{"title":"Marilyn Hacker","description":"Marilyn Hacker is the award-winning author of many collections of poems, including \u003cem\u003eDesesperanto\u003c\/em\u003e, published by W.W. Norton in 2003, and \u003cem\u003eFirst Cities: Collected Early Poems 1960-1979\u003c\/em\u003e (also 2003).\n\nShe has won many poetry prizes and literary awards including the National Book Award.\n\nSome of her translations from the French are: Claire Malroux’s \u003cem\u003eA Long-Gone Sun\u003c\/em\u003e (2000) and \u003cem\u003eBirds and Bison\u003c\/em\u003e, also by Claire Malroux (2004). She has translated four works of Vénus Khoury-Ghata – \u003cem\u003eHere There Was Once a Country\u003c\/em\u003e (2001) and \u003cem\u003eShe Says\u003c\/em\u003e (2003), \u003cem\u003eHouse on the Edge of Tears\u003c\/em\u003e (2004) and \u003cem\u003eNettles\u003c\/em\u003e (2008), all published by Graywolf Press, USA.\n\nShe lives in New York and Paris, and teaches at the City College of New York and the CUNY Graduate Center. She is a contributing editor of Banipal.\n","products":[{"product_id":"modern-poetry-in-translation-series-3-no3-metamorphoses","title":"Modern Poetry in Translation (Series 3 No.3) Metamorphoses","description":"\u003ci\u003eMetamorphoses\u003c\/i\u003e seeks to extend the very idea of translation, and features texts which translators have transformed from a foreign original into something that is peculiarly their own.  \u003cbr\u003e\u003cbr\u003eHighlights include versions of Akhmatova done by outstanding contemporary poets for Poetry International at the South Bank in 2004, as well as Ingeborg Bachmann’s War Diary, a moving document of her early life in terrible times.\u003cbr\u003e\u003cbr\u003eThis volume of MPT gives a voice to the unheard and creates living connections across frontiers, cultures, genres, mediums and ages.\u003cbr\u003e\u003cbr\u003e\u003ca name=\"contents\"\u003e\u003c\/a\u003eCover by Lucy Wilkinson. Typesetting by Paul Dunn. Editorial by David and Helen Constantine.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eContents\u003c\/b\u003e\u003cul\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003c\/ul\u003e\u003cb\u003e Akhmatova on the South Bank \u003c\/b\u003e\u003cul\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cli\u003eRuth Borthwick: Anna of all the Russias: Translating Akhmatova    \u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eElaine Feinstein: An Evening for Akhmatova\u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"#e0\"\u003eColette Bryce: Six poems \u003c\/a\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSasha Dugdale: Five poems\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eJo Shapcott: Three poems\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"#e1\"\u003eGeorge Szirtes (with Veronika Krasnova): Six poems \u003c\/a\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMarilyn Hacker: ‘For Akhmatova’\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eJohn Greening: ‘Coming Soon. Remastered from the Old Norse’\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"#e2\"\u003eNeil Philip: ‘Twenty-one glosses on poems from The Greek Anthology’ \u003c\/a\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePaul Howard: Versions of four sonnets by Giuseppe Belli\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eTerence Dooley: A version of Raymond Queneau’s ‘La Pendule’\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eKathleen Jamie: Hölderlin into Scots. Two poems\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"#e3\"\u003eJosephine Balmer: The Word for Sorrow: a work begins its progress \u003c\/a\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cb\u003e Ingeborg Bachmann \u003c\/b\u003e\u003cul\u003e\n\u003cbr\u003e\u003cli\u003eKaren Leeder: Introduction\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"#e4\"\u003eMike Lyons: ‘War Diary’ \u003c\/a\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePatrick Drysdale and Mike Lyons: Five Bachmann poems\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSean O’Brien: A version of Canto V of Dante’s  Inferno\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eCristina Viti:  Eros Alesi’s Fragments\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSarah Lawson and Malgorzata Koraszweska:  Six poems by Ann Kühn- Cichocka\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMarilyn Hacker: Guy Goffette’s  ‘Construction Site of the Elegy’\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eBelinda Cooke and Richard McCane: Six poems by Boris Poplavsky\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eCecilia Rossi: Poems from Alejandra Pizarnik’s Works and Nights\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eTerence Cave: A memorial note on Edith McMorran and a translation of  Aragon’s ‘C’\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePaul Batchelor: An essay on Barry MacSweeney’s Apollinaire\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cbr\u003e\u003cbr\u003eAntony Wood on Angela Livingstone’s Poems from Chevengur\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eJosephine  Balmer on Cliff Ashcroft’s Dreaming of Still Water and PeterBoyle’s Eugenio Montejo \u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePaschalis Nikolaou on Philip Ramp’s Karouzos\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eFrancis Jones on Jan Twardowski (translated by Sarah Lawson and Malgorzata Koraszweska) and  A Fine Line: New Poetry from Central and Eastern Europe\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eJosephine Balmer:Books Received.\u003cbr\u003e\u003cbr\u003e\u003ca name=\"e0\"\u003e\u003c\/a\u003e\u003cb\u003eColette Bryce:Two Poems\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eUnder a dark veil she wrung her hands…\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eUnder a dark veil she wrung her hands...\u003cbr\u003e‘What makes you grieve like this?’\u003cbr\u003eI have made my lover drunk\u003cbr\u003ewith a bitter sadness.\u003cbr\u003e\u003cbr\u003eI'll never forget it. He left, reeling,\u003cbr\u003ehis mouth twisted, desolate...\u003cbr\u003eI ran downstairs, ran into the courtyard,\u003cbr\u003emanaged to catch him opening the gate\u003cbr\u003e\u003cbr\u003eand begged him: ‘It was all a joke, don't leave,\u003cbr\u003eplease... I will lose my mind!’\u003cbr\u003eBut he only smiled, calmly, terribly,\u003cbr\u003eand said to me: ‘Get inside out of the wind.’\u003cbr\u003e\u003cbr\u003e1911\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHe was young, anxious, jealous…\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eHe was young, anxious, jealous. \u003cbr\u003eHis love was like the heat of the sun\u003cbr\u003ebut he killed my white bird\u003cbr\u003eas he could not bear her singing of the past.\u003cbr\u003e\u003cbr\u003eSunset. Into the room he strides:\u003cbr\u003e‘Love, laugh, write poetry!’ he orders me.\u003cbr\u003eI buried the bird\u003cbr\u003eby the well, near the alder tree.\u003cbr\u003e\u003cbr\u003eI promised him I wouldn't cry\u003cbr\u003ebut my heart set to a stone,\u003cbr\u003eand now it seems that everywhere\u003cbr\u003eI turn, I hear her sweet song.\u003cbr\u003e\u003cbr\u003e1914\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003ca name=\"e1\"\u003e\u003c\/a\u003e\u003cb\u003eGeorge Szirtes (with Veronika Krasnova): From the Introduction to Six poems \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe first and most difficult task of a translator is, as I see it, to understand the poem. I don’t mean the words, but somehow to see the ghost in the machine, to see what it is that gives that particular form of words life. Without this nothing can be done. I am aware that this sounds far too simple, because the process of reading is also the process of translation, so the life in the original begins to kindle, then overlap with, the life of the developing translation. The translator, if a poet, seeks that life and is used to seeing it develop in his or her own work. Nor is that ‘life’, if I may give the word its proper inverted commas at this stage, independent of all the elements that seem to comprise it. There is compromise and conversation throughout.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003ca name=\"e2\"\u003e\u003c\/a\u003e\u003cb\u003eFrom Neil Philip’s: ‘Twenty-one glosses on poems from The Greek Anthology’ \u003c\/b\u003e.                                                                                \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAntipholos\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eWhen Tereina was just a child,\u003cbr\u003eI said, ‘This one will break a few hearts\u003cbr\u003ewhen she grows up.’\u003cbr\u003eEveryone laughed—me too—\u003cbr\u003ebut now it’s all come true.\u003cbr\u003eJust to look at her\u003cbr\u003eburns me up,\u003cbr\u003eand look at her\u003cbr\u003eis all I can do.\u003cbr\u003eWhen I beg her\u003cbr\u003eto put me out of my misery,\u003cbr\u003eall she says is,\u003cbr\u003e‘I’m a virgin.’\u003cbr\u003eThis will be the death of me.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBassus\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTurn into a shower of gold, a swan,\u003cbr\u003ea bull, a bird? That’s too hard.\u003cbr\u003eI’ll leave such fancy tricks to Zeus,\u003cbr\u003eand woo Corinna with a credit card.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLucilius\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eAll this stuff you buy—\u003cbr\u003eexfoliating scrub,\u003cbr\u003emoisturiser,\u003cbr\u003efoundation,\u003cbr\u003ehighlighter,\u003cbr\u003elippy,\u003cbr\u003eeye-shadow,\u003cbr\u003eeye-liner,\u003cbr\u003emascara,\u003cbr\u003ecoloured contacts,\u003cbr\u003ewash-in hair dye—\u003cbr\u003ewouldn’t a new face\u003cbr\u003ework out cheaper?\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003ca name=\"e3\"\u003e\u003c\/a\u003e\u003cb\u003eFrom Josephine Balmer’s: The Word for Sorrow: a work begins its progess\u003c\/b\u003e.                                                                                \u003cbr\u003e\u003cbr\u003eOne rainy spring day I was working on an initial translation from Tristia using the Perseus site’s on-line Latin  dictionary, when an electrical storm required me to log off . Turning to an old dictionary, bought at a village fete as a school-student, I noticed by chance an inscription on its fly-leaf which I must have seen many times over the years and yet barely registered: a name in faded ink and a date, early in 1900. Back on-line a few days later, I ran a search on the name, almost on a whim. The results were impressive: First World War documents and diaries relating to 1\/1st regiment of the Royal Gloucester Hussars, posted to Gallipoli in 1915, to the Hellespont, near Ovid’s own place of  exile and which, by coincidence, Ovid had just described crossing in the poem I was translating. Following link after link, more and more connections were revealed; old photos of the regiment lined up on Cheltenham Station just before leaving for the east, bringing parallels with Ovid’s famous poem describing his last night before exile. The eye-witness accounts detailing the sickness, deprivations and dangers of the Gallipoli campaign in which 50,000 Allied troops and 85,000 Turkish soldiers died, reminiscent of Ovid’s own powerful laments about his conditions of exile. And so The Word for Sorrow came about, versions of Ovid’s verse alongside original poems exploring the history of the old second-hand dictionary used to translate it.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003ca name=\"e4\"\u003e\u003c\/a\u003e\u003cb\u003eFrom Mike Lyons' Translation of Ingeborg Bachmann's: ‘War Diary’ \u003c\/b\u003e.                                                                                \u003cbr\u003e\u003cbr\u003e11 June. L. has fallen in love with an Englishman, he is tremendously tall and gangling and is called Bob. She says he is very rich and was brought up in Oxford. He’s all she can talk about. Yesterday she said she had just one wish, to get away from here and go to England. She’s hoping, I think, that he will marry her. But marriage between Austrian girls and Englishmen is prohibited by the military government. She says the hardships here will never end and that she has gone through too much, can’t take any more, and wants a life for herself. I can understand her only too well but get angry with her too, because she thinks I also ought to marry an Englishman and get away from here. \u003cbr\u003e\u003cbr\u003eOf course I want to get away, but only in order to study, and I don’t want to get married and not even to an Englishman, just for the sake of a few tins of food and some silk stockings. Most of the Englishmen here are very nice and decent, I think. But I am much too young. Arthur and Bill are really very nice and we talk and laugh a lot together. In the garden we often play Tailor, Tailor, Lend Me Your Scissors and Look Behind You . Arthur keeps giving Heinerle chocolate, and a few days ago he called on Mummy, who is still in bed, and put tea and biscuits onto her bedspread. She calls him ‘Redilocks’, because he has such ginger hair, and likes him best. \u003cbr\u003e\u003cbr\u003eI think he also is in love with L., Bill is too, but Arthur more so, and I think too that Arthur is terribly jealous of Bob. Bob is quite standoffish. We once exchanged a couple of words but never again and even then it didn’t amount to much: it was just to thank him for letting L. have the car so that she could fetch Mummy from hospital.\u003cbr\u003e\u003cbr\u003e14 June. My mind is in a whirl still. Jack Hamesh was here again, this time he came in a jeep. Everyone in the village was gawping of course and S. came across the stream twice to look into the garden. I took him into the garden because Mummy is in bed upstairs. We sat on the bench and to begin with I was trembling again so badly that he must have thought I was mad or had something on my conscience or whatever. And I just don’t know why. I no longer know what we talked about first, but then all at once it was about books, about Thomas Mann and Stefan Zweig and Schnitzler and Hofmannsthal. \u003cbr\u003e\u003cbr\u003eI was so happy, he knows everything, and he told me he would never have thought he might meet a young girl in Austria who in spite of her Nazi upbringing had read all that. And suddenly everything was quite different, and I told him all about the books. He told me that he was taken to England in 1938 in a Kindertransport with other Jewish children. Actually he was already 18 years old at the time, but an uncle managed to arrange it, his parents were already dead. \u003cbr\u003e\u003cbr\u003eNow I know too why he speaks such good German. Then he joined the British army and in the occupation zones lots of former Germans and Austrians are now working in the offices of the FSS, on account of the language and because they know the conditions in the country better. We talked till evening, and he kissed my hand before he left. Nobody ever kissed my hand before. I am so mixed up and happy, and when he’d gone I climbed the apple tree in our garden, it was already dark, and I cried my eyes out and thought to myself that I would never wash my hand again.\u003cbr\u003e\u003cbr\u003eJack comes every day now, and I’ve never talked so much in my life. We talk mostly about Weltanschauung and history. He’s very good at explaining, and I’m no longer in the least embarrassed by him. I always ask him if it’s something I haven’t yet heard about. At the moment we’re doing socialism and communism (and of course if Mummy were to hear the word ‘communism’ she would faint!), but you must have detailed knowledge of everything and study. I’m reading Marx’s Capital and a book by Adler. I’ve told Jack that I’d like to study philosophy, and he takes me very seriously and thinks that is right for me. But I’ve kept quiet about the poems.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Modern Poetry in Translation","offers":[{"title":"Book","offer_id":1040750824,"sku":"9780954536732","price":9.95,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_9f70c4b0-eb28-488b-b088-4821d55ea06b.jpeg?v=1752237543"},{"product_id":"modern-poetry-in-translation-series-3-no7-love-and-war","title":"Modern Poetry in Translation (Series 3 No.7) Love and War","description":"\u003cem\u003eLove and War\u003c\/em\u003e contains translations and original poems on this modern and ancient topic. This volume demonstrates the wealth and variety of interpretations of the theme.\u003cbr\u003e\u003cbr\u003e\u003ca name=\"contents\"\u003e\u003c\/a\u003eCover by Lucy Wilkinson.  Editorial by David and Helen Constantine.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eContents:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e•\tAdonis, nine poems, translated by Peter Clark and Sarah Maguire\u003cbr\u003e\u003cbr\u003e•\tJeff Nosbaum, ‘Pride of Ajax’\u003cbr\u003e\u003cbr\u003e•\tYannis Ritsos, twenty-eight of the Monochords, translated by Paul Merchant\u003cbr\u003e\u003cbr\u003e•\t\u003ca href=\"#e0\"\u003eGuillaume Apollinaire, seven poems, translated by Stephen Romer\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e•\tPushkin, The Captain’s Daughter, extracts translated by Robert Chandler\u003cbr\u003e\u003cbr\u003e•\tVénus Khoury-Ghata, six poems from Interments, translated by Marilyn Hacker\u003cbr\u003e\u003cbr\u003e•\tGilgamesh, an extract translated by Paul Batchelor\u003cbr\u003e\u003cbr\u003e•\tFederico Garcia Lorca , ‘Song of the Civil Guard’, translated by Mark Leech\u003cbr\u003e\u003cbr\u003e•\t\u003ca href=\"#e1\"\u003eOliver Reynolds, ‘Kolin’ and ‘Dusty Miller Breaks his Silence’(after Liliencron’s ‘Wer weiss wo’ and ‘Vergiss die Mühle nicht’)\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e•\tStephen Romer, four poems\u003cbr\u003e\u003cbr\u003e•\t\u003ca href=\"#e2\"\u003eDu Fu, two poems, translated by Paul Harris\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e•\tCharles Dobzynski, ‘My Life as a Wall’, translated by Marilyn Hacker\u003cbr\u003e\u003cbr\u003e•\tLucretius, ‘Aulis’, translated by Stephanie Norgate\u003cbr\u003e\u003cbr\u003e•\t\u003ca href=\"#e3\"\u003eRobert Desnos, ten poems, translated by Timothy Adès\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e•\tAnzhelina Polonskaya, four poems, translated by Andrew Wachtel\u003cbr\u003e\u003cbr\u003e•\t\u003ca href=\"#e4\"\u003eManuel Rivas, six poems, translated by Jonathan Dunne\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e•\tGiuseppe Belli, four sonnets, translated by Mike Stocks\u003cbr\u003e\u003cbr\u003e•\tElsa Morante, Farewell, an extract translated by Cristina Viti\u003cbr\u003e\u003cbr\u003e•\tAndrea Zanzotto, four poems, translated by Jo Catling and others\u003cbr\u003e\u003cbr\u003e•\tElena Shvarts, nine poems, translated by Sasha Dugdale\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews and Comments\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e•\tMichael Hamburger on Assia Wevill\u003cbr\u003e\u003cbr\u003e•\tRobin Fulton on Robin Robertson’s Tranströmer\u003cbr\u003e\u003cbr\u003e•\tSasha Dugdale on Emily Lygo’s Voltskaia\u003cbr\u003e\u003cbr\u003e•\tCharlie Louth on Eavan Boland and the Bachmann-Henze correspondence\u003cbr\u003e\u003cbr\u003e•\tBelinda Cooke on translations of Vittorio Sereni and Luciano Erba\u003cbr\u003e\u003cbr\u003e•\tJosephine Balmer, Shorter Reviews\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003chr size=\"1\"\u003e\u003ca name=\"e0\" title=\"e0\"\u003e\u003c\/a\u003e\u003cstrong\u003eGuillaume Apollinaire, seven poems, translated by Stephen Romer\u003c\/strong\u003e  \u003cbr\u003e                         \u003cbr\u003e\u003cem\u003eXxxii (extracts)  My Lou I shall sleep tonight…\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eMy Lou I shall sleep tonight in the trenches\u003cbr\u003eFreshly dug and waiting near our guns\u003cbr\u003eSome twelve kilometers away are the holes\u003cbr\u003eWhere I shall go down in my coat of horizon-blue\u003cbr\u003eBetween the whizzbangs and the casseroles\u003cbr\u003eTo take my place among our soldier-troglodytes\u003cbr\u003eThe train stopped at Mourmelon le Petit\u003cbr\u003eAnd I stepped down as happy as I climbed up\u003cbr\u003eSoon we shall leave for the battery but for now\u003cbr\u003eI’m among the soldiery and shells are whistling\u003cbr\u003eIn the grey north sky and no one thinks of dying…\u003cbr\u003e\u003cbr\u003e……………………………\t\u003cbr\u003e\u003cbr\u003eAnd thus we shall live on the frontline\u003cbr\u003eAnd I shall liken your arms to the necks of swans\u003cbr\u003eAnd sing your breasts belonging to a goddess\u003cbr\u003eAnd the lilac shall blossom… I shall sing your eyes\u003cbr\u003eWhere a choir of lissom cherubs is dancing\u003cbr\u003eThe lilac shall blossom in the serious spring!\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003chr size=\"1\"\u003e\u003ca name=\"e1\" title=\"e1\"\u003e\u003c\/a\u003e\u003cstrong\u003eOliver Reynolds, ‘Kolin’ and ‘Dusty Miller Breaks his Silence’(after Liliencron’s ‘Wer weiss wo’ and ‘Vergiss die Mühle nicht’)\u003cbr\u003e\u003c\/strong\u003e  \u003cbr\u003e\u003cbr\u003e               \u003cem\u003eKolin!\u003c\/em\u003e\u003cbr\u003e\t (18.vi.1757)\u003cbr\u003e\u003cbr\u003eSoldiers drown in their blood.\u003cbr\u003eWheeling smoke, hoof-churned mud\u003cbr\u003e\t and the sheen\u003cbr\u003eof a thousand spurs catches the sun.\u003cbr\u003eNo one’s springing to attention\u003cbr\u003e\t at Kolin.\u003cbr\u003e\u003cbr\u003e All the generals and squaddies\u003cbr\u003e who necked bullets like toddies\u003cbr\u003e\t now stand easy.\u003cbr\u003e Death having meant no harm\u003cbr\u003e by his jogging each arm\u003cbr\u003e\t now stands easy.\u003cbr\u003e\u003cbr\u003e An oblong bump in the shirt\u003cbr\u003e of a corpse feeding on dirt\u003cbr\u003e\t looks like a book.\u003cbr\u003e An adjutant stooped as he grieved\u003cbr\u003e undid the pocket and retrieved\u003cbr\u003e           the Gospel of Luke.\u003cbr\u003e\u003cbr\u003eReturned with Prussian palaver\u003cbr\u003eto the high-ranking father\u003cbr\u003e\t fixed in his chair\u003cbr\u003eit now bears a spidery inscription.\u003cbr\u003eKolin. My son lost in action.\u003cbr\u003e\tWho knows where.\u003cbr\u003e\u003cbr\u003eAnd you who now read that line\u003cbr\u003eare one with its writer: both decline\u003cbr\u003e           to see what’s there.\u003cbr\u003eFor each of us will be posted in turn\u003cbr\u003elost in action, to freeze or burn\u003cbr\u003e           who knows where.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003chr size=\"1\"\u003e\u003ca name=\"e2\" title=\"e2\"\u003e\u003c\/a\u003e\u003cstrong\u003eDu Fu, two poems, translated by Paul Harris\u003c\/strong\u003e  \u003cbr\u003e\u003cbr\u003e\u003cem\u003eA Scene in Spring\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eThe state is torn apart, only the mountains and rivers remain.\u003cbr\u003eWeeds and trees run rampant in the city this spring.\u003cbr\u003eDo the flowers sense the times, that they, like me, should weep?\u003cbr\u003eDo the birds feel the emptiness, they seem so fearful?\u003cbr\u003eFor three months on end the garrison beacons have glimmered at night.\u003cbr\u003eA letter from home would be worth a heap of gold to me,\u003cbr\u003eAn old man waiting, whose remaining white hairs\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003chr size=\"1\"\u003e\u003ca name=\"e3\" title=\"e3\"\u003e\u003c\/a\u003e\u003cstrong\u003eRobert Desnos, ten poems, translated by Timothy Adès\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cem\u003eSong of the Glass of Wine\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eWhen the train goes don’t wave your hand,\u003cbr\u003eYour handkerchief, your umbrella,\u003cbr\u003eBut fill a glass with wine,\u003cbr\u003eAnd throw, towards the train whose grab-rails are singing,\u003cbr\u003eThe wine’s long flame,\u003cbr\u003eThe wine’s bloody flame that is like your tongue,\u003cbr\u003eAnd shares with it\u003cbr\u003eThe palate and the couch\u003cbr\u003eOf your lips and your mouth.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003chr size=\"1\"\u003e\u003ca name=\"e4\" title=\"e4\"\u003e\u003c\/a\u003e\u003cstrong\u003eManuel Rivas, six poems, translated by Jonathan Dunne\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cem\u003eBallad on the Western Beaches\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eThe ship settles on the shore\u003cbr\u003eand land birds nest on its mast.\u003cbr\u003eWith the compass I trace routes on maps of tillage,\u003cbr\u003ehurt by the sky’s anger on the seed’s weak ribs,\u003cbr\u003efearful of the flower’s drift before inhumane winds.\u003cbr\u003eThe ship sleeps on the shore,\u003cbr\u003ethe keel’s blue imagination covered in brush and rushes,\u003cbr\u003eand the figurehead has a strolling soul.\u003cbr\u003eIn the binnacle is kept the book of moons and the rains’ needle,\u003cbr\u003ea bottle of old snow liqueur.\u003cbr\u003eA skylark sings on a rusty harpoon,\u003cbr\u003ea blackbird’s sigh lashes the cables\u003cbr\u003eand crows on the rudder glimpse lesser death lying alongside.\u003cbr\u003eAll set, admiral, for the great journey.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e","brand":"Modern Poetry in Translation","offers":[{"title":"Book","offer_id":1040751556,"sku":"9780954536770","price":9.95,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_29d55b0a-dc86-4821-800d-d6dad869e2c0.jpeg?v=1752237541"},{"product_id":"banipal-39-modern-tunisian-literature","title":"Banipal 39 - Modern Tunisian Literature","description":"Tunisia is known as a popular holiday destination but until now its rich literature has not had the recognition it deserves, except for the poems of Abu Al-Qasim Al-Shabi. Banipal 39 – Modern Tunisian Literature features over 150 pages of poetry and fiction by Tunisian authors, plus an introduction to the country’s literary pioneers with profiles, and book reviews.\u003cbr\u003e\u003cbr\u003eBanipal 39 – Modern Tunisian Literature includes newly translated works of the foremost poet in the Arab world, Adonis. Also fiction from major authors Fadhil al-Azzawi and Mekkawi Said, and poems from upcoming British-Lebanese poet Omar Sabbagh.\u003cbr\u003e\u003cbr\u003ePlus a tribute to the late Taher Wattar (1936-2010), and to critic Farouk Abdel-Kader (1938-2010).\u003cbr\u003e\u003cbr\u003ePlus Book Reviews: Albert Cossery – \u003ci\u003eThe Jokers\u003c\/i\u003e, Habib Selmi – \u003ci\u003eThe Scents of Marie-Claire\u003c\/i\u003e, Mahmoud Darwish – \u003ci\u003eJournal of an Ordinary Grief\u003c\/i\u003e, Inaam Kachachi – \u003ci\u003eThe American Granddaughter\u003c\/i\u003e, Hédi Kaddour – \u003ci\u003eTreason\u003c\/i\u003e, Mohamed Mansi Qandil – \u003ci\u003eMoon over Samarqand\u003c\/i\u003e and Hayan Charara’s Arab American poetry anthology, \u003ci\u003eInclined to Speak\u003c\/i\u003e.\u003cbr\u003e","brand":"Banipal Magazine","offers":[{"title":"Book","offer_id":1040828100,"sku":"2216314615363","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_b55af476-40f5-4d8e-a9ea-42ee9940e0d7.jpeg?v=1752237896"},{"product_id":"banipal-magazine-issue-10-11-double","title":"Banipal Magazine - Issue 10 \u0026 11 (Double)","description":"Nos.  10\/11 Spring 2001\/ Summer 2001\u003cbr\u003e\u003cbr\u003e22-page feature, with appreciations, profiles and poems, on Moroccan poet Mohammed Khaïr-Eddine. Interviews with author Tayeb Salih and poet Abbas Beydhoun. Poems by Adonis, Etel Adnan and 11 others. Works by Abdallah Laroui, introduced by Kamal Abdellatif, and novelist Halim Barakat introduced by Bassam Frangieh. \u003cbr\u003e\u003cbr\u003eCONTENTS\u003cbr\u003e\u003cbr\u003eEditorial\u003cbr\u003e\u003cbr\u003eFEATURE ON Mohammed Khaïr-Eddine\u003cbr\u003ewith translations by: Marilyn Hacker, Hédi Abdel-Jaouad, James Kirkup,\u003cbr\u003eMartin Wilmot Bennett and Nadia Benabid;\u003cbr\u003e\u003cbr\u003etributes and discussion from J M Le Clézio, Jean-Paul Michel, Jean Orizet, Abdellatif Abboubi, Pierre Joris, Samuel Shimon\u003cbr\u003e\u003cbr\u003eAbdallah Laroui: Excerpt from the novel Papers\u003cbr\u003ewith profile by Kamel Abdellatif\u003cbr\u003e\u003cbr\u003eINTERVIEW\u003cbr\u003ewith Abbas Beydhoun Writing the language of absence\u003cbr\u003econducted by Camilo Gomez-Rivas\u003cbr\u003e\u003cbr\u003eEtel Adnan: Text Further on . . .\u003cbr\u003eHalim Barakat: Excerpt from the novel The Crane\u003cbr\u003eBassam Frangieh and Roger Allen: Afterword to The Crane\u003cbr\u003eKhaled Mattawa: Poems\u003cbr\u003eMohammed al-Ghozzi: Poems\u003cbr\u003eHassan Ben Othman: Excerpt from the novel Promosport\u003cbr\u003eRachida el-Charni: Short stories Life on the Edge and The Furnace\u003cbr\u003eHassouna Mosbahi: Excerpt from the novel Tarshish Hallucation\u003cbr\u003e\u003cbr\u003eINTERVIEW\u003cbr\u003ewith Tayeb Salih conducted by Mohammed Shaheen\u003cbr\u003ewith excerpt from Season of Migration to the North\u003cbr\u003e\u003cbr\u003eHabib Tengour: Poems\u003cbr\u003eTaleb al-Refai: Short stories The Statue, The Sidra and The Seafront\u003cbr\u003eSalima Saleh: Short stories The Wheat Watchmen and The Enemy\u003cbr\u003eNora Amin: Excerpt from the novel The Empty Pink Shirt\u003cbr\u003eIman Mersal: Poem The Clot\u003cbr\u003eAbdel-Monem Ramadan: Poems\u003cbr\u003eLukman Derky: Poem Guests who stir up the dust\u003cbr\u003eGhalya al-Said: Poems\u003cbr\u003eButhayna al-Nasiri: The short story of Samah\u003cbr\u003eSalah el-Moncef: Al Dente Excerpt from a novel in progress\u003cbr\u003eSuad al-Kawari: Poems\u003cbr\u003eSeema Atalla: Poems\u003cbr\u003eAhmed El-Shahawy: Poems from The Book of Death\u003cbr\u003eNacera Mohammedi: Poems\u003cbr\u003e\u003cbr\u003eAdonis’ Collage Exhibition: Alain Jouffroy writes on the collages\u003cbr\u003eAdonis: Poem Travel guide to the forest of meaning\u003cbr\u003etranslated by Marilyn Hacker with Vénus Khoury-Ghata\u003cbr\u003e\u003cbr\u003eBOOK REVIEWS\u003cbr\u003eMargaret Obank: Under the Naked Sky – Short Stories\u003cbr\u003efrom the Arab World, trans. Denys Johnson-Davies\u003cbr\u003eIgnacio Cembrero: Talking with Cannibales author Mahi Binebine\u003cbr\u003eSamir el-Youssef: I Saw Ramallah by Mourid Barghouti\u003cbr\u003eJames Kirkup:\u003cbr\u003eChants de la Folie de l’Etre poems by Kadhim Jihad, and\u003cbr\u003eAnthology: The Poetry of Arab Women ed. Nathalie Handal\u003cbr\u003eMona Zaki The Cairo House by Samia Serageldin\u003cbr\u003e","brand":"Banipal Magazine","offers":[{"title":"Book","offer_id":1040837628,"sku":"17955-1461-5363","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_bce6be24-1ea9-40ad-85af-87ed51278dbc.jpeg?v=1752238186"},{"product_id":"womens-work-modern-women-poets-writing-in-english","title":"Women's Work: Modern Women Poets Writing in English","description":"Three years in the making, and with over 250 contributors, this generous selection of poetry by women with an emphasis on twentieth-century poetry in English features poets from the USA, Canada, England, Ireland, Scotland, Wales, Australia, and New Zealand.\u003cbr\u003e\u003cbr\u003eIn these 'Post-Feminist' times, is there a need for such a book? Is the literary establishment still as dominated by men as it once was? Who gets to decide the canon? Eva Salzman opens \u003ci\u003eWomen's Work\u003c\/i\u003e with a lively polemic, making the case for the women-only anthology with characteristic wit and flair. \u003cbr\u003e\u003cbr\u003eArranged by thematic chapters that touch on various aspects of modern life, this anthology aims to be a touchstone of women's thoughts and experiences; to be entertaining and relevant as well as inclusive and representative of some of the best poetry published now. A thorough section devoted to author biographical details and credits will be of use to scholars and the curious who desire to read more work by the poets included.\u003cbr\u003e\u003cbr\u003eThe Editors are the well-known poet Eva Salzman, and Poetry Editor Amy Wack, both Americans, graduates of Columbia writing programme in New York City, who have made the UK their home.\u003cbr\u003e\u003cbr\u003eYou will find familiar names as well as new discoveries amongst the contributors: Fleur Adcock, Patience Agbabi, Moniza Alvi, Margaret Atwood, Sujata Bhatt, Colette Bryce, Siobhan Campbell, Amy Clampitt, Polly Clark, Wendy Cope, Toi Derricotte, Carol Ann Duffy, Christine Evans, U.A. Fanthorpe, Ruth Fainlight, Vicki Feaver, Daisy Fried, Alice Fulton, Tess Gallagher, Louise Gluck, Marilyn Hacker, Joy Harjo, Selima Hill, Kathleen Jamie, June Jordan, Martha Kapos, Jenny Joseph, Jackie Kay, Mimi Khalvati, Alice Oswald, Phillis Levin, Denise Levertov, Gwyneth Lewis, Sandra McPherson, Marianne Moore, Sharon Olds, Ruth Padel, Pascale Petit, Katherine Pierpoint, Sylvia Plath, Adrienne Rich, Muriel Rukeyser, Carol Rumens, Olive Senior, Jo Shapcott, Stevie Smith, Gertrude Stein, Anne Stevenson, Chase Twichell, Judith Wright, Tamar Yoselfof, and many others. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAmy Wack\u003c\/b\u003e has edited a number of anthologies for Seren including \u003ci\u003eOxygen\u003c\/i\u003e and \u003ci\u003eBurning the Bracken\u003c\/i\u003e, and was for many years Reviews Editor at \u003ci\u003ePoetry Wales\u003c\/i\u003e magazine. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEva Salzman\u003c\/b\u003e is the author of two individual collections, \u003ci\u003eThe English Earthquake\u003c\/i\u003e and \u003ci\u003eBargain with the Watchman\u003c\/i\u003e and her \u003ci\u003eDouble Crossing: New and Selected Poems\u003c\/i\u003e has recently appeared.","brand":"Seren","offers":[{"title":"Book","offer_id":1041147716,"sku":"9781854114310","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0441\/7369\/products\/2_2_f7051130-87fe-49c1-9844-c68b7a21dd92.jpeg?v=1752238145"}],"url":"https:\/\/inpressbooks.co.uk\/collections\/marilyn-hacker\/carol-ann-duffy.oembed","provider":"Inpress Books","version":"1.0","type":"link"}