Posts by A. Z. Foreman

Translation Tuesday: Three Poems by Wen Yiduo

Just hear the gunfire! Death is roaring, reaving. / Silent night, how could you keep my heart from heaving?

If you’re unfamiliar with the work of Wen Yiduo, the renowned Chinese poet of the 1920s, these three poems demonstrate why he became a household name in his native country. The first, “Deadwater”, describes a backwater ditch, where the filth seamlessly transforms into images of ethereal beauty (“let the grease weave a layer of silk brocade / where germs brew a mist like twilit clouds at dusk”). In the second, “Silent Night”, the speaker’s comfortable domestic life can’t obscure the knowledge of suffering outside, piquing a deep indignation at the unfairness of the world. Finally, “End of Days” imagines the dull wait for death, consumed by loneliness and dread. All three are suffused with Wen’s trademark kaleidoscope of devout aestheticism, deeply intellectualized formalism, and raw patriotism.

While this selection of poems have been translated into English before, translator A. Z. Foreman‘s innovative adherence to a strict rhyme scheme draws out the poet’s original intention. Wen, a key figure in the “formalist school” of Republican China’s poets, didn’t care for much free verse and long rejected the idea that Chinese poetry should be in free verse at all. The basis of his poetic vision is not freedom but beauty, a beauty inspired by the English romantics and the formalist concept of “dancing in chains.”

Deadwater

This is a dead ditch rank with despair’s backwater.
A brisk wind can’t raise a ripple from its skin.
Why not junk some more scrap tin and copper here,
or dump your rotten dinner leftovers in.

Maybe the copper will turn to an emerald green,
and peach blossoms bloom out of the tin pots’ rust.
Then let the grease weave a layer of silk brocade
where germs brew a mist like twilit clouds at dusk.

Let the dead ditchwater ferment to green liquor
bubbling up floating pearls out of its white foam,
little pearls growing to bigger pearls in chuckles
that burst when liquor-raiding mosquitos come.

And so a dead ditch rank with despair’s backwater
can claim something lively, bright and all its own.
If the frogs here can’t handle the solitude
this stagnant muck can gurgle them up a tune!

READ MORE…

Translation Tuesday: “The Buddha” by Jules Boissière

The Buddha gave our wolfish men a smile.

This week’s Translation Tuesday presents a chilling and challenging poem by Jules Boissière, translated from the Occitan. At turns uncomfortable to read yet undeniably skilful in its imagery and structure, the poem’s deft enjambment and linguistic precision belies the speaker’s cultural ignorance (e.g., the suggestion that the Buddha is revered as a god) and his complicity in colonial terror. It’s admittedly difficult to make sense of the colonizer’s mindset, which at once mourns a seemingly indifferent universe while confirming the wolfish volition of his compatriot soldiers.

Also noteworthy is the poet’s insistence on writing in Occitan rather than French. Writes translator A.Z. Foreman:It is only in Occitan that Boissière allows himself to be honest about life as a colonial soldier. This poem gives a soldiers’-eye view of terrorized civilians running for their lives from a home in flames, followed by a macabre meditation. We are more accustomed to poetry that describes the effect of brutality on those who suffer from it. This poem, though, conveys the effect on a man who inflicts it. The coarsening of the mind, brought on by acceptance of the horrific.”  

The Buddha

Our soldiers won, then torched a domicile.
The owner with his sons ran half a mile
Under gunfire. On the ancestors’ altar
Not guarding the old creeds or their old shelter,
The Buddha gave our wolfish men a smile. READ MORE…