Richard Howard's translation of this quietly radical work is the first to be published in nearly a century, and the first to accurately convey Maeterlinck's elusive visionary force. The poems, some of them in free verse (new to Belgium at the time), combine the decadent symbolism and the language of dislocation that Maeterlinck later perfected in his dramas. Hothouses reflects the influence not only of French poets including Verlaine and Rimbaud, but also of Whitman. As for the title, the author said it was "a natural choice, Ghent . . . abounding in greenhouses."
The poems, whose English translations appear opposite the French originals, are accompanied by reproductions of seven woodcuts by Georges Minne that appeared in the original volume, and by an early prose text by Maeterlinck imaginatively describing a painting by the sixteenth-century Flemish artist Pieter Brueghel.
A feat of daring power extraordinarily immediate and inventive, Hothouses will appeal to all lovers of poetry, and in particular to those interested in Modernism. Maeterlinck's enormous fame may have faded, but twentieth-century writers such as Beckett are still our masters who testify to its undying influence.
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