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By John Taylor

This booklet is either a sequel to writer John Taylor’s prior quantity Into the guts of ecu Poetry and anything diversified. it's a sequel simply because this quantity expands upon the bottom of the former booklet to incorporate many extra ecu poets. it's varied in that it's framed by means of tales during which the writer juxtaposes his own reports related to ecu poetry or ecu poets as he travels via diverse international locations the place the poets have lived or worked.

Taylor explores poetry from the Czech Republic, Denmark, Lithuania, Albania, Romania, Turkey, and Portugal, all of that have been lacking within the earlier accumulating, analyzes heady verse written in Galician, and provides an enormous poet born within the Chuvash Republic. His journey via ecu poetry additionally provides discoveries from international locations 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 take pleasure in a renewed discussion with eu poetry, specifically in an age while translations are not often reviewed, found in literary journals, or studied in colleges. This e-book, in addition to Into the guts of eu Poetry, motivates a discussion by means of bringing international poetry out of the really expert confines of overseas language departments.

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Of course. A high point is reached when we analyze Bouvier’s poem “Hotel,” included in his one poetry volume, Le Dehors et le Dedans (The Outside and the Inside, 1982), which Yamily Yunis is transforming into Peruvian Spanish. ” Then everything quiets down, and the boys stand in line before an immense clamor breaks out and the boys must salute the flag. ” With their clove cigarette butts stuck to their lips, do the boys (and the poet) sense that they “couldn’t care less,” “couldn’t give a damn,” “couldn’t give a fuck”?

As Paul Valéry remarked of a poem, a translation is never finished, only abandoned. ” This additional impossibility involves another kind of translation whose unattainable ideal poet translators can perhaps intuit more precisely than monolingual writers, however focused they may be on such enigmas. The phrase is found in “Sur la mort brève” (On Brief Death), a short-prose sequence by Pierre Voélin (b. 1949), another poet whose work found its way into my hands in Looren. This poet of alluring, cryptic verse also wanders near woods and fields, as in this poem selected by Jaccottet for his anthology: Below the bark and the thin leaf of the birch you take shelter, silence—and I take shelter And you are equal to the Silesian Angel’s rose beautiful you are, beautiful in being without whys Even the shadows today are favorable The wheat will surge forth and place the summer on its stems for you who doubt and walk panting toward your beginning.

And consider this dialogue, excerpted from a longer poem that reproduces with perfect realism a scene from the Yugoslav Wars of the 1990s: Are they oysters, commander,” asked the young lieutenant as he looked at the basket near the table. “Twenty kilos of Serbian eyes, a gift from my men,” answered the colonel, smiling. He kept them in his office next to the table. Ripped out by Croatians from prisoners. Buffoni’s thematically disparate sequences about war and childhood are nonetheless formally linked by the poet’s technique of superposing various time frames, and this is why depictions such as the above, once reinserted into the broader and more intricate context of the long poem or sequence, are less straightforward than they might seem.

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