What This Book Is Not; What This Book Is

In the opening part of this introduction I introduce, first: what this book certainly makes no claims to being, its shortfalls and limitations; and then second: some prefatory remarks regarding the mode and the structure of this book- length essay on Fiona Sampson. Some detailing now of what this book is not.

I am no linguist, and the first way in which this book- length essay of literary- critical reading and appraisal falls short of the full range of Sampson’s work starts with my lack of fluency with (and even in translation) or knowledge of the current literary scene in postcommunist Europe. I mention some of Sampson's work, either as editor or translator in this part of the international literary scene (her work on and with Nobel nominee Jaan Kaplinski a central example here); and, indeed, in relation to other parts of the globe, such as her work with Amir Or (and others) from Hebrew. However, throughout I claim only to read how Sampson's writing in these areas seams with and is significant for the more broadly argued thesis and theses (about her poetics and poetic career) of the loosely interlocking chapters that follow.

A second incompetence comes with my near- zero knowledge of musicology. Again, there is comparatively little conceptual and literary– theoretical grasp in the reach of my readings where musical knowledge or analogy is specifically used. The hope is, nonetheless, that enough has been grasped to illuminate the poetic and literary oeuvre in ways that might be suggestive to later students of the subject who wish to approach the oeuvre from a more rigorous and detailed musical angle.

Another caveat to mention here is that this is a work of literary criticism and of close reading, and that is all that the interpretative weaving work below encompasses and enacts. It has been the case that much of Sampson's oeuvre has been deftly elided, especially the gamut of much of her more workaday reviews and articles, which might have furthered insight into the overriding artistic temperament or sensibility that is the focus of this book; and this, primarily for reasons of economy.