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.
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .