¡Bemsha SWING!

6 oct 2007

Belitt for a while (in the sixties) had the only widely available translations of Neruda in book form, the only version of Poeta en Nueva York in print. He was the "leading translator." So the resentment about the quality had to do, possibly, with the fact that the American reader with no Spanish had to go through Belitt to get certain things. To then interpose his own poetic personality in such a case seems an affront, given that a reader may or may not want to have to deal with the "translator's ego" (phrase from Weinberger & Eshleman.) It's making a claim on the reader's attention that would only be justifiable --maybe--if BB were a great poet "in his own right."

2 comentarios:

John dijo...: I don't read Spanish, and I'm curious to know what you think of Eshleman's translations.

If you don't wish to answer, feel free to delete my comment!; 5:27 p. m.
Jonathan dijo...: Eshleman chose the hardest possible poet, Vallejo, and worked his whole life getting better and better translations, revising and honing the translations he had already done and studyiing the problematic aspects of the text. Does that mean there is nothing to object to in his translations? No, I might very well have quibbles. But those quibbles would be in the context of a general admiration for what he has done.; 6:53 p. m.

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Blurbs & Reviews

"Jonathan Mayhew’s new work belongs to a certain class of surprising books: those so obviously necessary once they appear that it apparently required a stroke of genius to come up with the idea for them."

--Daniel Katz

"Jonathan Mayhew's Lorca is less the distinctive Spanish poet, whose murder in 1936 marked the beginning of the Civil War, than he is an American invention. From the 1940s to the end of the century, our poets have invoked Lorca-in translation, of course-as a Romantic, exotic, radical, and, in many cases, gay icon-the poet of mystery and the duende. The Lorca myth, Mayhew argues persuasively, has enriched American lyric, but it has also been an obstacle to a more adequately grounded understanding of Spanish poetry in the 20th century. Apocryphal Lorca is revisionist criticism at its most acute."

-Marjorie Perloff

"Enhanced by copious notes and an excellent bibliography, this book offers a perceptive, intriguing assessment of the Garcia Lorca created by the postwar generation of American poets." (Choice )

"Mayhew is a critic who is at the top of his game; he combines a breadth of knowlege of the field with acute analysis."

--John C. Wilcox, University of Illinois at Urbana-Champaign

"Let me just cut through all the usual, boring book review preliminaries and say the following thing: Jonathan Mayhew has, in Apocryphal Lorca, written an amazing book. "

--Brandon Holmquest, Calque

"The great merit of Mayhew's study is his sustained effort to document and interrogate Lorca's reception, unique among American encounters with foreign literatures in its nature and extent."

--Lawrence Venuti, TLS.

"Se trata de Jonathan Mayhew y su extraordinario estudio Apocryphal Lorca. Translation, Parody, Kitsch. Esta obra se ocupa no de García Lorca sino de cómo los escritores estadounidenses han reinventado a Lorca, desde Spicer y Rothenberg hasta O’Hara y Koch. Asimismo, es una discusión de la Deep Image —¡cuánto hay que desmenuzar de ese capítulo!— y la manera en que la poética norteamericana se ha apropiado de lo lorqueano (o lorcaesco) y del concepto de lo 'otro' que éste representa. Éste es un libro repleto de sutilezas, de tesis, apuntes, datos."

--Heriberto Yépez

"Apocryphal Lorca, sin embargo, es mucho más que un estudio de las vidas posteriores de Lorca en la poesía americana entre principios de los años 50 y 70. También ofrece un acercamiento histórico a la traducción de su obra, descubriendo reseñas de prensa significativas y discurriendo acerca de reconocimientos críticos. El texto es elegante y fresco; el análisis amplio e históricamente específico."

--María Delgado, Revista de Literatura

¡Bemsha SWING!

6 oct 2007

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