Knocking about, kicked around and around, we grewup hard.From our ranks cametwo-faced judges; hundred-eyed pursuerswho eagerly devoured the road, swift in the mist;easy snitches; executioners thirsting for purple;false witnesses, inventors <strong>of</strong> smoke writing;and p<strong>at</strong>ient artisans<strong>of</strong> nocturnal knives.Some said: this is the f<strong>at</strong>eth<strong>at</strong> was in our stars, and fled,burying the night. Othersshut themselves up within four walls th<strong>at</strong> neitherbegin nor end.But all <strong>of</strong> us — <strong>at</strong> a certain hour — prowlthe alley <strong>of</strong> our pastand return,our hair stained with blood.<strong>The</strong> Peruvian poet César Vallejo bre<strong>at</strong>hes in the sentiment<strong>of</strong> these poems, and so does the Lorca who wrotePoet in New York, but Sosa’s emp<strong>at</strong>hies <strong>of</strong>ten have amore detached precision. Like knives, these poems cancut deeply, but sometimes they are hard to grasp becausethey’re all blade and no handle. For me, Sosa is not aSurrealist. He has discovered an astonishing poetic languageth<strong>at</strong> enables him to write the lucid dreams <strong>of</strong> hisbeing awake in the nightmare <strong>of</strong> history.Sosa’s is a world <strong>of</strong> brutality and the severest consequencesfor those who <strong>at</strong>tempt to say wh<strong>at</strong> he says, especiallyin his more explicit subsequent public<strong>at</strong>ion Secretomilitar (Military Secret). In these thirteen poems, followingthe L<strong>at</strong>in American antecedent th<strong>at</strong> Neruda establishesin Canto general, Sosa is not afraid to name names, touse the written word as a means <strong>of</strong> denouncing the specificpeople who have each played an infamous role inwriting the twentieth-century history <strong>of</strong> the Americas“inside a drop <strong>of</strong> blood”: Carías, Stroessner, Duvalier,Pinochet, Trujillo, and Hernández Martínez. <strong>The</strong>re is alsoa place in this book for the military dict<strong>at</strong>or Efraín RíosMontt, who appears as a giant boa constrictor (capable <strong>of</strong>swallowing his country’s well-advertised ìeternalspring”) for his role in formul<strong>at</strong>ing the policies in the1980s th<strong>at</strong> resulted in the de<strong>at</strong>hs <strong>of</strong> so many indigenouspeople in Gu<strong>at</strong>emala.As transl<strong>at</strong>or, Jo Anne Engelbert consistently demonstr<strong>at</strong>esher ability to take the right kinds <strong>of</strong> risks.Although she is always respectful <strong>of</strong> the original text, shehas a nearly perfect understanding <strong>of</strong> when to vary syntaxand line breaks to cre<strong>at</strong>e new equivalences inEnglish. <strong>The</strong>re are also some serious and exciting examples<strong>of</strong> wh<strong>at</strong> Rainer Schulte has called “associ<strong>at</strong>ive, nonlinearthinking” in Engelbert’s transl<strong>at</strong>ions <strong>of</strong> Sosa, suchas in the poem “Los Indios” / “<strong>The</strong> Indians”:Los he visto sin zap<strong>at</strong>os y casi desnudos,en gruposal cuidado de voces tendidas como l·tigos,o borrachos balanceándose con los charcos del ocasode regreso a sus cabañassituadas en el final de los olvidos.I have seen them in groups,barefoot and almost nude,controlled by voices th<strong>at</strong> sting like whips,or drunk, weaving between sunset puddlesto reach their huts perched on the brink<strong>of</strong> oblivion.In every poem, there is evidence <strong>of</strong> Engelbert’s expertiseas a transl<strong>at</strong>or, especially in terms <strong>of</strong> her thorough comprehension<strong>of</strong> the nuances <strong>of</strong> meaning in the Spanish, hersensitivity to the musicality <strong>of</strong> the English she is shaping,and her recognition <strong>of</strong> the absolute importance <strong>of</strong> allowingSosa’s mysteries to remain intact in transl<strong>at</strong>ion.Occasionally, Engelbert, for the sake <strong>of</strong> clarity andpoetic effect, augments in her transl<strong>at</strong>ion, adding wordsand isol<strong>at</strong>ing new units <strong>of</strong> meaning with her line breaks:Temiblesabogadosperfeccionan el día y su azul dentellada.(“La casa de la justicia”)Fearsome <strong>at</strong>torneysperfect the dayand test the swiftness <strong>of</strong> their blue teeth.(“<strong>The</strong> House <strong>of</strong> Justice”)El origen les llama.Recorren con ojos dulces cuanto no tienen.En las noches recuerdan los hechos y palabras de losjustos.(“El otro océano”)<strong>The</strong> voice <strong>of</strong> origin is calling them.<strong>Transl<strong>at</strong>ion</strong> <strong>Review</strong> 73
<strong>The</strong>y gaze with gentle eyeson all they do not have.At nightfall they recallthe words and deeds <strong>of</strong> the just.(“<strong>The</strong> Other Ocean”)But Engelbert seems to be much more prone to elisionin her transl<strong>at</strong>ions <strong>of</strong> Sosa’s poems, streamlining hislines or his rhetorical structures, distilling a core <strong>of</strong>meaning, highlighting a hitherto unobtrusive adjective orelimin<strong>at</strong>ing another:¿Qué humano no ha sentidoen el sitio del corazónesos dedos picoteadospor degradantes pájaros de cobre?(“La ciudad de los niños mendigos”)Whose heart has never felt those fingerspeckedby birds with copper beaks?(“<strong>The</strong> City <strong>of</strong> Beggar Children”)Todo ello ocurre con admirable n<strong>at</strong>uralidad mientrasla gente aparece y desaparece sin percibirnossiquiera, porque, no hay duda, en medio de la transparenciaderrumbada se cree que somos perros.(“Los perros”)Th<strong>at</strong>’s how it is. People come and go, not giving us aglance. In the transparent space around us, they take usfor two dogs.(“Dogs”)If one examines Engelbert’s transl<strong>at</strong>ions using asmaller unit <strong>of</strong> measurement, say, one or two words,there is also a gre<strong>at</strong> deal to admire about her imagin<strong>at</strong>ive,context-driven solutions to some perennial problems inSpanish. Wh<strong>at</strong> follows is a kind <strong>of</strong> non-traditional minidictionary,which I hope is not inappropri<strong>at</strong>e (even if itreflects how Engelbert sometimes changes parts <strong>of</strong>speech). If not in <strong>Transl<strong>at</strong>ion</strong> <strong>Review</strong>, where?!abierto — yieldingabrirse — to yawn (in the sp<strong>at</strong>ial sense)acobardado — cringingacumulado — heaped-upaguardar — to set asidealrededor — rufflingamistad — companyamistad segura — friendship in my heartanudarse — to be ribbonedarrogante — overconfidentazulinante — habluecin<strong>at</strong>edbufonada — clown actcasi — supposed(nunca) concluido — undeadcreencias — cantcustodiar — to monitordecir — to confidedefinitivamente — it’s cleardelicadeza — charmdelincuente — gunmolldeshora — nightdeslealtades — selloutsdisponer — to ordainedificar — to concoctenvejecidas (por el odio ) — h<strong>at</strong>e-wizenedescritura — scriptestrellado — star-sh<strong>at</strong>teredextraído — spunfabricar placer — to brew a cup <strong>of</strong> pleasuregolpe — thudhablar — to expoundhablar oblicuo — to speak with forked tonguehuir — to fadehumillados — dispossessedidéntico — hasn’t changedinventado — ready-madelaberinto — multiple mazesllamar — to beckonm<strong>at</strong>ices — inner workingsnegro — moonlessodio — to festerorillado — bereftpausado — deft(en dos) pedazos — cut in twopenumbra — waiting nightpertenecer — to have to one’s name(en) rebeldía — smolderingrecluido — ringedsacar — to siresensible — capable <strong>of</strong> feelingsobrevenir — to ravishTierra — whole earthunir — to fusevuelo — haloWhen I read Engelbert’s convincing transl<strong>at</strong>ions <strong>of</strong>Sosa’s poems, I find poems in English th<strong>at</strong> inspire confi-74 <strong>Transl<strong>at</strong>ion</strong> <strong>Review</strong>
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TRANSLATION REVIEWNo. 66, 2003TABLE
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I could about the period. I tried t
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ings are for. But there are also so
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and we see how that is expressed in
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NOT GETTING IT RIGHTBy David Ferry[
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songs of the dead,” but it’s no
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oscilla ex alta suspendunt mollia p
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FROM DEAN TO DEANTREPRENEUR: THE AC
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elations and fundraising in part to
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academic leadership in the post-ent
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his ideas.” Schweder’s closing
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- Page 42 and 43: ON THE CATHAY TOUR WITH ELIOT WEINB
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