Posts filed under 'Poetry'

Translation Tuesday: Multilingual Poems by Ann Cotten

In honor of our July Issue, a super-special multilingual Translation Tuesday—Ann Cotten translates Ann Cotten, and back again!

Ann Cotten is a multilingual poet based in Berlin. These poems hail from Fremdwörterbuchsonette, her first book of poems. Inextricably multilingual, maddeningly compelling, borderline cantankerous—her poems are all unique valences of self-translations that interrogate place and language in way that evokes both the familiar and the jarringly new.

Select translation:

nonesuch I (from Fremdwörterbuchsonette)

 

The ghost entered me like a kind of shirt.

It hung next to the dancefloor and was opposite

to all. That sounds a bit odd, not quite

credible, certainly I cannot say it right.

 

Something was backward in the whole construction

of what I happened to be working on.

Time seemed to have some purpose further on

with me, wrung me and couldn’t work it out.

 

And so I leant against the wall and smoked,

and watched the Russendisko on and on and smoked

too much. And I was much too bored to write.

Still not at all ill at ease, squandering my light

I thought of never going home to better-lighted dirt

and suddenly began to see the ghost in the shirt.

 

“O ghost,” spake I, “please understand my wonder!

I didn’t know that ghosts would deign to wander

casting their eyes perplexingly asunder,

in shirts, our fears and echoings to pander.”

 

The ghost just stared at me. A girl came over

and asked me for a light. My boyfriend came

and told me he was going home. It was the same

to me. I nodded, quite the midnight rover,

 

knowing myself to have become rather a dud,

my self’s long-empty shell, and how my words

rustled and shifted, like rice in gourds,

vague and conceited like smoke from a cigarette,

cold and precise like condensation.

 

And I awoke, as cold as ash, in my own tub.

***

nonesuch II (from Fremdwörterbuchsonette)

 

In my own tub I lay and dreamt of girls

who come around and ask you for a light.

Their little souls rotate inside their eyes

as my lighter renders them closer than the night

 

which is the reason why I love these rituals

in which the incomparables and I unite.

And all the while I know my cigarettes are all

exactly the same length, and they seem to invite

 

their and my own interconfoundability,

white, lightweight, full of discontent,

rattling and wheezing when they’re full of tea

and, taken, all desire just to be spent,

as air races through them, they wake the ghosts

and attract minutes, posted between the lips’ red boasts.

 

The ash upon the water forms a brittle film.

Mein Liebling, erklärst du dich zu meiner Giraffe,

verspreche ich, dass ich dich immer lachen mache.

The past has risen and is lapping at my chin.

Die Biber haben alle Bäume abgenagt, mein Lieber, sieh,

noch während wir hier stehen, beknabbern sie meine Knie.

 

The tap presses a lullaby into my nape,

the boiler hums a low and dismal tune,

I watch myself scratch myself like an ape,

and fall asleep into the arms of monster rune:

 

It isn’t realistic to be lying here.

In all the fog and damp time seems to override itself.

I cannot reach you, not with beer, nor animals, nor jokes;

everything runs out; the ghost of the night lives to side with itself, but chokes.

nonesuch I (from Fremdwörterbuchsonette)

 

Der Geist betrat mich wie eine Art Hemd.

Es hing am Rand der Tanzfläche und bildete

den Gegenpol zu allem. Das befremdet,

wirkt unerklärlich, wenn ichs schildere.

 

Es war etwas verkehrt an dem Gebilde,

an dem ich zu der Zeit gerade arbeitete;

die Zeit führte mit mir etwas im Schild,

wrang mein Gebein und kriegte es nicht raus.

 

Und so lehnte ich rauchend an der Wand,

schaute der Russendisko zu und rauchte

zu viel. Zum Schreiben war mir viel zu fad.

Ich war trotzdem nicht unzufrieden, dachte

entfernt daran, eher nicht heimzugehen,

plötzlich begann ich diesen Geist im Hemd zu sehen.

 

“O Geist,” sprach ich, “verstehe mein Befremden:

Ich wusste nicht, dass Geister auch in Hemden,

die großen Augen gegenteilig wendend,

Widerhall, Trost und Unbehagen spenden.”

 

Der Geist indessen starrte mich nur an.

Ein Mädchen kam zu mir und bat um Feuer.

Meine Begleitung kam und sagte, dass er heimgeht.

Ich nickte nur, als ging es mich nichts an:

 

Ich war schon lange nur mehr eine Panne,

die Schale meiner selbst, und ausgehöhlt

klimperten geistermäßig meine Worte,

vag und geziert wie Zigarettenrauch,

kalt und präzise wie Kondensation.

 

Ich wachte auf, wie Asche kalt, in meiner Badewanne.

***

nonesuch II (from Fremdwörterbuchsonette)

 

Ich badete und träumte von den Mädchen,

die herkommen und mich um Feuer bitten.

In ihren Augen rotiern ihre Seelchen

in meinem Feuerschein in kurzen Augenblicken.

 

Deswegen liebe ich ja diese Sitten,

in denen unvergleichlich sich vereinen

jene und ich. Und meine Zigaretten

sind glatt und alle gleich lang. Bescheinigen

 

sie ihre und meine Vertauschbarkeit,

weiß, leicht und voller Unzufriedenheit,

klappernd und rauschend, wenn sie altern,

und jung voller Verlangen, wenn der Atem

sie schnell durchzieht, so wecken sie die Geister,

binden künstelnd Minuten, an Lippen gekleistert.

 

Die Asche auf dem Wasser bildet einen Film.

My darling, if you will be my giraffe,

I’ll promise to do things to make you laugh.

Mir reicht Vergangenheit bis an mein Kinn.

The beavers, dear, have gnawed off all the trees,

and as you look at me they’re working on my knees.

 

Der Hahn drückt mir ein Schlaflied in den Nacken,

der Boiler summt den Bass betrübt und wüst,

ich schaue mir beim Dösen selbstgesprächig zu,

gleich wird das Brainmap mich mit den Tentakeln packen:

 

Es ist nicht realistisch, hier zu sitzen

im Dunst, im Nass hebt Zeit sich aus den Angeln.

Erreich dich nicht mit Tieren, nicht mit Witzen, es läuft aus und

der Geist der Nacht sitzt tief im letzten Gurgeln.

Ann Cotten, born 1982 in Iowa, U.S., grew up in Vienna, Austria and moved to Berlin in 2006. Her first book of poems—excerpted here—consisted of 78 double-sonnets and made waves in the German poetry scene. She then published her diploma thesis on concrete poetry (Nach der Welt, Klever Verlag 2008), a second book of poetry and prose ostensibly written by a palette of characters (Florida-Rooms, Suhrkamp 2010), a 1-Euro elegy (Das Pferd, SuKultur 2007), part of an underground-bibliophile "Schock" edition (Pflock in der Landschaft, 2011), and a book in English: I, Coleoptile (Broken Dimanche Press, 2011). In 2013, she published The Quivering Fan, a collection of short stories with erotic, philosophical and political content. In 2014, she started a project on mnemotechnical poetry working with Japanese Kanji. This year will see her second English-language publication, Lather in Heaven (Broken Dimanche Press).

Thirst is the Force of Gravity: Ferreira Gullar’s “Dirty Poem” in Review

"The poem’s necessity makes me bitter."

Much has already been said about exile. Losing a country or losing a home is “like death but without death’s ultimate mercy,” “a kind of ripping apart,” “a condition of terminal loss.” Ferreira Gullar wrote Dirty Poem (newly translated by Leland Guyer for New Directions) in 1975 in Buenos Aires, while in political exile from the Brazilian dictatorship. Like the author himself, the speaker of Dirty Poem imagines his return home, an attempt to recover the São Luís do Maranhão of his childhood.

The opening stanzas of this 80-page poem are filled with gaiety and fond memories of youth in the northeast region of Brazil. But just a few pages later, the speaker “preaches subversion of political order” and is banished to Argentina. In a fine translation from the Portuguese, Leland Guyer captures the richness of language of Gullar’s poetry—from local idioms to the language of displacement. The book culminates in saudade, alienation, and decay. READ MORE…

Translation Tuesday: Poems by Irma Pineda

Love / my belly is now a dry tree / that once wanted to bloom stars for your nights.

On waking from your death
here you will see me
awaiting your hummingbird’s return
transformed into an old tree.

Al despertar de tu muerte
me verás aquí
convertido en un árbol viejo
que espera tu retorno de colibrí.

Dxi guibáni xquendagutilú
rari’ nga suuyu’
naa ma’ naca’ ti yaga yooxho’
cabeza’ guibiguetu’ sica ti biulú.

 

READ MORE…

Translation Tuesday: “Barefoot Through the Temple” by Albert Ostermaier

a sticky pressure / on my soles crusted / animal blood ash red blossoms / charred at the edges

nice shoes he pointed to
my shoes i took them
off i know you he smiled
you’re a movie star i
smiled back camera
switched on he rolled his
eyes you can take a
picture of me i counted
the money out he put the
notes in his breast pocket
bowed briefly &
took me by the hand
where do you come from
READ MORE…

Translation Tuesday: Poems by Ronny Someck

"In his painted eyes you can see a whole herd, / the prey in his dream’s forever-forest."

Bloody Mary 

                   

And poetry is a gun moll

in the back seat of an American car.

Her eyes pressed like triggers, her pistol hair firing blond

bullets down her neck.

Let’s say her name is Mary, Bloody Mary,

words squeeze out of her mouth like the juicy guts of a tomato

whose face was knifed just beforehand

on the salad plate.

She knows that grammar is the police force of language—

her earring transmitter

detects the siren at a distance.

The steering wheel will shift the car from question mark

to period

when she’ll open the door

and stand on the curb as a metaphor for the word

prostitute.

READ MORE…

In Conversation: Alex Cigale, Guest Editor of the Atlanta Review’s Russian Poetry Issue

An interview with Alex Cigale on editing the Atlanta Review's Russian Poetry Issue

 

I interviewed Alex Cigale, guest editor for the Russia issue of the Atlanta Review, to pick his brain about the editing process, the special issue, and the state of Russian poetry at-large.

Alex Cigale (former Central Asia editor-at-large for Asymptote!) has collaborated with the editors of the anthologyCrossing Centuries: the New Generation in Russian Poetry (2000), and more recently, the online Twenty First Century Russian Poetry (Big Bridge 16, 2014). Independently, he has presented a score of contemporary Russian poets to Anglophone readers. This year, Cigale was the recipient of an NEA in Literary Translation for his work with poet of the St. Petersburg philological school, Mikhail Eremin.

The Atlanta Review is known for its long-established and respected annual contest, offering publication in each of its fall issues, with a $1,000 top prize and 20 publication awards for finalists (including 30 merit awards for semi-finalists). In its 20-year history, it has published a long list of established poets, including Seamus Heaney, Rachel Hadas, Maxine Kumin, Stephen Dunn, Charles Wright, Billy Collins, Derek Walcott, Paul Muldoon, and so on.

PN: What did the Atlanta Review ask from you for its Russia Issue? How did you approach the editorship and solicit contributions?

AC: My directions were quite open: curate an 80-page section of contemporary Russian poetry. In every Spring issue, the Atlanta Review includes an international feature. In recent years, it had shone a spotlight on international hotspots (Pakistan, Afghanistan, Iran, etc.) as well as on Anglophone or partly-Anglophone nations in the news (India, Ireland, and Scotland, the latter forthcoming in 2016).

While each is planned two years in advance, the editorial phase itself is quite brief: in my case, I only had this past late fall/early winter to work on the curation, so its contents were largely determined by what unpublished work in translation was available at the moment. As I noted in my introduction, above all else, the issue is a “slice of life”—what (primarily American) translators of Russian poetry are working on right now. The world of Russian poetry translation is a fairly small community, so I was able to put out early word of the issue on social media and correspond with nearly each translator personally to discuss their projects. READ MORE…

Translation Tuesday: “Sketch” by Zerina Zahirović

Translated by our editor-at-large Mirza Purić

She died quietly, she died the death of those who love stubbornly, angrily, jealously, secretly, and

elephantishly. At a neighbour’s urge, she treated rheumatoid arthritis with crude oil. The therapy resulted in second-degree burns. On the inside of my eyelids I sketch her knees – two magical orbs of glass – and I rub them with devil’s claw unguent. Prayer and displeasure spill softly in the room in which we are alone and furtive, for

where, why, and for whom does the devil

make unguent from his claw? She died quietly, to render loud some mornings that had tumbled down and stuck into me like hedgehogs. I sketch those mornings as a

 

crooked bicycle tyre. I push the bicycle uphill into the whitish dawn, I hurry to spill before her the smell of the lead from the newspaper, the smell of the pastry which is a crumbled sketch of her face on the inside of my eyelids. The way I close the distance between us is like the way her eyebrows come together in a frown, she pushes hard sugar cubes into my mouth, and I buzz in the garden for hours and I sip the sap of a liquorice. I sketch her as READ MORE…

Translation Tuesday: Poems by Boris Vian

Translated by Jeremy Page

THE SPIDERS 

To Odette Bost

 

Into the houses where children die

Go some very old people.

They sit down in the antechamber

Their sticks between their black knees.

They listen, nod their heads.

 

Every time the child coughs

Their hands clutch their hearts

And make big yellow spiders

And the cough, rising through the furnishings,

Is shredded, listless as a pale butterfly.

 

They have vague smiles

And the child’s cough stops

And the big yellow spiders

Rest, shaking,

On the polished boxwood handles

Of the sticks, between their hard knees.

 

And then, when the child is dead

They get up, and go elsewhere…

READ MORE…

Translation Tuesday: Poems by Anna Margolin

Translated from the Yiddish by Maia Evrona

Mother Earth

 

Mother earth, much trodden, sun-washed,

dark slave and mistress

I am, beloved.

From me, the humble and the sullen,

you burst forth—a powerful stem.

And like the eternal stars, and as the flame from the sun,

I circle in long and blind silence

through your roots, through your branches

and half in vigil, and half in slumber,

I search, through you, for the high sky. READ MORE…

In Review: Theo Dorgan’s “Nine Bright Shiners”

"Nine Bright Shiners is certainly one of the best new collections of poetry to have come out in the 2014-2015 (literary) year."

I first came across Theo Dorgan’s work in a charming anthology of art writing from the National Gallery of Ireland, Lines of Vision (Thames & Hudson, 2014). A group of acclaimed Irish novelists and poets wrote about which paintings had most affected them as artists. Dorgan chose an evocative little history painting by Ernest Messionier, Group of Cavalry in the Snow: Moreau and Dessoles before Hohenlinden (1875), depicting two of Napoleon’s generals contemplating their chances on the eve of the wintry battle of Hohenlinden in December of 1800. It’s an intimate scene, and its effect, as described in rapturous detail by Dorgan, especially its effect on the imagination of a young boy, is enchanting:

There’s a self riding down out of the picture, no two selves. One of them

stolid and wary, wondering what these damn officers are about to get

us into…my mind is full of the coming battle, my sympathies with men

breathing this cold air tonight who will not be breathing it tomorrow…

 

All this and so much more, so very much more, out of one small

painting—and I close my eyes for one brief instant, leaving the gallery,

not sure when I open them where I shall find myself, on a Dublin street,

so long familiar, or on a wooded slope with a sky fill of lead-heavy snow

above my head, hearing the creak of leather beneath me, feeling the

solid heat of the animal bearing me down off that crest towards some

tomorrow at once unknown, unknowable and absurdly unfamiliar.

Dancing with the child I was, cheating the monoworld. READ MORE…

Epic India in Verse

Reviewing Poetry of India: Anthology of the Greatest Poets of India, ed. Paul Smith (New Humanity Books, 2014)

A few months ago, a friend of mine who was curious about the nuances of Indian culture asked me to explain the artistic differences between North and South India. I realized it was a loaded question, and I could only give him a general overview of similarities and differences between north and south, Aryan and Dravidian, and Central Asian, Persian-Turkish influences versus Burmese and Sri Lankan. I felt I had a vague generalist understanding of my country of origin, though my answers seemed to satisfy him.

It is exceedingly difficult to encapsulate the cultural diversity of the Indian subcontinent, spanning across India, Bangladesh, Pakistan, with a cultural nebula across Burma, Sri Lanka, and Thailand. To travelers like the seventh-century Chinese Buddhist monk Xuanzang (the 14th century Central Asian [Uzbek] warrior), the marauder Timur (the subject of Christopher Marlowe’s Tamburlaine) and even Mohandas Gandhi, returning from years of living among the racist Boers of South Africa, India remained a baffling and exotic mystery to the intellect and senses.

Fortunately for us, a book like Paul Smith’s massive anthology, Poetry of India: Anthology of the Greatest Poets of India, gives curious readers of Indian culture and literature an adequate place to start. Paul Smith is an Australian poet and scholar of Indian and South Asian literature. He has translated the works of Rumi, Hafiz, and Nizami, as well as the works of various other Sufi and Persian poets. In this anthology, he delves straight into the complexities of Indian literature, Sanskrit poetry from South India and the Deccan states, medieval Tamil poetry, and poems by well-known nineteenth and twentieth-century poets like Makhfi, Ghālib, Tagore, and Iqbal.

READ MORE…

Have I Taken Language as a Loan?

Shadab Zeest Hashmi wonders if language is "luggage," borrowed—or her very own

Home and flux mean the same in a land named after a severance, or the great “partition” of the subcontinent: a paradox of freedom-and-loss, umbilical-cord-and-scissors. Born in Pakistan, a country that emerged on the world map after the collapse of the British Raj and the largest mass migration in human history, “permanence” is forever in the shadow of exile.

If poetry seeks who we are, I’ve found myself searching in language, not land. Land, in its aspects worth remembering, becomes language. If I carry language, I carry land. What is exile, then, if not a road paved for poets, permanent wayfarers?

I came to America as a college student. In Passage Work, the first series of poems I completed as my senior thesis at Reed, I wondered: why write in English, the language of the colonist? Have I taken language as a loan for poetry? Have I betrayed Urdu? In these earliest poems, I call language “luggage,” a historical-personal luggage, both burden as well as reason for being. READ MORE…

Translation Tuesday: “The Seafarer,” from the Book of Exodus

Translated from the Old English by Spenser Santos

The Seafarer 

 

May I utter truth for myself,

to say of trials, how in the times of toil

I often withstood wearisome times,

bitter breastcare, how I have bided,

come to know on a ship, abode of much care,

the terrible seawave’s rolling often held me there,

anxious nightwatch at the boat’s prow,

when it pitched against cliffs. Pinched by cold

were my feet, frostbound

with cold fetters, there the sighs of care

were hot around the heart; hunger tore from within

the mereweary mood. That the man,

to whom the most pleasant on earth befalls, knows not

how I, wretched and sorrowful, on the ice-cold sea

dwelled in winter in the paths of an exile,

bereft of beloved kinsmen and

hung with icicles; hail flew in showers.

There I heard naught but the sea to roar,

the frigid wave. Sometimes the swan’s song

did I take for entertainment, the gannet’s cry

and curlew’s sound for men’s laughter,

the seagull’s singing for mead.

Storms there beat the stony cliffs, where

the tern, the icy-feathered one, answers him,

very often the eagle screamed round about,

the dewy-feathered one; not any protecting kinsmen

could comfort the wretched spirit. READ MORE…

Weekly News Roundup, 10th April 2015: BTBA vs. VIDA vs. IFFP?

This week's literary highlights from across the world

Happy Friday! The time has finally arrived for the Best Translated Book Award longlist… After weeks of blog- and social-media hype, both the fiction and poetry longlists have been announced, and we can’t say we aren’t impressed! The lineup includes, among others, several Asymptote friends, like Faces in the Crowd author and blog contributor, Mexican writer Valeria Luiselli, blog interviewee and Translation Tuesday featurette Danish author Naja Marie Aidt, deceased Czech writer Bohumil Hrabal (featured in another Translation Tuesday dedication), Chinese interviewee and Nobel-deserving Can Xue, and many, many more. It’s definitely worth taking a peek through the list—I’ve no idea how the judges managed to narrow it down (at Three Percent, Chad Post laments the books he thought would make it—but didn’t), nor how they’ll be able to pick a winner from such a strong group.  READ MORE…