Poetry judge Matthew Zapruder — poet, translator, academic, and co-editor of Wave Books — wrote the review below. I want to publicly thank him — and all the poetry judges — for helping provide info about all of the BTBA poetry finalists.
The Romanian poet Liliana Ursu’s wonderful new volume, Lightwall, continues to establish her reputation as one of the foremost living Central European poets. This is her fourth book in English: previously she worked with legendary Romanian translator Adam Sorkin and poet Tess Gallagher, to marvelous effect, and this time she is lucky again to collaborate on the translations with Sean Cotter, who has also written a fascinating introduction to the book. The results in English are full of power and grace. Ursu’s poems are sometimes mythic, taking place in an imagined landscape; at others, they are full of everyday details, but always viewed through her particular pleasurably tilted lens. In this latter way she is, as Slovenian poet Tomaz Salamun justly calls her, “an archeologist of light.” Ursu’s poems are built structures in which light, aka consciousness, or seeing, bounces pleasurably and strangely around.
The poems of this bilingual edition continue to exhibit Ursu’s idiosyncratic transformative imagination, but also include more details of everyday life in America, where she has spent significant time over the past decade, teaching and writing. “Waiting for Hurricane Isabella to Pass” for instance begins with the lines:
On my table: The Art of Poetry, Lives of Egyptian Saints
and the coffee from Starbucks I drink every morning
with eyes lost to my American window.
This is a perspective somewhat familiar to any reader of contemporary American poetry, but also more confident and stranger in its distance. And when the second stanza begins “
I also talk to an old tree
whom I address as ‘Your Majesty,’
we feel in the presence of a European, contemporary poetic perspective, one that is, like this entire terrific book of poems, very exciting and welcome.
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
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. . .