncaring world? For me, one answer has come in the form of Andrea Witzke Slot's latest collection, The Ministry of Flowers, which evinces an awareness singularly apt for our times. It is, however, not a collection intent upon pat answers, reciprocating the world's mysteries with mystery in kind. In other words, it is a book that achieves the difficult ends of inspiring childlike wonderment in adults by reintroducing us to the world—as if, for want of a more recent analogy, her speakers are the characters of Lewis Padgett's classic short story "Mimsy Were the Borogoves," attempting to teach us how to rethink our common reality in non-Euclidian terms. Thus, Slot refreshes our perspective, showing us newly discovered aspects of our surroundings we previously failed to notice, and consequently conveying a hint of salvation through her work. Perhaps the most obvious expression of this is felt in Slot's employing a wide variety of forms. If, per Raymond Williams's seminal Marxism and Literature (1977), "There is a … tendency in the analysis of art to look … [for] fully articulate and systematic expressions of … ideology in the content (base-superstructure) or form (homology) of actual works," what we encounter in The Ministry of Flowers is a mind willing to give a wide variety of ideologies a fair hearing. For Slot's is a creative consciousness ostensibly as comfortable with couplets as with prose poetry, with the long, short, and dropped line alike. As a result, at times we confront entirely filled pages, while at others our eyes alight on utter minimalism. And yet, from Slot this seems less an intention to exhibit poetic prowess as to establish an overarching sense of ebb and flow. Surely this is by design, and yet, though readily apparent, it augments, rather than detracts from, the collection's content—which provides these forms an equally powerful and cohesive counterweight. For instance, beginning with the collection's title, we [End Page 144] are deeply anchored in tradition with an allusion to Dickinson's "Between My Country—and the Others": Between My Country—and the Others—There is a Sea—But Flowers—negotiate between us—As Ministry. In other words, from the reader's very first glance, The Ministry of Flowers announces its primary themes of connectivity, framework, and communication, for doesn't a ministry inherently entail attending to place and others? Clearly, this is why the collection begins with the prose poem "Panoply": Some days the rigid silhouette of all we are is revealed in plates of glass. Some days we might touch the strange mesh of armor that keeps us upright and steady and wonder at how little keeps us from flopping into heaps on the floor like the billowing collapse of a circus tent as stakes are pulled from the ground. One may wonder, of course, whether we can trust this first poem as indicative of the collection's overall theme and mood, but reading on, we realize that what it establishes is the assumption of human fragility underpinning the themes of its sequels. Subsequently, vulnerability looms large—and not just that of humanity but of the world around us: the environment, our fellow creatures, the newborn in an incubator as well as the truck driver awaiting a shower at a truckstop. Consequently, the collection seems to interrogate the universe as to the ontological necessity for this state of affairs; why exactly, we might imagine the poems' speakers asking, must we endure universal vulnerability—and, granting that we must, how do we do so? Certainly, if we are to concur with Slot's own assertion that "there are two kinds of poets" we might infer from the collection's thrust that these two types comprise those who make statements and those who ask questions, classing Slot among the latter. And yet, the correlative question then becomes what answers The Ministry of Flowers might offer, whether these answers seem...

A quantitative model of verb–object order in Middle English with special reference to the prose–poetry distinction

This article reports a regression model for the change from OV to VO in Middle English. It focuses on genre (prose versus poetry) as a predictor by including data from a recently published corpus, the Parsed Corpus of Middle English Poetry (PCMEP; Zimmermann 2015). Other independent variables considered are time, object type, clause type and weight. The results specify the time course of the development in Middle English with great precision and replicate several effects from the previous literature including the importance of the genre variable, poetry being considerably more conservative than prose. It is recommended that poetry texts should be considered in studies on early Middle English syntax more generally to arrive at comprehensive assessments of linguistic changes at the time.

Robert Alter's New Translation of the Hebrew Bible: An Assessment for Translators

In the introduction to his new translation of the Hebrew Bible, Robert Alter is quite explicit about the task he set himself: “The present translation is an experiment in re-presenting the Bible in a language that conveys with some precision the semantic nuances and the lively orchestration of literary effects of the Hebrew and at the same time has stylistic and rhythmic integrity as literary English.” Alter explains this in more detail in the introduction and in his book, The Art of Bible Translation, with explicit criticisms of other English translations. In this paper I will explore Alter's own norms for translation and how he has applied them, paying special attention to parallel syntax, language level, repetition, wordplay, Hebrew and English word order, poetry in prose, rhythm, names of God, textual criticism, chapter division, and textual structure, as well as what Bible translators can learn from Alter’s translation.

Poetic Prose in Kurdish Literature as an Example in the Text (Snow Anthems or Burnt Colors)

This research, tagged with “Prose poem in Kurdish literature as an example, it is included in the text of the poet Dl shad Abdullah, “Anthem of Snow Writing or Burning Colors.” It attempts to show the form of “prose poetry” in Kurdish literature, especially in modern literature. In this historical era, it highlights the choice of the beginning of the emergence of the prose poem in modern Kurdish literature. However, the statement problematic of the research and its study, which is based on the principles and sections of the research, as for the results of the research, which includes the most prominent results that were reached at the end of the study. the most prominent of which is a description Genres of the prose poem, the principles and artistic features upon which the prose poems are based, including the study text (Anthem of Snow Writing or Burning Colors) in the poems (Beauty and Some Pages of Life the Snow Writer or Baw Balkan) by the contemporary Kurdish poet Dl shad Abdullah on the scale of prose poems in modern Kurdish poetry.

Babad Tanah Jawi, The Chronicle of Java: The revised prose version of C.F. Winter, Sr. (KITLV Or 8), by Willem Remmelink

Babad Tanah Jawi, The Chronicle of Java: The revised prose version of C.F. Winter, Sr. (KITLV Or 8), by Willem Remmelink

Arabic Prose Poetry

Abstract This article attempts to outline the most significant linguistic and conceptual transformations brought about by the developing periodical press and the translation movement in Egypt toward the beginning of the twentieth century. Both these phenomena entailed the need for new writing practices, which in turn led to intense discussions about the form and status of the literary/poetic text. While poetry constitutes the core of this discussion, the most relevant conceptual transformation that shall be highlighted here is the unprecedented move to involve prose as an equal component or tool of expression into the debate on how to (re)define poetry.

Mass Shootings Are Actually Pretty Rare, But Here’s What to Do If You’re Ever in One, and: Planet Fitness

Mass Shootings Are Actually Pretty Rare, But Here’s What to Do If You’re Ever in One, and: Planet Fitness Matt Donovan (bio) Keywords Matt, Donovan, poetry, prose poetry, shootings, mass shootings, police brutality, Terence Crutcher After Self Magazine & Wislawa Szymborska Mass Shootings Are Actually Pretty Rare, But Here’s What to Do If You’re Ever in One It could happen. Once it happens.Earlier, later. Closer todaybut not to you. You’ll survive because you ran, because you hid.Because you were first. Because last.Because alone. Because the others. Of course, highly unlikely.Of course, situationally aware.Be sure the door won’t open.Be sure the door won’t close.Conceal. Barricade.To the left, the right. Accept the soundfor what it is. If you’re lucky, there will be a fence.If you’re lucky, the fence has been removed.Perhaps a mug of coffee, door wedge, scissors,the broken leg of a chair. A turn, a shirt, a second.Perhaps a ballpoint pen. [End Page 232] Thanks to calm, an element of surprise. In spite of,& yet. What would happen if the eyes, the throat,the knees, a step away? So he is here? Straight from the momentwithout end? The net, the gun? But you, the mesh?I can’t be silent enough.Listen,how quickly your heart is beating & mine. [End Page 233] Planet Fitness I’m watching the police shoot an unarmed Black man while I run on a treadmill. His arms are raised and he’s walking backward toward his car as I run in place and an officer aims a gun and others arrive on the scene. The man’s hands are empty when he falls against his car and they’re empty when he drops to the ground. From the viewpoint of the helicopter hovering above, Terence Crutcher—his name, I’ll later learn, after looking it up, since no one said it as the footage played—walks backward, then dies on continuous loop on four of the fourteen screens. There’s Terence Crutcher on the ground once more. There are his hands raised. There’s his car, stopped in the middle of the road. There’s the guardrail, ditch. Here’s the moment—it’s becoming familiar already—when the helicopter swings to one side and the view becomes partially blocked before Terence Crutcher drops from sight and then he’s on the ground. Now the footage begins to play on a split screen—there’s the backward walk, his empty hands raised, the circling as he falls to the road—but his death is already a bit smaller because people have begun to speak. I can’t hear what they’re saying, but I watch their mouths move across from where Terence Crutcher lies in the road. Behind the row of TVs, in bright gold on the wall, a gigantic thumbs-up crashes through a cogged wheel next to emblazoned slogans. No Critics. Judgment Free Zone. Someone out there wants me to feel comfortable. Someone wants me to feel good. On other days when I’m running, I’ll anchor my eyes on that gigantic thumb or perhaps stare directly into one of the O’s in the words You Belong!, but today, instead, I’m watching Terence Crutcher stand in the road with his arms raised. The sound is off, but captions appear in boxes at the bottom of the screens. That looks like a bad dude, someone says from the helicopter hovering above, and then, just after the shots are fired, They’re going to need to get this eastbound closed down. The words lag then lurch forward again each time someone speaks. A day or two from now, I’ll learn that Terence Crutcher was born three minutes before his twin sister, that he loved the Dallas Cowboys and the gospel song “I Won’t Complain,” that he left behind three teenage daughters and a four-year-old son, but none of that fills the boxes on the screens. I’m running in place as Terence Crutcher walks backward or raises his hands or dies next to his car once...

“To‘tinoma” va uning o‘zbek adabiyotidagi variantlari

«Totynama» is one of the most well-known works of human literature. Ono imeet mnozhestvo variatsiy i do six por vyzyvaet bolshoy issledovatelsky interes. It is in this remarkable work, it has received a wide distribution and many pages, and various historical epoxies have been sufficiently interpreted by the author. «Totynama» by Ziyauddin Nakhabli, a recognized and respected master of the word, became a solid foundation for the creation of many more later versions of this unique creation. So, thank you, I’m writing, I’m translating it in my own language and masterski dorabatyvavshim eto proizvedenie, bylo sozdano neskolkko absolutely novykh ego prochteniy. Variant has similar popularity in Central Asia, small-town poets, curious introductions and traditional literary tradition. In the middle of the state, Uzbekistan is a special place in this region, where the ancient manuscript «Totynamy» is preserved and is fully used by the nation. In addition to that, in Uzbek literature, there are other great productions, similar to creations, and they also received the title «Totynama». The prose version of «Totynamy» by Latifi and the poetic version, vyshedshaya iz-pod pera Hiromi, steel sokrovishchami Uzbek literature, kotorye eshche vyshe podnyali ee uroven. In this state, an analysis of various sources and sources, scientific work, and the post-history of «Totynama» and the neighboring country have been carried out. The author presented his thoughts on the peculiarities of the «Totynamy» variation, which is widespread in Uzbekistan, and which is of great literary value.

Ramón Gómez de la Serna’s greguerías: futurist aesthetics and the re-emergence of the fragment

Ramón Gómez is known for his innovative short form of prose poetry, denominated “Greguerías.” Greguería could be described best as a certain kind of aphorism, a one-liner comic joke; also similar to wordplay, and occasionally, to mini philosophical annotations on life. Furthermore, De la Serna is considered the father of the Greguería, since he used it for the very first time at the beginning of 1910. After its appearance, this literary form became very popular and spread as a rhetorical and stylistic device within Spanish and Latin American literature. The Greguería nurtures a cult for the image; specifically, a witty and surprising image. De la Serna’s literary preference was the avant-garde. His book Ismos (1931) is dedicated to this movement and it introduced a new term in Spanish dictionary. In it, he defends artistic autonomy and freedom of words. De la Serna found himself at a literary crossroads with regards to the literary currents of his time, but in terms of style, experimentation and narrative technique, the model he chose to work with in Greguerías is obviously very close to contemporary short-short stories.

The Edinburgh Companion to the Prose Poem. Edited by Mary Ann Caws and Michel Delville

In the Introduction to this sparkling volume, framed with reference to remarkable books by Suzanne Bernard, Barbara Johnson, and Jonathan Monroe, the editors provide a clear map of the unmappable: the history and shape of the prose poem and its practice. Their map also sets out the Franco-American axis of the book, reaching out to Arabic, Chinese, and Japanese literatures. Having alluded to current anglophone practitioners such as Anne Carson and Rod Mengham, the editors show how the drift in poetry from verse to prose emerges in Baudelaire before it then darts into Mallarmé and Rimbaud. Prose poetry opposes the tyrannies of verse, metre, and rhythm, but verse and prose together also create opportunities to rethink poetry and its relation to the world. Like the flâneur emblematizing the elusiveness of prose poetry, this review offers a subjective sketch of the range of themes running through this clearly organized, highly informative, and still kaleidoscopic volume. One is the suggestion that prose poetry is an act of translation, presenting Baudelaire’s translation of Thomas de Quincey as prose poetry in action. Le Livre de jade (1867) is revealed as another catalyst in this verse–prose trans-formation: Judith Gautier’s collection of seventy-one poems ‘translated’ from their Chinese originals (there is repeated use of ‘selon’), which anchor poetry resolutely in everyday sensations and objects. An inverse journey is charted in relation to European prose poems rewritten and thus engendering new forms in Japanese. The experience itself of translating prose poetry is described in Piotr Gwiazda’s wide-ranging account of his 2013 English translation of Grzegorz Wróblewski’s Kopenhaga. Intermedial and well as inter-linguistic translation is an integral element in the work of this Companion, showing the prose poem and painting in continuous interaction, with the syntax of prose rather than the metre of verse providing an essential stimulus. The interaction of visual art and poetic syntax — rather than poetic form — revitalizes not only form itself but the materiality of language, including the use of the page. For Jean-Marie Gleize the page lights a fire under the pursuit of expressiveness and for Anne Portugal it opens poetry out to the flexibility arising from the simultaneity of different discourses. A series of texts by the L=A=N=G=U=A=G=E group of American poets, active in the late 1960s and 1970s, is explored for its use of columns, giving voice to asylum seekers’ pleas alongside professional accounts of medical imaging of the uterus. The productivity of intermedial border-crossing between prose poetry and film is also examined, in relation to Jérôme Game among others. Ultimately the work of the prose poem emerges as a series of challenges to the ways poetry and its readership are recognized, categorized, refashioned, and marshalled. The volume is plural in both content and tone, ranging from the philosophical to the cultural and historical, addressing issues of gender and the environment, and embracing the memoir as well as writing approaching the lyrical essay, itself identified as one of the threads in the development of prose poetry. This enthralling volume speaks in many engaging ways to students and scholars alike, and to anyone interested in the way aesthetics interacts with the fabric of life.

Love Child's Hotbed of Occasional Poetry: Poems & Artifacts

Love Child's Hotbed of Occasional Poetry: Poems & Artifacts

Internal Rhythm of Poetry from Perspective of (Sound Deviation) in the Cotemporary Kurdish Poetry in the (South of Kurdistan- Middle Dialect- Post-Uprising1991-2003

internal rhythm is considered as a fundamental principle in poetry in general and prose poetry in particular. Therefore، no poem is void of internal rhythm which encompasses sound and its components and consistent with other levels of Language because the most important features of text are (sound) and each sound represents particular rhythm. Thus، causes differences. Internal rhythm does not have specific form but it is rather related to the emotions and inner state of individual which varies according to time and place. Therefore، the critics and stylists’ resort to different elements to determine the internal rhythm of the poetry among them sound words and phrases.
 Types and places of occurrence at both horizontal and vertical level، other arts such as metaphor، paradox and its forms. In addition to (sound deviations) such as clipping، replacing and adding all these have significant role in creating internal rhythm. Internal rhythm went through a lot of changes before Uprising which was restricted and less free.
 Due to Uprising، a kind of freedom was achieved which brought about optimism and happiness on the part of Kurdish people. This was an incentive for the poets to ask for the change of the form and content of poetry and break traditional rules in writing poetry. However، this did not last long because sectarian violence occurred in Kurdistan and the poet’s adopted pessimism and despair in their writings. They tried to express this emotion through internal rhythm.

Disharmony and harmony in Rimbaud’s prose poetry

Disharmony and harmony in Rimbaud’s prose poetry

Ekphrastic spaces: the tug, pull, collision and merging of the in-between

ABSTRACT Although James A.W. Heffernan influentially defines contemporary ekphrasis as ‘the verbal representation of visual representation’ (1993, 3), we argue for a more dynamic and fluid understanding of ekphrasis. In particular, we focus on the multiple and indeterminate perspectives created by ekphrastic poetry, emphasising the way ekphrastic poetry develops complex and interart relationships that cause a fracturing and/or stretching in the perspectives of both the poem and the artwork(s) it invokes. A powerful in-between or liminal ekphrastic space is created in which meanings tug, pull, swirl and merge. As new meanings are created ‘betwixt and between’ (Turner, Victor W. 1979. “Betwixt and between: The Liminal Period in Rites de Passage.” In Reader in Comparative Religion: An Anthropological Approach, edited by W. A. Lessa and E. Z. Vogt, 234–243. New York: Harper and Row, 234), an ekphrastic point of view emerges, problematising and questioning both-artworks-at-once and highlighting the provisional as it probes what can possibly be said in language about modes of artistic representation in artworks. Additionally, because poetic ekphrasis cannot fully represent, and always reinterprets, another artwork, it is engaged in processes of substitution through which poetic tropes stand in for some of the content of the original artwork. In applying these ideas to the relationships of ekphrastic prose poems to works of visual art, we explicate works by David Grubbs and Lorette C. Luzajic, as well as our own ekphrastic prose poetry.

Time and space in Sigbjørn Obstfelder’s prose poetry

The article dwells upon the time and space in Sigbjørn Obstfelder’s prose poetry. The genre of prose poetry came to Scandinavia at the end of the 19th century, on the peak of the French symbolism popularity. The strong influence of the French symbolist Charles Baudelaire is obvious in Obstfelder’s works. The most significant feature that defines the chronotope of Obstfelder’s poems is opposition between man and nature. By a person the author means not a lyrical hero but other people, the whole society, the essence of which can be described as “the abode of many people”. “Other people” are synonymous with the concept of “city”, and this chronotope is clearly seen in many of his poems. The poet describes both nature and city in details and the chaos of the city extremely contrasts with the rich and harmonious life of nature. The opposition of harmony and chaos, sincerity and alienation is emphasized by the contrast between the sounds of nature and the city: between weeping, sobbing, screaming, roaring and the sound of drops, the rustling of leaves and the singing of birds. Despite the beauty and harmony of nature the lyrical hero still cannot exist outside the city for a long time. Perhaps he can exist only in a borderline state — between people and nature, harmony and chaos, trying to combine, unite in the mind both worlds, but staying alone in both of them. The common feature of all his prose poems is transition and border crossing and it can explain the originality of Obstfelder’s prose poems.