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Saturday, January 17th, 2009
Sylvia gets her moment in the spotlight! The News-Record photographer came into her school last week and took a few shots of her lunchtime knitting club -- here she is working with a couple of friends.
posted morning of January 17th, 2009: Respond
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Friday, January 16th, 2009
 Yeah, that's about how I feel too... Sorry about the light posting this week, maybe when Bush is out of Washington my head will be a little more together...
posted morning of January 16th, 2009: Respond
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Wednesday, January 14th, 2009
Argentine author Sergio Chejfec, whose Mis dos Mundos was recommended by Enrique Vila-Matas as one of the best books he read in 2008, will be reading from the translation My Two Worlds in NYC Thursday the 29th, two weeks from tomorrow. His translator Liz Werner will also be there; this is Chejfec's first book to appear in English. The event is a party for the 10th anniversary of BOMB Magazine. If you're coming, drop me a line. (via 3%.)
 Update: A misreading -- Chejfec's translator is Margaret Carson.
posted morning of January 14th, 2009: Respond
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Monday, January 12th, 2009
Listening to the Colombian band Musicalizando sing Neruda's poem "Plenos Poderes" is, well, fun. I'm not quite connecting with the music -- it doesn't really move me -- but the poem is just lovely and I'm glad to be able to hear it recited rather than just reading it on the page and trying to figure out the cadences for myself. And also, it's just a nice feeling to see pop musicians rooted in the literary tradition like that. I wonder (with reference to El Laberinto de la Soledad) if this is more common in Latin America than it is here. The lines Y no me canso de ir y de volver;
no me para la muerte con su piedra,
no me canso de ser y de no ser.
seem like a disavowal of his earlier Sucede que me canso de ser hombre. (from "Walking Around"). I suppose without knowing, this might be connected to the political situations of the times when he wrote these two poems. The lines from "Plenos Poderes" work nicely as a response to Hamlet's question.More Neruda-based pop music below the fold.
posted evening of January 12th, 2009: 5 responses
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Promoted from comments: Jorge links to an amazing set of photos at his Picasa account: Isla Negra is the site of one of Neruda's residences. I'm just blown away by the shades of black in this picture.
posted evening of January 12th, 2009: 2 responses
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The bolano-l mailing list is hosting a group read of 2666, starting today. I'm sitting this one out, but if you're meaning to read the book I'm guessing this will be a very useful resource. (via The Howling Fantods.)
posted afternoon of January 12th, 2009: Respond
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Sunday, January 11th, 2009
Over at vox.com: A Thought for Today. Interesting epigraphs.
posted evening of January 11th, 2009: Respond
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There seems to be a lot written about translating Neruda's poetry. Here are a couple of things I've found this morning.
posted morning of January 11th, 2009: Respond
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Saturday, January 10th, 2009
So on the one hand I feel like who am I to criticize Reid's translations -- he surely knew Spanish better than I and was more familiar than I with the literature he was translating. Still I'm seeing a lot of lines in Neruda's poems that look poorly translated to my eye. But one in particular is kind of knocking me for a loop, because it just seems wrong, in a very basic and easy way. From "El desnudo": Esta raya es el Sur que corre,
este círculo es el Oeste is translated asThis ray is the running sun,
this circle is the East when obviously the ray is "the South which runs" and the circle is "the West" -- why would you change "the South" to "the sun" and lose the parallelism between these two lines? Why would you make the West into the East? I'm missing something, or else this is just a botched job.
posted afternoon of January 10th, 2009: 3 responses
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The poems in Fully Empowered are kind of perfect for me to read in Spanish -- short stanzas, short lines, so I can hold them in my head while I go over Reid's translation and back over the original. And lots of repetition of words, so I can maybe get some of them into my vocabulary -- building vocabulary has always been the most difficult part of language study for me. The repetitions seem meaningful -- certain words occur in almost every poem, like "línea" (in various senses), "caer" (in various forms), words relating to the water like "mar," "océan," "ola," "espuma,"... There are also frequent references to geography and geometry, to birds,  to movement, to towers... I haven't quite put all this together yet -- the references to water make me think about Neruda being Chilean, seems like the ocean must be a pretty important part of life in Chile. (Jorge, can you speak to this?) The many repetitions of "línea" are making me think about geometry and language and again, the sea, and tying them together. I just love the rhythm of this passage, which totally does not come through in the translation; I haven't been able to make a lot of sense of the passage, with or without the translation, but the sound of it is wonderful. From the second stanza of "Pájaro":
Cuando volví de tantos viajes
me quedó suspendido y verde
entre el sol y la geografía:
vi cómo trabajan las alas,
cómo se transmite el perfume
por un telégrafo emplumado
y desde arriba vi el camino,
los manantiales, las tejas,
los pescadores a pescar,
los pantalones de la espuma,
todo desde mi cielo verde.
posted afternoon of January 10th, 2009: 2 responses
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At The Great Whatsit, Pandora Brewer 