A review of Hsia Yü's 'Salsa'
Of the Chinese avant-garde, Hsia Yü’s collections of poetry exemplify and perplex. The author of Pink Noise (2013), translated by Steve Bradbury, Yü had a new volume in translation released by Zephyr Press in 2014 — though originally published in 1999. A millennial dreamscape, Salsa asks its readers to follow the logic of order and the everyday so that they may become unfamiliar and distorted, the purl becoming unpurled. In the first poem of this collection, Yü predicts the journey of the book: “Lovers [fall] to the status of kin.” She thwarts expectations and familiar images of heartbreak.
Of the Chinese avant-garde, Hsia Yü’s collections of poetry exemplify and perplex. The author of Pink Noise (2013), translated by Steve Bradbury, Yü had a new volume in translation released by Zephyr Press in 2014 — though originally published in 1999. A millennial dreamscape, Salsa asks its readers to follow the logic of order and the everyday so that they may become unfamiliar and distorted, the purl becoming unpurled.
Bright arrogance, gallery C
Speed, Erotics, Emergence
While I feel hard-pressed to finish what I had planned for this column within the time allotted, time is on my side—or lack thereof. One area that remains unexplored is the ways in which theories of artificial intelligence impact translation, especially given the huge impact of machine translation technologies. Forgoing the sense of translation, no longer routed through consciousness, one can embrace an inhuman speed which, while riddled with non-sense may evolve unforeseen sensibilities and new forms of intelligence—while still attending to the situatedness of the agen