[»»]Kathleen Fraser in conversation with Sarah Rosenthal, 2007 “SR: Silence has been a central trope in your writing since early on. It carries a range of meanings, from erasure to grief and loss to the spaciousness of an open field. Perhaps we could trace some of the ways in which silence has come up in your work over time.” [»»]Alison Knowles in conversation with Elizabeth-Jane Burnett, September 2006. Alison Knowles is a visual artist known for her soundworks, installations, performances, publications and association with Fluxus, the experimental avant-garde group formally founded in 1962. [»»]Eleni Sikelianos, author of The California Poem, in conversation with Jesse Morse [»»]Catherine Wagner in conversation with Nathan Smith, 13 April 2007
Der Hammer, a publication from Vienna's Alte Schmiede, has just published this issue of German translations, including multiple versions of "Johnny Cake Hollow" – a preview of a book in the works from Edition Korrespondenzen, translated by Peter Waterhouse, Katharine Apostle and the Versatorium crew at the University of Vienna, Comparative Literature program. Video of our Alte Schmiede reading was posted her last month.
A medieval image of Geometry. Looks like the translator (she) to me...
I started thinking about Rita Copeland's book in remembering my experience in 2009 with Chus Pato and a few younger translators and poets in Galicia, translating poems out of English and into Galician, on Facebook! First, some Wallace Stevens—poet Oriana Méndez had felt on reading WS in English that the Spanish translations she had earlier read were inadequate—and as there were none in Galician, we made a couple. Then I turned to “Wooden Houses” by Lisa Robertson, which originally appeared in April 2005 in Jacket 27, and later was included in Lisa Robertson’s Magenta Soul Whip. Just wanting to share Robertson's work in Galician. Chus Pato helped me immensely in my task.
“Wooden Houses” was written in Vancouver, Canada (forests, rain, a country of wooden houses), and became “Casas de madeira” (forests, rain, a country of stone houses), thus transferring not just the poem but the very materiality and vernacular of “wooden house.”
Four women poets in Jacket 33
Kathleen Fraser, Alison Knowles, Eleni Sikelianos, Catherine Wagner
[»»] Kathleen Fraser in conversation with Sarah Rosenthal, 2007
“SR: Silence has been a central trope in your writing since early on. It carries a range of meanings, from erasure to grief and loss to the spaciousness of an open field. Perhaps we could trace some of the ways in which silence has come up in your work over time.”
[»»] Alison Knowles in conversation with Elizabeth-Jane Burnett, September 2006. Alison Knowles is a visual artist known for her soundworks, installations, performances, publications and association with Fluxus, the experimental avant-garde group formally founded in 1962.
[»»] Eleni Sikelianos, author of The California Poem, in conversation with Jesse Morse
[»»] Catherine Wagner in conversation with Nathan Smith, 13 April 2007
Attack of the Difficult Translations
Der Hammer, a publication from Vienna's Alte Schmiede, has just published this issue of German translations, including multiple versions of "Johnny Cake Hollow" – a preview of a book in the works from Edition Korrespondenzen, translated by Peter Waterhouse, Katharine Apostle and the Versatorium crew at the University of Vienna, Comparative Literature program. Video of our Alte Schmiede reading was posted her last month.
pdf of the 8 page folio here
The young Jack Spicer
In Jacket 37
[»»] Jack Spicer’s The Book of the Death of Arthur, by Jim Goar
[»»] Jack Spicer: Kevin Killian: Jack Spicer’s Secret
Emilio Prados: Three poems from 'The Enclosed Garden'
Translation from Spanish by Donald Wellman
NEXT TO THE STREAM
Dawn
Dreaming cowl,
summer rain:
where goes
the cloud in which you were born?
Forest echo,
heart of wind:
where the voice
that abandoned you in the sky?
Murmur of water
among soft rushes:
where goes
the sparkle of your current?
Human body fleeting,
slender reed:
where did your shadow forget
its nudity?
Beauty, solitude,
silent contemplation:
where is the true
scent of your word?...
(The voice of God
resounds against the age...)
Wooden Houses: Wallace and Spitin and Daranur and me
I started thinking about Rita Copeland's book in remembering my experience in 2009 with Chus Pato and a few younger translators and poets in Galicia, translating poems out of English and into Galician, on Facebook! First, some Wallace Stevens—poet Oriana Méndez had felt on reading WS in English that the Spanish translations she had earlier read were inadequate—and as there were none in Galician, we made a couple. Then I turned to “Wooden Houses” by Lisa Robertson, which originally appeared in April 2005 in Jacket 27, and later was included in Lisa Robertson’s Magenta Soul Whip. Just wanting to share Robertson's work in Galician. Chus Pato helped me immensely in my task.
“Wooden Houses” was written in Vancouver, Canada (forests, rain, a country of wooden houses), and became “Casas de madeira” (forests, rain, a country of stone houses), thus transferring not just the poem but the very materiality and vernacular of “wooden house.”