Friday, May 23, 2003


"It's fifty seven short, sharp pieces busting with cadent neologisms - some borrowings - that leap and sing in your mind, twist your heart and speak of our fate now, our demise and the state of the language."({openbrackets: un)

:: comment :: . . . wonderful when the review has the verve and joy of the piece it honours . . . Jellybelly was my daughters favourite (or was it mine) . . . still use it in my university drama classes . . . also follow comment #5: enjoy, in joy, enjoy. . . ignore or enjoy the farts . . .

"A poem enacts in words the presence of what we live among. It arises from the tough, delicate, heartbreaking rooting of what is in its own nonbeing. From that rooting, there arise elemental movements of being: of hunger, of play, of rage, of celebration, of dying. Such movements are always particular, speaking the things which are. A poem enacts those living movements in words."(Dennis Lee. Cadence, Country, Silence: Writing in Colonial Space: Canadian Poets)

. . . and just in case you come visiting . . . (Quick in its own silence, cadence seeks to issue in the articulate gestures of being.) . . .
"A good translation is one that translates meaning, not words. Meaning is alive, words are dead."
"When you read a scene it could take five minutes. To translate it could take eight hours. Reading gives you an intense emotion. Translating gives you that same emotion for eight hours. It's ten times, a hundred times, more intense than reading!"
"Translating is always going to be much more than you hoped."

"The translator is of course always blamed for everything." - Michael Emmerich (Two Worlds And In Between: Jonathan Kiefer discusses the delicate art of translation with Michael Emmerich, English translator of Japanese novelist Banana Yoshimoto. via Spike)