https://yle.fi/news/3-12535510
The Finnish Internet has not been slow to come with some appropriately barbed responses, e.g. https://twitter.com/pmakela1/
Spuyten Duyvil of NYC have published my translation of Susanne Jorn's Andalusiske øjebliksbilleder i November/Andalusian Snapshots in November. This is really a collaborative venture, and the book is bilingual, with facing Danish and English texts.
From dark mood
to light mood
Pastel yellow Photosensitivity
Though his work is still widely read in Iceland, Hjálmar is less well-known outside of the country than many other poets of his era, most of whom were educated in Copenhagen and were closely associated with Icelandic Romanticism and the independence movement (e.g. Jónas Hallgrímsson, Matthías Jochumsson, and Benedikt Gröndal). The publication of Hjálmar’s poetry in English translation thus offers hope that more poets from the nineteenth and early-twentieth century well-known within Iceland but less so outside of the country (e.g. Sigurður Breiðfjörð, Ólöf Sigurðardóttir, and Unnur ‘Hulda’ Benediktsdóttir Bjarklind) will have the opportunity to find their own English readership. Hjálmar Jónsson’s Selected Poems introduces readers to the work of a remarkable Icelandic poet in a well-executed translation, but the volume also helps to advance a richer image of Iceland’s vast and varied literary history.
I'm pleased and honoured that, together with my fellow translator Gisela Kosubek, I've been awarded the Swedish Academy's Interpretation Prize (Tolkningspris).
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The theme of the new issue of Swedish Book Review (now re-conceived exclusively as an online publication) is Emerging Voices in Swedish Literature, with work by Pooneh Rohi, Kayo Mpoyi, Adrian Perera, Balsam Karam and Joel Mauricio Isabel Ortiz. There are also reviews of new titles, including poetry with Burcu Sahin's Broderier (Embroideries) - also featured in an earlier post here.
The editors of the new site are to be congratulated on its pleasing and variegated design.
Recently I've been distancing more and more from introspection as beneficial. Instead of psychoanalysis, I'm more interested in how a person can realistically act for the good of someone with fewer opportunities, be those spiritual, intellectual or material. Not society -- that's too narrow a concept; society is made up of kindred thinkers who generally thumb their nose at others -- but rather to do good for those who suffer from abandonment, socially in a certain sense, instead of delving into yourself (and even into ideas). I'm striving to do that in this phase of my life.
In general, a varied and colourful issue of the magazine -- it's now one of the best English-language literary journals in the Nordic region, at times reminiscent of the now sadly dormant Books from Finland, but more often with a viewpoint and energy of its own, and quite unlike anything currently around in the U.K. or America. There's also a quiet tribute to the life and work of Estonian literary translator Eric Dickens.
- Edith Södergran, Complete Poems
- Karin Boye, Complete Poems
- Mirjam Tuominen, Selected Writings
A poem has its own logic and integrity. In one sense or another it demands to be whole. The Greek word σῠ́ντᾰξῐς means order or composition. An immanent need for order will therefore be associated with crystalline form – even though it sometimes conflicts with the content. My poems want light. In yearning for calm, insight and beauty. The work of the poem is an unconscious demand that an inner connection be created within it, where each word will have its place, like the atom in the crystal.
There are many theories of translation, but from what I’ve heard, translators mostly shrug them off in practice and just keep going as they were. Is there any theory of translation or simply a translator’s creed that you hold dear? Did translating Kross put it to the test in any way?
FvN: I’m no theoretician, but I believe the practical summary of translating is an eternal question phrased by the poet and translator Martinus Nijhoff, whom the Netherlands’ most prestigious translation award is named after: “In what kind of Dutch would a foreigner have written their book if they were Dutch and have relied upon in terms of their conceptual form?” One must always keep that question in mind.
JN: Just like Frans, I’m no theoretician. Apart from a few courses on translating Russian literature, I also do not have much formal education in literary translation. I think I learned most while translating The Man Who Spoke Snakish in 2014, for which I received funding and practical help (a mentorship) from the Dutch Foundation for Literature. Since Frans was the only active translator from Estonian at that time, and was more experienced, he served as my mentor. He taught me many things, but most of all, I learned to be more precise. I remember him saying, “What is lost in your first version (or first ‘working’ translation) is most likely lost forever.” I always have that sentence in the back of my mind when I’m translating. And, needless to say, it’s a very important lesson when you’re translating the work and the style of a writer like Jaan Kross.
I had headache, body aches, chills, cough, chest constriction but no fever. I was in bed for a week and then the symptoms lingered. I recovered. There were no tests so I don’t know if it was Covid-19 or something else, but Boccaccio’s book, which I have long loved, haunted me as I lay in bed, and I returned to it.
It is safe to say that Faroese writers have a difficult task to become known beyond their shores. As the Faroese nominee for the 2020 Nordic Council Literature Prize, Oddfríður Marni Rasmussen, writes, ‘only a half-dozen or so can make a living off their writing. And in order to do that, a writer has to be translated into a bigger language, but publishing houses in other countries do not want to spend money on some book from the Faroe Islands.
The slightly ambiguous ending did leave me wondering what future there was for humanity and whether the race would escape from its claustrophobic control; I guess only time would tell, in the same way as it’s hard to tell know how we will come through the present difficult phase of our planet’s history where certain elements are so busy dehumanising those whom they perceive to be different.
