Vincent is a regular contributor here, and I can guarantee that his review will give you some great poet-poetry insight and a few laughs for this chilly Monday morning (as well as a new recommendation for great international poetry). Here’s a part of his review:
bq The (incredibly exaggerated) dilemma of poetry in these United States, at least in the minds of poets, is that no one cares to read verse. The complaint is often made: readers have no appreciation for poetry here, not like they do in Russia and Latin America and Ireland and Poland. And, it turns out, in Italy. If the jacket of My Poems Won’t Change the World is to be believed, Patrizia Cavalli is a national treasure in Italy, much the way Wisława Szymborska was in Poland or Nicanor Parra is in Chile. Patrizia’s readings pack halls and her elegant, colloquial poems have enchanted European readers. At long last, her “music,” as Jorie Graham calls it, is available for American readers to ignore.
What brought this collection to life? The answer is the concerted effort of its editor and primary translator, Gini Alhadeff, who does a very good job rendering Italian into airy, digestible English. Alhadeff has had some help along the way; none other than Kenneth Koch, Mark Strand, and the before-mentioned Jorie Graham—all relatively famous American poets—have lent their skills to the translations, as have J, D. McClatchy, David Shapiro, Jonathan Galassi, Rosanna Warren, and Geoffrey Brock. With such a large group of translators focusing on one poet’s work the results can sometimes be intriguing, albeit unfocused. The reader sees something of the translators’ individual fingerprints in the English renditions, sometimes benefiting the poems, but the cumulative effect is not unlike current hip hop records made with an all-star lineup of heavy-hitting producers. Sometimes it is better to select one producer and let them work closely with the artist, creating a unified vision.
For the entire piece, go “here”:
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
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. . .