Showing posts with label Dante. Show all posts
Showing posts with label Dante. Show all posts

Thursday, 3 September 2009

Dante's Rime is shortlisted for the Prize for European Poetry in Translation

Apparently good news comes in bunches!

Dante's Rime has been shortlisted for the Corneliu M. Popescu Prize for European Poetry in Translation 2009. This prize, organized by the Poetry Society, is open to collections of texts translated from another European language into English.

Fingers crossed!

Wednesday, 22 July 2009

Chaucer's House of Fame versus Pope's Temple of Fame

Chris Lauer, our Chaucer translator (I would use the word "adapter" if it didn't sound like a connecting device), has recently sent me a few more of his wonderful translations from the great English poet. Among these, The House of Fame, a curious early work in three books in the tradition of the medieval dream visions. Some people say it's intended to be a sort of parody of the Divine Comedy – I didn't read it that way. What The House of Fame reminded me of, more than anything else, was a terza-rima poem by Petrarch, The Triumphs, a poem he wrote in a failed attempt to compete with Dante on his own ground. Chris's adaptation in modern English of The House of Fame is, as usual, superb – lively, witty and very close to the spirit of the original.

I was curious to see how Chaucer's poem compared to Alexander Pope's own version, The Temple of Fame, one of his earliest works (I call it a work, not a translation, as imitation was a form of art in Pope's time). The Temple of Fame strips most of the Chaucerian beginning and gets straight to the vision of the Temple of Fame, which only appears in the last book of Chaucer's poem. It is weird to see the same story recounted by two very great poets using two different languages and verse forms.

I must admit that, for once, Pope's heroic couplet didn't live up to my expectations. It felt too polished and constrained – it never came across as having the assurance of an original work. Perhaps there was a mismatch between language and theme – something I don't feel when I read his translation of the Iliad – perhaps it was its lack of humour that didn't work for me. The result was that it took me almost as long to read Pope's 524 lines as Chaucer's 2,000-odd lines.

Now on to the Book of the Duchess . . .

AG

Wednesday, 4 March 2009

Sales, a very British obsession

I will always remember the ecstatic face of a young British publisher who was trying to enthuse me with the story of one of her books which had sold – so she said – more than 50,000 copies. I am also amused when I read, in the trade press, publishers bragging about their sales, trying to hype each other out and perhaps infect the market with obviously false claims.

All right, Harry Potter has sold millions of copies worldwide, making the fortune of some Scottish ex teacher and transforming her into a lady and a celebrity. Fine. Has it got any literature value? Is the world a better place with it? What is the impact, at any time, of the UK Top 50 bestselling titles on our culture?

Atalantis has been forgotten, but not the Rape of the Lock. I am sure there are books that are now read by very few people which may change the world as we know it – or even people’s lives.

(Still, when I confessed, during a talk, that Keats’s Letters was one of my favourite works of all time, and a book that you couldn’t find in Waterstone’s or Borders – and certainly not in Smith’s – I was called a snob by a member of the audience.

I must here point out – to pre-empt the inevitable censure of the anti-intellectual brigade – that I am proud to come from a working-class background and to have paid for my own education to the last penny.)

Jane Austen’s books sold poorly during her lifetime, and she had to finance the printing of most of her books. Joyce had Ulysses printed by a French bookseller, and – well – didn’t become rich with the proceedings, unlike his grandson. Leopardi sold a handful of copies of his Canti. Dante sold no copies at all of his Divine Comedy. I could give a hundred more examples.

So why is every publisher so obsessed with finding the next Richard & Judy or Oprah pick – the next Bestseller? And why do readers buy what most other readers buy?

But I am rambling and ranting. Let’s all go to sleep.

AG