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By John Taylor

This booklet is either a sequel to writer John Taylor’s prior quantity Into the center of eu Poetry and whatever diverse. it's a sequel simply because this quantity expands upon the bottom of the former ebook to incorporate many extra eu poets. it truly is various in that it's framed by means of tales during which the writer juxtaposes his own reports related to eu poetry or ecu poets as he travels via varied nations the place the poets have lived or worked.

Taylor explores poetry from the Czech Republic, Denmark, Lithuania, Albania, Romania, Turkey, and Portugal, all of that have been lacking within the past amassing, analyzes heady verse written in Galician, and provides an incredible poet born within the Chuvash Republic. His journey via ecu poetry additionally provides discoveries from nations whose languages he reads fluently—Italy, Germany (and German-speaking Switzerland), Greece, and France. Taylor’s version is Valery Larbaud, to whom his feedback, with its liveliness and analytical readability, is usually compared.

Readers will take pleasure in a renewed discussion with eu poetry, in particular in an age while translations are hardly ever reviewed, found in literary journals, or studied in colleges. This e-book, besides Into the center of eu Poetry, motivates a discussion by means of bringing international poetry out of the really expert confines of international language departments.

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How then can we appraise Benn’s short-lived allegiance to Nazism in regard to the acceptability of his literary oeuvre? ” In Germany, he did win the Georg Büchner Prize as early as 1951, and a Collected Poems was issued five years later. But despite his albeit somewhat equally disturbing fame in his homeland, he has nonetheless remained absent from our mainstream, nonspecialized English-language view of modern German poetry, dominated by the figure of Brecht. Hofmann’s point is well taken. To be sure, other poets and writers much more deeply, extensively, and actively linked to Nazism or Fascism, such as the American poet Ezra Pound, the French novelist Louis-Ferdinand Céline, the Romanian francophone aphorist Emil Cioran, and the Norwegian writer Knut Hamsun, have suffered much less than Benn in postwar European literary history from persistent critical and editorial rejection.

These sources include popular culture. This consistent feature of Benn’s poetry and its satirical thrust argues for such choices in English, even if they do not occur in exactly the same 29 A Little Tour through European Poetry place as they do in the German poem. ” What emerges time and again is that the poet draws not rational meaning out of his predicament, which is also ours, but rather the appropriate emotion for the individual, the setting, and the age. The feeling can be life weary, even scoffing, or almost totally disabused, yet it has rarely—somewhat unexpectedly—relinquished all compassion.

As with all of Hofmann’s translations, vivacity and inventiveness abound. Is the translator sometimes too inventive? His audacity inevitably raises this issue. Among my own hesitations are the French words rendering German words or phrases that do have English equivalents. ”? Elsewhere, Hofmann provides what might be called popular-cultural equivalents for more standard German expressions. ” The solution is witty but risks appearing too culturally specific in the long run. To Hofmann’s credit is an acute sensitivity to, indeed empathy with, the countless variety of sources behind Benn’s vivid imagery and to Benn’s poetics as a whole.

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