A Treacherous Art - Beck, Art
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These pieces are selected from a steady series of essays and reviews I found myself publishing in the late aughts of the still early century. It was a period in which I was translating poetry, not so much as a specific translation "project," but as an extension of writing poetry. And as an interactive means of reading poetry. My impetus for writing prose on translated poetry was explorative, not didactic. During that period, I eventually published three translation collections from three very different cultural periods. In 2012, the 91 extant poems of Luxorius, a sixth century C.E. Latin…mehr

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Produktbeschreibung
These pieces are selected from a steady series of essays and reviews I found myself publishing in the late aughts of the still early century. It was a period in which I was translating poetry, not so much as a specific translation "project," but as an extension of writing poetry. And as an interactive means of reading poetry. My impetus for writing prose on translated poetry was explorative, not didactic. During that period, I eventually published three translation collections from three very different cultural periods. In 2012, the 91 extant poems of Luxorius, a sixth century C.E. Latin epigramist, writing in Vandal-occupied North Africa at the dawn of the Dark Ages. This segued into a multi-year delve into Martial, and culminated in a good-sized, 2018 selection. And, concurrently, beginning with a chapbook in the late '70s, I'd been translating Rilke, finally publishing an extensive selection in 2020. One can happily and productively write poetry without too much theorizing. In fact, at least in our era's thinking, the best poems spring from need not theory. Even successful formalists utilize form as vehicle, not inspiration. But when you find yourself wanting to translate poetry into poetry, you can also find yourself in an anarchic unmapped landscape, navigating a cliff's edge in the fog between languages. When translating established classics, "do no harm" isn't a concern. But "don't do anything stupid" is a prime directive. All other rules spring from that. The "translation police" exist, but they're not so much to be feared as one's internal gestapo. So, many of these pieces served as negotiations with myself for permission. Some make repeat visits to the poets above for multiple looks. But from somewhere over the years, Catullus also kept showing up. I welcomed and re-welcomed those visits. (Art Beck)
Autorenporträt
Art Beck is a poet, essayist, and translator whose work has appeared in books and magazines since the early 1970s. Translations of Rainer Maria Rilke's poems were published in Etudes: A Rilke Recital (Shanti Arts, 2020), which was a finalist for the 2021 Northern California Book Awards. His Opera Omnia Or, a Duet for Sitar and Trombone, versions of the sixth-century CE North African Roman poet Luxorius (Otis Books/Seismicity Editions, 2013) won the 2013 Northern California Book Award for translated poetry. Mea Roma (Shearsman Books, 2018), a 140-poem "meditative sampling" of Martial's epigram was awarded Honorable Mention in the American Literary Translators Association 2018 Cliff Becker Prize. In 2019, his poetic sequence The Insistent Island was published by Magra Books in its annual chapbook series. From 2009 through 2012, Beck was a regular contributor to Rattle, with essays on translating poetry under the rubric "The Impertinent Duet." His articles on the translator's art have appeared in Jacket2, Your Impossible Voice, The Journal of Poetics Research, PN Review, and The Los Angeles Review of Books. He makes his home in San Francisco.