#poetr about art

[thorraborinn]

have you ever posted your thoughts on Crawford's translation of the Poetic Edda? if you have any of course

Crawford's translation succeeds at what it sets out to do, which is to be entertainment for a widespread, popular audience. The result is that it's less suitable for coming to know what the Old Icelandic says, because source texts really are genuinely difficult, confusing, probably corrupt, and otherwise disorienting. Crawford uses quite a lot of artistic license to make it smoother, more coherent, and more entertaining. We can also compare Hollander's translation of the Edda, which translates it into poetic meter, and subordinates accuracy of translation to the goal of turning it into English-language poetry. It's a work of art, but I wouldn't use it for a deep dive into the meaning of the poems.

The example stanza I like to use is the second half of Völuspá 23/28 (the numbering is different by source). The context is that this immediately follows the mention of Gullveig/Heiðr, of her being speared and burnt in Hávi's hall and her coming back to life each time. Right after this stanza starts the description of the war between the Æsir and Vanir. OIce text from the Íslenzk fornrit edition:

hvárt skyldu æsir afráð gjalda eða skyldu goðin ǫll gildi eiga.

This means something like the following. I'm doing a super close, literal translation, guided by the Íslenzk fornrit edition of the Poetic Edda, and I'm linking to dictionary entries for key words:

'whether should (the) æsir pay afráð [either 'tribute' or 'compensation for damages'] or should the gods all have [tribute; (rarely) compensation]'

I think it's worth emphasizing that this actually is confusing. It's not clear whether the word goð 'gods' means both the Æsir and the Vanir, it's not clear who is providing the gildi that that "all the gods" are having. It's often interpreted to be something about whether human worshipers should make offerings to both Æsir and Vanir, but human worshipers are not mentioned here anywhere. I don't mind telling you that my personal interpretation is that the Æsir are debating which of two forms of reciprocation-based relationship is better: violence or kinship. But I wouldn't put that into a translation.

Here's Crawford's translation:

about whether they should endure Gullveig’s depradations or whether they should seek revenge.

As far as telling a story goes, this is much more sensible and coherent than what the Old Norse text actually says, but again, it's not what it says. Most of Crawford's translation doesn't go this far in defying the source text, but this stanza in particular is better described as a retelling than a translation.

Here's Larrington's 2014 translation (the one I've been recommending since it was published, and which is much better than her first edition):

'whether the Æsir should yield the tribute or whether all the gods should share sacrificial feasts.'

This is far and away closer to the source text than Crawford's. In my opinion it does border on editorializing that she translates gildi to 'sacrificial feasts'; that is certainly a possible underlying intention, but it does not reflect the semantic range of the word gildi. Underlying this translation is generations of scholarly debate about the meaning; this is a common understanding of what it meant here although it isn't universal.

Here's Pettit:

'whether the Æsir must pay a great penalty, or all the gods must have offerings.'

This is probably as close as one can get to a direct, literal translation in plain English (as opposed to what I did above). It's also endnoted with a warning that the interpretation is uncertain. It leaves it about as confusing as the actual Old Icelandic text actually is.

How much all of this matters depends on the reader and what they're trying to get out of it. If someone just likes Amon Amarth and wants to read cool Norse shit then Crawford's translation is probably ideal, and Pettit's is more likely to make them think that Norse poetry sucks and isn't worth getting into. But on the other hand if someone is, say, a heathen who venerates Gullveig, they are more likely to find the nuances important.

For more opinions on Crawford's translation, see: https://www.mimisbrunnr.info/eddic-to-english-jackson-crawford-2015

[chocomony]

Who would have known that the secret to unlock your creative potential is to hang two creepers over your head as you work?

Based on Joe's H8 episode 13.

[arden-everleigh]

Greek Pantheon

[ Aphrodite ]: laughter-loving, sweet smiles, dressed in silk and satin, flower in their hair, thrives on attention, sees the world as a runway, unapologetically sexual, the sea washing their ankles, in love with love, stirrer of passion, cunning concealed by painted lips, secret daggers, doves, revolution in their kiss, delighting in the waves, flirtatious winks, strolling along the beach, staring wistfully from a balcony, this is how to be a heartbreaker, your girlfriend thinks they’re attractive, wants to be adored, gets turned on by danger

[ Apollo ]: glitz and glamour, art galleries, turning the volume up, being made of gold, neatly-organized music sheets, notebooks filled with poetry, bathing in the sunlight, the powerful urge to create, collecting vinyl records, beautiful cover of Wonderwall, playing multiple instruments, tasting like sunshine, healing touch, speaking in prophecies, smile mingled with wrath, shunning lies, sporting shades, hanging out at music festivals with their friends, sleeps naked, arrow to the heart, paint brushes, probably has a Tinder account

[ Ares ]: armed for battle, wants to raise a dog with their significant other, soft spot for children, gives piggyback rides, scarred body, blood on their hands and face, willing to fight the world for the ones they love, fights against injustice, warm hugs, well-worn combat boots, boxing gloves, bandages wrapped around bruised knuckles, fist raised in protest, ignites revolutions, fear is a prison, more sensitive than what their tough shell may have you think, exhausted, damaged goods, force to be reckoned with, red roses, curses under their breath

[ Artemis ]: keen senses of a hunter, freckles like constellations on their skin, piercing eyes, disheveled braid, moonlight peeking through the shadows, the calm of the forest at night, lying on the grass and staring at the stars, mother doe and her fawn, protecting their kin, the moon shimmering on a still lake, quiver full of arrows resting against the bark of a tree, running with wolves, bonding while circled around a campfire, not being much of a people person, arrow hitting its target, popping egos, patience on 3%, touches heaven and returns howling

[ Athena ]: discerning gaze, unreadable face, the patience of a life-long teacher, quiet museums, owl perched on their finger, armor that intimidates,eye for architecture, plays the sims for the sole purpose of building houses, studied the blade while everyone else was busy getting laid, big fan of logic, loves brain teasers, go-getter, balls of wool displayed on shelves, ancient buildings, sweaters in neutrals and cool colors, hair done up, can kill you with their brain, heads to the library often to research, sharpened pencils, abs that can cut steel, stoic statues, pottery classes  

[ Demeter ]: soil-covered hands, smile that can bloom flowers, skin loved by the sun, being the mom friend, can lift you and all of your friends, flowers kept in the pockets of overalls, takes pride in their beautiful garden, speaks to their plants, leaves rustling in the wind, stalks of wheat, picking fruit, greenhouses, heart as strong as a mountain, values simplicity, daisies dotted across a collarbone, curls crowned with flowers, folded pile of sweaters in warm hues, pulling out fresh-baked bread out of the oven and the smell wafting through the air

[ Dionysus ]: drunk shitposter, on their sixth glass of wine before you’ve even finished your second, seductive smirks, untamed curls, rich fabrics on dark skin, sleek-furred panthers, theater masks, stage productions, receiving a standing ovation, rose caught between their teeth, being the baby of the bunch, wild parties that last from sundown to sunup, creeping vines, inspiring loyalty, grand opera houses, masquerade balls, rolls of film, shattered chandeliers with broken glass scattered across the wine-spilled floor, pouring champagne into flutes, lives for the applause

[ Hephaestus ]: the calloused hands of someone who knows labor, sweaty brow, flame burning in their eyes, inventive mind, broad shoulders, steampunk goggles, nuts and bolts stored away in little boxes, ashes, striking a match, blueprints for future projects, fixing up a busted up car and giving it cool upgrades, wrestles with bitterness, work boots have seen better years, wrinkled plaid shirts, iron melted by blazing fire, huge jackets, crafting masterpieces, greased-stained overalls, fascination with robotics, pain is fuel, stack of weaponry, even their muscles have muscles

[ Hera ]: resting bitch face, dressed to the nines, cows grazing on a pasture, cool rain, loving and hating fiercely, hand clutching a string of pearls, large chandelier with glittering crystals, plays the sims for the sole purpose of killing off their sims, romance to realism, pictures of the sky while flying on a plane, files that under fuck it, downs glasses of wine as they relax with a scented bubble bath and netflix, like their selfie or you’re grounded, knows 57 convenient ways to murder a man, dark eyes that penetrate your soul, marble and gold

[ Hermes ]: devil-may-care smile, ink-stained hands, always up-to-date on the latest technology, will steal your french fries, does it for the vine, shitposter, puts googly eyes on everything, meme hoarder, long drives on the highway, ma and pop diners, spontaneous road trips, folded maps, fingers dancing across the keyboard of a laptop, shooting hoops on the basketball court,chatting up strangers as you all journey to your own destinations, goes jogging in the morning, mixes red bull with coffee, menace on april fool’s, hoodies and sneakers    

[ Poseidon ]: storm with skin, colorful coral reefs, waves crashing against the shore, the sea casting its spell, stroking the soft fur of a cat, their heart pounding as their horse’s gentle trot speeds into a gallop, tousled locks, clothes smeared with paint, owns several sketchbooks yet always yearns to own more, leather jackets, fondness for diy projects, handwriting that flows across the page, nimble fingers playing the strings of a violin, velvety singing voice that haunts your dreams, mood as ever-changing as the sea, the roar of a motorcycle, compass with a spinning arrow

[ Zeus ]: thunder in their heart, running on coffee, flash of lightning, natural charisma, eloquence, badass in a nice suit, aficionado of history, force of nature, lenny face, pretends that they don’t have feelings but they do conceals their true feelings, nightmare-filled nights, proud arm around their lover’s waist, high-rise buildings, planes soaring through a cloudless sky, technician on the piano, maintains order, strong handshake, juggling multiple events on their busy schedule with apparent ease, most likely to be voted class president out of their peers, expensive watch, like a boss

Tagged By: Found through @tiergan-vashir  Thanks for sharing such fun prompts!~

Tagging: Anyone who wants to!  Be sure to let me know you did by tagging me! I’d love to read about your chars. ^_^

[limejuicer1862]

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.

The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Heather Derr-Smith

is a poet with four books, Each End of the World (Main Street Rag Press, 2005), The Bride Minaret (University of Akron Press, 2008), Tongue Screw (Spark Wheel Press, 2016), and Thrust winner of the Lexi Rudnitsky/Editor’s Choice Award (Persea Books, 2017). Her work has appeared in Fence, Crazy Horse and Missouri Review. She is managing director of Cuvaj Se, a nonprofit supporting writers in conflict zones and post-conflict zones and divides her time mostly between Iowa and Sarajevo, Bosnia.

The Interview

1. When and why did you start writing poetry?

I often say my inspiration to write poetry came from the movie Wings of Desire by Wim Wenders. I remember that film as instigating me to make a declaration of knowing how I wanted to live my life and what I wanted to “do.” It was an epiphany. I wanted to be one of the angels, listening and observing, but also I wanted to be like the angel who chose to become human to experience the world, fall in love even with all its pain. I realized I loved the world. I realized there was a world outside of myself to love. This was a coming of age moment for me, at about sixteen.

But also I was inspired all along by language, a fascination with words, a desire to create a self that had been fractured by trauma in childhood and into adulthood. I have early memories of writing every word I knew all over the church bulletin. There was scripture and gospel songs with weird images and the preaching. I hated my religious upbringing for its authoritarianism and it’s deep immorailty as it paved the way for what we see now in Trump. But the language of the scripture and the hymns I loved very much.

2. Who introduced you to poetry?

Our home had no books, no literature. My parents came from poverty, were the first generation to rise out of poverty, but were not college-educated.  My mother drove the right-wing religious climate in the home, and she and my stepfather drove the right-wing political in concert. I’d say the psalms were he first poems I heard. But I do remember an antique book my mother had called “A Child’s Garden of Verses” and I believe a poem I loved about having to go to bed early in summer when it’s still light out and the birds are singing and you want to play. But my first introduction to poetry in the sense we think of it had to have been the Smiths, with “Keats and Yeats are on your side–but Wilde is on mine.” which led me to ask who are Keats and Yeats? There was literature in school which I did love. The usual books we were required to read in middle school and into high school. I loved those. But I really loved the literature I found through the music I loved–The Stranger by Camus, from the Cure as another example. I found so much through references in the music of the time (the 80’s) but also I wrote poems based on song lyrics, impressionistic, associative, and to me these fragments which were based on song lyrics were my poems.

3. How aware are and were you of the dominating presence of older poets traditional and contemporary?

I had no older poets until I finally got to the University of Virginia. I ran away from home, was homeless for a while, got an apartment, waited tables, found my way to one year of Liberty University (the only way I could imagine going to college) then transferred after a year to the University of Virginia. Charles Wright, Rit Dove, and Greg Orr were teachers then. I had no idea who they were. You had to apply to get into their undergraduate workshops. I did and got in and started writing poetry. I knew nothing. I did not know the graduate students. I wasn’t very well educated because I had endured so much trauma in high school in and out of the home, that I really wasn’t learning much formally. I only knew my teachers, who I loved; my peers, who I also loved; and I got to know poets in books: Philip Levine, John Berryman, Sylvia Plath, Li-Young Lee. I applied to the Iowa Writers’ Workshop and had no idea what it was all about. I just knew if you were a poet you were supposed to go to Iowa, so I applied and went.

There I loved my teachers, Mark Doty and Marvin Bell especially, Jorie Graham. The ones I didn’t love I still learned from. I did not know any other poets outside of class. I didn’t got to AWP. There was no social media.

4. What is your daily writing routine?

I have notebooks I keep in a stack on a table in my bedroom. Each notebook is labeled  with projects I’m working on. One is “Arabic” for learning arabic, “Bosnian” for writing poems  in Bosnian, “french” for writing poems in french. Then titles of book projects “Heathen” for gender identity stuff. “Violence” for exploring ideas about violence in writing–boxing, war–resistance etc. I have a “commonplace book” which is fragments and notes from my reading. I do not write every single day, but I am mindful of always engaged in the process of writing. I trust my mind and heart to be absorbing, listening, taking in, attentive to the world. I take notes when I want to remember something specific, and I do my notebooks regularly enough–maybe just 15 minutes a day for a few days or a couple days out of the week, and over time I have a compilation of ideas, themes, lines, words, images, etc.  There’s always something connected to writing that I do every day because it’s all connected to writing–watching a film, reading the news, corresponding with friends or loves, looking at art, listening to music, loving my animal friends, al of it goes into my work. I just strive for balance like breathing–taking in and breathing out, active creation and restful re-creation.

5. What motivates you to write?

It seems to be something I have to do and was born to do. It feels inherent to me and myself. It feels like a whole way of being.

6. What is your work ethic?

I work hard. I love to work. I’m satisfied in my labor. At first I would have been driven to work in my home life with chores and a high level of parentification–a drive to meet the emotional and psychological needs of the adults around me, which meant trying hard to please and trying hard not to get in trouble. Then I revolted against the abuse at home and said “Fuck this!” and left. But with my friends who had also experienced a lot of trauma, were runaways, homeless etc. we created our own families and had to work. We were so young, 15, 16, 17 and up. And it wasn’t perfect and we retraumatized one another in many ways, but it was honestly better for my spirit and my mind and heart than homelife had been.

So I found a way to be proud of my own labor and that has stuck with me. Now I’m 48 and I am a big big believer in NOT doing things. I believe in canceling, saying no, not leaving the house, and not being “productive.”  I believe in naps, sitting quietly, and snuggling the dogs. I still like being productive and working hard but I do not like striving at all. Striving to “make it” that feeling that this could “lead to something” bigger, better. Nope nope nope.

I spent some time in an Amish-mennonite community and I liked the idea of work as sacramental, mopping floors, working in the garden, caring for children and animals and others as a way of connecting and loving, not trying so much to amass wealth or be “productive” in the capitalist sense. That has stuck with me.

7. How do the writers you read when you were young influence you today?

Sylvia Plath’s rage and violence are still something in my poems that I’m interested in exploring. Berryman’s weird syntax which also connects to Shakespeare and the Bible. Charles Wright’s similes and metaphors and stringing together images with a colloquial bit of diction, with a quote from a philosopher. Larry Levis’ “I” who is deeply empathetic and wanders ut from his own self into the wider world.Mark Doty’s ethics and authenticity of emotion. These are all things still with me.

8. Whom of today’s writers do you admire the most and why?

I admire so many. I think it would be impossible to name them, they just keep coming. Twitter has been a boon and a curse. I’ve managed to curate my twitter in such a way that I am surrounded by a really wonderful, diverse, generous, community of writers at all stages in their callings. I learn from all of them every day.  I hate to name names because then I will leave someone out. There are at least hundreds, if not thousands. It’s a little overwhelming. But certain books have been particularly groundbreaking for me in the last couple years. I would say Ilya Kaminsky’s Deaf Republic is one, Gabrielle Calvocoressi’s Rocket fantastic is another and Justin Phillip Reed’s Indecency. Those three have just blown open so many doors I want to hang out a while in those rooms.

9. Tell me about the writing projects you have on at the moment.

I keep working on my non-profit, Cuvaj se/Take Care. I’ve chosen to spend a great deal of my time and energy the last few decades facilitating poetry workshops in conflict zones and post-conflict zones and communities affected by trauma and violence. I started back in 1994 while I was learning about poetry and the war in Bosnia was culminating in genocide. I went over to volunteer in a refugee camp and I made a lifelong commitment to that country through more than twenty years of ongoing recovery. All of my earnings from poetry go into this work and all of the work has been self funded, and expanded to other countries, including Syria, and most recently Ukraine. I started the non-profit so that I could apply for grants to help build capacity and do more. We do poetry workshops that emphasize lgbtq rights, human rights, interethnic cooperation, migrant rights, critical thinking etc. and we also fund writers with grants to support their work, fundraise for emergency/critical financial support, and translation. Donations to Cuvaj se from individual donors always goes directly to writers or students in need to support their work. Running a non-profit is new to me, and I’m learning as I go and I’m taking it slow. https://cuvajse.org/

My fifth manuscript is to be published in 2021, but I can’t say anything more about that yet! There’s a lot in it about gender, seuality, violence, and God, my familiar themes (or demons? I like that use of a familiar) I remain obsessed with. But I am happy for the amount of time I have to really dig in hard with revisions and to make it the strongest book I can write. I don’t move on to the next book until I get the present one published–so every bit of my energy and strength will go into it.

I’m also having so much fun making poetry videos. I was hugely inspired by Agnes Varda and have been making these little clips of poems, readings, with sometimes goofy video. I love it and I want to take a film class and learn how to make more and better ones. I don’t care if they are amateurish or seem unpolished. I learned from Agnes varda just to do what you love and give your heart to it and learn as you go. I think this is the link to subscribe: https://www.youtube.com/channel/UChhjf1Vp_5o6siKsuhv_G0A?view_as=subscriber My poetry website is here: https://heatherderrsmith.com/

Wombwell Rainbow Interviews: Heather Derr-Smith Wombwell Rainbow Interviews I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me.