Willis Barnstone – författare

For courses in Latin American Literature, World Literature, and Non-Western Literature.

This extraordinary anthology gathers together a broad selection of representative, authoritative writings—spanning antiquity to the present—from the non-Western civilizations of Latin America. It combines extensive introductions, headnotes, and bibliographies with excellent literary translations of the best contemporary and classical writers. The selections reflect literary, religious, and philosophical traditions and reveal—despite cultural differences—the universality of life experiences.

In a lucid, pioneering volume, Willis Barnstone explores the history and theory of literary translation as an art form. Arguing that literary translation goes beyond the transfer of linguistic information, he emphasizes that imaginative originality resides as much in the translation as in the source text—a view that skews conventional ideas of artistic primacy.Barnstone begins by dealing with general issues of literalness, fidelity, and originality: with translation as metaphor, aesthetic transformation, and re-creation. He looks as well at translation as a traditionally stigmatized genre. Then he discusses the history of translation, using as his paradigm the most translated book in the world, the Bible, tracing it from its original Hebrew and Greek to Jerome's Latin and the English of Tyndale and the King James Version. Citing the way authors intentionally mistranslate for religious and political purposes, Barnstone provides fascinating insights into how, by altering names in the Gospels, the Virgin Mary and Jesus cease to be Jews, the Jews are turned into villains, and Christianity becomes an original rather than a mere translation. In the next section Barnstone analyzes translation theory, ranging from the second century B.C. Letter of Aristeas to Roman Jakobson's linguistic categories and Walter Benjamin's "Task of the Translator." The book ends with an aphoristic ABC of translating.

St John of Patmos is accredited with writing "The Apocalypse", a revelation by angels that God will intervene decisively and reward his long-suffering elect. Here, it is rendered in blank verse, reflecting its original poetic form.

A poetic meditation and collection of aphorisms on the art of literary translation by one of the most respected translators in the US. Translating literatures East and West, ancient and modern, Barnstone has proven insights to share, and does so in a light and humorous way though verse.

The people we’ve come to call gnostics were passionate advocates of the view that salvation comes through knowledge and personal experience, and their passion shines through in the remarkable body of writings they produced over a period of more than a millennium and a half. Willis Barnstone and Marvin Meyer have created a translation that brings the gnostic voices to us from across the centuries with remarkable power and beauty—beginning with texts from the earliest years of Christianity—including material from the Nag Hammadi library—and continuing all the way up to expressions of gnostic wisdom found within Islam and in the Cathar movement of the Middle Ages. The twenty-one texts included here serve as a compact introduction to Gnosticism and its principal ideas—and they also provide an entrée to the pleasures of gnostic literature in general, representing, as they do, the greatest masterpieces of that tradition.

Comic, tragic, colorful, and adventurous, Stickball on 88th Street is a sequence of thirty-four narrative poems that follows its speaker from boyhood to college. ItÆs a memory book, bound with vignettes of school, family life, and the streets of New York City, as well as Maine and Mexico, culminating with a swan dive in Colorado. It reads like a novel or memoir, with characters, setting, and plot.Stickball employs an original form, neither free verse nor traditionally formal, but rather lexical. Instead of meter and syllable counts, the book uses individual words as its units of measure. Each quatrain has twenty words: six each in the first two lines, four each in the last two lines. This form imposes no ponderous regularity, allowing for a swift narrative flow. It was written over the course of thirteen days in August, 1977, and has remained unchanged since then.