“Lost in Fog” by Qin Guan [w/ Audio]

The tower has vanished in the fog;
The boat is hidden in moon-shadow;
The perfect peach field cannot be found.
I'm shut in by the cold rain of Spring.
I hear the cuckoo's call at sunset.

Apricot blossoms sent by my friends
In letters received through the post
Cause an assault by countless memories.
A lonely river rounds the mountain,
But why should it flow toward my lost world?

“Wild Nights – Wild Nights!” (269) by Emily Dickinson [w/ Audio]

Wild nights -- Wild nights!
Were I with thee
Wild nights should be
Our luxury!

Futile -- the winds --
To a Heart in port --
Done with the Compass --
Done with the Chart!

Rowing in Eden --
Ah -- the Sea!
Might I but moor - tonight -
In thee!

Sonnet 130 by William Shakespeare [w/ Audio]

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes there is more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.

BOOKS: “Best Literary Translations 2024” ed. by Jane Hirschfield, et. al.

Best Literary Translations 2024Best Literary Translations 2024 by Jane Hirshfield
My rating: 5 of 5 stars

Publisher Site

This “best of” annual celebrates the unsung translator. Many of the original works are recent but some are old or even ancient; it is these translations to English that are in all cases recent. Spanish and Arabic translations are well-represented, but with respect to the twenty or so languages included, almost all are the sole representative for that particular source language. Poetry makes up the bulk of the collection (including prose poems,) but there are several pieces of short fiction and a piece of creative nonfiction or two.

Among my favorites were: “Grazing Land” (Greek,) “The Snail’s Spiral” (Spanish,) “The Lion” (Kurdish,) “Deterioration” (Persian,) “Graceless” (Chinese,) “Our Village” (Tigrinya,) and “The Sea Krait” (Tagalog.) But, as one would expect of a carefully curated “best of” collection, there were no stinkers in the batch.

If you enjoy literature in translation, this book is well worth investigating.

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“Finely Woven” [Poetry Style #14] by Sikong Tu [w/ Audio]

The building blocks of everything --
Too fine to feel or see or smell --
Dance their way into hardened shapes
Via forces, invisible.
And so water flows, flowers bud,
But - also - dew evaporates.
This expansive path stretches on --
It's slow-going through dark lands.
It can't be spoken of smartly.
It can't be pondered fruitfully.
It's Early Spring green in sunlight,
Or like the snow seen by moonlight.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the fourteenth of the twenty-four poems. Translated titles vary: Giles calls it “Close Woven” and others have titled it, “Fine.”

“Inversnaid” by Gerard Manley Hopkins [w/ Audio]

This darksome burn, horseback brown,
His rollback highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.

A windpuff-bonnet of fawn-froth
Turns and twindles over the broth
Of a pool so pitchblack, fell frowning,
It rounds and rounds Despair and drowning.

Degged with dew, dappled with dew
Are the groins of the braes that the brook threads through.
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.

What would the world be, once bereft
Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.

“Beginning My Studies” by Walt Whitman [w/ Audio]

Beginning my studies, the first step pleas'd me so much,
The mere fact, consciousness -- these forms -- the power of motion,
The least insect or animal -- the senses -- eyesight -- love;
The first step, I say, aw'd me and pleas'd me so much,
I have hardly gone, and hardly wish'd to go, any further,
But stop and loiter all the time, to sing it in ecstatic songs.

“Tacit” [Poetry Style #12] by Sikong Tu [w/ Audio]

Without a word,
The gist is grasped.
With no wails or soft sobs,
Sadness spreads heart-to-heart.
There is an enigmatic Prime Mover
With whom each of us either sinks or floats.
Dregs of rustic wine in a fine strainer.
Buds on the cusp of bloom turned back by cold.
Dust motes spreading by Brownian motion.
Sea spume floating and tumbling onto shore.
Shallow, deep, cohering, or scattering.
Of ten thousand, any sample will do.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the twelfth of the twenty-four poems. Translated titles vary: Herbert Giles entitled this one “Conservation,” whereas Tony Barnstone and Chou Ping called it “The Implicit Style.”

BOOKS: “Gothic Tales” by Marquis de Sade [Trans. by Margaret Crossland]

Gothic TalesGothic Tales by Marquis de Sade
My rating: 5 of 5 stars

Amazon.in Page

Release Date: September 3, 2024

This collection of short fiction is an excellent entry point for the reader wishing to be introduced to the philosophy and literary stylings of the Marquis de Sade. It is less visceral and explicitly violent than the works for which Sade is most famous (i.e. Justine, 120 Days of Sodom, and Philosophy in the Boudoir.) While it does deal in libidinal issues throughout and has a few stories that are explicitly erotica (notably the last couple pieces,) it never ventures up to or over whatever thin line separates erotica from pornography.

While all the pieces share Sade’s signature philosophy and interests, it is in other ways a quite diverse collection of writings. The first piece, “Eugenie De Franval,” is a novella that takes up about half the book, and it is followed by a piece that, in today’s parlance, might be called flash fiction, “The Horse-Chestnut Flower.” Pieces such as “Eugenie De Franval” and “Florville and Courval” are tragedies while the comedies include: “Emilie De Tourville,”[granted with grim elements] “The Husband Who Played Priest,” “Room for Two,” and “The Self-Made Cuckold.” Those last three – as well as “The Horse-Chestnut Flower”– are comedic in a modern sense, not just the literary sense.

I can’t say how much of the difference in tone and intensity of these pieces from Sade’s other stories is owed to the selected source material and how much is owed to translation and editorial decisions, but it makes for a read that is more intriguing in story and less shocking and disturbing than many other translations of Sade’s work.

I enjoyed these stories. They had many clever twists and turns that I don’t recall experiencing in Sade’s novels. Several stories rely on a great deal of deus ex machina coincidences, but I think that works just fine — particularly in the more humorous stories. I’d highly recommend this for readers looking to ease into the work of the Marquis de Sade.

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“The Sick Rose” by William Blake [w/ Audio]

O Rose thou art sick.
The invisible worm
That flies in the night
In the howling storm,

Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.