{"title":"John Goodby","description":"John Goodby was born in Kingstanding, Birmingham, in 1958. Since 1988 he has taught English Literature at the University of Leeds, University College Cork, and the University of Wales Swansea, where he is currently a Senior Lecturer. His poems have appeared in \u003cem\u003eThe Independent\u003c\/em\u003e, \u003cem\u003ePoetry Review\u003c\/em\u003e and \u003cem\u003ePoetry Wales\u003c\/em\u003e, and were anthologised in \u003cem\u003ePoetry Introduction 8\u003c\/em\u003e (Faber, 1993). He is also a prolific translator, with works including Heinrich Heine’s \u003cem\u003eGermany: A Winter’s Tale\u003c\/em\u003e (Smokestack, 2006) and his co-translation of \u003cem\u003eÉtat d’Urgence\u003c\/em\u003e \/ \u003cem\u003eState of Emergency\u003c\/em\u003e by Soleiman Adel Guémar (Arc, 2007), which received an English P.E.N. award. His poetry won the Arvon \/ Observer competition in 1989-90, the 2006 Cardiff International Poetry Competition and the Keats-Shelley Memorial Association tenth annual poetry competition in 2007.","products":[{"product_id":"mpt-11-poetry-from-peru-and-russia","title":"MPT 11:  Poetry from Peru and Russia","description":"Daniel Weissbort introduces James Kirkup, the latest in our series of featured translators and notes that he raises general questions about translation that are answered both explicitly and through Kirkup's poetic practice.  \u003cbr\u003e\u003cbr\u003eThere is also a large  selection of Peruvian poets and a substantial overflow from Russian poets for whom room could not be found in MPT 10.\u003cbr\u003e\u003cbr\u003eFinally there is our usual range of poets, in alphabetical order according to their country of origin from Argentina to Uruguay and some reviews.  ","brand":"Modern Poetry in Translation","offers":[{"title":"Book","offer_id":1040749628,"sku":"197997447082369","price":8.95,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_4440bc1e-ce11-4be1-b695-fc16dc097f2f.jpeg?v=1417533638"},{"product_id":"poetry-wales-winter-201011","title":"Poetry Wales - Winter 2010\/11","description":"\u003cb\u003eFeatures\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003ePierre Joris and Jean Portante - Whales, Ghosts and Nomads: a Dialogue on Multilingual Poetry\u003cbr\u003eRichard Gwyn - The Green Whale of Summer: Reflections on Latin American Poetry, Part 1\u003cbr\u003eTiffany Atkinson - The Uses of Difficulty: writing in the margins of W.S. Graham\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePoetry in Translation\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eKatherine M Hedeen translated José Ángel Leyva and Victor Rodríguez-Núñez, Richard Gwyn translates Nicanor Parra, Claribel Alegría, Ernesto Cardenal, Alejandra Pizarnik, Pierre Joris translates Jean Portante.\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePoems\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eTamar Yoseloff, Peter Robinson, Carrie Etter, Aneurin Karadog translated by Eurig Salisbury, Dylan Jones, David Sergeant, Jean Portante, Pierre Joris, Tishani Doshi, Lucy Hamilton, Zoë Brigley, Matt Bryden, Lamorna Elmer, John Hartley Williams, Leslie McMurtry, Sheenagh Pugh, Rhian Edwards, Lucy Burnett, David Hart, Gillian Allnutt, Robert Nisbet, Brett Evans, Eoghan Walls, Steven Hitchens. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eJackie Wills on Paul Henry and Carol Rumens\u003cbr\u003eJohn Goodby on John James \u003cbr\u003eAlison Brackenbury on Tim Liardet, Fiona Sampson and Lyndon Davies\u003cbr\u003eClaire Crowther on Steffan Jones and Naomi Foyle \u003cbr\u003eJohn Taylor on Maria do Cebreiro and Kristiina Ehin\u003cbr\u003eEurig Salisbury on Aled Jones Williams\u003cbr\u003eLeo Mellor on John Goodby, Childe Roland and Angel Exhaust\u003cbr\u003e","brand":"Seren","offers":[{"title":"Book","offer_id":1041019088,"sku":"9770032220363","price":5.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_824e35b6-4bb5-4e68-8387-34273e40dcf1.jpeg?v=1752236547"},{"product_id":"poetry-wales-autumn-2009","title":"Poetry Wales - Autumn 2009","description":"Features include Nerys Williams on the horror of the Long Poem, Robert Minhinnick on the Llynfi Valley, Matthew Jarvis and John Kinsella in dialogue about Welsh environments, and John Goodby on the Hay Poetry Jamboree.\u003cbr\u003e\u003cbr\u003eAlso, translations by John Barnie, Fflur Dafydd and Pascale Petit, and poems by Frances Presley, Peter Larkin, Mark Goodwin, Christopher Nield, Jason Ranon, Uri Rotstein, Katherine Stansfield, Anna Lewis, Linda Black, Vuyelwa Carlin, Kevin Cantwell, John Kinsella, Peter Hughes and Carol Watts, Cliff Forshaw, Annemarie Austin, Margaret Kelly, and James Methven – Purple Moose Prize Winner 2009.\u003cbr\u003e\u003cbr\u003eThere’s also a bumper Reviews section this issue, with Tim Liardet weighing up collections by Damian Walford Davies and Richard Marggraf Turley; Alison Brackenbury on Ian Gregson; Fiona Owen reviewing Ruth Bidgood and John Powell Ward; Richard Marggraf Turley appraising four new poetry collections; Tony Frazer on translations of Victor Rodríguez Núñez and Petr Borkovec; Elzbieta Wójcik-Leese on European poetry, and Peter Hughes on the latest from Harry Guest and Sirol Troup!\u003cbr\u003e","brand":"Seren","offers":[{"title":"Book","offer_id":1041019868,"sku":"9770032220363","price":5.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_bbba29c0-2459-414b-bcf8-506bdb492abd.jpeg?v=1752236546"},{"product_id":"poetry-wales-summer-2010","title":"Poetry Wales - Summer 2010","description":"\u003cb\u003eThe first issue in Volume 46 features an exclusive interview with new Oxford Professor of Poetry, Geoffrey Hill.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFeatures\u003c\/b\u003e \u003cbr\u003e\u003cbr\u003e'Er Cof, In memory of Iwan Llwyd' by Robert Minhinnick\u003cbr\u003e'Cambrian Readjustments': Geoffrey Hill interviewed by Damian Walford Davies and Richard Marggraf Turley\u003cbr\u003e'Finding Space': Wendy Mulford interviewed by Alice Entwistle\u003cbr\u003e'Deflected forces of currents': Welsh modernist poetry by John Goodby\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePoetry\u003c\/b\u003e \u003cbr\u003e\u003cbr\u003ePoems by Lee Harwood, Laurence James, Geoffrey Hill, Stephen Knight, Helen Tookey, Kit Fan, Neetha Kunaratnam, Julian Stannard, John Lee Grenfell, John Barnie, Ian Cartland, Ben Mazer, Ralph Hawkins, Peter Hughes, Ivy Alvarez, Wendy Mulford, Ian McEwen, John Powell Ward, James Goodman, John Goodby, Byron Beynon, Helen Mort, Will Johnson, Marianne Burton, Julia Fiedorczuk translated by Elzbieta Wojcik-Leese, Grzegorz Wroblewski translated by Adam Zdrodowski, Judith Kazantzis, Stevie Krayer and David Foster Morgan.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003ePeter Barry on Philip Gross’s \u003ci\u003eThe Water Table\u003c\/i\u003e\u003cbr\u003eCarrie Etter on new work by Jasmine Donahaye (\u003ci\u003eSelf-Portrait as Ruth\u003c\/i\u003e) and Gwyneth Lewis (\u003ci\u003eA Hospital Odyssey\u003c\/i\u003e).\u003cbr\u003eGrahame Davies on Eurig Salisbury’s \u003ci\u003eLlyfr Glas\u003c\/i\u003e\u003cbr\u003eRichard Gwyn on translations of books by Chus Pato (\u003ci\u003em – tala\u003c\/i\u003e) and Ernest Farres (\u003ci\u003eEdward Hopper\u003c\/i\u003e).\u003cbr\u003eJohn Taylor on Patrick McGuinness’s \u003ci\u003eJilted City\u003c\/i\u003e.\u003cbr\u003eLyndon Davies on work by Elisabeth Bletsoe (\u003ci\u003ePharmacopeia\u003c\/i\u003e and \u003ci\u003eEarly Selected Works\u003c\/i\u003e) and Frances Presley (\u003ci\u003eLines of Sight\u003c\/i\u003e).\u003cbr\u003e","brand":"Seren","offers":[{"title":"Book","offer_id":1041041444,"sku":"9770032220363","price":5.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_557728ce-12e4-48e9-b38a-295e863e23e8.jpeg?v=1752236545"},{"product_id":"poetry-wales-spring-2010","title":"Poetry Wales - Spring 2010","description":"A special issue of \u003ci\u003ePoetry Wales\u003c\/i\u003e: Poetry \u0026amp; the Visual, a rare full-colour version of the magazine, accompanied by 4 postcards featuring work by the artist\/poets involved.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFeatures\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIwan Bala on text and image in painting\u003cbr\u003eMatt Jarvis takes a historical perspective on concrete poetry\u003cbr\u003eElin ap Hywel reflects on a collaboration\u003cbr\u003ePascale Petit discusses sculpture and poetry\u003cbr\u003eAngela Gardner on gesture and rhythm\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePoetry\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003ePoems by Dannie Abse, David Foster Morgan, David Kennedy, Lyn Hjelmgaard, Helen Lopez, Peter Finch, Mike Jenkins, Peter Barry, Cris Paul, Alan Halsey, Tilla Brading, Ian Davidson, Tony Curtis, Naomi Foyle, Hywel Griffiths, Greg Hill, Phil Maillard, Jeremy Hooker, David Greenslade, Norman Schwenk, Richard Poole, Malene Engelunde, Phil Knight, Steve Griffiths, Margaret Lloyd, John Powell Ward\u003cbr\u003e\u003cbr\u003eAnd in the Reviews section Lyndon Davies looks at collections by two contributors to this issue, Helen Lopez and Angela Gardner; Sue Hubbard reviews three collaborations between artists and poets; John Goodby considers two books by David Greenslade, including a collaboration with the late William Brown; Zoe Brigley weighs up anthologies from Bloodaxe and Seren; and Ian Gregson reviews Marys Oliver’s \u003ci\u003eEvidence\u003c\/i\u003e.\u003cbr\u003e","brand":"Seren","offers":[{"title":"Book","offer_id":1041052488,"sku":"9770032220363","price":5.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_a18768c4-d0db-4aac-a102-c5b8e7efdded.jpeg?v=1752236542"},{"product_id":"modern-poetry-in-translation-series-3-no2-diaspora","title":"Modern Poetry in Translation (Series 3 No.2) Diaspora","description":"Cover by Lucy Wilkinson.  Editorial by David and Helen Constantine.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eContents\u003c\/strong\u003e\u003cul\u003e\u003cli\u003e\n\u003ca\u003e\u003c\/a\u003e\u003cbr\u003eCarmen Bugan, an essay and two poems\u003cbr\u003eYannis Ritsos, \u003ci\u003efifteen Tristichs\u003c\/i\u003e, translated by David Harsent. \u003cbr\u003eDavid Harsent, three poems from Legion . \u003cbr\u003eGoran Simic, an essay and four prose poems. \u003cbr\u003eForough Farrokhzad, four poems, translated by Gholam Reza Sami Gorgan Roodi. Marzanna Bogumila Kielar, six poems, translated by Elzbieta Wjcik-Leese.  \u003cbr\u003eLyubomir Nikolov, six poems, introduced by Clive Wilmer, translated by Miroslav Nikolov.                                                                               \u003cbr\u003eAdel Guemar, four poems, introduced and translated by Tom Cheesman and John Goodby, with a note on Hafan Books \u003cbr\u003eSandor Mrai, \u003ci\u003eFuneral Oration\u003c\/i\u003e, translated by George Gmri and Clive Wilmer                                                                                \u003cbr\u003eVersions of Ovid's Tristia,  by Paul Batchelor. \u003cbr\u003eOlivia McCannon, three poems. \u003cbr\u003eYvonne Green, three poems. \u003cbr\u003eZiba Karbassi, three poems, translated by Stephen Watts\u003cbr\u003eVolker Braun, nine poems, translated by David Constantine. \u003cbr\u003eWulf Kirsten, ten poems, translated by Stefan Tobler. \u003cbr\u003eKnut Odegaard, \u003ci\u003eTaking out the Hives\u003c\/i\u003e, translated by Kenneth Steven. \u003cbr\u003eEugenio Montale, three uncollected poems, translated by Simon Carnell and Erica Segre. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eReviews:\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eBernard Adams on George Szirtes's \u003ci\u003eAgnes Nemes Nagy\u003c\/i\u003e  \u003cbr\u003ePaschalis Nicolaou of David Connolly's \u003ci\u003eYannis Kondos\u003c\/i\u003e\u003cbr\u003eWill Stone of Antony Hasler's \u003ci\u003eGeorg Heym\u003c\/i\u003e\u003cbr\u003eJosephine Balmer: \u003ci\u003eFurther Books Received\u003c\/i\u003e. \u003cbr\u003e\u003cbr\u003eExtract from the Editorial to \u003ci\u003eDiaspora\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eMuch, though not all, in this issue has to do with what we think of as the hallmark of our age: exile, the search for asylum, the speaking of native languages abroad. But poems by Brecht - leaving Germany for Scandinavia, the Soviet Union and America in 1933 - and by Ovid - leaving Rome for the Black Sea in AD - should site our topic in a long tradition. \u003cbr\u003e\u003cbr\u003eThe abundance and variety of material we received for Diaspora was astonishing, heartening and alarming in equal measure. What are you to feel when an Iraqi poet sends you his latest volume - in English - from New Zealand? It seemed we put out a receiver and signals came in urgently from round the globe. We took all  we could of the best and most characteristic writing, so assembling a very mixed company, from Sarajevo via Toronto, from Sofia via Baltimore, from Algiers via Swansea. \u003cbr\u003e\u003cbr\u003eTom Cheesman contributes a note on Hafan Books. They publish, in Swansea, work by asylum seekers from Somalia, Cameroon, Chile, Sudan.  They might be set alongside the Mother Tongues issue of MPT as testimony of the packed plethora of voices in the British Isles today. We had no wish to exhaust the topic, which is literally inexhaustible, only to establish it as a fact and a constant presence. This magazine will always be listening for and will try to be a staging post for the world's diaspora.  The original application of the word 'diaspora', in the Septuagint, was to the threatened dispersal of the Jewish people: that they should be 'a diaspora in all kingdoms of the earth'. \u003cbr\u003e\u003cbr\u003eIn the New Testament, the dispersal, still grievous, has a hopeful colouring too, in that those going abroad will be the carriers of a new faith. The word itself, in its roots, means 'a sowing abroad'. The two senses - exile and seeding - will be obvious in much of the work collected here.  Translation itself is an act of beneficent diaspora. It seeds the countries of the world with words from elsewhere. Poetry, even in its native country, is a more or less foreign language, a language of elsewhere. Translation sends it down the tradewinds, lands it anywhere and everywhere, as vital contraband. The translation and dispersal of poetry throughout the world sustains an old ideal of internationalism. It makes for a global solidarity against all the ideologies and globalisations that reduce humanity. \u003cbr\u003e\u003cbr\u003ePoetry is an act of truthful speech, and as such, by nature and context, is intrinsically an act of opposition to the ruling packs of lies. It is subversive because essentially intractable and irreducible. Poetry can't be ordered into place. If it tried to obey, it would lose its soul. It would continue an existence like that of the living dead, whose souls go below at the very moment of betrayal, leaving their bodies to shift on earth a while longer. The Republic of Letters is, in Louis MacNeice's phrase,  'incorrigibly plural'. In its plurality it faces and opposes all fundamentalisms. And it is a republic: it concerns itself with the res publica, with what we have in common and need for our common good. Translators extend the writ of the Republic of Humane Letters.  \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFrom \u003ci\u003eWhy I do not write in my native language\u003c\/i\u003e by Carmen Bugan\u003c\/strong\u003e  \u003cbr\u003e\u003cbr\u003ePeople ask me so often why I do not write in Romanian that I think about it long and hard. First, I do not want to write in the language in which my family suffered interrogations, prison visits, threats of all kinds. I certainly do not want to remember all the times when we wrote to each other and burned our words: we were surveyed twenty-four hours a day for the last five years that I lived in my country and everything we said was recorded by microphones set up around the house. I hated subtexts, lies, the fear of words. \u003cbr\u003e\u003cbr\u003eNow I belong to those people who write in a learned language. And I belong to those who strive to define their responsibilities as people who were born in one country and live quite willingly in another. This might seem to many the kind of thing one 'grows out' of. But the reason why one writes in one's native language, from exile, is that the native language has beauty and truth in it. Poets write in their native language to remember the warmth of their home, the customs of their villages and towns, their happy youth. They want to recreate a sense of home, a warm cocoon around the icy experience of exile. \u003cbr\u003e\u003cbr\u003eBut my exile is my cocoon. I like it here in English more than I like remembering kids calling me 'daughter of criminal'; in my native language: that never sounded safe or good or home. When I stopped looking behind my back to see if anyone was following me to harm me, I stopped looking at writing poetry in my native language. I think the poems themselves make my choice seem less harsh or less impertinent. In my situation it is not that bad to be on the side of forgetting. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFrom Ziba Karbassi \u003ci\u003eDeath by Stoning\u003c\/i\u003e, translated by Stephen Watts\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eLast night wolves were howling\u003cbr\u003eI heard their voices last night \u003cbr\u003ethey brought me your torn clothes\u003cbr\u003ethe blue shirt your auntie made you\u003cbr\u003eI wish her dear hand had been \u003cbr\u003ebroken \u003cbr\u003eyour blue shirt is red with blood\u003cbr\u003eand I cannot make out its print  \t\u003cbr\u003eor pattern \u003cbr\u003e\u003cbr\u003ethey said their skirts were filled with stones \u003cbr\u003etheir hands were full of stones, their skirts \u003cbr\u003eeverywhere stones were being rained down \u003cbr\u003ethe world was become a world \t\t\t\u003cbr\u003eof stone \u003cbr\u003e\u003cbr\u003eI wish        \u003cbr\u003eI wish                      \u003cbr\u003eI wish \u003cbr\u003eyour mother were dead \t\t\u003cbr\u003eI wish I were \u003cbr\u003eyour sister's skirts                    \u003cbr\u003eare full with blood \u003cbr\u003eyour brother is burning \u003cbr\u003ethe cradle of wood, can't you \t\t\u003cbr\u003esmell the smoke ? \u003cbr\u003elook, I am not \u003cbr\u003escared any more \u003cbr\u003ethe wolf of my fear is hunted \u003cbr\u003eby the tiger \u003cbr\u003eof my venom \u003cbr\u003eand I've become a fire monster \u003cbr\u003eif I open my mouth\u003cbr\u003ethe whole earth will \u003cbr\u003eburst \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003c\/ul\u003e","brand":"Modern Poetry in Translation","offers":[{"title":"Book","offer_id":1041136948,"sku":"9780954536725","price":9.95,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_6d9a8892-4420-45be-9c2d-2bb3d2cb93e3.jpeg?v=1752237510"}],"url":"https:\/\/inpressbooks.co.uk\/collections\/john-goodby\/william-rowe.oembed","provider":"Inpress Books","version":"1.0","type":"link"}