Friday, June 19, 2009

Wednesday, June 17, 2009

Popescu Prize 2009 Submissions

The Popescu Prize is awarded every two years for the best volume of European poetry translated into English. It is administered by the UK’s Poetry Society and sponsored by the Ratiu Family Foundation, established by former Romanian politician Ion Ratiu to promote Romanian culture abroad. It is named after Corneliu Popescu, a young translator from Romanian into English who was killed in an earthquake in March 1977.

86 titles of poetry have been submitted for this year’s prize from all around Europe, from Austria to Wales. Top of the list for translated poetry are France, Italy, Romania, Russia and Spain, but there’s also poetry translated from Basque and Galician (two of the four co-official languages of Spain), from Estonia, Ireland, Luxembourg and Turkey. A rich and enticing list!

Most of the time we complain about how little literature is translated and published in English, but seeing a list of 86 titles of translated poetry published in the last two years makes one feel like celebrating for once what does get published.

This year’s prize is judged by Elaine Feinstein and Stephen Romer and the shortlist will be announced in September.

Friday, June 12, 2009

Filmmaker Margarethe von Trotta takes on Hildegard von Bingen

At the Goethe Institute site there's an interview with the filmmaker Margarethe von Trotta discussing her new film "Vision", based on the life of the nun Hildegard von Bingen.

I don’t always select my subjects in a particularly conscious way - it often happens that I come across a subject or a person from the here and now or from the past and I am suddenly captivated, but it then just peters out or I forget all about it. This is often the case with love – you meet somebody for just a moment and then, when you see them 20 years later, you realise just how fateful the encounter was; only then does it turn into a real relationship. That is how it was with Hildegard von Bingen.

Hopefully we'll get an opportunity to see this film in the U.S.

Saturday, May 30, 2009

Absinthe 11, NYC, Rome and more

It’s been awhile since I’ve posted anything here so this will be a change from my typical strategy of short posts about a specific topic. In fact, I’ll probably ramble on a bit so be prepared.

It has been quite busy here at Absinthe HQ. If you’re not a subscriber then you’re missing out on the great new issue, Absinthe 11, which went out in early May. The cool cover, with devil courtesy of Sanaz Kiesbye, is just the start of a pretty fantastic issue (proclaims the slightly biased editor). See for yourself by reading a few excerpts at the Absinthe web site and, if you like what you see, subscribe there also.

At the end of April Jessica and I were in NYC for a few days and caught the beginning of the PEN World Voices Festival of International Literature. We made it to two events. The first, “Resonances: Writers on the Great Works,” was interesting and we were able to meet Europa Editions authors Muriel Barbery and Salwa Al Neimi and purchase a copy of their recent work--Elegance of the Hedgehog and Proof of the Honey, respectively—and these books are part of the current reading on our bed stands.

Unfortunately, we only managed a much too brief conversation with Michael Reynolds, the editor in chief of Europa, but did enjoy a drink with Annie Janusch, editor of Two Lines, and Edward Gauvin, a fine translator whose work appears in the current issue of Absinthe.

Later, we caught most of the Rattapallax/PEN Literary Film Feast and saw an interesting documentary about Ginsberg and his time in India.

The next morning we made it over to Slag Gallery in Chelsea and were fortunate to meet the founder Irina Protopopescu who is generously working with Absinthe to provide some art for a future issue.

Then it was on to Rome. Yes, Rome. We spent five wonderful (though very busy) days there and completely wore ourselves out. But we had beautiful weather--clear skies and around 70 degrees other than one two-hour thunderstorm--and the city was fantastic. A few highlights: the Galleria Borghese, ancient Rome (perhaps Detroit should take a lesson from Rome and leave some of its ruins alone—Tiger Stadium and the train station, for example—to become tourist attractions in a thousand years), gelato, Caffé Greco, Trastevere, the Daphne Inn, the church of San Clemente, and bringing home a copy of Where the Wild Things Are in Italian. One major lowlight: we were the victims of ATM fraud and lost nearly $1000. It’s a long story. Hopefully our bank will be cooperative. And if I might humbly make three suggestions to improve the Eternal City: 1) more green spaces—a few more parks and trees in the city center would be nice, 2) teach people how to use the metro—when you step on a train please move to the side, don’t just stop at the door, there are people behind you who want to get on too!, 3) reduce the number of cars in the city—it can seem romantic to an American admirer of “Roman Holiday” or “La Dolce Vita” to dodge a vespa on a tiny Roman street, it’s quite another thing when you’re jumping out of the way of a Hummer.

Anyway, regardless of a few negatives, the trip was fantastic. However, it took one editor quite some time to recover, probably due to advancing age.

On a different subject … congratulations to the four recipients of Dalkey Archive’s Applied Translation fellowship program: Rhett Warren McNeil, Ursula Meany Scott, Jamie Richards, and Kerri Pierce. Richards translated a piece by Italian writer Giancarlo Pastore that appeared in Absinthe 6.

Congratulations also to Amanda Love Darragh, awarded the Rossica Prize 2009 for excellence in Russian to English literary translation for her translation of Iramifications by Maria Galina, published by Glas in 2008.

Interested in Nordic literature? Then check out the blog Nordic Voices in Translation: “A blog devoted to the English translation of the literatures of the Nordic countries--Denmark, Finland, Iceland, Norway and Sweden. And also Estonia.”

Ok, I think that’s all for now … nope, one last thing … for those interested in French cinema, and particularly the Nouvelle Vague, I recommend picking up Richard Brody’s massive work on Godard: Everything is Cinema—The Working Life of Jean-Luc Godard. Though I’m only about 100 pages in I don’t want to put it down. In fact, if this post is a bit scattered it’s because I’ve been typing with one hand while holding the Godard book in the other.

So … is anyone still there? …

Tuesday, April 21, 2009

A SHOUT FROM COPENHAGEN, THOMAS E. KENNEDY

EASTER SUNDAY ON THE COAL SQUARE

Today a rare sun of spring, and I set off at noon to hike cross town to the Coal Square. Here I will pass my Easter Sunday in the sunlight, in the company of the new New Yorker, a couple of cigarillos, a pint or two of golden brew, notepad close to hand.

Here I can gaze across to a first floor apartment occupied more than 150 years ago by the father of existentialism Søren Kierkegaard, across from that The White Lamb serving house, shelled by the British in 1807, under orders of the Duke of Wellington, the year it opened. Now, 202 years later, Wellington is dust in his grave and The White Lamb continues to serve golden pints. Sometimes you hear a Duke Ellington CD playing in there – the only Duke now welcome.

There are seven trees and eight outdoor cafés on The Coal Square. I once conducted an exercise which I dubbed “Pint of View” on this very square, its objective being to drink a pint in each of the eight cafés and observe the Square from the eight points of view, the eight pints of view. The point of view is variegated, particularly through the intensifying focus of the increasing tally of pints.

Today, however, I alternate between tipping my face up to the ancient, holy sun, sipping my golden pint, reading a James Wood article in the New Yorker about George Orwell, and observing the human traffic on the Square.

This being Easter Sunday, the café tables are sparsely populated by their usually affluent clientele, and the public benches and pavemwent are largely taken over by the homeless. At my table in the sunlight, I am drinking a seven-dollar pint and smoking a fifty-cent cigarillo. Off center on the square, a few meters from an educational tobacco-preventive sculpture of a huge, twisted-out, filter-tipped cigarette butt, sprawl an encampment of the homeless, drinking fifty-cent cans of strong Easter brew and smoking various substances.

There are five of them, laying or sitting on the cobblestone-bordered cement slabs. The seven trees ranged round the perimeter radiate with a glorious halo of spring green so young it glows yellow in the midday light.

The five are talking loudly in foghorn voices about the hash they would be smoking if only they had a pipe. Two women, three men, and two large mongrel dogs. The dogs sleep on their flanks on the sun-warmed concrete. The spirits of the people seem high. Soon they are joined by two young men whose hair is an unnatural shade of red. They kiss one of the women, greeting her as “Mom.”

Ranks swelled to seven, the conversation grows louder. Scraps of phrase reach me:

“Allo, allo, master! Who you think you are?!”

“Gimme that fuckin’ lighter!”

“Hey, Mom, I got to go into jail soon.”

“Just relax!”

“I’m fallin’ asleep here – who could be more relaxed than that?”

These seven and another group clustered on a public bench nearby never mix with the patrons of the cafés. Only two Inuits I have occasionally seen do that, sneaking up to try to snatch pints of beer from the tables at unguarded moments to steal a slug and giggle mischievously.

Clusters of words fly across the sunny square:

“The dog’s okay. He’s lyin’ on my jacket.”

“There where I used to live…”

“You never lived there!”

In the background, the cathedral bells are tolling, no doubt in honor of the resurrection of the savior of man.

A short, mustached Inuit man in a porkpie hat, obviously well into his cups but spry on his feet, dances happily across the square, trying to sell an unauthorized copy of the homeless newspaper to the occasional passerby. He is indefatigable and relentlessly cheerful and before long has sold the paper for three and a half dollars to a black woman with an enormous Afro, rolling her bike across the square. He bows in formal thanks to her as he pockets the money, then spins and dances lightly across to his bench mates, giggling at his success.

Among the Inuits is a tall muscular young man in a sleeveless T-shirt who hunches around, growling loudly, occasionally attacking the giant cigarette butt which he seems to want to lift over his head and heave away from him, but every time he gets it off the ground he loses interest and drops it, rolling his head, face up to the sun, growling, roaring.

Two of the Inuits are in standard hospital-issue wheelchairs which they sit in and walk with their feet. A woman stands in front of one of them, bowed forward at the waist. They kiss passionately, mouths rotating together, arms around one another’s neck. The kiss continues long enough to make me wish I was kissing somebody. Another Inuit woman sits on her jacket and strums a guitar, singing a happy Greenlandic song.

The conversation in the other group grows increasingly animated:

“Mogens, bring me that bag of beer – no! don’t look into it! Just bring it to me!”

A skinny, wrinkle-faced fellow in a peaked cap announces, “The supreme court has asked me to convey greetings to teach and every one of you on this Easter day!”

“Same to you, buster!”

“Whoa, master! Who telephoned you and invited you to say hello?!”

Off to one side, a large round man rises from a bench. He looks like a prophet in a dirty grey jogging suit, big belly, big face, big head, big bald pate with long grey hair streaming down, a long grey beard. He garbles some words in an impressive booming voice, and a small slender woman in a sleeveless blouse stands up to block him from joining the group on the cement.

“You do not belong here,” she says. “Go. Away!”

He tries to circle around her but she steps to the side to keep her face in his. He stumbles away from the homeless circle, shaking his head, over to my table. He is wearing garden gloves, one of which he drops a foot in front of me, leans on the edge of my table and says, “Gagagaga…” which I interpret to mean he is only leaning there for a moment until he retrieves his glove.

I say, “That’s quite okay,” and he answers, “Très bon!”

Glove in hand, he peers into my face. “I gi’ them half an hour,” he says. “Then they’re blown away.”

I say, “Très bon.”

He says, “Magnifique!” with a satisfied grin and limps away, but glances back and adds, “You got the right to sit there and write if you want!”

I say, “Merci. Très bon. Magnifique!”

He looks happily at me and stumbles over to collapse on a bench, falling immediately asleep.

The thin woman with the dog, whose name I surmise is Mette, shouts out, “Is my dog dead?!”

A café customer at one of the tables yells, “Give it mouth to mouth!” and Mette yells back at him, “Ey, buster! Who called you on the phone?!” Her dog lifts its head where it lays in the sunlight to look at her, and she says, “King! Don’t scare me like that!”

In addition to taking notes, I am reading an article in the New Yorker about George Orwell, which asserts that Orwell could not really tolerate the thought of social mobility.

A woman with henna hair sitting amongst the homeless on the cement calls out in a foghorn voice: “Allo! May I speak?! Allo!”

The homeless people are breaking into factions that shout or call to each other from bench to pavement. One of the young men who called the henna-haired woman mother says something to which a skinny, scraggly-bearded man wearing a peaked cap says, “Pseudo necrophile!”

The henna-haired woman says, “Slow down there, buster! What’re you sayin’?! That means a person who fucks the dead! Look me in the eye and say that about my son!”

“I come from the provinces,” says the scraggly-bearded man. “I don’t look in people’s eyes.
Anyway, I said pseudo-necrophile.”

“You do not call my son a necrophile!”

“I didn’t say that. It’s a joke. And he’s an adult. He should stand up for himself. A man doesn’t need his mother to do that.”

The tall young muscular Inuit looks at them and rolls his thick shoulders. He growls. Then he turns away but looks back again and roars and struts away, nodding with satisfaction.

It occurs to me that this being Easter Sunday, I really ought to work in a metaphor of resurrection and redemption, of sacrifice to atone for the sins of mankind, about the spotless virgin mother of Jesus. But what I am actually thinking about is the incredible amount of energy that these people exhibit.

I ask myself how it can be in this enlightened social-democratic Christian kingdom that there can be so many of our fellow citizens who have no home to live in. How can it be that I sit here drinking seven-dollar pints of beer while they sit and fade away on the pavement? Though they look older, they are young most of them – not more than a couple over fifty, most of them under forty, forty-five tops. Apparently life expectancy among this segment of the population doesn’t extend much beyond that.

Then I remember a black-and-white poster I used to have hanging on the wall of my studio apartment on East Third Street in Manhattan, Alphabet City, back in 1966: the photograph showed a scraggly derelict staggering along the Bowery above the words: WE HAVE ALL COME FROM LOVERS.

All except Jesus, it occurs to me.

Greetings from this ancient kingdom!
Thomas E. Kennedy (www.thomasekennedy.com)

Tuesday, April 14, 2009

Journalism and Putin

Interesting article in The Observer about the Russian newspaper Novaya Gazeta and the consequences for reporting the news in Putin's Russia.

It is 11am and the Russian newspaper Novaya Gazeta is holding its editorial conference. Seated at the top of a long, wooden table, Dmitry Muratov, the paper's bearded editor-in-chief, is flanked by his senior team....

The mood is good-natured; there are arguments and jokes. But nobody doubts the seriousness of Novaya Gazeta. On the wall is a photo-gallery of dead colleagues. There is Anna Politkovskaya, Novaya's feted special correspondent, shot dead in October 2006. Next to her is the paper's deputy editor Yuri Shchekochikhin (mysteriously poisoned). Then there is reporter Igor Domnikov (bludgeoned to death). Two new black-and-white photos have just been hung on the wall.

One shows Stanislav Markelov, who was one of Russia's best-known human rights defenders and Novaya's lawyer. The other is of Anastasia Baburova, a 25-year-old freelancer for the newspaper. An armed assailant killed them both on 19 January, a few minutes' walk from the shimmering gold towers of the Kremlin. Markelov died instantly; Baburova lay dying in the snow. The photos provide a constant reminder of how dangerous the most basic function of journalism – telling the truth – has become in Vladimir Putin's Russia.

Monday, April 13, 2009

Hu


I came late to Walt Disney and am enjoying the experience now that I have (thanks to my one-year-old son). I am struck by the quality of the singing, the weakness of good characters that causes them to make basic mistakes (such as leaving someone unattended), the sense of a paradise lost for which we need to find our wings. My wife’s favourite is Sleeping Beauty, in which the young Princess Aurora confides in her animal friends that she has met someone “once upon a dream”. The owl asks persistently, “Hoo? Hoo?”

In a recent article about the line, I made reference to the Sanskrit word hu, which is the root of our word God and means “invoke the gods”. A bit like the owl crying “Hoo? Hoo?” It also sounds the same as WHO, which I explained refers to Christ, the Being, the One Who is.

This word hu is an extraordinary one, and not only because it contains my favourite letter, h. I think of it as the primal word. Speech is made up of three elements: breath, water and flesh. If you have not breath, you are dead, in short. And if you are dead, you cannot speak. So breath forms the basis of all speech. It is represented in our alphabet by the letter h, which curiously in some languages (such as Spanish) is not even pronounced and in certain dialects (such as Cockney) is dropped.

But breath on its own is not enough to form a word. I cannot just breathe out if I want to address someone (they would think I was strange). I must add voice, by which I mean a vowel. Try it. Open your mouth. Begin by breathing out. Then add voice. You have sound.

If you carry on adding voice, you will find that water collects in your mouth. This is because vowels are water. They flow. And the interesting thing is that they are not pronounced from the throat to the front of the mouth in the same order they have in the alphabet. In fact, the first vowel sound to be produced from the throat is u. So the first word we can possibly make is hu. The root-word for God.

We read at the beginning of that most remarkable of books, Genesis, that “a wind from God swept over the face of the waters. Then God said…” (Genesis 1:2-3). The two elements of breath and water enabled God to speak. This is why I refer to hu as the primal word and the sound of creation. No surprise, then, that it means “invoke the gods”.

But I would get a sore jaw and start dribbling if I only produced voice and did nothing to stop it. And this is because, after h and the vowels, there is a third element to language: the consonants. How do I stop my voice? With my lips or tongue, i.e. with flesh. This is how I form the consonants.

We again see a correlation with the Creation account in Genesis: “a stream would rise from the earth, and water the whole face of the ground – then the Lord God formed man from the dust of the ground, and breathed into his nostrils the breath of life; and the man became a living being” (Genesis 2:6-7). Here, in the creation of man, we see the third element at play: the dust of the ground, or flesh.

What is extraordinary is not only that the elements of speech and creation are one and the same (as you would expect when you consider that Christ is the Word and “all things came into being through him”, John 1:3), but that these three elements have one word that unites them all.

BREATH. WATER. FLESH. Different? Take the h away from BREATH. WATER-BREAT. The sounds represented by the letters b-v-w are almost identical (think of Spanish and German).

But how do we get from BREATH and WATER to FLESH? For this you need to know that the fourteen simple consonants are divided into seven pairs, one of them being l-r. Another is f-v, which makes it easy through v to connect f with b and w. Now all we need to do is take one step in the alphabet from t to s, and BREATH (without a) becomes FLESH.

Using the same rules of phonetics and the alphabet, we will see that one word is common to all three elements: FATHER.

(By the way, h + 5 vowels + 14 consonants leave 6 letters from the alphabet: the semi-vowels j and y (i) and w (u). And 3 letters that seem to be doubling up: c (k or s), q (k again) and x (ks).)


See also Jonathan’s article WHO AM I

Monday, March 30, 2009

Liliana Ursu

We had the privilege of hearing Romanian poet Liliana Ursu and her translator Sean Cotter read this evening from their new book Lightwall, published by Zephyr Press. It was a wonderful reading and I recommend checking out the collection, as well as hearing them read if you get the opportunity. Liliana and Sean have several readings scheduled in the next week, including at the Lilly Library at Indiana University in Bloomington on April 1st at 4 pm, and next Tuesday evening, April 7th, in Plano, Texas at Legacy Books.

Three poems by Liliana Ursu, translated by Mihaela Moscaliuc and Michael Waters, will appear in Absinthe 11. Enjoy a preview below:

Poem Written on a Rainy Day about Garden Shears

On the table white as the sea wall
In de Chirico’s painting
The poetry notebook and “Homilies on Repentance”
By St. John of the Cross.
Next to them the garden shears
With arms yellowish
Like two candles,
The steel coil
Unquestionable.

And last, the shears’ blades
That trim all illusions,
All sins.
All the way to the bluish skin
Caressed only by angels.

Translated from Romanian by Mihaela Moscaliuc and Michael Waters

Wednesday, March 25, 2009

Italian Film Festival in Detroit

For those in the Detroit area there is an Italian Film Festival taking place from March 26-April 4 at several venues, including the Detroit Film Theatre. The festival kicks off there tomorrow night with a screening of the 2007 film La Giusta Distanza at 7:30. All films are FREE.

Schedule for PEN World Voices

The schedule is now up for the PEN World Voices Festival of International Literature taking place in New York from April 27-May 3. The European writers appearing include Muriel Barbery, Lilian Faschinger, Clemens Meyer, and Péter Nádas.

The theme of the festival this year is "Evolution/Revolution":

2009 is a year of significant anniversaries—from Galileo’s telescope (1609) to Darwin’s On the Origin of Species (1859), from the Cuban Revolution (1959) to the collapse of Communism across Eastern Europe (1989) and Tiananmen Square (1989). For this year's festival, writers from all over the world will consider how the world changes and how we change.