WEBVTT 00:00:00.000 --> 00:00:01.630 align:middle line:90% 00:00:01.630 --> 00:00:05.130 align:middle line:84% Geoffrey, in one of your interviews, 00:00:05.130 --> 00:00:10.050 align:middle line:84% you talked about capturing the spirit of a translation, 00:00:10.050 --> 00:00:13.320 align:middle line:84% as opposed to just doing a literal one for one 00:00:13.320 --> 00:00:14.370 align:middle line:90% translation. 00:00:14.370 --> 00:00:16.860 align:middle line:84% Could you describe that little a process 00:00:16.860 --> 00:00:21.920 align:middle line:84% and the choices you have to make to capture that spirit? 00:00:21.920 --> 00:00:23.820 align:middle line:90% Sure, I'll try. 00:00:23.820 --> 00:00:26.520 align:middle line:84% I mean, I think, for me, there are 00:00:26.520 --> 00:00:29.160 align:middle line:84% two kind of distinct kinds of translations of poetry. 00:00:29.160 --> 00:00:31.620 align:middle line:84% And they both have, they both can be really valuable. 00:00:31.620 --> 00:00:34.870 align:middle line:84% And they both have an important place. 00:00:34.870 --> 00:00:37.020 align:middle line:84% One kind is the kind of translation 00:00:37.020 --> 00:00:39.480 align:middle line:84% that seems to be a guide to the original poem. 00:00:39.480 --> 00:00:41.277 align:middle line:84% That presumes that you're going to be, 00:00:41.277 --> 00:00:43.860 align:middle line:84% that you maybe have a little bit of knowledge of the original. 00:00:43.860 --> 00:00:46.140 align:middle line:84% And you're using the translation to try 00:00:46.140 --> 00:00:49.770 align:middle line:84% to enhance your knowledge of the original poem. 00:00:49.770 --> 00:00:53.353 align:middle line:84% And some of my favorite translations are that kind. 00:00:53.353 --> 00:00:55.020 align:middle line:84% One of my favorite translations of Dante 00:00:55.020 --> 00:00:58.200 align:middle line:84% is the Singleton translation, which is a prose translation. 00:00:58.200 --> 00:01:00.540 align:middle line:84% It doesn't even pretend that it's 00:01:00.540 --> 00:01:03.540 align:middle line:84% making a verse out of the Divine Comedy. 00:01:03.540 --> 00:01:07.230 align:middle line:84% It just gives you a prose next to Dante's poetry 00:01:07.230 --> 00:01:09.270 align:middle line:84% to say, literally, what the lines mean. 00:01:09.270 --> 00:01:12.000 align:middle line:84% And that's really helpful if you have some Italian, because then 00:01:12.000 --> 00:01:14.070 align:middle line:90% you can use it as a guide. 00:01:14.070 --> 00:01:16.410 align:middle line:84% And you can go back and forth, and you 00:01:16.410 --> 00:01:20.340 align:middle line:84% can have your own knowledge of the original enhanced. 00:01:20.340 --> 00:01:22.440 align:middle line:84% But you would never want to read Singleton 00:01:22.440 --> 00:01:25.050 align:middle line:84% without the original just on its own, 00:01:25.050 --> 00:01:27.600 align:middle line:84% because it has no literary value. 00:01:27.600 --> 00:01:29.430 align:middle line:84% It doesn't generate a literary experience 00:01:29.430 --> 00:01:30.780 align:middle line:90% or an aesthetic experience. 00:01:30.780 --> 00:01:31.545 align:middle line:90% It's just prose. 00:01:31.545 --> 00:01:34.470 align:middle line:90% 00:01:34.470 --> 00:01:37.290 align:middle line:84% And so the second kind of translation 00:01:37.290 --> 00:01:40.470 align:middle line:84% is the translation that tries to recreate a literary experience. 00:01:40.470 --> 00:01:44.520 align:middle line:84% It tries to create a text in English that 00:01:44.520 --> 00:01:48.930 align:middle line:84% has, as close as possible, similar kinds of effects 00:01:48.930 --> 00:01:52.110 align:middle line:84% on the reader, as the original text has 00:01:52.110 --> 00:01:56.620 align:middle line:84% on its original readers in its own language. 00:01:56.620 --> 00:02:01.860 align:middle line:84% So I think of those as being really two different projects, 00:02:01.860 --> 00:02:03.900 align:middle line:90% and I do the second kind. 00:02:03.900 --> 00:02:05.850 align:middle line:84% And I read both kinds, but I the only 00:02:05.850 --> 00:02:07.763 align:middle line:84% do is the second kind, because that's, 00:02:07.763 --> 00:02:09.180 align:middle line:84% for me, that's the most rewarding, 00:02:09.180 --> 00:02:12.000 align:middle line:90% is to try to make a new poem. 00:02:12.000 --> 00:02:15.680 align:middle line:84% It really is, that works as a poem in English. 00:02:15.680 --> 00:02:20.870 align:middle line:84% Then it has effects on readers in English 00:02:20.870 --> 00:02:23.640 align:middle line:84% that are hopefully somewhat similar to the effects 00:02:23.640 --> 00:02:26.310 align:middle line:90% that the original poem had. 00:02:26.310 --> 00:02:28.950 align:middle line:84% So in trying to make that kind of translation 00:02:28.950 --> 00:02:32.250 align:middle line:84% I really have to think of the poem more globally, 00:02:32.250 --> 00:02:35.733 align:middle line:84% because you have to take certain kinds of liberties on a phrase 00:02:35.733 --> 00:02:37.150 align:middle line:84% by phrase or a line by line basis. 00:02:37.150 --> 00:02:38.910 align:middle line:84% You take certain kind of liberties 00:02:38.910 --> 00:02:42.250 align:middle line:90% to make it a poem in English. 00:02:42.250 --> 00:02:44.520 align:middle line:84% In some cases, like with the Pascoli poems 00:02:44.520 --> 00:02:46.320 align:middle line:84% I'm trying to also rhyme the poems. 00:02:46.320 --> 00:02:48.450 align:middle line:84% And so that involves certain kinds 00:02:48.450 --> 00:02:54.780 align:middle line:84% of moving things around, or taking some liberties. 00:02:54.780 --> 00:02:57.840 align:middle line:84% But the larger thing that I try to keep in mind 00:02:57.840 --> 00:02:59.790 align:middle line:84% is what is the spirit of the poem? 00:02:59.790 --> 00:03:02.820 align:middle line:84% What is the effect that this has on me? 00:03:02.820 --> 00:03:04.890 align:middle line:90% What is it about, essentially? 00:03:04.890 --> 00:03:07.320 align:middle line:84% And that's the thing I try to be faithful to. 00:03:07.320 --> 00:03:09.840 align:middle line:84% And so take whatever liberties I take 00:03:09.840 --> 00:03:14.050 align:middle line:84% are in the service of that larger thing. 00:03:14.050 --> 00:03:16.470 align:middle line:84% Whereas if I were just worrying about it kind of word 00:03:16.470 --> 00:03:21.270 align:middle line:84% by word or phrase by phrase I would approach it differently. 00:03:21.270 --> 00:03:24.510 align:middle line:84% I mean, I still, again, I still want my translations 00:03:24.510 --> 00:03:27.960 align:middle line:84% to reflect the literal meaning of the original as much 00:03:27.960 --> 00:03:29.110 align:middle line:90% as possible. 00:03:29.110 --> 00:03:31.870 align:middle line:84% And I think they're pretty good at that, as well. 00:03:31.870 --> 00:03:34.200 align:middle line:84% But that's not the only thing I'm thinking about. 00:03:34.200 --> 00:03:40.360 align:middle line:90% 00:03:40.360 --> 00:03:46.510 align:middle line:84% So I think we're kind of deaf to our mother tongue. 00:03:46.510 --> 00:03:53.500 align:middle line:84% And my knowledge of French has helped me understand English, 00:03:53.500 --> 00:03:58.510 align:middle line:90% but I just can't hear English. 00:03:58.510 --> 00:04:01.750 align:middle line:84% And I'm really curious to know what 00:04:01.750 --> 00:04:07.300 align:middle line:90% your experience of Italian-- 00:04:07.300 --> 00:04:09.310 align:middle line:90% what do you think about English? 00:04:09.310 --> 00:04:13.187 align:middle line:84% And what do you think about the way the mind works, since you 00:04:13.187 --> 00:04:16.209 align:middle line:90% know both languages intimately? 00:04:16.209 --> 00:04:17.410 align:middle line:90% Sure, yeah. 00:04:17.410 --> 00:04:19.899 align:middle line:84% I mean, I think one of the things that translation does do 00:04:19.899 --> 00:04:21.459 align:middle line:84% is it makes you much more conscious 00:04:21.459 --> 00:04:22.180 align:middle line:90% about your own language. 00:04:22.180 --> 00:04:24.670 align:middle line:84% And you learn things about your own language as you translate. 00:04:24.670 --> 00:04:26.337 align:middle line:84% And you learn, for example, that English 00:04:26.337 --> 00:04:28.660 align:middle line:84% can't do this thing quite the way 00:04:28.660 --> 00:04:30.700 align:middle line:90% that this Italian writer did it. 00:04:30.700 --> 00:04:32.710 align:middle line:84% I have to figure out a different way to do it, 00:04:32.710 --> 00:04:35.890 align:middle line:84% because of some quality of English that maybe I'd 00:04:35.890 --> 00:04:38.270 align:middle line:90% never really thought of before. 00:04:38.270 --> 00:04:41.080 align:middle line:84% So I think people who spent a lot of time translating one 00:04:41.080 --> 00:04:44.110 align:middle line:84% of the rewards is you learn all this stuff 00:04:44.110 --> 00:04:45.260 align:middle line:90% about your own language. 00:04:45.260 --> 00:04:48.870 align:middle line:84% And so that's really important to me. 00:04:48.870 --> 00:04:52.870 align:middle line:84% I think that's why so many poets translate, too. 00:04:52.870 --> 00:04:56.440 align:middle line:84% Particularly, I mean, I guess a lot of them a lot 00:04:56.440 --> 00:04:59.020 align:middle line:84% of American poets maybe don't translate. 00:04:59.020 --> 00:05:02.223 align:middle line:84% It's not as common for American poets to be translated. 00:05:02.223 --> 00:05:04.390 align:middle line:84% But in Italy, for example, almost every Italian poet 00:05:04.390 --> 00:05:08.560 align:middle line:84% that I know also translates other languages-- 00:05:08.560 --> 00:05:11.410 align:middle line:84% French, or English, or German, or something. 00:05:11.410 --> 00:05:13.552 align:middle line:90% It's really a part. 00:05:13.552 --> 00:05:15.760 align:middle line:84% And I think that's true of a lot of European poetries 00:05:15.760 --> 00:05:17.860 align:middle line:84% and a lot of poetries around the world, 00:05:17.860 --> 00:05:19.780 align:middle line:90% more so than in the States. 00:05:19.780 --> 00:05:24.850 align:middle line:84% We tend to be a little more isolationist linguistically. 00:05:24.850 --> 00:05:28.800 align:middle line:84% And so, for me, that's an important part of it, 00:05:28.800 --> 00:05:32.490 align:middle line:90% is the way the relationship-- 00:05:32.490 --> 00:05:35.910 align:middle line:84% the way it teaches me things about my own language. 00:05:35.910 --> 00:05:38.340 align:middle line:90% OK, but how does English sound? 00:05:38.340 --> 00:05:39.930 align:middle line:90% I mean, Italian is beautiful. 00:05:39.930 --> 00:05:40.770 align:middle line:90% [LAUGHS] 00:05:40.770 --> 00:05:44.710 align:middle line:84% And there's a lot of music in ah, ah, ah at the end where-- 00:05:44.710 --> 00:05:45.210 align:middle line:90% Sure. 00:05:45.210 --> 00:05:46.810 align:middle line:90% What does English sound like? 00:05:46.810 --> 00:05:52.920 align:middle line:84% Well, I don't know exactly how to say that. 00:05:52.920 --> 00:05:55.832 align:middle line:84% One thing I will say is that for me a big part of the interest, 00:05:55.832 --> 00:05:57.540 align:middle line:84% and the texture, and the music in English 00:05:57.540 --> 00:05:59.790 align:middle line:84% comes from the play of-- to get kind 00:05:59.790 --> 00:06:02.520 align:middle line:84% of technical, the play between Latinate words 00:06:02.520 --> 00:06:03.960 align:middle line:90% and Anglo-Saxon words. 00:06:03.960 --> 00:06:08.340 align:middle line:84% And obviously, Italian is a Latinate English language. 00:06:08.340 --> 00:06:12.210 align:middle line:90% And most languages don't have-- 00:06:12.210 --> 00:06:16.032 align:middle line:84% I mean, we have essentially two separate vocabularies. 00:06:16.032 --> 00:06:17.490 align:middle line:84% There's so many things that we have 00:06:17.490 --> 00:06:20.190 align:middle line:84% two words for-- a Latinate word and an Anglo-Saxon word. 00:06:20.190 --> 00:06:24.030 align:middle line:84% And because English is like this bastard child of Norman French 00:06:24.030 --> 00:06:29.730 align:middle line:84% and Anglo-Saxon, and sort of melted, melded together, 00:06:29.730 --> 00:06:32.820 align:middle line:84% and it really enriched the language. 00:06:32.820 --> 00:06:36.490 align:middle line:84% And it left us with all these resources in these options. 00:06:36.490 --> 00:06:38.638 align:middle line:84% And one of the dangers that I was mentioning 00:06:38.638 --> 00:06:40.680 align:middle line:84% in Eileen's class the other day, for a translator 00:06:40.680 --> 00:06:42.510 align:middle line:84% of Italian poetry, is that you have 00:06:42.510 --> 00:06:46.500 align:middle line:84% to be careful not to just always use 00:06:46.500 --> 00:06:49.747 align:middle line:84% the English cognate for whatever Italian word 00:06:49.747 --> 00:06:52.080 align:middle line:84% the Italian writer is using-- because then you'll end up 00:06:52.080 --> 00:06:54.360 align:middle line:84% with a kind of English that's overly Latinate, 00:06:54.360 --> 00:06:58.230 align:middle line:84% and that sounds more cerebral and intellectual. 00:06:58.230 --> 00:07:00.630 align:middle line:84% And the Anglo-Saxon words are the kind 00:07:00.630 --> 00:07:09.630 align:middle line:84% of gritty, down-to-Earth words that actually maybe 00:07:09.630 --> 00:07:13.230 align:middle line:84% have, in general, more poetic force in English. 00:07:13.230 --> 00:07:16.178 align:middle line:90% And so I think a lot about that. 00:07:16.178 --> 00:07:17.970 align:middle line:84% But there's also an interplay between them. 00:07:17.970 --> 00:07:20.640 align:middle line:84% Like Stevens is so great with the Latinate words. 00:07:20.640 --> 00:07:24.120 align:middle line:84% And he uses all these wonderful polysyllables. 00:07:24.120 --> 00:07:26.700 align:middle line:84% But then he'll bounce them off these Anglo-Saxon. 00:07:26.700 --> 00:07:28.740 align:middle line:84% So a lot of the music in English, I think, 00:07:28.740 --> 00:07:31.890 align:middle line:84% comes from the sparks that fly between those two 00:07:31.890 --> 00:07:33.015 align:middle line:90% sets of words. 00:07:33.015 --> 00:07:35.735 align:middle line:90% 00:07:35.735 --> 00:07:37.662 align:middle line:90% I have a question for you. 00:07:37.662 --> 00:07:39.590 align:middle line:90% Thank you. 00:07:39.590 --> 00:07:44.900 align:middle line:84% Yes, I'm wondering if you always rhyme your poems 00:07:44.900 --> 00:07:48.290 align:middle line:84% or if you write in forms sometimes? 00:07:48.290 --> 00:07:50.990 align:middle line:84% And if you always rhyme them, why? 00:07:50.990 --> 00:07:51.590 align:middle line:90% Well, no. 00:07:51.590 --> 00:07:54.092 align:middle line:90% I don't always rhyme them. 00:07:54.092 --> 00:07:56.300 align:middle line:84% I don't think all of these that I read tonight rhyme. 00:07:56.300 --> 00:07:59.780 align:middle line:84% Some of them did, but, I mean, I love rhyme in English. 00:07:59.780 --> 00:08:06.950 align:middle line:84% And I think it's under-used in contemporary poetry probably. 00:08:06.950 --> 00:08:12.770 align:middle line:84% I think there was a massive turn away from rhyme and form 00:08:12.770 --> 00:08:17.210 align:middle line:84% in the late '50s, and '60s, and '70s. 00:08:17.210 --> 00:08:22.340 align:middle line:84% And that generated a new energy in American poetry 00:08:22.340 --> 00:08:24.500 align:middle line:84% that had lots of wonderful effects. 00:08:24.500 --> 00:08:29.120 align:middle line:84% But there was also, I think, some things lost in that, 00:08:29.120 --> 00:08:30.450 align:middle line:90% some possibilities lost. 00:08:30.450 --> 00:08:33.020 align:middle line:84% And I think we have all these possibilities that 00:08:33.020 --> 00:08:37.490 align:middle line:84% include free verse and formal, rhymed verse. 00:08:37.490 --> 00:08:41.049 align:middle line:84% And I try to use all of those things. 00:08:41.049 --> 00:08:42.890 align:middle line:84% A number of my poems are in free verse 00:08:42.890 --> 00:08:44.840 align:middle line:84% and don't have any rhyme or meter. 00:08:44.840 --> 00:08:46.630 align:middle line:90% But a lot of them also do. 00:08:46.630 --> 00:08:50.670 align:middle line:84% And it's, I think it also has to do with just a lot with-- 00:08:50.670 --> 00:08:54.230 align:middle line:84% it's very idiosyncratic and individual. 00:08:54.230 --> 00:09:00.710 align:middle line:84% My brain just seems to enjoy those kinds of patterns 00:09:00.710 --> 00:09:02.930 align:middle line:84% and making those kinds of patterns, 00:09:02.930 --> 00:09:08.630 align:middle line:84% and wrestling with those kinds of patterns as I write. 00:09:08.630 --> 00:09:11.250 align:middle line:84% And some people's brains really don't enjoy that. 00:09:11.250 --> 00:09:11.750 align:middle line:90% [LAUGHS] 00:09:11.750 --> 00:09:16.700 align:middle line:84% And so I think it's just-- so I think it's largely personal. 00:09:16.700 --> 00:09:22.850 align:middle line:84% I mean, I can come up with theoretical justifications 00:09:22.850 --> 00:09:23.960 align:middle line:90% for why I do things. 00:09:23.960 --> 00:09:25.590 align:middle line:90% And lots of people do that. 00:09:25.590 --> 00:09:28.220 align:middle line:84% But ultimately, I think it comes down to what kind of poems 00:09:28.220 --> 00:09:31.910 align:middle line:84% you like to ride, and what kind of poems you like to read. 00:09:31.910 --> 00:09:38.300 align:middle line:84% And I think rhyme is-- even having two small kids, 00:09:38.300 --> 00:09:43.220 align:middle line:84% you see at an early age how much pleasure rhyme gives, right? 00:09:43.220 --> 00:09:47.540 align:middle line:84% Or, just Dr. Seuss, or all kinds of wordplay-- 00:09:47.540 --> 00:09:50.450 align:middle line:84% funny sounds, or repeated rhythms. 00:09:50.450 --> 00:09:52.130 align:middle line:84% Nursery rhymes have these rhythms, 00:09:52.130 --> 00:09:53.540 align:middle line:90% and they give such pleasure. 00:09:53.540 --> 00:09:55.002 align:middle line:84% And then at a certain point, you're 00:09:55.002 --> 00:09:56.960 align:middle line:84% told-- sometimes in a high school English class 00:09:56.960 --> 00:10:00.900 align:middle line:84% or something-- that poetry is not supposed to rhyme anymore. 00:10:00.900 --> 00:10:03.680 align:middle line:84% And so you're supposed to stop that if you're 00:10:03.680 --> 00:10:05.930 align:middle line:90% going to be a serious poet. 00:10:05.930 --> 00:10:08.730 align:middle line:90% And that's not really true. 00:10:08.730 --> 00:10:11.542 align:middle line:84% I've had a lot of students who were just told, 00:10:11.542 --> 00:10:13.250 align:middle line:84% at some point, that they weren't supposed 00:10:13.250 --> 00:10:15.330 align:middle line:90% to write that way anymore. 00:10:15.330 --> 00:10:20.570 align:middle line:84% And despite the fact that Seamus Heaney rhymes, 00:10:20.570 --> 00:10:23.270 align:middle line:84% Elizabeth Bishop rhymes, Derek Walcott rhymes-- 00:10:23.270 --> 00:10:26.210 align:middle line:84% all these great poets, contemporary poets rhyme-- 00:10:26.210 --> 00:10:28.993 align:middle line:84% I mean there are also lots of great contemporary poets 00:10:28.993 --> 00:10:29.660 align:middle line:90% who don't rhyme. 00:10:29.660 --> 00:10:33.740 align:middle line:84% But it's certainly a viable tool and option still, 00:10:33.740 --> 00:10:35.420 align:middle line:84% despite what some people are told it is. 00:10:35.420 --> 00:10:38.870 align:middle line:90% [LAUGHTER] 00:10:38.870 --> 00:10:39.980 align:middle line:90% One more question. 00:10:39.980 --> 00:10:42.060 align:middle line:90% Sam. 00:10:42.060 --> 00:10:46.440 align:middle line:84% So in your anthology of those 75 poets, 00:10:46.440 --> 00:10:50.912 align:middle line:84% who was the most difficult to translate, and why? 00:10:50.912 --> 00:10:51.870 align:middle line:90% That's a good question. 00:10:51.870 --> 00:10:54.162 align:middle line:84% And I should add that I didn't translate all the poets. 00:10:54.162 --> 00:10:57.180 align:middle line:84% There's a bunch of other translators that I've included. 00:10:57.180 --> 00:11:01.830 align:middle line:84% So I translated some of them, the ones that I'm particularly 00:11:01.830 --> 00:11:05.790 align:middle line:84% drawn to, or maybe poets where I couldn't find good existing 00:11:05.790 --> 00:11:06.840 align:middle line:90% translations. 00:11:06.840 --> 00:11:10.860 align:middle line:84% But I also used a bunch of other translators. 00:11:10.860 --> 00:11:13.950 align:middle line:84% So I can only speak about the ones that I translated. 00:11:13.950 --> 00:11:18.830 align:middle line:90% 00:11:18.830 --> 00:11:21.680 align:middle line:90% And boy, they all have-- 00:11:21.680 --> 00:11:24.810 align:middle line:84% Pascoli I find very difficult, but very rewarding, too-- 00:11:24.810 --> 00:11:26.580 align:middle line:84% because, in part, because he does 00:11:26.580 --> 00:11:31.890 align:middle line:84% always was writing before modernism. 00:11:31.890 --> 00:11:35.790 align:middle line:84% So they're all rhymed and metered. 00:11:35.790 --> 00:11:38.820 align:middle line:84% For me, a lot of the pleasures of those poems 00:11:38.820 --> 00:11:41.380 align:middle line:84% are connected to the formal qualities of them. 00:11:41.380 --> 00:11:44.820 align:middle line:84% And so it's important to me to bring those across. 00:11:44.820 --> 00:11:48.480 align:middle line:84% Whereas the one in Patrizia Cavalli that I read, 00:11:48.480 --> 00:11:51.330 align:middle line:84% second after Pascoli, she also actually uses 00:11:51.330 --> 00:11:53.100 align:middle line:90% some rhyme and some meter. 00:11:53.100 --> 00:11:55.650 align:middle line:84% But she uses it in a much more irregular, 00:11:55.650 --> 00:12:00.250 align:middle line:90% casual way that's easier to-- 00:12:00.250 --> 00:12:01.090 align:middle line:90% it's not as strict. 00:12:01.090 --> 00:12:02.798 align:middle line:84% And so it's easier to translate, I guess, 00:12:02.798 --> 00:12:04.420 align:middle line:90% and to get similar effects. 00:12:04.420 --> 00:12:07.023 align:middle line:84% But Pascoli is difficult. And so I always 00:12:07.023 --> 00:12:08.440 align:middle line:84% feel particularly satisfied when I 00:12:08.440 --> 00:12:12.760 align:middle line:84% managed to make one of his poems work in English. 00:12:12.760 --> 00:12:14.920 align:middle line:84% Or, when I feel it works in English 00:12:14.920 --> 00:12:17.590 align:middle line:84% I feel satisfied, because a number of his poems 00:12:17.590 --> 00:12:20.060 align:middle line:84% I've tried to translate and they just haven't worked. 00:12:20.060 --> 00:12:23.890 align:middle line:90% And I have given up on them. 00:12:23.890 --> 00:12:26.080 align:middle line:90% So he's one of them. 00:12:26.080 --> 00:12:29.042 align:middle line:84% And I guess, there are other poets that I just would never 00:12:29.042 --> 00:12:31.375 align:middle line:84% try to translate, as they seem too difficult like Amelia 00:12:31.375 --> 00:12:37.850 align:middle line:84% Rosselli, who's a wonderful, experimental poet of the 1960s 00:12:37.850 --> 00:12:38.350 align:middle line:90% and '70s. 00:12:38.350 --> 00:12:44.850 align:middle line:90% 00:12:44.850 --> 00:12:47.580 align:middle line:84% x I can't get my head around the idea of translating her, 00:12:47.580 --> 00:12:49.765 align:middle line:84% because she's so difficult for various reasons 00:12:49.765 --> 00:12:50.640 align:middle line:90% that I won't go into. 00:12:50.640 --> 00:12:52.230 align:middle line:84% But there are some other people who 00:12:52.230 --> 00:12:55.320 align:middle line:84% have done wonderful jobs translating her. 00:12:55.320 --> 00:12:58.080 align:middle line:90% 00:12:58.080 --> 00:12:59.320 align:middle line:90% OK. 00:12:59.320 --> 00:12:59.820 align:middle line:90% I'm sorry. 00:12:59.820 --> 00:13:01.950 align:middle line:84% We need to wrap up, because we have not yet 00:13:01.950 --> 00:13:02.750 align:middle line:90% fed Geoffrey today. 00:13:02.750 --> 00:13:03.250 align:middle line:90% [LAUGHTER] 00:13:03.250 --> 00:13:05.040 align:middle line:90% We have to do that. 00:13:05.040 --> 00:13:07.800 align:middle line:84% Before-- I mean, can you say again 00:13:07.800 --> 00:13:10.380 align:middle line:84% the name of your second book that's coming out, 00:13:10.380 --> 00:13:11.640 align:middle line:90% and where it's coming from? 00:13:11.640 --> 00:13:16.470 align:middle line:84% It's probably called Voices Bright Flags, 00:13:16.470 --> 00:13:18.630 align:middle line:84% but there's some conversation about that timeline. 00:13:18.630 --> 00:13:23.770 align:middle line:84% It's coming out in November from a press called Waywiser Press. 00:13:23.770 --> 00:13:25.770 align:middle line:84% I should also mention about the Patrizia Cavalli 00:13:25.770 --> 00:13:29.130 align:middle line:84% that there was just a selected poems of Patrizia Cavalli 00:13:29.130 --> 00:13:31.527 align:middle line:84% that came out from Farrar, Strauss last fall. 00:13:31.527 --> 00:13:33.360 align:middle line:84% And it includes a number of my translations, 00:13:33.360 --> 00:13:36.180 align:middle line:84% but also a number of other translators like Mark Strand, 00:13:36.180 --> 00:13:38.460 align:middle line:84% and Jorie Graham, and Gini Alhadeff, 00:13:38.460 --> 00:13:40.710 align:middle line:84% who is the editor of the collection. 00:13:40.710 --> 00:13:42.810 align:middle line:90% And that's a wonderful book. 00:13:42.810 --> 00:13:45.780 align:middle line:84% I don't know if you guys have it here yet, or not but-- 00:13:45.780 --> 00:13:46.320 align:middle line:90% We'll check. 00:13:46.320 --> 00:13:47.070 align:middle line:90% --you probably do. 00:13:47.070 --> 00:13:48.000 align:middle line:90% [LAUGHTER] 00:13:48.000 --> 00:13:49.830 align:middle line:84% It's been such a delight to have you. 00:13:49.830 --> 00:13:50.700 align:middle line:90% Everyone, let's give Geoffrey-- 00:13:50.700 --> 00:13:51.000 align:middle line:90% Thank you, guys. 00:13:51.000 --> 00:13:52.167 align:middle line:90% --another round of applause. 00:13:52.167 --> 00:13:55.250 align:middle line:90% [APPLAUSE]