Yesterday’s Translation Tuesday featured Pablo Neruda’s “Coming of the Rivers” sequence in an astonishing and previously unpublished translation by Waldeen. How did Waldeen capture the voice and tone of Neruda’s poetry so accurately, and why have such elegant translations remained in obscurity for almost seventy years? Poet and translator Jonathan Cohen, a close friend of Waldeen, explains the history—and the secrets—behind her Neruda translations.
Waldeen von Falkenstein (1913–1993)—known as a dancer and writer by her first name alone—has yet to receive the full recognition she deserves for her work as a translator of Pablo Neruda’s poetry. The poetic achievement of her translations and their influence on American poetry merit more attention. Waldeen’s elegant renderings of poems that would form Neruda’s epic masterpiece, Canto General (1950), translations that she published in the late 1940s and early 1950s, introduced Neruda and his image-driven poetics to many readers. Among them were poets like the Beats looking for alternatives to the prevailing formalist mode of verse, who found in him, through her, a model poet.
Waldeen achieved fame in Mexico as the founder of modern dance there. In 1956, Diego Rivera, one of the principal gods of Mexican art, lavished praise on Waldeen for her contribution to Mexican culture (“In each of her dance movements, she offered our country a jewel”). His tribute to her appeared in a major newspaper of Mexico, where he went beyond his accolades of her dance work to also celebrate her as a poet-translator: “I can bear witness to this not only by the intensity of emotion I felt in the verses of this beautiful and admirable woman, but through the testimony, as well, of our Walt Whitman of Indo-America, Pablo Neruda, who wrote to her, deeply moved, after she translated poetry of his into English: ‘Waldeen, thank you, for your poems of my poems, which are better than mine.’ ”
In addition to our usual roundup this week of the latest and most exciting prizes and competitions, our Editor-at-Large in the USA, Madeline Jones, shares some important news about sexual harassment in the nation’s media and publishing industry; Editor-at-Large Tiffany Tsao draws our attention to the online harassment of an Indigenous poet, just over a week before the start of Australia’s first Indigenous literature festival; Editor-at-Large Julia Sherwood fills us in on the most exciting new works being released in Czech Republic, and pens a short obituary for a legendary and fearless translator who rubbed shoulders with some of the mid-century’s greatest authors and defied the Czech Soviet authorities. We hope you find this week’s news informative, and we express our solidarity with all women around the world who are standing up to abuse.
Madeline Jones, Editor-at-Large, reporting from the USA:
The American publishing and media industries have been rocked by an outpouring of sexual harassment and assault accusations against powerful men who have used their standing and infl-uence—and in some cases millions of dollars—to silence women’s complaints. The New York Times and The New Yorker reported the first stories implicating Hollywood producer Harvey Weinstein in a number of harassment and assault charges on October 5th, which sparked a revolution. Over fifty women have since come forward with complaints about Weinstein’s behavior, he has been fired from his own company, and Hachette Book Group promptly shut down Weinstein Books. The hashtag #metoo sprung up in the wake of these first accusations, demonstrating the sweeping extent of harassment across all areas of work and life, and a list started circulating among women in journalism and media called “Shitty Media Men” where women shared specific names of male perpetrators who had made unwanted advances or offered quid pro quos and who are still employed at prominent magazines and newspapers.
With Asymptote you can be sure to have the latest reading recommendations. True to form, we bring you a selection of the exciting new books this month. Which one is going to claim a place in your bookshelf?
Kholin 66: Diaries and Poems by Igor Kholin, translated from the Russian by Ainsley Morse and Bela Shayevich, Ugly Duckling Presse.
Reviewed by Paul Worley, Editor-at-Large, Mexico
English language readers already enamored of poets such as the Roman Catullus or the more recent Charles Bukowski will find a similarly humorous, difficult, and enthralling companion in the pages of Russian Igor Kholin’s (1920-1999) recently translated Kholin 66: Diaries and Poems from Ugly Duckling Presse. An autodidact whose experiences in the military included a near-death experience in World War II, Kholin in many ways perhaps serves as a vital counterpoint to the American Bukowski insofar as both writers, despite the fact that they are writing throughout the Cold War between their respective countries, cast an unrelentingly critical gaze on the societies they inhabit, bearing witness to abuse, the dirty, and the neglected, and rendering these as poetry. The translators note that although Kholin’s “occasionally unrestrained misogyny” may rankle the sensibilities of many readers, they nonetheless felt compelled to leave his attitude in their translation as “it seems to constitute part and parcel of his self-positioning and character” (9). Along those lines and, in tandem with Bukowski, one also wonders about the extent to which the writer’s misogyny is not a gendered version of a broader misanthropy from which the poet does not even exclude himself. After all, the poetic Kholin muses on the possibility that thinking he is “a creep…It’s not such a leap” (80), as well as understanding he is one for whom wine is “made” and shit is “laid” (85). As he criticizes his social circle for their faults and flaws in his diary, a passage written in a friend’s handwriting takes on the subject of Kholin himself, claiming the poet is “intellectually limited” (46) and that his “advice on writing is naive” (48). Perhaps unsurprisingly, marginal notes in the poet’s own hand describe these as “the best thing Yodkovsky [the friend] has ever written” (49).