Marion Molteno gives a brief introduction to Urdu poetry, relating its popularity, discussing the Ghazal poem form and Marvelling at mushairas: poetry recitals that draw massive crowds.
Poet Clare Pollard facilitates poetry translation workshops for the PTC. She talked to Natasha Sutton Williams of London Calling about the process and challenges of being a poet-translator.
Poet Jacob Sam-La Rose follows Oscar Cruz’s poem ‘The Good Doll’ through the translation process, from the spanish original, via the literal version, to the final poetic translation.
To naanays or not to naanays? Within the Somali community it is common for people to be referred to, almost exclusively, by a nickname or a naanays. So why do many poets, such as Maxamed Xaashi Dhamac (Gaarriye) and Maxamed Ibraahin Warsame (Hadraawi), have nicknames but Caasha Lul Mohamud Yusuf doesn’t?
Our intern, Ilhaan, describes the project that she is researching with the PTC for her English Literature course. This blog piece is reflection on how ideas of nationality function in the world of literature.
Translator Serafina Vick ponders unexpected turns when a Poetry Translation Workshop get stumped by an innocent comma and surprised by the target of the satirical poem ‘Urban Ranch’.
Award winning poet Andrew McMillan takes a look at the new PTC website and discovers the ‘Beauty’ by Afghan poet Partaw Naderi and digs deeper to find the story behind the poem.
By Hamid Kabir
Translator Hamid Kabir writes how the commission to co-translate Reza Mohammadi’s poems was an entirely new experience for him and how it enriched his appreciation both of poetry in Persian and his knowledge of English.
By Maura Dooley
Poet Maura Dooley describes how she and Elhum Shakerifar translated Iranian poet, Azita Ghahreman, for the PTC’s Persian Poets’ Tour 2012. And how, at the end of the tour, she remembered the significant role that translation had played in her own parents’ courtship seventy years ago.
By Nick Laird
Nick Laird describes stages he went through translating Reza Mohammadi’s poems - from unsuccessful early drafts through a transformative experience of hearing Reza read - that led to the ‘weird pleasure’ of translating: ‘like opening your mouth and finding someone else’s voice come out’.