On the occasion of Hugo House’s Poets & Artists for Migrant Justice: Benefit Reading
by Alex Gallo-Brown | Contributing Writer
I have forgotten where I placed my glasses. / I remember watching a boy roast and eat crickets.
by Rich Smith, Contributing Writer For all the general debauchery, hedonism, hooliganism, missed drinks, missed sleep, frowns above triple digit bar tabs, poetrybomb readings, skipped panels, hangovers, retroactive hangovers, I still managed to read, hear, and talk about a whole lot of exciting contemporary poetry and prose. Here’s a roundup of the best moments from the best AWP I’ve ever been to. Best Quote About Seattle: I’m torn between “You mean there’s more than one pie place?” and “That’s the most beautiful tree I’ve ever seen—no, that one is!”
It is not that Bang rejects the challenges and responsibilities typically associated with translation, for even as she radically questions and suspends many long-held assumptions about how Dante should read in English, she does so ultimately in the hope of creating a more truthful rendering of the text. Bang discussed in her lecture how many translations of the Inferno are written in elevated, renaissance-style English—a trend she speculates stems from translators’ desire to acknowledge the poem’s age and the disparities between modern English and fourteenth-century Italian. Yet Bang argued that such piously old-fashioned renderings of the Inferno were flawed from the start, since the fourteenth-century English of Dante’s contemporaries differed drastically from the seventeenth-century Elizabethan variety favored by these translators. A truly historically accurate translation of the Inferno in this sense would have to sound a lot less like Milton or Shakespeare and a lot more like the Middle English of Chaucer.