Over the course of this week, we will be highlighting all 6 BTBA Poetry Finalists one by one, building up to next Friday’s announcement of the winners. All of these are written by the BTBA poetry judges under the rubric of “Why This Book Should Win.” You can find the whole series by clicking here. Stay tuned for more information about the May 3rd ceremony.
The Invention of Glass by Emmanuel Hocquard, translated from the French by Cole Swenson and Rod Smith, and published by Canarium Books.
Brandon Holmquest is a poet, translator, and the editor of CALQUE.
1. Because it manages the difficult trick of being intellectual without being academic, of being lyrical without being Romantic, of being poetic without being precious.
2. Because it is skillfully, by which I mean subtly, modeled on glass itself. There is a transparent quality to the poems, they are faintly traced through with colors at times, they tend to slightly warp the images and people one glimpses through them.
3. Because it contains lines like:
. . . Between Deleuze and Wittgenstein
there is Reznikoff and there is also
a wall . . .
4. Because after an 84-page section called “Poem” comes a 24-page one called “Story” which appears to explain the references and anecdotes in the poems, and does to some extent, but which also contains a further crop of anecdotes, more prosaic but no less charming than any that come before.
5. Because in it there is an openly-declared influence of American poets, which somehow does not result in the translation simply sounding like the specific poets quoted or winked at. This “somehow,” in my experience, is almost always explained by the skill of the translators, and such is the case here.
6. Because it is a book of poems from France that is about the difficulties of being a real person, as opposed to the more frequently seen subject of recent French poetry, the difficulties of being a person with money.
7. Because in reading it one is reminded of those French poets of the last forty or fifty years that really matter, especially Ponge and Char, without feeling like what one is reading is derivative of those writers. It seems rather to be the case that Hocquard is himself part of something they are part of as well, and he therefore merits wider readership so that this larger whole may be better understood, if for no other reason.
7.5 Because there are many other reasons.
A couple weeks ago, the National Book Critics Circle hosted a panel at Prairie Lights Books in Iowa City entitled “Why Translation Matters?” and featuring Sarah Fay, Christopher Merrill, Cole Swenson, Russell Valentino, (incorrectly identified as Rudolph Valentino on the NBCC info page, which isn’t necessarily the worst person to be mistaken for) and Robin Hemley. (More on all of them below.)
I remember hearing about this panel and hoping that it would be recorded and made available at some point, and thankfully, it now is.
Here’s a bit from the NBCC on all the participants:
Sarah Fay is an advisory editor at The Paris Review. Her work appears regularly in the New York Times Book Review, The Paris Review, Bookforum, and The American Scholar, among others. She is currently a Ph.D. candidate in English Literature at the University of Iowa.
Christopher Merrill has published four collections of poetry, including Brilliant Water and Watch Fire, for which he received the Peter I. B. Lavan Younger Poets Award from the Academy of American Poets. His work has been translated into twenty-five languages, his journalism appears in many publications, and he is the book critic for the daily radio news program, The World. He now directs the International Writing Program at The University of Iowa.
Cole Swensen is the author of twelve books of poetry, most recently Ours (University of California Press, 2008). Her work has been short-listed for the Los Angeles Times Book Award and the National Book Award and won the Iowa Prize, the San Francisco State Poetry Center Book Award, and the National Poetry Series. A 2007 Guggenheim Fellow, she is the co-editor of the Norton Anthology American Hybrid and a professor at the Iowa Writers Workshop.
Russell Scott Valentino is a translator and scholar based in Iowa City, Iowa. He has published eight books and numerous essays and short translations of fiction, nonfiction, and poetry from Italian, Croatian, and Russian. He is the publisher of Autumn Hill Books and Editor of The Iowa Review.He teaches in Iowa’s Translation Workshop.
Robin Hemley is the author of eight books of fiction and nonfiction, most recently Do-Over (Little, Brown). His work has been anthologized widely and he is the recipient of numerous awards including a 2008 Guggenheim, The Nelson Algren Award for Fiction, an Editor’s Choice Book Award for Nonfiction from The American Library Association, and two Pushcart Prizes. He currently directs UI’s Nonfiction Writing Program.
Paul Klee’s Boat, Anzhelina Polonskaya’s newest bilingual collection of poems available in English, is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel. A former professional ice dancer(!), Polonskaya left the. . .
In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
There are curious similarities in three Italian mystery series, written by Maurizio de Giovanni, Andrea Camilleri, and Donna Leon.1
They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .