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the only way to learn about<br />

writing. What is the closest<br />

reading you can give a<br />

poem Translation, of course.<br />

Translation made me discover<br />

not only the depth of the<br />

poem and the difficulties of<br />

the original language but also<br />

the complexities, difficulties,<br />

limits, and resources of the<br />

so-called “target” language,<br />

the one you translate into. For<br />

a young poet translation can<br />

thus be an incredible learning<br />

experience in terms of poetics:<br />

how does the great poet I am<br />

translating do the job—how<br />

does she put the words of her<br />

poem together—and thus,<br />

what can I learn from this act<br />

The first thing one<br />

learns from such attention<br />

is something about the<br />

constructedness of a poem,<br />

something that Stéphane<br />

Mallarmé and William Carlos<br />

Williams insisted on, namely<br />

that a poem is a machine made<br />

of words, and that when using<br />

a different set of construction<br />

elements—words in a different<br />

language—we are likely to get<br />

a different object. And if we<br />

kick that realization up one<br />

level of abstraction, we realize<br />

that there is no “natural”<br />

language, that no words fit the<br />

things in the world perfectly,<br />

that no language adheres to the<br />

world unambiguously, without<br />

remainder, that between word<br />

and world there is always<br />

slippage—enough slippage to<br />

make thousands of languages<br />

My Recommendations<br />

The Odyssey by Homer, translated<br />

from the Ancient Greek by<br />

Charles Stein.<br />

Finally a translation (semantically<br />

accurate and orally—it was an<br />

oral epic, after all!—exciting)<br />

that arises from a very<br />

acute and accurate sense of<br />

contemporary American poetics<br />

and not from an academic<br />

estimation of what Homer may<br />

have or should have sounded like.<br />

The Complete Poetry by César<br />

Vallejo, translated from the<br />

Spanish by Clayton Eshleman.<br />

Eshleman has consistently been<br />

our best Vallejo translator, the<br />

only one to have spent a lifetime<br />

working and reworking maybe the<br />

most complex oeuvre of 20thcentury<br />

Latin-American poetry.<br />

A Passenger from the West by<br />

Nabile Farès, translated from the<br />

French by Peter Thompson.<br />

Full disclosure: I was asked to<br />

write the introduction to this<br />

book by the great Algerian<br />

novelist/poet, which I did<br />

with great pleasure given the<br />

excellence and intelligence of the<br />

work and the translation.<br />

The Art of Empathy: Celebrating Literature in Translation<br />

67

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