By John Taylor
This publication is either a sequel to writer John Taylor’s prior quantity Into the center of eu Poetry and whatever varied. it's a sequel simply because this quantity expands upon the bottom of the former ebook to incorporate many extra eu poets. it really is diversified in that it really is framed by way of tales within which the writer juxtaposes his own reports concerning ecu poetry or ecu poets as he travels via diverse nations the place the poets have lived or worked.
Taylor explores poetry from the Czech Republic, Denmark, Lithuania, Albania, Romania, Turkey, and Portugal, all of which have been lacking within the past amassing, analyzes heady verse written in Galician, and provides a tremendous poet born within the Chuvash Republic. His travel via eu poetry additionally provides discoveries from nations whose languages he reads fluently—Italy, Germany (and German-speaking Switzerland), Greece, and France. Taylor’s version is Valery Larbaud, to whom his feedback, with its liveliness and analytical readability, is frequently compared.
Readers will get pleasure from a renewed discussion with ecu poetry, specifically in an age while translations are not often reviewed, found in literary journals, or studied in faculties. This ebook, in addition to Into the guts of ecu Poetry, motivates a discussion via bringing overseas poetry out of the really expert confines of overseas language departments.
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The same poem begins Bits of dirty soap scattered nearly everywhere And half of a dry turd on the toilet seat And this morning on the clean sheets tiny blood stains from the bedbugs but the mattress was good and I slept like a king even so. Have we all slept like kings in similar circumstances? Perhaps not. Translators of poetry therefore also talk about the necessity of communing with their foreign poet’s experience, of entering into his sensibility through his words. If the poet is dead, words are all we have, though these may extend beyond a given poem to other books, a journal, or correspondence.
As with all of Hofmann’s translations, vivacity and inventiveness abound. Is the translator sometimes too inventive? His audacity inevitably raises this issue. Among my own hesitations are the French words rendering German words or phrases that do have English equivalents. ”? Elsewhere, Hofmann provides what might be called popular-cultural equivalents for more standard German expressions. ” The solution is witty but risks appearing too culturally specific in the long run. To Hofmann’s credit is an acute sensitivity to, indeed empathy with, the countless variety of sources behind Benn’s vivid imagery and to Benn’s poetics as a whole.
His astonishing sequence of sequences, Lingos I–IX, has been given an exceptional translation by Rosmarie Waldrop. Each of the nine Fachsprachen I–IX, as they are called in the original (which have now been extended to Fachsprachen X–XVIII and Fachsprachen XIX–XXVII), can be defined as a series of poems all composed in the same fixed form: every poem in a given series is made up, for instance, of four quatrains, seven triplets, and so on. These are the strict formal patterns that Stolterfoht has adopted for some of the wackiest, but also at times suddenly moving, contents imaginable.
A Little Tour through European Poetry by John Taylor