Category Archives: Translation

The Exquisite Prolongation of Immediacy: The Translation of Life and Poetry by Paul Vangelisti

Sunday, September 24, 2017

This evening I will be at the Beyond Baroque Awards dinner, which is being held once again at the Church in Ocean Park (235 Hill Street, Santa Monica, CA 90406). I have been asked to make the presentation speech for the George Drury Smith Award, which will go to Paul Vangelisti this year. Prior winners include Eloise Klein Healy, Wanda Coleman, David St. John, Holly Prado, and myself.

For those who cannot attend, here is what I plan to say.

The Exquisite Prolongation of Immediacy: The Translation of Life and Poetry by Paul Vangelisti

In one of my blog posts about a year and a half ago, I cited John Holten to the effect that “a good form of torture for any serious writer would be to deny them reading anything other than works produced in their own language or country.” If anyone could be said to have led the resistance to monolingual tyranny in Los Angeles the past half-century, it would have to be Paul Vangelisti, whose devotion to the art of translation goes far beyond any mere literary metamorphosis. Indeed, his writing is nothing short of an inspiring reminder of the daily necessity of accounting for each day of this quirky journey, and of how that accounting demands nothing less than the imperative: “You must translate your life.”

In translating his life, Paul is the single most ambidextrous person I have ever encountered. His accomplishments are manifold, and while they are too numerous to sum up easily, Paul would be the first to delineate how much others have assisted him over the years. The virtues of collaboration are much like those of translation: audacity, candor, commitment; and Paul has enabled those with whom he has worked to strengthen those virtues in their own lives. If Paul has inspired so many people with whom he has collaborated, it is largely because simply to be in his presence distills and effaces one’s own uncertainties and self-doubts, and enables one to renew that personal covenant with the imagination that insists on having a immediate connection with social reality.

Notwithstanding the scope of his generative collaborations, it remains Paul who has been the cynosure of the effort to make Los Angeles a place worthy of being at least a provincial capital in the world republic of letters. If Pascale Casanova’s description of literary enfranchisement meant that a truly representative body of arbitration within the realm of the imagination could actually function, then there would be little doubt that the person we should elect as our senator should be Paul Vangelisti.

He has earned this stature with a multi-decade production of superb poetry, but with a personal masthead of magazines, books, and anthologies featuring the work of other poets, especially within the maverick avant-garde. Yet no matter how much he accomplishes, he remains rigorously engaged with the increment yet to come. I have recently talked with Paul about the need for an anthology that presents the canon of West Coast poets. Every anthology on my bookshelves at best includes a smattering of West Coast poets, and it is time for California, Oregon, and Washington, along with Baja California and Vancouver, Canada, to assert itself as an autonomous site of poetics. Paul’s reaction to my suggestion was an emphatic “Let’s do it,” but of course in certain ways he has already done it, for that anthology will largely draw on those who have appeared in the dozens of issues of magazines that he has edited or co-edited or published, magazines such Invisible City, New Review of Literature, Ribot, and OR, as well as on the books of poetry published by his subversive enterprises, Red Hill Press and Seismicity Editions. The anthologies he himself has worked on, beginning in the early 1970s, will be the kernel of this future volume’s vision.

I should mention that I am the stand-in tonight for the person who would traditionally give this awards speech, but last year’s award winner, Holly Prado cannot be here in person tonight, due to the unfortunate fire that recently scorched the apartment she shared with her husband, the poet and actor Harry Northup. I happy to report that their recovery from this incident is going well, in large part because we as a community came together in their support. When it became apparent Holly would not be able to make this event, I suggested Dennis Phillips be asked to have this honor of presenting the award to Paul, since Dennis after all served as President of Beyond Baroque in the mid-1980s and would be the perfect intermediary at this gathering. In taking on this assignment, I knew one thing from the start, and that was I was going to quote Dennis Phillips as a way of featuring their deep bond. I have one ready-made advantage in doing this, for Dennis was the driving force behind a book, Nausikaa’s Isle, that was published two years ago to honor Paul on his 70th birthday. In the preface to that book, Dennis observed that “As a poet, a translator, an editor, a publisher, an educator, and for all the right reasons, an administrator, Paul Vangelisti has created a force of gravity felt by his readers, several international generations of poets, and his students, that brings to mind the similar influence of Pound.” In completely agreeing with Dennis, I would especially note this important understanding of the nature of that “force of gravity”: it is the quintessential trialectic gift exchange of space and time that generates history with more than literary meaning. Indeed, it is, as Dennis observes, “how deeply integrated in his work – and I mean all his work – are the poetic and the political.”

All of this magnitude has not gone unrecognized. In addition to NEA grants for both his own poetry and to assist his translation projects – and it should be noted that very few poets are at a level of this double achievement — he has also received numerous awards for his translations, including Italy’s Flaiano Prize and the PEN USA Prize for Translation in 2006. In 2010, the Academy of American Poets gave the Raiziss/de Palchi Book Prize. Paul is most certainly not without honors, accolades and awards as a writer and a translator, but there have been too few occasions in Los Angeles for Paul to receive a full measure of our appreciation for his enormous contribution to our cultural maturation. We are about to mark the 50th anniversary of Beyond Baroque, and two years after that celebration, it would only be appropriate for Beyond Baroque to hold a celebration of a half-century of editorial and publishing endeavors by Paul Vangelisti that have enabled so many poets and writers to attain an international audience. In the meantime, however, let this award serve as an initial installation. Paul has frequently configured his experience in Los Angeles as one of exile, and while I do not wish to contravene that assessment, I hope that for one night – tonight – he can briefly imagine himself at home, as we award him the 2017 George Drury Smith Award. Please join me in welcoming Paul Vangelisti to the stage for the bestowal of this award.

Magra Books: To Italy and Back

Chalkboard August Harmony
(Chalkboard near Fourth Street and Temple Avenue, Long Beach, CA)

August 27, 2017

Paul Vangelisti and John McBride were among the most productive editors and publishers of the golden age of small press publishing in the 1970s. The proliferation of MFA programs since 1980 has unfortunately all but erased recent literary history: how MFA program were barely worth mentioning to the majority of those committed to a life as a poet in the mid-1970s. The notion of a “career” as a poet back then was laughable. The production of books and magazines on an antinomian basis was quite serious, however; in fact, that’s all that mattered.

Vangelisti and McBride not only published dozens of books through their imprint, Red Hill Press, but also over two dozen issues of Invisible City, a magazine that deserves to have its entire print run issued in a single full-length volume. The magazine came out on newspaper-size sheets of paper, and although the paper stock is of very high quality, any scholar having to work with two or ore issues at the same time can find the process of notating comparisons a bit cumbersome. It’s a project that a university press (such as the University of California press) should undertake at some point, although it may unfortunately have to wait until the copyright to the poems expires. Fortunately, on the whole, the poems that appeared in Invisible City are exceptional examples of writing that will still hold up in another half-century.

As well as being a prolific and internationally recognized poet, Vangelisti is an inveterate publisher. At Otis College of Art and Design, he founded Seismicity Editions, as well as a pair of magazines, New Review of Literature and OR magazine. He will be retiring from Otis at the end of this coming academic year, but he has already launched another publishing project. Magra Books is a chapbook project, printed in Italy, that will come out on a steady basis as a quartet of chapbooks. In any given increment, all four will have the same color stocks for their covers. The first quartet had a pale blue; the second, a quietly luscious orange that teased the shadows cast by a nearby embankment of red clay.

The poets featured in each set will be familiar to readers of Invisible City and OR magazines. You can find out more information about this project at the website for Magra Books: http://magrabooks.com.

FIRST QUARTET (January, 2017)
Martha Ronk — The Unfamiliar Familiar
Ray Di Palma — For a Curved Surface
Dennis Phillips — Desert Sequence
Marcus Valerius Martialis — Epigrams (translated, with an afterthought, by Art Beck)

Of this quarter, I would especially recommend Beck’s translations of Martial’s epigrams. Beck’s “afterthought” is hardly as casual as the word usually connotes; as an epistolary poem, it uses the cumulative tone of the translated epigrams as a surfer uses an ocean swell, and the resulting glide initiates us as honorary members of his extended family.

Many poets associated with Los Angeles don’t actually write that much about living here, but Martha Ronk embeds herself in this city with quiet candor and rueful compassion for everyone who must endure the casuistries of daily life here. In examining “loss, its flannelly familiarity,” Ronk explores some of the same insinuating wrinkles that bunch up around the domesticated ordinariness of the partially suburban. Her poems in this collection remind me of Dick Barnes’s collaborations with Judy Fiskin. Indeed, “The Unfamiliar Familiar” contains a sequence of poems about photographs of houses, so there might be an influence. In any case, “Twilight Tracks House #3” is one of those rare poems where the rhythm and the images left me hungry to absorb the poem entirely, which is to say that I longed to memorize this elegaic aubade to the keen pitch of having its syllables roll around in my consciousness like sated lovers about to be aroused again. Ronk’s chapbook concludes with poems I remember seeing recently published: a set of homages to Raymond Chandler’s classic novels about Los Angeles.

The late Ray Di Palma’s writing consistently contributed to the dialogue in Los Angeles and on the West Coast from the early 1970s onwards through his appearance in Vangelisti’s sequence of magazines, starting with Invisible City. This chapbook is a fine example of a collage call-and-response between the epigrammatic titles and sardonic clarification.

Dennis Phillips has been writing long poems for a half-century. Of all the poets I’ve ever met in Los Angeles, he is the one who most benefits from having his poems heard with as much duration as possible. As if to urge us to do so, the poems in Desert Sequence are assigned to a quintet of voices, the first of which acknowledges in a prose poem that this chapbook is part of a larger project, Mappa Mundi.
“Here. Hold this open for a long minute because we both know it’s about to go away.
If this is a map then all maps are maps of the world and any sentence is a narrative, but:”
In Phillips’s absorption of the desert’s map in the conjunctions that follow, we are given important cautionary reminders about the cartography of the imagination.

SECOND QUARTET (July, 2017)
Gillian ConoleyPreparing One’s Consciousness for the Avatar
Robert Crosson — The Price of Lemons: Or; Some of the Worst Movies Ever Made
Corrado Costa — The Dodo or The School for Night
Paul Vangelisti and William Xerra — Toodle-oo

I have to confess that I’ve always had some hesitations about Conoley’s poems. While moments in her poems have usually caught my attention, some aspect of her associative logic would inevitably throw me off course. Perhaps, finally, I am beginning to acclimate myself to her distinctive cadences. Oddly enough, it isn’t the title poem of her chapbook that delivers this entryway, but rather “Life on Earth” and “The Right to Be Forgotten.” If I were putting together an anthology of outstanding recent poems, this pair would easily make my short list.

Robert Crosson’s memoir of his life as a young aspiring actor and modest success is one of the most charming and candidly droll accounts of being an artistic ephebe in the early 1950s. It’s the perfect counter-balance to read, after watching your favorite film noir.

Corrado Costa’s Th Dodoreminds me of Ionesco’s early plays, and in all the right ways.

One of the most remarkable qualities of Toodle-oo‘s meditative lyricism (or should I say “its lyrical meditation”) is that it refuses to make the least effort to seduce the reader. To no avail, for I could not help but succumb to the primary gravitational force of the poem: the candor of the immediate. In identifying that factor, it’s crucial not to confuse “the immediate” with “spontaneity” — that trompe l’oeil of mid-century avant-garde nostalgia for some Dionysian avatar. This poem follows much more subtle, actual scents, and as I read, I breathed deeply, slowly, releasing the agitation of my ordinary day.

Five Poems by Bill Mohr in Italian

Ant Mound - Sixth Street

Saturday, August 26, 2017

One of the poets I met in Mexico City during my trips there to read my poetry was Stefano Strazzabosco, with whom I exchanged copies of books of poetry. His volume was a book-length poem focusing on ants, which I at first regarded as a self-contained trope, but now realize needs to be thought about as part of the emergence of poetry within ecological discourse. Strazzabosco’s imagination, however, wears a droll mask, and as far as I can tell, he views his role of a poet as one in which he sets an example of the effects of poetry in choosing how to live. If that encourages others to commit to the social work of healing ruptures on the planet, all the better, but nothing is enforced.

Strazzabosco has just written to let me know that he has translated several of my poems into Italian and had them published in a blog. Following on the recent translation of my poems into Croatian, I feel as if some kind of geographical destiny is at work, since Northern Italy and Croatia sketch a kind of northern crescent to the Adriatic Sea.

You can find his translations of my poems at:

https://librobreve.blogspot.it/2017/08/poesie-di-bill-mohr-nella-traduzione-di.html

Thank you, Stefano.

Robin Myers, Poet-Translator: CONFLATIONS/Almagama

Thursday, June 15, 2017

Robin Myers, Poet-Translator: CONFLATIONS/Almagam

“Si tengo con qué escribir, sé que voy a detenerme a poner atención, a buscar entender cómo las cosas que me rodean se hablan entre sí.” — Robin Myers

Undergraduate students in creative writing often ask me about attending a MFA program. Since I myself do not have a MFA and often find myself in opposition to the constricted poetics that has dominated the Association of Writing Programs the past half-century, I am hardly the best person to go to for advice. I certainly encourage students to get the training that they feel is most appropriate for their talents and career goals. It’s important, for instance, for students to realize that the MFA is essentially a union card. It entitles one to apprenticeship status in the “brain factory,” which is to say that a person with a MFA can get teaching work at a college. Many MFA students who have attended CSULB have gone on to teach in the region’s community colleges, and a few have even taught at the four-year schools. Not only do they teach, but they continue writing, and several have gone on to publish novels and a fair amount of poetry. The success of the students is not surprising, given the quality of the MFA faculty. The other three poets who teach in the MFA program at CSULB (in seniority order, Charles Harper Webb, Patty Seyburn, and David Hernandez) all have national reputations; the fiction faculty includes two writers who have won N.E.A. creative writing fellowships. A student would be very hard pressed to find a better creative writing faculty at a public college, or many private colleges for that matter.

Any there other options, though? While it does require both aptitude and courage, one option is to empower oneself with thorough knowledge of a second language and to work as a translator. One young American poet who has done that is Robin Myers, who lives and works in Mexico City. She does not have a M.F.A., but she has developed something far more beneficial in the past several years; she has found a community of poets in Mexico whose commitment and knowledge of the art of poetry have enabled her to grow as a poet. Ultimately, one of the weaknesses of MFA programs in general is that they create networks and not communities. In undertaking this alternative course of maturing as a writer, Robin Myers has made herself part of a community which her affirmation of, in turn, has embraced her creative work.

Myers has just had her first book of poems, CONFLATIONS/Almagam, published in a bilingual edition in Mexico. I had the privilege of reading many of the poems in this book two years ago when the manuscript was still being finalized, and this collection deserves to be recognized as a superb debut by a poet who has just turned 30 years old. While this book might be difficult to obtain in the United States, you can find an interview with her that was published yesterday in the Los Angeles Review of Books:
https://lareviewofbooks.org/article/a-sudden-taking-in-of-air-an-interview-with-poet-and-translator-robin-myers/

Her interviewer, Daniel Saldaña París, is an essayist, poet and novelist. Among Strange Victims was just published this month by Coffee House Press; it is his first novel to appear in the United States.

Here is the catalogue copy for Robin Myers’s book:

http://www.edicionesantilope.com
Amalgama / Conflations
Robin Myers
Amalgama, la palabra, está definida en el diccionario como la unión o mezcla de cosas de naturaleza contraria o distinta. Y eso es justamente Amalgama, el libro: un inventario que Robin Myers levanta para luego recordar no sólo las cosas en sí, sino la sensación de asombro al encontrarlas todas juntas. Con una sensibilidad poco común, la poeta observa el mundo y va recogiendo lo que encuentra para darle después un lugar a través del lenguaje. “Si tengo con qué escribir”, dice Myers, “sé que voy a detenerme a poner atención, a buscar entender cómo las cosas que me rodean se hablan entre sí”.

Bells and Pomegranates — Poems in Croatian

In the Fall, 2003, Paul Vangelisti invited me to co-teach a graduate seminar at Otis College of Art and Design in a rotation that would also include Norman Klein and himself. I was in the final year of finishing my dissertation, and was a bit nervous about taking on a graduate school assignment at such an early stage in my academic career, but Paul – ever the elder brother – reassured me that it would go well, and indeed it did. Eventually I would return to Otis later in that decade to teach another graduate seminar, but all on my own.

For the first, co-taught seminar, I drove up from San Diego to Otis every third week and met with a large group of students, which included an intriguing pair of writers from Croatia, Natalija Grgorinić and Ognjen Rađen. They were already at that point committed to writing as a single person, and they were among the best students – if not the very best – in that seminar. I subsequently heard from Paul that they moved to the Midwest after finishing Otis and attended Case Western University, but lost track of them until recently, when I received an e-mail inviting me to visit their arts residency program in Croatia and to send them some poems for a magazine they were starting with a writer and translator from Canada, Daniel Allan Cox. The magazine is called Zvona I Nari (Bells and Pomegranates). I sent them several new poems, and they are now posted in a bi-lingual format at: https://www.zvonainari.hr/single-post/2017/04/26/Stepping-Aside-Bill-Mohr

It is an honor and a pleasure to have Natalija and Ognjen convey my poems into their language, and Linda and I hope to visit Croatia this year and have a chance to hear them read these translations out loud, as well as to catch up with what they are working on as a writer “themself.”

UNAM Poetry Workshop; FILU in Xalapa

Sunday, April 30, 2017

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I received an invitation from Magali Velasco to read at the FILU book fair in Xalapa, Mexico several months ago, but she received a post-doc fellowship and turned over the planning to others. Fortunately, continuity in planning was maintained and thanks to the efforts of Eliza Rodriguez Castillo and many others, I was able to travel to Xalapa this past week and read my poetry on a panel with Rachel Lewitsky, as well as attend panels on translation featuring David Shook and Forrest Gander. On Thursday, David did a superb job of translating for Rachel and me as three different TV stations and newspapers conducted almost non-stop interviews.

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Rachel Levitsky and David Shook (with genius loci) in Xalapa

My first stop on Wednesday, April 26, though, was Mexico City, where I taught a three-hour poetry workshop to a large group of students at a campus of UNAM. I was very impressed with the quality of their writing and hope I get a chance to work with them again. I wish to thank Professor Aurora Piñeiro, Elizabeth Andión, and Amber Aura for organizing and coordinating this gathering.

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(left to right: Ana Laura Araujo, Bill Mohr, Daniela Zárate, Emilia Alcalá)

After the workshop, I had a bite to eat in mid-afternoon and then reconnoitered with David Shook and Rachel Lewitsky to make a four-hour trip to Xalapa. Rachel and I read together the next afternoon, and David read on Friday. I have rarely enjoyed the company of two poets as much as I did theirs this past week. It was one of the special accompaniments of the past dozen years. Our only regret was that Anthony Seidman, who was also one of the original poets invited to FILU, was unable to make the trip due to circumstances beyond his control. However, both David and I were pleased to be standing near a book fair booth when we heard a voice intone the name Forrest Gander in a microphone and we turned around towards a stage in a corner of the convention hall. Indeed, Forrest was sitting at a table on a stage, but it turned out that his name was being sounded out in appreciation by the moderator. We had arrived too late for that panel, but he did speak again the next day, and I was pleased to catch that presentation. All in all, it was one of the more gratifying weeks I have ever spent as a poet and teacher.

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Laura Emilia Pacheco and Forrest Gander (after their panel on translation, Friday, April 28)

David Ulin and “Wide Awake”

January 1, 2016 — Top Ten Picks of David Ulin; The Monolingualism of American Literature

LA Times Book Critic David Ulin has edited several anthologies himself, a fact that deserves underlining when he includes Suzanne Lummis’s Wide Awake: Poets of Los Angeles and Beyond as one of his ten favorite books published in 2015. One doesn’t have to have edited an anthology of poets to gauge the value of such an effort, but it certainly tends to make one a more judicious reader of anthologies. Lummis, too, is a veteran of this kind of editorial project; she co-edited an earlier anthology with almost the same subtitle back in the early 1990s. The high marks that Ulin gives Lummis’s latest anthology are much appreciated in the Los Angeles poetry community, if only because L.A. poets have not always had a smooth ride in the L.A. Times. In particular, one can recollect that Robert Kirsch once anointed my first anthology, The Streets Inside: Ten Los Angeles Poets (Momentum Press, 1978) as an indication of a “golden age” of Los Angeles poetry. Unfortunately, not everybody who worked at the LA Times Book Review agreed with Kirsch’s assessment, and poets were regarded as cultural orphans of their own success. I’ll put it simply: it’s nice to be appreciated again. Ulin implicitly suggests the exponential growth of the diverse scenes here by pointing out that Wide Awake is “magnificent” both in quantity (it contains “the work of more than 100 poets”) and quality (it “reveal(s) the depths and power of the city’s poetic sensibility”). That David Ulin appreciates the efforts of the diverse communities of poets in this city enough to award Lummis’s anthology a top ten pick is very gratifying, and I hope Suzanne Lummis is savoring the acknowledgement.

The last paragraph in Carolyn Kellogg’s end-of-the-year commentary in the LA Times is also worth further consideration. In referring to the choice of a Russian writer for the Nobel Prize in Literature this year, Kellogg cites an article that appeared back in 2008 in which a member of the Nobel selection committee commented that American writing is “too insular.” The charge is true, I’m afraid, though the full quotation I’ve been able to dig up is even more revealing:

“The U.S. is too isolated, too insular. They don’t translate enough and don’t really participate in the big dialogue of literature,” (Horace) Engdahl said. “That ignorance is restraining.”

The real gripe that the Swedish academy has with American writing lies in the evidence of its insularity: “They don’t translate enough.” This could be translated, so to speak, as “You don’t care about us; so why should we care about you?” Fair enough, and it brought to mind how I recently found that my most widely distributed posting in this blog for the entire year of 2015 was “Against the Monolingual Torture of Writers,” which was originally posted back in early September. For some reason, it took off in December, and had over 300 pageviews, with 161 human visits, of which 149 were new visitors to my blog. My post was firmly on the side of the Swedish academy, and perhaps it caught the attention of someone in Europe who was surprised to find an American writer at odds with his peers.

Fortunately for me, my blog is not dependent on American book publishers for advertising in order to keep itself going. If it were, I could see retribution heading my way lickety-split. Believe me, I’ve seen it happen. The announcement earlier today of the death of Natalie Cole recoiled with references to “Unforgettable,” a song that her father had made famous and which the daughter reprised by having a version in which her voice was blended in a duet with his. Back when the father-daughter version was soaring up the charts, the newspaper I was working at as a typesetter started running cartoons with a slightly satirical edge to them about the music industry. The publisher must have thought it would make his paper “different” from the other trade papers. What he didn’t count on was that you can only get away with making fun of something that everybody shares a dislike of (i.e., politicians). The music industry takes itself very seriously, and when the front page ran a cartoon of Natalie Cole saying to a skeleton figure of her father, “Hey, Dad, you’re stepping on my lines,” (or something similarly sarcastic), the music label that released Cole’s remake let my paper know that it wasn’t just cancelling advertising of that particular song in the next issue or the issue after: all advertising by that label was forthwith cancelled. Or at least that’s the version that I heard in the hallway. I do remember some rather tense editorial and salespeople faces walking past me for a week or so until the crisis was resolved. The first thing to go, of course, was the contract with the cartoonist, nor was a replacement sought.

So, yes, once again, it would make American literature more interesting if the writers here asked themselves at some point if what they are writing would at all interest someone who can only read Spanish or Chinese. Are you saying something profound enough or insightfully witty enough to merit the travail required to translate it? I do appreciate how hard it is to attain that level of writing. My first book of poems in another language has only been published after over 40 years of writing. Surely, though, those poets who have won so many more awards that I have during that time have some explanation for why their work does not seem to make a transition beyond the wall of American monolingualism.

International Poetry at Avenue 50

(Against Monolingual Torture of Writers, Part Two)

Closing night -- San Luis Potosi Literary Festival. Standing center: Jorge Humberto Chavez; sitting center: Bill Mohr; to my left: Rocio Arellano. Photo credit: Julieta Garcia (c) 2015.

Closing night — San Luis Potosi Literary Festival. Standing center: Jorge Humberto Chavez; sitting center: Bill Mohr; to my left: Rocio Arellano. Photo credit: Julieta Garcia (c) 2015.

Sunday, September 6.

Late yesterday afternoon, Linda and I drove to Avenue 50 Gallery, where Jorge Humberto Chavez was the featured reader. Jorge was the major organizer of the San Luis Potosi International Literary Festival this past August, and I was very pleased that at least 30 people turned out to hear his poetry. I was among the half-dozen poets who read short introductory sets, and I was especially pleased to look out at the audience when I got up to read and see Phoebe, Ron, Chrissy, Liz, Rachel, Carol and Ted. (Carol Colin’s very fine exhibit of aquarium paintings was still up, and I hope to get one of her watercolors.) I started off with a poem that was very popular in my tour of Mexico, “One Miracle,” which is dedicated to Bob Flanagan. Then I recited “Big Band, Slow Dance” and read “Milk,” which is Jose Rico’s favorite poem in Pruebas Ocultas. I finished with “Why the Heart Does Not Develop Cancer,” which caused Nylsa Martinez to jump up and say, “Let me read that in Spanish.” Her rendering of the poem was quietly eloquent and added another layer of deep listening to the poem’s journey since its first publication in 2002. Nylsa’s “acoustic” version of “Heart” made me feel as if I were back in Mexico again, hearing my fellow poets amplify my readings to the audience. I especially appreciated how several people in the audience at Avenue 50 (Tschka Moran, who is a photographer, and his friend, Gustavo; Martha; and Lupe Carranza) talked with me afterwards about the poems.

Jorge read very well, and Anthony’s translations and renderings of the poem made even those of us whose Spanish is limited feel the solemn undercurrent of Jorge’s honest grief. His choice of a poem that invokes WC Williams’s trip to El Paso and Juarez was a brilliant way to end his presentation. Thank you, Jorge, for making this trip to Los Angeles, and thank you Jessica Ceballos for setting up this event. Other readers included Anthony Seidman, David Shook, Mandy Kahn, and Gloria Edina Alvarez, each of whom read work that directly or indirectly addressed issues of translation. In particular, Mandy Kahn read a poem that suggested how much translation is like quilting in the sense of contiguous collaboration. A splendid evening!

 

Against Monolingual Torture of Writers (Part One)

Against Monolingual Torture of Writers (Part One)

Here is a list of books published in the past few years in Mexico that would be worth the attention of anyone interested in writers working or being published in the immediate vicinity of the United States. In addition to these titles, I would also recommend a set of anthologies published by ELB – Cielo Abierto that interweave poets between two cities or countries. These collections include Relampago/Lightning: Contemporary Poetry from Latin America and the U.S.; Enemigos/Enemies: Contemporary Poetry from Mexico City and London; and Centrifuga: Poesia contemporaranea de Guadalajara y Dublin.

In the introduction to Centrifugal, Christodoulous Makris quotes John Holten to the effect that “a good form of torture for any serious writer would be to deny them reading anything other than works produced in their own language or country” (from an interview by Karl Whitney in 3 AM Magazine, October 27, 2011). Several of the writers whose books are listed below are available in translation. Those of us who are serious writers should make room on their desks for at least two or three of these books, and if anyone can’t read Spanish, find a friend who can and work on translating the poems yourselves.

Hugo Lazaro Aguilar — La Casa en Llamas (San Luis Cultura Municipal)

Luis Alberto Arellano – Grandes Atletas Negros. Luzzeta Editores (Guadalajara, 2014).

Rocio Ceron – Imperio / Empire. Translation by Tanya Huntington. Motin Poeta, 2009.

Jorge Humberto Chavez. La ciudad y el viaje interminable. Antología personal, edición en inglés y español, 1980-2000 (The City and the Endless Journey. USA, 2003)

Jorge Humberto Chavez. Te Diria quq Fueramos al Rio Bravo a Llorar Pero Debes Saber Que Ya No Hay Rio Ni Llanto.  (Premios Bellas Artes de Poesia Aguascalientes 2013).

Jorge Humberto Chavez. Angel. Mantis Editores. 2009.

Pura Lopez Colome – Lieder. Bonobos Editores.

Alberto Enriquez – Que La Muerte Llegue a Despertarnos. La Casa del Tiempo (2011).

Alberto Enriquez – Poemas para una conejita nocturna sucia. La Casa Del Tiempo. May, 2015.

Ferreira Gullar. Las Cosas de la Tierra: Antologia Poetica. Seleccion, traduccion y prologo: Jose Javier Villarreal. (Bobobos Editores, 2015)

Julian Herbert – Pastilla Camaleon. Bonobos Editores.

Bjorn Kuhligk – La Calma entre el Cero y el Uno. Traduccion de Daneil Bencomo. Bonobos Editores. 2015.

Antonio Malpica – La maquina. Alfaguara, 2013.

                                    Soldados en la Lluvia. Norma, 2013.

No nos extranara el sistema, Editorial SM, 2014.

 

Luis Armenta Malpica – Voluntad de la luz (Light’s Volition) – translation by Lawrence Schimel. Mantis Editores/BookThug

Angel Ortuno – Perlesia. Bonobos Editores

Luis Paniagua – Maverick71. Premio Literal de Poesia 2013. Literal Publishing.

Jose Luis Rico – Blanco. La Dïéresis, 2012.

        Duna.  Tierra Adentro, 2013.

Juan Jose Rodinas – 9 Grados de Turbulencia Interior (Mantis Editores)

Leon Plascencia Nol – Revolver Rojo. Bonobos Editores, 2011.

Leon Plascencia Nol – El Lenguaje Privado. filodecaballos. 2014.

Vicente Quirarte – Ciudad de Seda. Bonobos Editores. 2009

Vicente Quirarte – Melville en Mazatlan. Ardiente Paciencia (2015)

Stefano Strazzabosco – TT ZZZZZ: Cantos de Las Hormigas.

Hernan Bravo Varela – Realidad & Deseo Producciones. Bonobos Editores.

Alfonso Reyes. El nino en el voladero. (Illustraciones: Claudia de Teresa.

 

FICTION (Short Stories) AND PROSE

Rocio Arellano – El ritmo oculto – Ediciones sin nombre (2012)

Criseida Santa Guevara – La Reinita Pop No Ha Muerto (The Little Queen of Pop Is Not Dead). Literal Publishing.. Premio Literal De Novela 2013.

Jazmina Barrera Velazquez – Cuerpo Extrano (Foreign Body). Literal Publishing (Premio Literal de Ensyo, 2013).

Liliana V. Blum – No Me Pases De Largo (Don’t Pass Me By). Literal Publishing. Premio Literal en Cuento  2013.

Three Poems by Bill Mohr in Spanish

The original cluster of poems that Jose Rico and Robin Myers translated in 2014 for the book project that eventually became Pruebas Ocultas contained a fair number of recent poems, none of which ended up being included in the book. However, a magazine that operates as a blog-in-progress called Transtierros has published three of the “deleted” poems. My thanks to the editor, Luis Eduardo Garcia. These poems were originally published in English in the following magazines: CarnivalPoolOR. My thanks to the editors of those magazines, too.

Here is the link to my three poems:

http://transtierros.blogspot.mx/2015/09/tres-poemas-de-bill-mohr.html

Here are some links to the poems of the editor, Luis Eduardo Garcia, as well as interview with him.

POEMS BY LUIS EDUARDO GARCIA

http://www.entermagazine.net/#!ENTER-POES%C3%8DA-Luis-Eduardo-Garc%C3%ADa/cmbz/55a5db9d0cf286eab0233ab6

http://latribudefrida.com/poesia/2014914poemas-de-luis-eduardo-garca/

lNTERVIEW:

http://transtierros.blogspot.com/2015/05/test-nicotra-luis-eduardo-garcia.html