{"title":"Iron Door Knocker the Shape of a Man's Face, by Feetham","authors":"Robyn Schiff","doi":"10.2307/j.ctt20ks0p9.9","DOIUrl":"https://doi.org/10.2307/j.ctt20ks0p9.9","url":null,"abstract":"","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"1 1","pages":"225"},"PeriodicalIF":0.1,"publicationDate":"2008-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68740773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Peter Finch, The Welsh Poems. Exeter: Shearsman, 2006. 146pp. $16 The Welsh Poems doesn't make much new. But that's not Peter Finch's project. Across the book, Finch figures the poem as a site of cognitive waste, a word-fill. The collection includes extended permutations, poems gleaned from websites, found-language chunks, and stream-of-consciousness blocks-all pointing away from notions of originality and toward ideas of infinite transformation. Regrettably, however, Finch's ideas are often more compelling than their realization. One long poem, "Easy X-Rays" includes four columns of words in reduced font spread across four and a half pages. It ends in eighteen repetitions of the word "waste" (which pick up three earlier iterations and a single "waist"). The poem draws a connection between language and discarded excess; it works best as a visual exemplification of the mind's detritus. Reading it, you have to wade through an awful lot of verbal rubbish. Those familiar with experimental poetry will quickly recognize the strategies required to read Finch's work. (The best experimental poetry, on the other hand, challenges the conventions that allow for its categorization.) Uninitiated readers may simply refuse to read the refuse, as the book is chock-full of fluff like the following from the poem "Tea Room": They took the road back in a car that leaked marking its territory as it went like a cat. Cat. Cart. Critch. Kringle Cat. Coot. Cooloop Cat. Cancan Teenadan Can Deeta Canrowtoo Canreeta Canrowtoo Cancreela Crimb Crime Crark Cat. Cob had two one huge with a lazy tongue one black and white with fragile bones so deep down in the fur you knew it had to be old. Such stream-of-consciousness heaps leave readers without a sense of destination or satisfying necessity. The "huh" or "huh?" that follows may be the most illuminating criticism available. To balance this engagement with excess, Finch also consistently alludes to spiritual encounters with blankness: "I favour the cessation of particle movement, gaps between, cold." This, of course, recalls some eastern spiritual traditions, which clearly inform Finch's work. He overtly points to such an influence in the poem "Past Interests," listing, along with many other interests, "The martial arts aikido, tai chi chuan and tae kwondo" and "Tibetan Buddhism." What Gary Snyder describes, Peter Finch enacts-a transitory dwelling in "That place where the outgoing breath ends and the incoming has not yet begun. …
{"title":"Welsh Poems","authors":"H. Staples","doi":"10.1525/9780520319493","DOIUrl":"https://doi.org/10.1525/9780520319493","url":null,"abstract":"Peter Finch, The Welsh Poems. Exeter: Shearsman, 2006. 146pp. $16 The Welsh Poems doesn't make much new. But that's not Peter Finch's project. Across the book, Finch figures the poem as a site of cognitive waste, a word-fill. The collection includes extended permutations, poems gleaned from websites, found-language chunks, and stream-of-consciousness blocks-all pointing away from notions of originality and toward ideas of infinite transformation. Regrettably, however, Finch's ideas are often more compelling than their realization. One long poem, \"Easy X-Rays\" includes four columns of words in reduced font spread across four and a half pages. It ends in eighteen repetitions of the word \"waste\" (which pick up three earlier iterations and a single \"waist\"). The poem draws a connection between language and discarded excess; it works best as a visual exemplification of the mind's detritus. Reading it, you have to wade through an awful lot of verbal rubbish. Those familiar with experimental poetry will quickly recognize the strategies required to read Finch's work. (The best experimental poetry, on the other hand, challenges the conventions that allow for its categorization.) Uninitiated readers may simply refuse to read the refuse, as the book is chock-full of fluff like the following from the poem \"Tea Room\": They took the road back in a car that leaked marking its territory as it went like a cat. Cat. Cart. Critch. Kringle Cat. Coot. Cooloop Cat. Cancan Teenadan Can Deeta Canrowtoo Canreeta Canrowtoo Cancreela Crimb Crime Crark Cat. Cob had two one huge with a lazy tongue one black and white with fragile bones so deep down in the fur you knew it had to be old. Such stream-of-consciousness heaps leave readers without a sense of destination or satisfying necessity. The \"huh\" or \"huh?\" that follows may be the most illuminating criticism available. To balance this engagement with excess, Finch also consistently alludes to spiritual encounters with blankness: \"I favour the cessation of particle movement, gaps between, cold.\" This, of course, recalls some eastern spiritual traditions, which clearly inform Finch's work. He overtly points to such an influence in the poem \"Past Interests,\" listing, along with many other interests, \"The martial arts aikido, tai chi chuan and tae kwondo\" and \"Tibetan Buddhism.\" What Gary Snyder describes, Peter Finch enacts-a transitory dwelling in \"That place where the outgoing breath ends and the incoming has not yet begun. …","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"53 1","pages":"184"},"PeriodicalIF":0.1,"publicationDate":"2007-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67336417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Asian American Poetry: The Next Generation. Edited by Victoria Chang. Urbana: University of Illinois Press, 2004. 194 pp. $19.95 If lyric poetry is the most introspective of all literary forms, the most remote from public and political concerns, how should we read lyric poems that come to us under the label of Asian American writing? Should we read a minority writers embrace of the lyric as a sign of literary maturity, a transcending of narrowly ethnic concerns and political propaganda? Should we see it as a strategic withdrawal from society, following Adorno's dictum to read social pressures as "imprinted in reverse" on the lyric? Should we join those who would criticize lyric poetry as an abdication of the poet's political responsibilities to his or her community? Or are such demands themselves a form of racism, denying the writer of color the same freedom we grant to white American authors of lyric? These are just some of the questions raised by the publication of Asian American Poetry: The Next Generation, a new anthology of young Asian American poets. They are the same questions addressed a decade ago by the first two major anthologies of Asian American poetry: The Open Boat: Poems from Asian America (Anchor Books, 1993), edited by Garrett Hongo, and Premonitions: The Kaya Anthology of New Asian North American Poetry (Kaya Press, 1995), edited by Walter K. Lew. These groundbreaking anthologies were conceived and published at a moment when Asian American literature, once seen as a vehicle for political goals, seemed to be embracing a wider range of aesthetic commitments. Both anthologies, in their very different ways, acknowledged and responded to this shifting landscape, placing their selections in dialogue with the history of Asian American writing. While Asian American Poetry cites these earlier collections, its lack of historical awareness may cause readers to question whether "Asian American poetry" has any continuing relevance as a category. Nevertheless, a few writers within its pages do offer a new kind of public lyric-one that never loses sight of the ways in which the individual consciousness is shaped by the discourses of race. Despite its sweeping title, Asian American Poetry is a slim volume with relatively modest ambitions, surveying the work of about two dozen writers under 45, whom its subtitle calls "the next generation" of Asian American poets. As editor Victoria Chang acknowledges in part, it has less in common with The Open Boat or Premonitions than it does with collections like American Poetry: The Next Generation, whose goal is the promotion of rising young stars. It speaks less for the Asian American community than for that familiar demographic known as Generation X. Chang is more frank than is usual about editing with an eye to the market. Asian American Poetry, she writes, is part of "the growth of anthologies that cater to specific subgroups of readers, a development that indicates readers' strong desire for editoria
《亚裔美国诗歌:下一代》张维多利亚编辑。厄巴纳:伊利诺伊大学出版社，2004年。如果抒情诗是所有文学形式中最内省的，最远离公众和政治关注的，那么我们应该如何阅读那些贴着亚裔美国人作品标签的抒情诗呢?我们是否应该把少数民族作家对抒情诗的拥抱视为文学成熟的标志，一种对狭隘的种族关注和政治宣传的超越?我们是否应该将其视为一种从社会的战略撤退，遵循阿多诺(Adorno)的格言，将社会压力解读为“印在歌词上的反向”?我们应该加入那些批评抒情诗是放弃诗人对他或她的社区的政治责任的人吗?或者这些要求本身就是一种种族主义，剥夺了有色人种作家与我们给予美国白人抒情作家同样的自由?这些只是《亚裔美国诗歌:下一代》(Asian American Poetry: the Next Generation)出版后提出的一些问题，这是一本关于年轻亚裔美国诗人的新选集。十年前，前两部主要的亚裔美国诗歌选集——《开放的船:亚裔美国诗歌》(加勒特·洪戈主编，1993年)和《预兆:新亚裔北美诗歌选集》(卡亚出版社，1995年)——也提出了同样的问题。这些开创性的选集是在亚裔美国文学——曾经被视为实现政治目标的工具——似乎正在拥抱更广泛的美学承诺的时候构思和出版的。这两本选集都以截然不同的方式承认并回应了这种变化的格局，将它们的选集与亚裔美国人的写作历史进行了对话。虽然《亚裔美国诗歌》引用了这些早期的诗集，但它缺乏历史意识，可能会让读者质疑“亚裔美国诗歌”作为一个类别是否有任何持续的相关性。尽管如此，一些作家在其页面上确实提供了一种新的公共抒情诗——这种抒情诗从未忽视种族话语塑造个人意识的方式。尽管书名很宏大，但《亚裔美国人诗歌》是一本薄薄的书，内容相对不大，它考察了大约24位45岁以下的作家的作品，副标题称他们为“下一代”亚裔美国诗人。正如编辑维多利亚·张(Victoria Chang)部分承认的那样，这本书与《开放的船》(Open Boat)或《预感》(Premonitions)等诗集的相似之处不如《美国诗歌:下一代》(American Poetry: The Next Generation)等诗集，后者的目标是提拔冉冉升起的年轻之星。比起亚裔美国人群体，它更能代表我们熟悉的“x世代”(Generation x)群体。张戎比以往更坦率地表示，编辑着眼于市场。她写道，《亚裔美国诗歌》是“迎合特定读者群体的选集增长的一部分，这一发展表明读者对编辑专业知识的强烈渴望”。由学术出版社出版的这卷书似乎证实了编辑的权威。然而，这个系列的历史和美学上的狭隘与它的标题所暗示的范围形成了鲜明的对比。一本专业选集的编辑根据自己的口味挑选作品是不应该受到指责的。但读者有权从一本由大学出版社出版的名为《亚裔美国诗歌》的选集中期待更多。这家图书出版商似乎是想抓住日益增长的亚裔美国文学市场，而不愿投入必要的学术研究。张戎在她的引言中写道，“下一代”亚裔美国诗人的作品与“第一代”作家的作品不同，比如宋凯茜、李丽英和陈玛丽莲——这些作家构成了本吾《开放的船》的核心。Chang认为，第一代亚裔美国诗歌“倾向于关注文化、身份、家庭、政治、种族和地域等问题。…
{"title":"Asian American Poetry: The Next Generation","authors":"Timothy T. F. Yu","doi":"10.5860/choice.42-3258","DOIUrl":"https://doi.org/10.5860/choice.42-3258","url":null,"abstract":"Asian American Poetry: The Next Generation. Edited by Victoria Chang. Urbana: University of Illinois Press, 2004. 194 pp. $19.95 If lyric poetry is the most introspective of all literary forms, the most remote from public and political concerns, how should we read lyric poems that come to us under the label of Asian American writing? Should we read a minority writers embrace of the lyric as a sign of literary maturity, a transcending of narrowly ethnic concerns and political propaganda? Should we see it as a strategic withdrawal from society, following Adorno's dictum to read social pressures as \"imprinted in reverse\" on the lyric? Should we join those who would criticize lyric poetry as an abdication of the poet's political responsibilities to his or her community? Or are such demands themselves a form of racism, denying the writer of color the same freedom we grant to white American authors of lyric? These are just some of the questions raised by the publication of Asian American Poetry: The Next Generation, a new anthology of young Asian American poets. They are the same questions addressed a decade ago by the first two major anthologies of Asian American poetry: The Open Boat: Poems from Asian America (Anchor Books, 1993), edited by Garrett Hongo, and Premonitions: The Kaya Anthology of New Asian North American Poetry (Kaya Press, 1995), edited by Walter K. Lew. These groundbreaking anthologies were conceived and published at a moment when Asian American literature, once seen as a vehicle for political goals, seemed to be embracing a wider range of aesthetic commitments. Both anthologies, in their very different ways, acknowledged and responded to this shifting landscape, placing their selections in dialogue with the history of Asian American writing. While Asian American Poetry cites these earlier collections, its lack of historical awareness may cause readers to question whether \"Asian American poetry\" has any continuing relevance as a category. Nevertheless, a few writers within its pages do offer a new kind of public lyric-one that never loses sight of the ways in which the individual consciousness is shaped by the discourses of race. Despite its sweeping title, Asian American Poetry is a slim volume with relatively modest ambitions, surveying the work of about two dozen writers under 45, whom its subtitle calls \"the next generation\" of Asian American poets. As editor Victoria Chang acknowledges in part, it has less in common with The Open Boat or Premonitions than it does with collections like American Poetry: The Next Generation, whose goal is the promotion of rising young stars. It speaks less for the Asian American community than for that familiar demographic known as Generation X. Chang is more frank than is usual about editing with an eye to the market. Asian American Poetry, she writes, is part of \"the growth of anthologies that cater to specific subgroups of readers, a development that indicates readers' strong desire for editoria","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"1 1","pages":"222"},"PeriodicalIF":0.1,"publicationDate":"2006-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71104441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
§ Daniel Kane. All Poets Welcome: The Lower East Side Poetry Scene in the 1960s. Berkeley: University of California Press, 2003. 306 pp. $27.50 Emphasizing the public performance of poetry at such now-legendary forums as St. Mark's Church and Le Metro, Manhattan's Lower East Side poetry scene in the 1960s and 70s encompassed a menagerie of poetic and political temperaments, from soi-disant revolutionaries to the relatively dapper and mannered New York School poets. The Lower East Side, now gentrified into the East Village, was a hotbed of sixties radicalism and inanity, a pseudo-bohemia of cheap rent and urban grittiness. Daniel Kane's thesis in All Poets Welcome is that "in terms of the growing poetry scene, the Lower East Side as a neighborhood proved helpful in lending 'alternative' status to artistic production." The West Village, New York's prewar artistic epicenter, had ossified into an "overpriced, bourgeois, and co-opted" neighborhood of poseurs, while the Lower East Side retained its "tradition of working-class radicalism and resistance." Into this fiery parcel flocked dozens of poets who were or would become associated with "an increasingly established number of often ill-defined and porous poetic'schools.'" The Beats; the "generations" of the New York School; Black Mountain; Deep Image; Umbra; the San Francisco Renaissance; Language: these and more were represented and in some cases formed or consolidated in the coffeehouses and other public spaces of the Lower East Side. It is no exaggeration to say that this milieu transformed American poetry-establishing the styles and ideas that continue to define our literary imagination. Kane is at his best as a social chronicler of the scene, constructing an enthralling journalistic history of the participants' antics and contradictions, rivalries and ribaldries. Some of the most interesting material in the book is pleasantly gossipy and anecdotal-none more so, for this reader, than the pages devoted to the New York School. While Charles Olson was declaiming from the mountain about the breath and kinetics, Kenneth Koch was grumbling against "the myth, the missus, and the midterms." The mostly homosexual, urbane, and anti-programmatic New York School poets, with their uptown sensibilities, made many on the scene uneasy at first. While for John Ashbery, Frank O'Hara, and Koch, lunch dates and cosmopolitan conversations with the likes of Willem de Kooning were of the utmost compositional importance, self-important shamans like Jerome Rothenberg and Clayton Eshleman were trying to "reach down among the lost branches" to attain "a moment of seeing" (as Rothenberg put it). The conflict between this misty brand of romanticism and the playful, Francophile sensibilities of the New York School was typical of the internecine fractures that could result from aesthetic and political tensions among the assorted personalities and coteries on the scene. One is reminded of Kerouac's heckle (recounted in David Le
§丹尼尔·凯恩。欢迎所有诗人:20世纪60年代的下东区诗歌场景。伯克利:加州大学出版社，2003。在20世纪60年代和70年代，曼哈顿下东区的诗坛以在圣马可教堂(St. Mark’s Church)和地铁(Le Metro)等如今已成为传奇的论坛上公开表演诗歌为重点，涵盖了形形色色的诗歌和政治气质，从遥远的革命者到相对整洁、彬彬有礼的纽约学派(New York School)诗人。下东区，现在被改造成东村，是60年代激进主义和空洞的温床，是廉价租金和城市坚韧不拔的伪波西米亚。丹尼尔·凯恩(Daniel Kane)在《欢迎所有诗人》(All Poets Welcome)一书中的论点是，“就日益增长的诗歌场景而言，下东区作为一个社区，被证明有助于为艺术作品提供‘另类’地位。”作为纽约战前的艺术中心，西村(West Village)已经僵化为一个“价格过高、资产阶级化、受人追捧”的装腔作势者社区，而下东区(Lower East Side)则保留了“工人阶级激进主义和反抗的传统”。在这个火热的地方聚集了几十位诗人，他们曾经或将来会与“越来越多的、往往定义不清、漏洞百出的诗歌流派”联系在一起。垮掉的一代;纽约学派的“几代人”;黑色的山;深度图像;暗影;旧金山文艺复兴;语言:这些和更多的代表，在某些情况下形成或巩固在下东区的咖啡馆和其他公共空间。毫不夸张地说，这种环境改变了美国诗歌，确立了继续定义我们文学想象力的风格和思想。凯恩最擅长的是作为一名社会编年史家，他构建了一段引人入胜的新闻史，记录了参与者的滑稽行为、矛盾、竞争和讽刺。书中一些最有趣的材料是令人愉快的八卦和轶事——对读者来说，没有比专门介绍纽约学派的书页更有趣的了。当查尔斯·奥尔森(Charles Olson)在山上大声疾呼呼吸和动力学时，肯尼斯·科赫(Kenneth Koch)正在抱怨“神话、妻子和中期选举”。大多是同性恋、温文尔雅、反程序化的纽约学派诗人，他们对上流社会的敏感，一开始让很多在场的人感到不安。对于约翰·阿什伯里、弗兰克·奥哈拉和科赫来说，与威廉·德·库宁(Willem de Kooning)等人的午餐约会和世界对话是最重要的组成部分，而像杰罗姆·罗森伯格(Jerome Rothenberg)和克莱顿·埃什曼(Clayton Eshleman)这样自负的巫师则试图“从失落的树枝中伸出手来”，以获得“看到的时刻”(正如罗森伯格所说)。这种朦胧的浪漫主义与纽约学派的戏谑、亲法情感之间的冲突，是典型的内讧裂痕，可能是由现场形形色色的人物和小圈子之间的审美和政治紧张关系造成的。这让人想起凯鲁亚克的质问(大卫·雷曼在《最后的先锋》中有描述):“你在摧毁美国诗歌，奥哈拉!”弗兰克·奥哈拉反驳道:“这比你为它做的还要多。”凯恩一丝不苟地记录了圣马可教堂著名的诗歌项目，该项目在近四十年后仍在蓬勃发展，该项目拥有一批诗人，其中包括唐纳德·艾兰(Donald Alien)所说的“新美国诗歌”。这种(至少是名义上的)民主的诗歌朗诵会在下东区的这些场所举行——“所有的诗人都欢迎前来阅读”，正如“双Megots”朗诵会的一则广告所说——它产生了一个艺术发酵的反馈循环，既产生了诗意的能量，也产生了螺旋式的不和谐。Le Metro咖啡馆奇怪的衰落和衰落——充满了斗殴、法律纠纷和黑手党参与的谣言——就是一个很好的例子，就像肯尼斯·科赫被恰好被遗忘的外星人范·纽柯克“暗杀”一样，凯恩生动地叙述了这一点(这本书附带的珍贵CD中包含了这段录音)。…
{"title":"All Poets Welcome: The Lower East Side Poetry Scene in the 1960s","authors":"M. Robbins","doi":"10.5860/choice.41-0790","DOIUrl":"https://doi.org/10.5860/choice.41-0790","url":null,"abstract":"§ Daniel Kane. All Poets Welcome: The Lower East Side Poetry Scene in the 1960s. Berkeley: University of California Press, 2003. 306 pp. $27.50 Emphasizing the public performance of poetry at such now-legendary forums as St. Mark's Church and Le Metro, Manhattan's Lower East Side poetry scene in the 1960s and 70s encompassed a menagerie of poetic and political temperaments, from soi-disant revolutionaries to the relatively dapper and mannered New York School poets. The Lower East Side, now gentrified into the East Village, was a hotbed of sixties radicalism and inanity, a pseudo-bohemia of cheap rent and urban grittiness. Daniel Kane's thesis in All Poets Welcome is that \"in terms of the growing poetry scene, the Lower East Side as a neighborhood proved helpful in lending 'alternative' status to artistic production.\" The West Village, New York's prewar artistic epicenter, had ossified into an \"overpriced, bourgeois, and co-opted\" neighborhood of poseurs, while the Lower East Side retained its \"tradition of working-class radicalism and resistance.\" Into this fiery parcel flocked dozens of poets who were or would become associated with \"an increasingly established number of often ill-defined and porous poetic'schools.'\" The Beats; the \"generations\" of the New York School; Black Mountain; Deep Image; Umbra; the San Francisco Renaissance; Language: these and more were represented and in some cases formed or consolidated in the coffeehouses and other public spaces of the Lower East Side. It is no exaggeration to say that this milieu transformed American poetry-establishing the styles and ideas that continue to define our literary imagination. Kane is at his best as a social chronicler of the scene, constructing an enthralling journalistic history of the participants' antics and contradictions, rivalries and ribaldries. Some of the most interesting material in the book is pleasantly gossipy and anecdotal-none more so, for this reader, than the pages devoted to the New York School. While Charles Olson was declaiming from the mountain about the breath and kinetics, Kenneth Koch was grumbling against \"the myth, the missus, and the midterms.\" The mostly homosexual, urbane, and anti-programmatic New York School poets, with their uptown sensibilities, made many on the scene uneasy at first. While for John Ashbery, Frank O'Hara, and Koch, lunch dates and cosmopolitan conversations with the likes of Willem de Kooning were of the utmost compositional importance, self-important shamans like Jerome Rothenberg and Clayton Eshleman were trying to \"reach down among the lost branches\" to attain \"a moment of seeing\" (as Rothenberg put it). The conflict between this misty brand of romanticism and the playful, Francophile sensibilities of the New York School was typical of the internecine fractures that could result from aesthetic and political tensions among the assorted personalities and coteries on the scene. One is reminded of Kerouac's heckle (recounted in David Le","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"51 1","pages":"169"},"PeriodicalIF":0.1,"publicationDate":"2005-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71097271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-04-01DOI: 10.3109/05678067209173972
C. Dewdney
September heat wave evenings and gala patio receptions, waiters with sterling trays of hors-d'oeuvres beneath magnolia arbours. Sphinx moths orbit the lights over the bar. Above, misty stars faintly through city haze. High summer maximum foliage wild grape vine, virginia creeper and ivy loads the treetops oceans of leaves mounting in green banks and ledges, verdant echo of the late afternoon storm clouds above them. And she laughs, steps lightly on the sun-coined sidewalk beneath the white oaks of Wychwood. Hurricane downgraded to a tropical storm. In time-lapse radar it spirals counter-clockwise, stalled over the peninsula. A distant ocean released upon us. The wind almost saline beneath gulf-grey nimbocumulus clouds.
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Translator's note: The following passage, about the young narrator's love of the writer Bergotte, occurs about one hundred pages into The Way by Swann's (pp.92-95 in the Pleiade edition of Du cote de chez Swann). The character Bergotte, and his style of writing, are said to have been modeled at least in part by Proust on a writer much admired by him, John Ruskin, the nineteenth-century master stylist who wrote on art, architecture, and economic and social issues, and two of whose best known works are Modern Painters and The Stones of Venice. Proust himself, working with his mother, Jeanne Proust, and a young English artist, Marie Nordlinger, translated Ruskin's The Bible of Amiens and Sesame and Lilies into French. My procedure in translating Proust was to follow the original very closely, even word byword when possible, to reproduce the shape of its sentences, even including their punctuation when possible, and to avoid adding to the text, subtracting from it, or substituting my interpretations for the original. In my second and third drafts I compared my work closely with the major existing translation, C.K. Scott Moncrieff's Swann's Way. Despite the many good qualities of this translation, which has been the standard for decades, and despite the often positive effects of the revisions carried out on it by Terence Kilmartin and D.J. Enright, a close examination--which is what I gave it as I worked with it--reveals several features that point to the need for a new translation. There is a natural tendency, in translation, to inflate and overwrite, for a simple reason: you want to make a rhythmically pleasing sentence in English; often an easy way to improve the rhythm in English is by adding to or subtracting from the original; you will usually decide to add because a worse crime would be to subtract material from the original; and then if you add, you will usually choose to double or reinforce the meaning of the original rather than add new material of your own. Thus does your translation become redundant or repetitious--"his own" instead of "his' "he himself" instead of "he," "strange and haunting" instead of simply "strange." Although on its own terms, the Scott Moncrieff translation is quite successful and, because of the sheer size of the book, an astounding achievement, it does suffer consistently from over-interpretation and inflation. In the following passage, for instance, where Proust describes the narrator's remarks as "uninteresting," Moncrieff translates this more emphatically as "quite without interest": "without interest" is a good exact equivalent for sans interet, but here Moncrieff intensifies it by "quite?' In a more significant amplification, where Proust has "the writer's page" Moncrieff adds a concrete image, producing "his printed page?' Adding again, Moncrieff turns "confidence" into "newfound confidence": here he is taking what he has learned from the context (that the narrator was not confident before but is now confiden
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The Irish poet Trevor Joyce is a distant cousin of his novelist namesake, as I learned when a glazier repairing a window of Joyce's house, broken in a fit of rage by a mainstream poetry critic at the party that concluded an avant-garde poetry festival held in Cork, said that if he'd known of the relationship he'd have done the work for half-price. That's the work reputation can do in Ireland, and, though the tensions that led to that incident of the broken window were not exclusively literary, it does provide a fitting image for the knockabout absurdities of distinctions between "mainstream" and "avant-garde" that readers expect to hear when one reviews a poet like Trevor Joyce. Yes, they take these matters seriously in Ireland, as elsewhere--which is a pity, as such divisions are surely as slippery and unhelpful in the Irish context as they are, to my mind, in North America or the U.K. By rights there ought to be a community of interest between readers of challenging "mainstream" poets like Thomas Kinsella, Paul Muldoon, Medbh McGuckian, and Ciaran Carson, and readers of challenging "avant-garde" poets such as Joyce, Maurice Scully, Catherine Walsh, and Randolph Healy. The obstacles in the way of bridging such audiences are persistent but (I think in my more optimistic moments) not likely to be permanent in the long run, despite resistance from various quarters. (1) But I'm moving too fast, or letting my hopes distract me from the text at hand, the collected poems of an author who has now been writing for almost four decades but can still expect the response "Who's Trevor Joyce?" from even that sliver of the public that follows contemporary poetry. Trevor Joyce was born in Dublin in 1947. While still in his teens he met the poet Michael Smith, who, five years his senior, became an important friend and mentor. In 1967 they cofounded New Writers' Press in order to do something about what they pugnaciously diagnosed as "the stagnancy of the Irish poetry scene relative to what had happened in the U.S. and Europe," with its emphasis on "a provincial literature, unambitious in its concerns, formally conservative, and rural in its outlook." (2) It was an auspicious time for such a venture: NWP and its associated journal The Lace Curtain formed part of the remarkable wave of little presses and journals that changed English-language poetry in the 1960s and 1970s. NWP published a wide variety of contemporary Irish poets, including Thomas Kinsella, Pearse Hutchinson, Anthony Cronin, Paul Durcan, and Eilean Ni Chuilleanain, and a major program of international authors--Borges, Vallejo, Spicer, Neruda. The sheer diversity and ambition of NWP's activities should not be forgotten, even though it is now most closely identified with its most significant achievement: the rediscovery and republication of the 1930s generation of Irish modernists (Brian Coffey, Thomas MacGreevy, Denis Devlin, et al), of whom only Samuel Beckett was visible on canonical literary maps
爱尔兰诗人特雷弗·乔伊斯(Trevor Joyce)是与乔伊斯同名的小说家的远房表亲。在科克(Cork)举行的一场前卫诗歌节的结束派对上，一位玻璃工在修理乔伊斯家中的一扇窗户时，被一位主流诗歌评论家气坏了，他说，如果他知道他俩的关系，他就会半价修理。这就是声誉在爱尔兰所能做的事情，尽管导致破窗事件的紧张局势并不完全是文学上的，但它确实为读者在评论特雷弗·乔伊斯(Trevor Joyce)这样的诗人时期望听到的“主流”和“前卫”之间的荒谬区别提供了一个合适的形象。是的，在爱尔兰，他们像在其他地方一样认真对待这些问题——这是一个遗憾，因为在爱尔兰的背景下，这种分歧肯定像在北美或英国一样狡猾和无益。在我看来，在挑战“主流”诗人的读者之间应该有一个利益共同体，比如托马斯·金塞拉、保罗·马尔登、梅布·麦古吉安和西亚兰·卡森，以及挑战“前卫”诗人的读者，比如乔伊斯、莫里斯·斯库利、凯瑟琳·沃尔什，还有伦道夫·希利。尽管来自各个方面的阻力，但连接这些受众的障碍是持续存在的，但从长远来看(我认为在我比较乐观的时候)不太可能是永久性的。(1)但我说得太快了，或者是让我的希望分散了我对手边文本的注意力，这些文本是一位作家的诗集，他写了将近40年的诗，但仍然可以期待，即使是关注当代诗歌的一小部分公众也会回答“特雷弗·乔伊斯是谁?”特雷弗·乔伊斯1947年出生于都柏林。在他十几岁的时候，他遇到了诗人迈克尔·史密斯，后者比他大五岁，成为了他重要的朋友和导师。1967年，他们共同创立了“新作家出版社”(New Writers’Press)，目的是对他们尖锐地诊断为“相对于美国和欧洲所发生的事情，爱尔兰诗坛的停滞不前”做些什么，强调“一种乡土文学，在关注方面没有野心，形式上保守，在观点上是乡村的”。(2)对于这种冒险来说，那是一个有利的时机:NWP和它的联合期刊《蕾丝窗帘》(The Lace Curtain)是20世纪六七十年代改变英语诗歌的一股引人注目的小出版社和小期刊浪潮的一部分。NWP出版了大量当代爱尔兰诗人的作品，包括托马斯·金塞拉、皮尔斯·哈钦森、安东尼·克罗宁、保罗·德坎和Eilean Ni Chuilleanain，以及博尔赫斯、巴列霍、斯派塞、聂鲁达等国际作家的作品。NWP活动的多样性和雄心不应被遗忘，尽管它现在与它最重要的成就最为密切相关:重新发现和再版20世纪30年代一代爱尔兰现代主义者(布莱恩·科菲，托马斯·麦克格里维，丹尼斯·德夫林等人)，其中只有塞缪尔·贝克特在规范文学地图上可见。NWP最活跃的时期结束于20世纪70年代(到那时它已经出版了40多本书)，尽管这个印记仍然存在，偶尔会在特殊项目的基础上恢复，比如1990年版的布莱恩·科菲的《马拉美》译本或现在的乔伊斯诗集。乔伊斯作为作家的第一阶段以长篇小说集《五面体》(Pentahedron, NWP 1972)达到高潮。在他早期的诗歌中(在《第一个梦》的《五面体和其他》浪潮下的大量选集中)，乔伊斯表现出对19世纪和现代主义影响的惊人的完全吸收。诗歌中的城市或城镇景观是通过一个晚期现代主义怀疑论观察者的情感记录下来的，作为一系列物体，部分物体和生物，它们既丰富得令人压抑，又无法构成一个完整而有生命的世界。诗中支离破碎的观察被街道、墙壁、鹅卵石、公共纪念碑、桥梁、运河和教堂包围着，这是一个既不自然也不够人性化的环境。…
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In retrospect I think I must have seen her first at Schonefeld, at one of the check-in counters, as Ruhle and I and the rest of the German delegates, from Koln, Braunschweig, and Essen, were standing to the side; we had just met and introduced ourselves and were waiting for our boarding call, in German and English, rather than how it used to be in German and Russian or some other Slavic language, even if the flight was in the opposite direction-to Barcelona via Prague on CSA, the tickets you could get for unbeatable bucket-shop prices at a travel agency on Uhlandstratge run by the West-Berlin Socialist Unity Party, cheaper than the twenty-four-hour direct train, a Vietnamese man sitting next to me on the plane, a reddish-gold badge with the image of Ho Chi Minh on it pinned to the broad lapel of his suit, stoically spooning breaded fish off the aluminum foil: two-hundred-sixty marks roundtrip, or to Rome on Interflug for almost as little: once you were out of hard-currency territory or had the right passport the state-owned airlines would transport you for practically nothingnow all of that was over, gone under, swallowed up by the competition, they even renovated the airport here to conform to Western standards, with moving walkways and cocktail bars in the terminal, and no more unnecessary frisking at the security gate, or attentive reading of notes half-forgotten in a pants' pocket, I think I remember having seen her there already, in front of the new check-in counters, after Rihle had introduced me to his colleagues as a member of his research team, on tiptoe, her arms around the neck of a man whose appearance escapes me now, except that he was a little taller than she was, briefly affirming their relationship, that they would still be together, and she was wearing, if this is really what happened, her black raincoat and washed-out jeans, and had, but this I'm sure of, medium-length, reddish-brown hair, lovers, taking leave of each other, putting off their leavetaking even longer, a commonplace in airports, at train stations, before the open tailboard of ferries. Then I stopped paying attention to them, the boarding call came, and our group, together with our luggage, briefcases, and duty-free bags, began moving forward. Supported by funds from international organizations-Unesco and the EU-the Bucharest conference was intended to provide, in addition to its regular program, Romanian government officials with a view into the workings of West European forensics; they had set up special panels at which academics and jurists would be available to discuss their respective countries' legal procedures for determining a given defendant's capacity for criminal activity. In the plane I sat beside a young psychiatrist who had just finished his dissertation at the Essen Institute and had once read something of mine, an article on obstacles in assessment procedures, which he brought up, apparently interested in my work; he was scouring court proceedings f
回想起来，我想我第一次见到她一定是在舍内菲尔德机场的一个登记柜台，当时我和鲁勒以及其他来自科隆、不伦瑞克和埃森的德国代表都站在旁边;我们刚刚见过面，自我介绍了一下，正等着我们的登机电话，用德语和英语，而不是像过去那样用德语和俄语或其他斯拉夫语，即使航班是在相反的方向——乘坐CSA经布拉格飞往巴塞罗那，你可以在西柏林社会主义团结党经营的Uhlandstratge上的一家旅行社以无与伦比的低价买到票，比24小时直达火车便宜。飞机上坐在我旁边的一个越南人，他宽大的西装翻领上别着一枚红金色的徽章，上面印着胡志明(Ho Chi Minh)的形象，沉着地从铝箔上舀起裹有面包屑的鱼:往返260马克，或者乘坐Interflug去罗马，花费几乎一样少。一旦你离开硬通货区，或者持有正确的护照，国有航空公司就会免费运送你。现在，所有这一切都结束了，破产了，被竞争吞没了，他们甚至把这里的机场重新改造成符合西方标准的机场，在航站楼里安装了移动走道和鸡尾酒吧，安检门不再有不必要的搜身，也不再仔细阅读被遗忘在裤子口袋里的笔记。我想我记得曾经见过她,在新的值机柜台面前,在Rihle把我介绍给他的同事作为他的研究小组的一员,踮起脚尖,怀里的脖子,他的外表现在逃脱我,除了他是一个小比她高,肯定他们的关系,他们还能够在一起,她穿着,如果这是真的发生了什么,她黑色的雨衣和褪色的牛仔裤,,,但我相信,中等长度，红褐色头发，恋人，彼此告别，甚至推迟他们的告别时间，在机场，在火车站，在开放的渡轮尾板前，这是司空见惯的。然后我不再注意他们了，登机的电话响了，我们一行人带着我们的行李、公文包和免税包开始往前走。在联合国教科文组织和欧盟等国际组织的资金支持下，布加勒斯特会议旨在为罗马尼亚政府官员提供一个了解西欧法医学工作的机会。它们设立了专门小组，让学者和法学家讨论各自国家确定某一被告犯罪活动能力的法律程序。在飞机上，我坐在一位年轻的精神病学家旁边，他刚刚在埃森研究所完成了他的论文，曾经读过我的一些东西，一篇关于评估程序障碍的文章，他提到了，显然对我的工作很感兴趣;他在翻查五十年代的法庭诉讼，他皱着眉头，讥讽地笑着说，从理论上和术语上讲，这些都是纯粹的纳粹主义，有那么多关于精神自卑和遗传的社会关系的废话，关于精神缺陷和精神病理恶意的基因原因的废话，如果不是白纸黑字，你不会相信的，而且在人员方面，当时也相当严峻，那些人在战后保住了他们的教学工作，继续教育一代又一代的学生，我说，与那些心理学家没有太大的不同，他们要么变成了精明的行为主义者，要么去丛林里发展他们的种族理论，拍摄深色皮肤的土著人。他的老板和鲁勒在我们前面一排交谈，我们可以看到他们的后脑勺，偶尔当他们中的一个人转过身去看另一个人拿着的报纸时，我们可以看到他们的半侧脸。这顿饭给我们端上了罗马尼亚酒，我们都认为，这是一种非常好的酒，好像这是需要证实的，是很难预料到的，恰恰相反，虽然这不是什么特别的东西，只是一种从电视画面、新闻报道和在学校里学到的半遗忘的信息中得来的模糊印象，这种印象影响了人的感觉，影响了人的品味，就像实验对象只得到某些消极或积极的数据一样，告诉他们某人很疯狂而不是很放松，或者某种颜色很花哨而不是很漂亮;我们对罗马尼亚的了解是什么，政治地图上的一个虚线轮廓，当然，还有一个党委书记的怪诞独裁统治，他和他的妻子最后瘫倒在墙脚上，满身是子弹，在一个模糊的视频图像中播出。…
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