Today, we continue our spotlight on the winners of Asymptote’s annual Close Approximations translation contest, now into its third edition. (Find the official results and citations by judges David Bellos and Sawako Nakayasu here.) From 215 fiction and 128 poetry submissions, these six best emerging translators were awarded 3,000 USD in prize money, in addition to publication in our Summer 2017 edition. After interviews with fiction winner Suchitra Ramachandran, fiction runners-up Brian Bergstrom and Clarissa Botsford, and poetry runner-up Sarah Timmer Harvey, today we have poetry runner-up Keith Payne in conversation with Asymptote Assistant Interviews Editor, Claire Jacobson.
Keith Payne is the Ireland Chair of Poetry Bursary Award winner 2015–2016. His collection Broken Hill (Lapwing Publications, Belfast, 2015) was followed by Six Galician Poets (Arc Publications, 2016). Forthcoming from Francis Boutle Publishers is Diary of Crosses Green, from the Galician of Martín Veiga. Keith is director of the La Malinche Readings between Ireland and Galicia and the PoemaRia International Poetry Festival, Vigo. His translation of Welcome to Sing Sing, by Galician poet Elvira Ribeiro Tobío, was a runner-up in Asymptote’s Close Approximations contest. A poet in addition to being a translator, he shares his time between Dublin and Vigo with the musician Su Garrido Pombo.
CJ: The motif of imprisonment strongly undergirds these poems, from Bob Dylan to Ethel Rosenberg and everything in between, with Rosenberg’s Sing Sing prison providing the title and backdrop for these reflections. Where does this theme come from, and what was the significance of writing (and now translating) these famous imprisoned women in verse?
For a poet, there are easier things than translations. The translating poet inevitably has to face the gnawing burden of writing for two people. “It’s a desperate system of double-entry bookkeeping,” Howard Nemerov lamented. The spectral presence of the author is always hovering somewhere, ready to strike whenever the nuance of a word or phrase falters. Even then, the process of translation is seductive. It provides a poet with the rare opportunity to examine the art of another writer, often with intriguing results. The cryptologist’s glee at unveiling messages and new lines of thought converge into the creation of a new kind of work that is as dependent on the translator’s moment in time as much as it is to the author’s.
Many readers may be familiar with Ciarán Carson’s work as translator. His versions of seminal Irish texts Táin Bó Cúailnge (The Cattle Raid of Cooley) and Cúirt An Mheán Oíche (The Midnight Court) have a robust freshness and vitality that readily appeals to contemporary audiences. Reading Carson’s Táin, one can sense the sounds, smells, and voices of that particular world of pre-Christian Ireland (now so heavily appropriated into the pop-culture fabric of Game of Thrones).
His newest work, From Elsewhere (Gallery Books, 2014), is a collection of 81 short poems by the French poet Jean Follain (1903-1971), each accompanied by a short poem of Carson’s, an original work inspired by the Follain poem, or, as Carson describes it: “a translation of the translation.” From Elsewhere is certainly not Carson’s first foray into French translation. In 1998 he translated an array of Rimbaud, Baudelaire, and Mallarmé in The Alexandrine Plan and in 2012 he published his translations of Rimbaud’s Illuminations, In the Light Of (both published by Wake Forest University Press). READ MORE…