Study, typewriter, banana palms - photograph: Margaret Edgcumbe (1996)
My good friend and fellow-poet David Howard writes in to question my use of the epithet “unquestioned Top Bard” for Bill Manhire in my previous post. He also comments that “we weren't 'all' lost in the postmodern forest of the 1980s” …
I did wonder (as I said in my reply to him) if anyone would react to my canonisation of Manhire:
I can't say I think Top Bard an enviable job, but it does seem to me to have passed from Rex Fairburn to Allen Curnow in the 50s, and thence to Bill Manhire in the 2000s -- I'm speaking of influence and cultural dominance, you understand, not necessarily poetic merit ...
And as for those thickets, I guess I was thinking more of Academics than poets (the principal audience for the website). Again, meant to be a bit teasing ...
photograph by Michael Dean / cover design by James Fryer
I went to an interesting paper at the Literature and Translation conference in Melbourne last year. The presenter was attempting to contrast two English versions of Rilke’s Sonnete an Orpheus, by (respectively) Don Paterson and Stephen Cohn, in terms of Dryden’s famous triad of metaphrase, paraphrase and imitation.
All Translation, I suppose, may be reduced to these three heads:
First, that of Metaphrase, or turning an Author Word by Word, and Line by Line, from one Language into another. ...
The second way is that of Paraphrase, or Translation with Latitude, where the Author is kept in view by the Translator, so as never to be lost, but his words are not so strictly follow’d as his sense; and that too is admitted to be amplified, but not alter’d. …
The Third way is that of Imitation, where the Translator (if now he has not lost that Name) assumes the liberty, not only to vary from the words and sence, but to forsake them both as he sees occasion; and taking only some general hints from the Original, to run division on the Ground-work, as he pleases. …
Lisa Samuels, one of the three co-organisers of the Short Takes on Long Poems symposium (with Robert Sullivan, mentioned in my previous post, and Michele Leggott, pictured above with her guide-dog Olive), writes in to specify that it was she who was responsible for the two words "begin anywhere" which started off our long, collective, ten-part beach poem the other day:
Nice to see your Jacket2 write-up, and that you used the 2 words I wrote at the beginning of our very very very very very very very very very very long beach poem – I'm sure I am pulling 'begin anywhere' from some co-making moment, and that too is par for the symposium. …
Which prompts me, in turn, to claim responsibility for inscribing the four words visible in the picture above, beside Michele and Olive, which were meant to be a quote from the last line of the title poem of Allen Curnow's 1982 collection You Will Know When You Get There:
Down you go alone, so late, into the surge-black fissure.
.jpg "photograph by Michael Dean / cover design by James Fryer")
State-of-the-Nation poems (5)
Kendrick Smithyman, ‘If I Stepped Outside, in May ’93’ (2002)
My good friend and fellow-poet David Howard writes in to question my use of the epithet “unquestioned Top Bard” for Bill Manhire in my previous post. He also comments that “we weren't 'all' lost in the postmodern forest of the 1980s” …
I did wonder (as I said in my reply to him) if anyone would react to my canonisation of Manhire: