The latest addition to our Reviews Section is a piece by BTBA judge Erica Mena on fellow BTBA judge Idra Novey’s translation from the Portuguese of Manoel de Barros’s Birds for a Demolition, which came out from Carnegie Mellon University Press earlier this year.
Erica Mena is a poet, a translator, and visible. She joined the BTBA poetry committee this year, and has reviewed for us in the past. She’s also the host of the “Reading the World Podcast series”: http://www.rochester.edu/College/translation/threepercent/?s=tag&t=reading-the-world-podcast which is available by clicking there, or at the side, or on the iTunes.
I don’t know much about Manoel de Barros, but Idra Novey is phenomenal, and if she translated something, I’m sure it’s good. Idra is the director of the Literary Translation at Columbia program. (Quick observation: so they’re using the “at” in the acronym? Is that because LTAC is that much easier to pronounce than LTC? Must be another department with that same LTC designation . . . The Long Term Care program?) She’s also a poet, a translator, and an overall awesome spokeswoman for literature in translation.
And as mentioned above, she’s also a member of the BTBA poetry panel. And just to make sure no one thinks the fix is in, to avoid potential conflicts, Birds for a Demolition won’t be considered for this year’s award.
But that doesn’t stop us from reviewing it . . .
Birds for a Demolition is a deceptively slight book of deceptively simple poems. Poems that at first glance seem embedded in the natural world, in the landscape of Brazil, in the language of the wetlands. But this is in fact an expansive collection, spanning more than forty years of Manoel de Barros’s illustrious career and a breadth of styles and subjects. Idra Novey’s first triumph in this book is the selection of these poems, which make clear the development of the poets trajectory, while elucidating de Barros’s unwavering interest in language and the poetic self. Her second is her successful performance, as she put it in an interview with Subtropics, of de Barros’s voice in English.
These sparse poems are poems of “re” and poems of “un.” Poems that reinvent the natural world, that undo the poetic self, that redraw the relationship between language and nature and undermine it. “Before anything else a poem is an un-utensil.” (“from Thrush in Darkness III”).
Click here to read the full piece.
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. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .