100 Love Sonnets: Cien sonetos de amor (Texas Pan American Series) (English and Spanish Edition) Review

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(More customer reviews)I hate to rain on everyone's parade but Stephen Tapscott's translation of Pablo Neruda's evocative and beautiful poetry is crass, misleading and patronizing. It is an insult to the memory of a great poet and a disgrace to translation in general. I have read the collection several times and it angers me each time to see what this man has done to poetry that is subtle as it is open ended. Every single poem in this collection is manipulated my Mr. Tapscott. He constantly replaces words when perfect English equivalents are available. He changes the tenses in which the poems are written and inserts his own concepts when he deems necessary. Worst of all he "explains" the poems in his translation. Time and again Tapscott fails to see the beauty of an ambiguity intended by Neruda and procedes to write phrases that are one dimensional and often fail to convey even the basic core of the work. As to the sound and rythm of the collection, Tapscott goes out of his way to destroy the structure of the poems and their gentle flow. It is a shame that English speakers interested in Pablo Neruda's poetry have only this translation by which to judge his genius. Please save your money and wait for a translation that better represents these great poems.

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Satan Says (Pitt Poetry Series) Review

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(More customer reviews)"Satan Says" is the first collection of Olds' poetry which I have read (although I've come across her poems once or twice in anthologies). I found the poems in "Satan Says" to be not only startling and brutally honest, but beautifully crafted as well. Her work reminded me greatly of Marie Howe, another female poet writing on (among other things) the body's oft-ignored sensuality even in the face of an abusive world (or family). Her poems seem to fuse the simple craftsmanship and observational talents of haiku with the frankness of Anne Sexton, giving us a treatise as much related to the body, childbirth, sexuality, dying, and aggression as to metaphysics. Genuine and powerful, highly recommended!

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Borges: Selected Poems Review

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(More customer reviews)Borges was fascinated by English. As a kid, he grew up speaking it with his English grandmother and he spent the rest of his life ransacking the treasure-chest of English and American literature. In a famous prose-poem published in 1960, "Borges and I", he could cite Robert Louis Stevenson's prose as one his favorite things (alongside the taste of coffee and the strumming of a guitar). And even after he lost his eyesight in mid-age, most of the books he went on reading in his mind were in English.
Consequently, he sounds good in translation. It's tough to make Neruda or Lorca or even a lot of novelists writing in Spanish sound clear and convincing in English. Lorca, for example, wrote in a distinctively Andalusian idiom, and nobody who has never read his poetry in the original can understand how stilted he sounds in English. Borges, by contrast, had a more universal intellect and the strands of his writing span many non-Hispanic cultures. His reading in many different literatures left a deep imprint on him linguistically and helps explain why his work translates so well into other languages. While it's true that much of his poetry has a distinctly Argentine "flavor", it has many other flavors, as well. Depending on the poem, Borges can evoke Quevedo, Leopoldo Lugones, "Beowulf", the Icelandic Prose Edda, Whitman, Omar Khayyam, or Ralph Waldo Emerson. And yet the English influence is present in virtually all of his work.
Thirteen translators are featured in this anthology and the quality varies. Barnstone and Merwin are, as usual, impeccably accurate and 1000% unadventurous. Robert Fitzgerald shows yet again that his last name must be some kind of cosmic byword for quality (F. Scott, Edward, Ella, now Robert...). His version of "Odyssey, Book Twenty-Three" is breathtakingly tight and sweeping, actually more of a rendition than a word-for-word translation. Unlike Barnstone's somewhat stilted versions of Borges' sonnets, Fitzgerald manages to stick to the original rhyme-scheme without sounding forced. Unfortunately, he only did five poems in this book. ¡Qué lastima!
Alistair Reid did most of the work here. Reid is a perfect example of a fine translator who did some really great stuff back in the '60s, then apparently revised it to make stuffy literalists like Barnstone happy. For example, he took an excellent translation of "Limits" (which appeared in a 1967 book called "A Personal Anthology", which basically launched Borges's reputation in the United States) and altered it to make the words stick more closely to the original Spanish word order. It's still a good translation and all, but not as good as the first one.

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Pablo Neruda: Selected Poems (Edición bilingüe) Review

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(More customer reviews)A MUST HAVE. Es sin duda un libro que vas a cuidar y conservar con mucho cariño. La recoleccion de poemas es brillante, exquisita, de primera. Quien no ha leido a Neruda? Lo bello del libro es que ofrece los poemas en el idioma que fueron escritos y en Ingles. La traduccion al ingles es excelente. No hay mucho que hablar sobre este libro, los poemas son una obra de arte y que esten a la vez traducidos al Ingles ya es mas que un buen regalo. No pienses dos veces en obtenerlo.

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In his long life as a poet, Pablo Neruda succeeded in becoming what many poets have aspired to but never achieved: a public voice, a voice not just for the people of his country but for his entire continent. Widely translated, he probably reached more readers than any poet in history; justly so, for, as he often said, his "poet's obligation" was to become a voice for all those who had no voice, an aspiration that stemmed from his long-time commitment to the communist faith. Born in 1904 in the rainy south of Chile, he enjoyed from an early age the luck of attention. One of his first books, Twenty Love Poems, became a bible for lovers in the Spanish language, and confirmed him in his poet's vocation. At the same time he pursued a lifelong career as a diplomat, serving in a series of consular posts in the Far East and Europe. In 1971, while serving as Chilean ambassador to France, he was awarded the Nobel Prize for literature. In a famous essay, "On Impure Poetry," Neruda calls for "a poetry as impure as old clothes, as a body with its foodstains and its shame, with wrinkles, observations, dreams, wakefulness, prophesies, declarations of love and hate, stupidities, shocks, idylls, political beliefs, negations, doubts, affirmations, and taxes."

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American Women Poets in the 21st Century: Where Lyric Meets Language (Wesleyan Poetry) Review

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(More customer reviews)This book presents the work of 10 important contemporary poets: Rae Armantrout, Mei-mei Berssenbrugge, Lucie Brock-Broido, Jorie Graham, Barbara Guest, Lyn Hejinian, Brenda Hillman, Susan Howe, Ann Lauterbach, and Harryette Mullen.
Each is represented by a sample of work, a brief poetics statement, and a critic's essay which provides context to readers new to the work.
In her introductory essay co-editor Juliana Spahr says this collection aims to begin a dialogue between the two often falsely separated poetries of Language poetry and lyric. "The unevenness of these two terms, one a social grouping and the other a genre, remains a sign of some dissonance even as critics often pit Language and lyricism against each other with straw-man models," she writes.
Rae Armantrout writes that her own poetry involves an equal counterweight of assertion and doubt. "It's a Cheshire poetics, one that points two ways then vanishes in the blur of what is seen and what is seeing, what can be known and what it is to know." Hank Lazer writes that Armantrout "gives us a typically lyrical moment, but that moment inevitably is tied to some counterbalancing skepticism, so that the moment becomes ironized or self-conflicted."
Susan Howe says, "I think a lot of my work is about breaking free. Starting free and being captured and breaking free again and being captured again." Ming Qian Ma writes that Howe's poetry demonstrates a bent to contrive a method, or countermethod, to break free from the language trap through a `productive violence' highly informed rather than random."
Spahr says, "Reading these essays all together has shown me that, while there is a clear difference in intent between a poem written for investigating the self and one written for investigating language or community, it is more and more the case that the techniques used might be similar. In other words, form is no longer the clear marker of intention or meaning that it was 30 years ago."


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