In this issue of MPT
Transitions, Series 3 Number 18
Edited by David Constantine, Helen Constantine, Sasha Dugdale
This is the final issue of MPT to be edited by David and Helen Constantine. It features the last of their inspiring editorial essays and a host of surprising and wonderful poems from all over the world.
‘Transitions’, is jointly edited by David and Helen Constantine and the poet and translator Sasha Dugdale, who will succeed them as Editor from 2013. So in that obvious sense this autumn issue is transitional. It addresses the whole concept of transition in as many ways as possible. First as it might be applied to the theory and practice of translation itself, the going across from one language and from one text to another, from native to foreign, to and fro. Some translators actually strive to make their translation a thing in transition, partaking of both worlds and hovering between the foreign and the native. Many feel translations to be always ‘transitional’, since most (unlike the texts being translated) date quickly, and have to be done again for new readers coming along in successive generations. More widely: if, as Heraclitus thought, ‘eveything moves and flows’, no writing true to life can desire fixity, let alone achieve it; and some poets have made a virtue of the fact that everything is in flux.
In this issue translated poems, short essays, and anecdotes address the idea of transition. This volume celebrates movement, flux, change, the eternal (and hopeful) possibility of moving on out of forms and ways of thinking that have lost their liberating and enlivening force, and into new ones, that will work. By its very diversity MPT always has acted against set minds. ‘Transitions’ is proof and promise that it always will.
Poems by Ko Un who is reading at the Aldeburgh Poetry Festival and whose collection First Person Sorrowful is appearing with Bloodaxe this Autumn.
Julith Jedamus's translations of Lorca's Romances.
New translations of Philippe Jaccottet by C K Stead and David Harsent's poems after Yiannis Ritsos.
East German poet Heinz Czechowski in fresh translations by Ian Hilton and Ken Cockburn.
We will launch our 'Transitions' issue at Lumen URC, 88 Tavistock Place, WC1H 9RS, on Tuesday 20th November 2012. Doors open at 6.30pm. Entrance £5 / £4. Proceeds from the evening go to Camden's Cold Weather Shelter. All welcome.
Reading hightlights from the issue and other poems will be:
Julith Jedamus, Vidyan Ravinthiran, Jonathan Waley, Sasha Dugdale and David and Helen Constantine.
Table of contents
Poetry and Features
Giovanni Pascali, two poems, translated by Taije Silverman and Marina Della Putta Johnston
Wojciech Bonowicz, seven poems, translated from the Polish by Elżbieta Wójcik-Leese
Jim Pascual Agustin, five poems, translated from the Filipino by the author
Jo Balmer, ‘Charon’s Roll’
M. R. Peacocke, ‘Théâtre de Poche, 1951’
Roni Margulies, ‘The Apollo Years’, translated from the Turkish by the author
Peter Swanborn, six poems, translated from the Dutch by Thea Summerfield
Sohrab Sepehri, three poems, translated from the Farsi by Shokoofeh Rajabzadeh
Alfonso Reyes, three poems, translated from the Spanish by Timothy Adès
Mordechai Geldman, two poems, translated from the Hebrew by Tsipi Keller
Tomás Morel, ‘Si no Fuera por Taita’, translated from the Dominican Republic mountain dialect of the Cibao into an Elizabethan-Appalachian English by Stephen P. Gross
Lal Singh Dil, five poems, translated from the Punjabi by Trilok Chand Ghai
Beppe Salvia, four poems, translated from the Italian by Nicholas Benson
Heinz Czechowski, three poems, translated from the German by Ken Cockburn
Heinz Chechowski, three poems, translated from the German by Ian Hilton
Ami, four poems, translated from the Chinese by Matt Bryden
An Old High German Album, texts from early German poetry, translated by Philip Wilson
David Harsent, four poems after Yiannis Ritsos
Andrey Voznesensky, ‘Ballad of the Year 1941’, translated from the Russian by Alex Cigale
Federico García Lorca, two poems, translated from the Spanish by Julith Jedamus
Margaret Wilmot, On The Richness Of Not Knowing German
Poems from the Puṟanāṉūṟu, translated from the Tamil by Vidyan and Thirunavukkarasu Ravinthiran
Božica Jelušić, ‘Thirty-five lines for a postscript’, translated from the Croatian by Dasha C. Nisula
Noshin Shahrokhi, ‘Exile’, translated from the Farsi by Nasrin Parvaz and Hubert Moore
Chus Pato, ‘Grapes are like Paradise’, translated from the Gallego by David Pollard
Su Shi, four poems, translated from the Chinese by Jonathan Waley
Naomi Jaffa, Aldeburgh 2012: The Year of Transition
Ko Un, four poems, translated from the Korean by Brother Anthony of Taizé and Lee Sang-Wha
Photos from Poetry Parnassus
Harry Guest, three translations from the French
René Char, three texts, translated from the French by Fabienne Bonnet
Larissa Miller, three poems, translated from the Russian by Richard McKane and Boris Altshuler
Philippe Jaccottet, poems, translated from the French by C. K. Stead
Hilary Davies on Jacques Dupin and Anne Beresford
Fiona Moore on Antonia Pozzi and Antonella Zagaroli
Annie McDermott on José Kozer
Paul Blake on Cornish and Breton poetry
Saradha Soobrayen, Further Reviews
- Poems by Korean Poet Ko Un
- Julith Jedamus's translations of Lorca's Romances.
- New translations of Philippe Jaccottet by C K Stead
- David Harsent's poems after Yiannis Ritsos.
- Fresh translations of East German poet Heinz Czechowski
- Wojciech BonowiczSeven poemsTranslated by Elżbieta Wójcik-Leese
- Heinz CzechowskiI sat on my balcony and looked...Translated by Ken Cockburn
- Philippe JaccottetNight Notes, From 'Après beaucoup d’années' (‘Notes nocturnes’)Translated by C K Stead
- Federico Garcia LorcaRomance de la Pena NegraTranslated by Julith Jedamus
- Giovanni PascoliTwo poemsTranslated by Marina Della Putta Johnston, Taije Silverman
- Yannis RitsosThe AcrobatTranslated by David Harsent
- Ko UnSpring days are passingTranslated by Brother Anthony, Lee Sang-Wha
By José Kozer
Translated by Peter Boyle
Reviewed by Annie McDermott
I write poetry like I breathe; I write poetry like I’m talking to you now; I write poetry without being aware of what I’m doing […]. I wrote a poem, very complex, and twenty-four hours later, if you asked me about it, I wouldn’t tell you anything; I forget the poem completely; it becomes obliterated in my mind one hundred per cent.
(José Kozer in an interview in Jacket magazine, 2008)
... a triumphant demonstration of what taste, discrimination and sheer commitment can achieve, with the right support ...John Pilling, PN Review