Juan Gelman – författare

Juan Gelman is Argentina's leading poet, but his work has been almost unknown in the United States until now. In 2000, he received the Juan Rulfo Award, one most important literary awards in the Spanish-speaking world, and in 2007, he received the Cervantes Prize, the Spanish-speaking world's top literary prize. With this selection, chosen and superbly translated by Joan Lindgren, Gelman's lush and visceral poetry comes alive for an English-speaking readership. Gelman is a stark witness to the brutality of power, and his poems reflect his suffering at the hands of the Argentine military government (his son, daughter-in-law, and grandchild were "disappeared"). While political idealism infuses his writing, he is not a servant of ideology.Themes of family, exile, the tango, Argentina, and Gelman's Jewish heritage resonate throughout his poems, works that celebrate life while confronting heartache and loss. "Remembering their little bones when it rains/the companerosstomp on darkness/set forth from death/wander the tender night/I hear their voices like living faces" - from "Remembering Their Little Bones".

One of Latin American's most important poets of the twentieth century, Juan Gelman (1930-2014 spent much of his life in exile from his native Argentina during the Dirty War. A significant, seldom-acknowledged portion of Gelman's poetry dealt with Jewish themes. He established a dialogue across time with Santa Teresa de Ávila and San Juan de la Cruz, the sixteenth-century Spanish mystical poets whose ancestry was Jewish. He rewrote poetic portions of the Bible as well as medieval Hebrew poetry. Gelman even taught himself Ladino, the language of Sephardic Jews, and wrote a volume of poems in it.In this bilingual volume, celebrated scholar Ilan Stavans retraces Gelman's admiration for these poetic ancestors, translating into English his Jewish oeuvre by carefully maintaining the Hebrew, Spanish, and Ladino echoes of the originals. The result is at once historically accurate and artistically exhilarating, repositioning Gelman as a major Jewish writer of the last century.

'One of the greatest poets the world has today.' —José Saramago, Winner of the 1998 Nobel Prize in LiteratureThis bilingual edition makes Juan Gelman’s hauntingly beautiful poetry collection, Notes / Notas, available to English-speaking audiences in its entirety for the first time.Originally published in 1979, Notas / Notes was composed in exile, following the 1976 military coup d'etat in Argentina. This period of state terrorism resulted in the disappearance of writers, comrades, and Gelman’s own son.With a deep appreciation for Gelman’s masterful linguistic play, translators Afsari and Tandeciarz channel the force of his poetic testimony against the real violence of dictatorship.Interweaving reflections on revolution, loss and memory, Argentina’s poet laureate conjures forth a sense of hope in the wake of inconceivable suffering.

This translation offers for the first time the splendid poems of Sidney West to English readers, supposedly their original addressees. West is among the best imaginary poets of America, allegedly his native land, and of all possible lands. His texts, although rich with exceptional life experience, will satisfy those who still believe in “the death of the author.” No less satisfied, in spite of his anti-romanticism, will be those captivated by “committed writing.” And in another paradox that West himself would have loved, if he had existed, what’s offered here constitutes a translation of a translation. An English version based on the prior version into Spanish completed in 1969 by Argentine writer Juan Gelman, one of the greatest living Latin American poets. He should be considered the genuine author of the author of these poems, and the poems themselves. Gelman’s superb text poses a radical question: must human beings in modern society die in order to recuperate their human condition? Something happens after the passing of the book’s thirty-five characters, their absence causes unforeseen consequences, generates certain kinds of presence. This profound questioning of Western assumptions surrounding death requires an innovative form that challenges the traditional boundaries between poetry and narrative, privileges the magical as a vital aspect of reality, and ultimately seeks a redefinition of the lyric persona. In The Poems of Sidney West, writing, without lessening its essential condition of creative practice, is conceived as an instrument not only to interpret but to transform the world.

In To World, poems interrogate everything: nature, society, and thought itself, with no prejudice or even principle. In other words, they don’t follow any rule, tradition, or discipline; they are decidedly critical. Thought is not reduced to philosophical, ethical, religious, political, or aesthetic interpretations. Rather, we are before thought in its totality, unwilling to recognize borders  –  although never in a pure state, not falling into speculation, into thinking just for thinking’s sake. Thought is always related to ­experience, both personal and collective, and above all, emotion. It never once stops being thought through image, that is to say, lyrical. This poetry speaks of poetry; it takes it all on: the objective and subjective, the real and imagined, I and other. It ventures into virgin territory, on the outskirts of romanticism, realism, symbolism, and the avant-garde. Always a model of rebelliousness and freedom, a lesson in devotion and rigor, Gelman’s work places him among today’s best poets.