Poetry judge Matthew Zapruder — poet, translator, academic, and co-editor of Wave Books — wrote the review below. I’m running another of his write-ups tomorrow, as we work our way through the poetry finalists.
The poems in In Such Hard Times: The Poetry of Wei Ying-wu feel strangely connected to our current historical situation. The struggle of this individual poet to find himself, personally and spiritually, through his poems, feels like a contemporary search. Like other T’ang Dynasty poets (Li Po and Tu Fu and many others) Wei Ying-wu writes to his friends, and wonders what he is going to do with his life, why he is living and working the way he is. He is caught between the needs of the world and his spiritual impulses. He wonders and despairs. Yet somehow, even more than Tu Fu and Li Po, whose poems are deservedly beloved in their various translations, Wei Ying-wu in particular feels like our T’ang poet: the one who most directly connects to the spirit of our time, today.
English translations of Chinese poets of the T’ang dynasty period (618-907 A.D.), by Ezra Pound, Kenneth Rexroth, Gary Snyder, David Hinton, David Young and many others have played a major role in the development of contemporary American poetry. The T’ang was perhaps the greatest era of poetry writing in human history. And the addition of another significant translation would be, in purely historical terms, a major event. The fact that these poems are translated with such clarity, unassuming erudition, good humor, precision and just plain old skill by Red Pine (aka Bill Porter) is unsurprising, given the translator’s previous output, including a translation of the canonical anthology of Chinese Poetry Poems of the Masters, as well as poems by Cold Mountain, several important Sutras, and an edition of the Tao Te Ching. And these new translations are nothing short of a poetic revelation.
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .