In James Buchan’s review of Paul Celan’s Snow Part/Schneepart and Other Poems he asks just this:
Is there any purpose to translating poetry? A poem does not contain information of importance, like a signpost or a warning notice. If you do not understand what Sereni meant when he wrote “è la mia / sola musica e mi basta” or Propertius “sunt aliquid manes” or, come to that, Yeats “I must lie down where all the ladders start”, nothing so very dreadful will happen to you.
Which is bound to upset some people.
Well, today, Carol Rumens responds in her Guardian blog.
So why translate? My first answer is that poetry in translation simply adds to the sum total of human pleasure obtainable through a single language. It opens up new language worlds within our own tongues, as every good poem does. It revitalises our daily, cliche-haunted vocabulary. It disturbs our assumptions, jolts us with rhythms flatter or stronger than we’re used to. It extends us in the way real travelling does, giving us new sounds, sights and smells. Every unique poetry village sharpens us to life.
Fair enough. And I especially agree with this sentiment:
Some people would disagree, saying poetry in translation is the wrong side of the tapestry – it just can’t be done. But they are talking about replication, not translation. It is perfectly true that you will never get a replica of the original – nor would you wish to. The way it works, when translator and original are in tune, is that a third poem is created. It is the child of two parents and simply couldn’t exist without them.
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. . .