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'.
by Mimi Khalvati
Poet Mimi Khalvati describes how much she enjoyed the experience of translating Afghan poet, Shakila Azzizada with Zuzanna Olszewska, a process she found much easier having translated Kurdish poet, Kajal Ahmad, with us in 2008.
Zuzanna Olszewska writes about the challenges and pleasures of translating Afghan poet, Shakila Azizzada, with Mimi Khalvati for the PTC's Persian Poets' Tour 2012
by Clare Pollard
In this fascinating essay, poet Clare Pollard talks about how vital the process of learning about Somali culture - camels, khat and all - helped her translate Caasha's poetry. And how she turned to early English alliterative verse for inspiration.
by Elhum Shakerifar
Translator Elhum Shakerifar discusses how she approached translating Iranian poet, Azita Ghahreman, with Maura Dooley. Elhum talks about the challenges of translating such a complex poet into English and how she and Maura responded to the difficulties they faced.
by Nataly Kelly
Translator Nataly Kelly's article gives an introduction to the Shuar people, one of the largest Amazonian indigenous groups, of which poet María Clara Sharupi Jua is a member.
by Partaw Naderi
The Afghan poet, Partaw Naderi, was invited to take part in the PTC's first World Poets' Tour in 2005. In this article he writes about the excitment he felt at being invited to the UK and he reveals the true inspiration behind his poem, 'Beauty'.
by Tom Boll
Tom Boll introduce la obra de tres destacados poetas mexicanos, Coral Bracho, David Huerta y Víctor Terán.
by Tom Boll
Tom Boll introduces the work of the three distinguished Mexican poets, Coral Bracho, David Huerta and Victor Teran, each of whom 'offers a distinctive version of what it means to live in Mexico today'.
by W N Herbert
W N Herbert offers a fascinating insight into how he approached co-translating Somali poetry. In this essay he describes his induction into the marvellous complexities of Somali verse and how he came to terms with the formal dexterities of Gaarriye's 'non-lyric' poetry.
by Daniel Hahn
Prize-winning translator, Daniel Hahn, writes about how he approached translating Corsino Fortes's poems with Sean O'Brien. This was Daniel's first experience of translating poetry, and his first as a co-translator and he's very interesting on how he felt his role was to 'defend' the original poems.
by David Shook
This article gives a brief introduction to Isthmus Zapotec, the indigenous Mexican language spoken in the state of Oaxaca, Mexico.
by Jo Shapcott
Jo Shapcott enthuses about the 'magic' of translating Farzaneh Khojandi with Narguess Farzad. She talks about the 'daunting' challenges she faced coming to terms with a poet whose work 'seemed worlds away from the modern, urban context of my own work'.
by Mimi Khalvati
Mimi Khalvati expresses her desire to preserve, 'The sweetness and simplicity of [Kajal's] voice, the political and personal passion, the directness and immediacy of the address ... [together with her] sense of humour and the fable-like quality of the poems', in the translations she made with Choman Hardi.
by Nukhbah Langah
Nukhbah Langah reveals the challenges she experienced in translating Noshi Gillani's intense, ambiguous and exceptionally complex poetry from Urdu into English.
by Martin Orwin
Martin Orwin describes his initial approach to translating Gaarriye's poetry as 'an intense, deep reading'. He aims to make literal versions that 'come to rest on the page dancing to as close a tune as possible as the original'. And he discusses the significance of 'the interaction between syntax, metre and alliteration' in Somali poetry.
by Lavinia Greenlaw
Lavinia Greenlaw writes about the impact that listening to Noshi Gillani read her poems had on her translations: 'I had in my head Emily Dickinson's dashes - how they hold the parts of her poems in mid-air, or the artist Cornelia Parker's suspended cutlery and blown-up shed.'
by Sarah Maguire
Sarah Maguire argues that 'translating poetry is the opposite of war' in the keynote lecture that she was invited to give at the StAnza Festival in 2008.
© Poetry Translation Centre 2004-2013