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.
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. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .