This is one of the more successful translations, I think:
To see someone age Like a style, like a song Like a movie that at the exit Left you remains of inspiration Strength pride Isn’t nearly what you’ll feel later Before the head tilts down And the breath subsides And you don’t believe what you see And even less what you’re doing: Laying the body out And joining hands that seem distant While her heart still watches you. Between time past And the farthest future Hanging on Turn-sick amid what we are And what our mother is And her piston And the carousel of her arms To look In distraction and suffering Through what is mine all my own Or in disquiet At an open hand A butterfly or hummingbird Flutters around us and makes us laugh I’m writing but not to you It’s redundant I’m repairing the umbilical cord That’s broken And buried And to this I stick Because it’s how things are going And because I’ve come to old age My dog all restless Scrutinizes my head Puts his ear to my gaze Auscultates my tears Calms down finally Moves his tail softly And vanishes like a lizard
My cousin Ilya Fedorov has opened a gallery in Brooklyn, the Dordor Gallery. He exhibits and sells his own and other painting, and rents studio space. There is a café, an event venue and more. Artists who join receive a series of benefits.
The gallery mirrors and takes up the work it had done in Moscow until being shut down last year.
Eminent Peruvian-American writer Isaac Goldemberg, poet Sasha Reiter and I have translated a book of poetry by Pedro Granados, forthcoming 2020 from Artepoética Press in New York. The volume includes work from two prior collections, Roxosol and Activado. I’ll be reading from it at the New Orleans Poetry Festival April 19.
Update: The Poetry Festival was postponed until 2021 due to the COVID-19 situation. I hope to see everyone then.
I am reading translations of Peruvian surrealist César Moro’s La tortuga ecuestre [The equestrian turtle], composed in Mexico in the late 1930s and first published in Lima in 1956, at the New Orleans Poetry Festival. Co-translator Esteban A. Quispe and I published early versions of some translations in Asymptote last year, and our volume The equestrian turtle and other poems is in preparation.
This is the website in progress for my research couse The Modernist Poetics of Federico García Lorca at the University of Louisiana, Lafayette. We will read Poet in New York, Diván del Tamarit, Así que pasen cinco años, Play without a title and El público, and annotate some of his lectures and manifestos.
What are modernist poetics? What makes García Lorca a major European modernist? Who were his Spanish contemporaries? These are some of the questions our annotation project will help us answer.
Students who have not read El poema del cante jondo, Romancero gitano and the trilogy Yerma, Bodas de sangre, and La casa de Bernarda Alba may do so. Others may want to investigate the earliest poems or some additional theatre.
The image here is of the Presidio in Santa Barbara, California, my home town, where I first read Lorca. This course is generously funded by the UL Lafayette Undergraduate Research Council and the Friends of the Humanities.