There has been a recent (and very welcome) surge in the popularity of translated verse. This is excellent in terms of finding Anglo-Saxon readers for non-Anglo-Saxon verse. However, it's not without its pitfalls.
Certain creative writing specialists seem to believe in the figure of the monolingual translator, which might be fine as a classroom exercise but is now finding its way into published translations, even prize-winning ones. This leads to multiple complications, ranging from heightened dangers of accusations of plagiarism, as monolingual translators work from previous translations instead of the original text, while a form of the game Chinese Whispers is also played out at times, with the result that the final translation edges ever further from the original.
Moreover, my own argument is that translations of poetry for publication should only be undertaken by people who have an intimate knowledge of both languages. That probably sounds exclusive, but I've seen far too many aberrations to believe otherwise.
One instance of top-notch translating is Anna Crowe's work with the likes of Pedro Serrano. Now there's someone who gets to grips with the original, syllable by syllable, and who chips away until creating a piece of art that's new yet faithful to its point of departure.
The Poetry Subverse During the Soviet era, poetry became a dangerous, subversive activity; nevertheless, poets such as Osip Mandelstam and Anna Akhmatova c...