One cool factoid and product from the process of this bilingual volume of poetry coming to be, as Grant points out, is that D’Aquino and Gander spent loads of time together translating each others’ poems. That’s an intense form of tandem work that not everyone has the opportunity to experience, and I can only imagine the value such an experience could give to both authors-translators.
Here’s a bit of Grant’s review:
When I pick up a book of poems labelled “nature poetry” I expect images of autumn leaves, sunrises and sunsets, flowers in various stages from spring through the end of summer, tracking a first person reflection on life’s challenges. Roethke, Ammons, and contemporary poets such as Patti Anne Rogers craft authentic metaphorical images from nature, but for the most part nature poems can seem tired or forced. D’Aquino’s poems are deeply informed by the natural world, but his images are fresh, the reach of his poetry is into a fusion of the natural world with human experience that does not privilege one over the other.
Gander is one of the English-speaking world’s foremost translators of contemporary, living poets from Latin America. In his introduction Gander explains that D’Aquino lives a life apart from the central poetic world found in Mexico City, which Gander terms as combative. Instead D’Aquino has lived on the outskirts of Cuernavaca, in jungle-like vegetation where the poet has learned the names and uses of plants, and is an expert on the fauna. Gander and D’Aquino had significant face-to-face time, together translating each other’s works into their respective native languages—so fitting for a poet who translates between the human and natural, as if this is the node in which D’Aquino dwells. The poems are presented with the original Spanish facing the English translation.
For the rest of it, go here.
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
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. . .