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.
The new issue of Jacket has an interesting anthology of new Russian poets. It’s edited by Peter Golub, who sets out his goals for the section in his introduction, which begins with a great disclaimer:
The faults of the anthology before you are clear: 1) it is an anthology, 2) it is an anthology of translations. [. . .]
With that said, let me briefly introduce this anthology, which attempts to represent the young Russians who are challenging and changing the field of contemporary Russian poetry. Nearly all the poets in this anthology are in their 20s or 30s, and many have never been translated before.
These poets are both the catalysts and the products of a paradigm shift in Russian letters. They came of age when the traditional institutions of the Soviet Union no longer existed or when these institutions were undergoing heavy revision during perestroika.
The rest of his intro is actually more interesting, discussing the issue of “sincere speech” in poetry after the Conceptualists and in a post-Soviet Russia before explaining why he chose certain poets:
These literary generations are not biological, but constructed by young writers in order to separate themselves from the dominant groups in the field. And, of course, it is clear that just because many young poets declare themselves members of the new generation does not mean that others do not choose to align themselves with the traditional camp.
However, I selected the great majority of the poets in this anthology because they belong to the category of newcomers who are not disposed to enter the cycle of simple reproduction, i.e. to recognize the old hallowed literature and do likewise. Many of these poets bring with them dispositions that clash with prevailing norms and expectations.
Number of interesting looking pieces in here (way too many to list), translated by some great translators (like J. Kates and Matvei Yankelevich, Chris Mattison, and Vitaly Chernetsky). Very cool that Jacket published this, and definitely worth checking out.
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .