Translator Hamid Kabir writes how the commission to co-translate Reza Mohammadi’s poems was an entirely new experience for him and how it enriched his appreciation both of poetry in Persian and his knowledge of English.
Nick Laird describes stages he went through translating Reza Mohammadi’s poems - from unsuccessful early drafts through a transformative experience of hearing Reza read - that led to the ‘weird pleasure’ of translating: ‘like opening your mouth and finding someone else’s voice come out’.
Poet Mimi Khalvati describes how much she enjoyed the experience of translating Afghan poet, Shakila Azzizada with Zuzanna Olszewska, a process she found much easier having translated Kurdish poet, Kajal Ahmad, with us in 2008.
By: Gregory Leadbetter
Our evening of Persian poetry at The Barber Institute of Fine Arts in Birmingham prompted poet and academic, Gregory Leadbetter, to write this insightful article about what Eliot called ‘the auditory imagination’ and the significance of sound in translating, reading and listening to poetry.
Zuzanna Olszewska writes about the challenges and pleasures of translating Afghan poet, Shakila Azizzada, with Mimi Khalvati for the PTC’s Persian Poets’ Tour 2012
In this fascinating essay, poet Clare Pollard talks about how vital the process of learning about Somali culture - camels, khat and all - helped her translate Caasha’s poetry. And how she turned to early English alliterative verse for inspiration.
Translator Nataly Kelly’s article gives an introduction to the Shuar people, one of the largest Amazonian indigenous groups, of which poet María Clara Sharupi Jua is a member.
Tom Boll introduce la obra de tres destacados poetas mexicanos, Coral Bracho, David Huerta y Víctor Terán.
Tom Boll introduces the work of the three distinguished Mexican poets, Coral Bracho, David Huerta and Victor Teran, each of whom ‘offers a distinctive version of what it means to live in Mexico today’.
W N Herbert offers a fascinating insight into how he approached co-translating Somali poetry. In this essay he describes his induction into the marvellous complexities of Somali verse and how he came to terms with the formal dexterities of Gaarriye’s ‘non-lyric’ poetry.