This post is giving away something about the make-up of the ten “Best Translated Book of 2008” poetry finalists . . . But whatever, there were four great poetry anthologies that came out this past year that deserve a bit of extra recognition, so in advance of tomorrow’s announcement, here are a few extra books worth checking out:
It is difficult to get beyond the novelty inherent in the New European Poets project. Its remarkable scope, breadth and depth show-cases 290 poets representing 45 nations, all bridged by nearly 200 translators and directed by 24 regional editors. Every contributing poet’s first collection was published in or after 1970. The motivation behind the project is two-fold, reintroduce and reengage American readers with European poetry and express how the borders of Europe have been redrawn in recent decades there by altering its regional identities along with its identity as a whole. And what is contemporary Europe anyway?
This is a mammoth book, and a necessary one for anyone interested in contemporary European poetry.
Belonging: New Poetry by Iranians Around the World is edited and translated by Niloufar Talebi, and features a range of contemporary Iranian poetry. Peter Conners reviewed this for us and had this to say:
After reading her introduction and the first few sections of Belonging, I realized that Talebi had accomplished perhaps the greatest service that a translator of Iranian poetry for American audiences can provide: she made the Iranian poetic landscape feel familiar. Not only familiar, but modern, full of laughter, rich with wonder, completely joyful and terrible and worthy of revisiting multiple times. Without being able to compare it to the original Persian, I can only say that the poetry in Talebi’s translations is lucid, rich with music, and highly accessible.
In addition to this anthology, it’s worth checking out Niloufar’s Translation Project as well. She’s doing a lot of great things for Persian literature as a whole, and the blend of text and performance is unique and very compelling. (In fact, if you happen to be in San Francisco next week, you should check out the 2nd Annual Iranian Literary Arts Festival that the Translation Project is putting on.)
Part of the NEA’s International Exchange program, Contemporary Russian Poetry is an ambitious undertaking. Edited by Evgeny Bunimovich and Jim Kates, it features forty-four Russian poets, all born after 1945. It also features dozens of great Russian translators as well.
(As a sidenote, one of the books I’m looking forward to in 2009 is Best of Contemporary Mexican Fiction, another NEA project that Dalkey is publishing. Edited by Alvaro Uribe and Olivia Sears, this looks like a great round-up of the current literary scene in Mexico.)
Edited and translated by David Hinton, _Classical Chinese Poetry is another book that, if for nothing else, deserves some praise for its enormous scope:
With this groundbreaking collection, translated and edited by the renowned poet and translator David Hinton, a new generation will be introduced to the work that riveted Ezra Pound and transformed modern poetry. The Chinese poetic tradition is the largest and longest continuous tradition in world literature, and this rich and far-reaching anthology of nearly five hundred poems provides a comprehensive account of its first three millennia (1500 BCE to 1200 CE), the period during which virtually all its landmark developments took place. Unlike earlier anthologies of Chinese poetry, Hinton’s book focuses on a relatively small number of poets, providing selections that are large enough to re-create each as a fully realized and unique voice. New introductions to each poet’s work provide a readable history, told for the first time as a series of poetic innovations forged by a series of master poets. From the classic texts of Chinese philosophy to intensely personal lyrics, from love poems to startling and strange perspectives on nature, Hinton has collected an entire world of beauty and insight. And in his eye-opening translations, these ancient poems feel remarkably fresh and contemporary, presenting a literature both radically new and entirely resonant.
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .