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Between the New Poems of 1907 and 1908 and his death in 1926, Rainer Maria Rilke published only two major volumes of poetry--the Duino Elegies and the Sonnets to Orpheus, both in 1923. But during this period he was writing verse continually, often prolifically--in letters, in guest books, in presentation copies, and chiefly in the pocket-books he always carried with him. This body of uncollected work exceeds five hundred pieces: finished poems of great poise and brilliance, headlong statements that hurtle through their subjects, haunting "fragments," and short bursts...

Who, if I cried out, would hear me among the angelic
orders? and even if one of them pressed me
suddenly to his heart: I'd be consumed
in that overwhelming existence. For beauty is nothing
but the beginning of terror, which we can just barely endure,
and we stand in awe of it as it coolly disdains
to destroy us. Every angel is terrifying.
-from "The First Elegy"

Over the last fifteen years, in his two volumes of New Poems as well as in The Book of Images and Uncollected Poems, Edward Snow has...

Breathing, you invisible poem
World-space in pure continuous interchange
with my own being. Equipose
in which I rhythmically transpire.

Written only four years before Rilke's death, this sequence of sonnets, varied in form yet consistently structured, stands as the poet's final masterwork. In these meditations on the constant flux of our world and the ephemerality of experience, Rilke envisions death not only as one among many of life's transformations but also as an ideally receptive state of being. Because Orpheus has visited the realm of death and returned to the living,...

The formative work of the legendary poet who sought to write "not feelings but things I had felt"

When Rainer Maria Rilke arrived in Paris for the first time in September 1902, commissioned by a German publisher to write a monograph on Rodin, he was twenty-seven and already the author of nine books of poems. His early work had been accomplished, but belonged tonally to the impressionistic, feeling-centered world of a late-nineteenth-century aesthetic.

Paris was to change everything. Rilke's interest in Rodin deepened and his enthusiasm for the sculptor's "art of living surfaces" set...