For a few days before going to the protest, I gathered images of women and girls and arranged them in a group: ancestors, dolls, figures, goddesses, paintings, the living and the dead, some with whom I had been communing. Some are hidden in veils and masks and voodoo. Some are brides or in braids or shy or bold. Daughters, stepdaughters, daughters-in-law, mother, mothers, aunts, grandmothers, great greats, sisters-in-law, relatives in hiding. C. D.
Two Trakls
The poetry of Georg Trakl (1887–1914) has attracted numerous English translators, from Eugene Jolas in 1927 to Robert Firmage, Stephen Tapscott, and James Reidel only within the last decade. In the twentieth century, composers like Anton von Webern and Paul Hindemith set Trakl’s poems to music, producing what Roman Jakobson calls “intersemiotic transpositions.” In addition, in recent years, two poets, Christian Hawkey and Daniele Pantano, subjected Trakl’s work to recreative processes that go beyond the conventional notion of translation.