The latest addition to our Reviews Section is a piece by Erica Mena on Edward Hopper, a poetry collection by Catalan author Ernest Farrés, translated by Lawrence Venuti and published by Graywolf Press.

I’ve been interested in this collection for a while—partly because I love Catalan lit, but also because Quim Monzo’s Gasoline (which we’re publishing in April) opens with a Hopper image, which seems like an odd coincidence. (Or maybe not, since it’s not like Hopper’s unknown or anything.)

Anyway, Erica and I interviewed Larry Venuti about this book for our forthcoming Reading the World podcasts, and it was an absolutely amazing conversation. Larry’s explanations of how the project came about, all the theoretical and practical implications, his unpacking of one of the poems . . . very amazing.

That will be online soon (er, relatively speaking), but in the meantime, I want to encourage everyone to check out Alluringly Short, Erica’s new blog about poetry, translation, and poetry in translation (there’s a great post about Chilean Poetry definitely worth reading). And instead of trying to write a one-sentence bio, you can find out more about Erica via her entry in the Making the Translator Visible series.

And here’s the opening of her review:

Edward Hopper (Graywolf, 2009) is a complex and striking work of narrative-lyrical poetry, skirting on the epic, that is also one of the more interesting books of poetry to be recently published in English. There are a number of things that make Lawrence Venuti’s translation of Ernest Farrés’s book of poems in the voice of Edward Hopper unusual. One should be obvious from the previous sentence: a tripled persona in which translator speaks for poet who speaks for painter. Another is the scope of the project as a whole; Edward Hopper is envisioned as a complete sequence, gripping in its narrative-lyrical arc, though the poems equally stand alone. The book is also a work of ekphrasis—each of the 51 poems taking its title from a Hopper painting—but radically departs from mere description. The biographical (or pseudo-biographical) engagement with Hopper’s oeuvre sketches its own chronology, re-contextualizing each painting, and shedding new light or shadow on the works.

One might expect a poetic work of ekphrasis to be centered around the image, but what is most immediately enticing about this book is the narrative-lyrical arc which appropriates Hopper’s works and biography, subjugating them to the voice of the poet while the poet simultaneously becomes subsumed in them. It is a book of poetry that demands attention from the reader at every move, and demands that attention on its own terms. Like listening to a symphony in full, the poems in their individual movements culminate into a picture of a life that is at once specific and universally recognizable. Venuti, like a great conductor, moves the poetry through his own language that neither obscures nor clarifies the richness of the original, but allows it to be heard in its full tonality. The composition and translation both are ekphrasis at its most successful, its most layered. In “Self Portrait, 1925-1930” —the first poem in the book, and the only one with an overt intrusion of Farrés’s voice—Hopper is reincarnated through the Borgesian mirror of the painting into the body of Farrés. But the transmigration is incomplete, and the voice slips in opportune places throughout the book to reveal a Catalan poet seeing Hopper’s North America, and in it the broader scope of modernity’s disillusionment. Farrés shares Hopper’s “fears, obsessions, anxieties” and the immediacy of their pressure on the landscape and people resonate through the language, preventing even the slightest distancing of the voice.

Click here to read the full review.