Articles

Category: Essays

Three Mexican Poets

Three Mexican Poets

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’.

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Some Thoughts on Co-Translating Gaarriye

Some Thoughts on Co-Translating Gaarriye

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.

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Translating Corsino Fortes

Translating Corsino Fortes

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.

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Translating Farzaneh Khojandi

Translating Farzaneh Khojandi

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’.

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Translating Noshi Gillani

Translating Noshi Gillani

Nukhbah Langah reveals the challenges she experienced in translating Noshi Gillani’s intense, ambiguous and exceptionally complex poetry from Urdu into English.

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Translating Kajal Ahmad

Translating Kajal Ahmad

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.

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Listening to Noshi Gillani

Listening to Noshi Gillani

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.’

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