Writertranslators Omar Pérez (L) and Daniel Borzutzky (R), 2014. KDykstra.
Writertranslators Omar Pérez (L) and Daniel Borzutzky (R), 2014. KDykstra.

Translator as fulcrum:  a point central or essential to an activity, an event, a situation.  Clearly the model applies to any bilingual reading that depends on a translator to quarterback the event for an audience with limited or no ability to understand the writer’s original language. 

However, this entry takes the notion of the fulcrum differently. Daniel Borzutzky has been developing a fulcrum poetics, one located among the activities & events & situations where poetry and translation balance off, moving against and with each other.

Editions and additions

Gertrude Stein and the iterations of the book

Gertrude Stein, Lucy Church Amiably
Gertrude Stein, Lucy Church Amiably (Paris: Plain Edition, 1930)

In our digital age, the printed book is often seen as resisting the immateriality and inauthenticity of the digital text through its “aura,” “singularity,” “authenticity,” “materiality,” and “bookness”––to cite some key terms from a conference on the future of the book that I attended last year. Even book versions that sit alongside versions in other media––what Marjorie Perloff terms “differential texts”––seem to stress the differences between the book and digital media and so each medium’s materiality.

Yet in a range of poetic practices developed in response to the age of mechanical reproduction and to our digital age, the book becomes a site for exploring––rather than resisting––reproduction and iteration. In the final posts in my “Iterations” commentary, I want to focus on the dual role of the book as both material object and copy, beginning with the work of modernists such as Walter Benjamin and Gertrude Stein before turning to some recent iterative texts that challenge the commonplace contrast between the singularity of the print and paper book object and the repeatability and mutability of the digital text.

The rise of new technologies of mechanical reproduction in the modernist period heightened attention to the book as copy, both in terms of the aura and materiality of the individual copy and as a reproduced non-original object. Gertrude Stein played with these two possible ways of looking at the book through her own press, the Plain Edition, which she used to publish a number of her works in the 1930s.

Syndicate content