Tinfish 17: June, 2007: The Bowling Score-card Issue
Tinfish 17 is our largest, most bountiful issue yet, and includes work by R. Zamora Linmark, Shin Yu Pai, Kaia Sand, Sage U`ilani Takehiro, Tiare Picard, Afaa Michael Weaver, Ryan Oishi, Deborah Meadows, Kimo Armitage, Ann Inoshita, Jules Boykoff, Craig Perez, Clint Frakes, Jane Sprague, Paolo Javier, Truong Tran, Normie Salvador, and many others.
What are some things you will find in this issue?
--definitions to words like “skin,” “rock,” “bangungot,” “mynah litature,” “Guam”;
--American epics (undone)
--13 ways and 14 lines
--poems of exile and estrangement, a prayer
--politics and love, together and apart
--translations, of course
Covers by Jean Pitman, Centerfold by N. Trisha Lagaso Goldberg, Graphic Design by Yoko Hattori. $10 or a subscription to three issues for $25. Back issues available, as well. Order 14-16 by check for $20. Single back issues for $8 each.
Order from our website: tinfishpress.com
Or send a check to Tinfish Press, 47-728 Hui Kelu Street #9, Kane`ohe, HI 96744
Susan M. Schultz
5/28/07
5/27/07
Russia/New Zealand: the 'Russia' Issue of Landfall
Below is an announcement about the latest issue of New Zealand’s longest running and best known literary and arts journal, which I have co-edited with Gregory O’Brien, Evgeny Pavlov and Ian Wedde. As you will see, central to the issue is an act of international poetic exchange between Russian and New Zealand poets. Details of how to order the issue follow the announcement.
I have posted my essay from the issue, "No Place like Home: Encounters between New Zealand and Russian Poetries", in the "Papers" section of this blog. I welcome your responses to the essay and to the issue as a whole.
Landfall 213: the ‘Russia’ issue
A Russian anthology of New Zealand poetry, Land of Seas, was published in Moscow in 2005. Now New Zealand is reciprocating with a special issue of Landfall that includes contemporary Russian writing and art.
Edited by Jacob Edmond, Gregory O’Brien, Evgeny Pavlov and Ian Wedde, the ‘Russia’ issue features a selection of previously untranslated works by contemporary Russian poets: Arkadii Dragomoshchenko, Anna Glazova, Dmitry Golynko, Alexei Parshchikov, Olga Sedakova, Alexandr Skidan, Viktor Sosnora. Many of these translations have been created by leading New Zealand poets working in collaboration with Edmond and Pavlov. The issue also features a wide range of writing on contemporary Russian literary and art cultures, economies and diasporas.
As well as bringing Russian literature and art to New Zealand readers, the issue surveys the ways in which New Zealand writers have engaged—as travellers, readers and scholars—with Russia and its people.
Landfall 213 also includes an account by the curator Marcus Williams of the Blue Noses, whose comic video satires were a highlight of the 2005 Venice Biennale and whose work is substantially represented here.
Publication details
Landfall 213 - Russia
Editors: Jacob Edmond, Gregory O’Brien, Evgeny Pavlov, Ian Wedde
Release: 24 May 2007.
I have posted my essay from the issue, "No Place like Home: Encounters between New Zealand and Russian Poetries", in the "Papers" section of this blog. I welcome your responses to the essay and to the issue as a whole.
Landfall 213: the ‘Russia’ issue
A Russian anthology of New Zealand poetry, Land of Seas, was published in Moscow in 2005. Now New Zealand is reciprocating with a special issue of Landfall that includes contemporary Russian writing and art.
Edited by Jacob Edmond, Gregory O’Brien, Evgeny Pavlov and Ian Wedde, the ‘Russia’ issue features a selection of previously untranslated works by contemporary Russian poets: Arkadii Dragomoshchenko, Anna Glazova, Dmitry Golynko, Alexei Parshchikov, Olga Sedakova, Alexandr Skidan, Viktor Sosnora. Many of these translations have been created by leading New Zealand poets working in collaboration with Edmond and Pavlov. The issue also features a wide range of writing on contemporary Russian literary and art cultures, economies and diasporas.
As well as bringing Russian literature and art to New Zealand readers, the issue surveys the ways in which New Zealand writers have engaged—as travellers, readers and scholars—with Russia and its people.
Landfall 213 also includes an account by the curator Marcus Williams of the Blue Noses, whose comic video satires were a highlight of the 2005 Venice Biennale and whose work is substantially represented here.
Publication details
Landfall 213 - Russia
Editors: Jacob Edmond, Gregory O’Brien, Evgeny Pavlov, Ian Wedde
Release: 24 May 2007.
The issue is available now from the publisher and distributor below and from bookshops within New Zealand. You can also order the book from most places in the world at the New Zealand Books Abroad website.
United Kingdom (RRP 14.50 pounds)
Gazelle Book Services Limited
White Cross Mills, High Town
Lancaster. LA1 4XS. United Kingdom
Ph: 0152468765
Fax: 0152463232
Email: Sales@gazellebooks.co.uk
Website: http://www.gazellebooks.co.uk
New Zealand and the Rest of the World (RRP $29.95 [NZ dollars])
Otago University Press
P.O. Box 56, Dunedin
Phone: 64 3 479 8807
Fax 64 3 479 8385
Email: university.press@otago.ac.nz
Website: http://www.otago.ac.nz/press
United Kingdom (RRP 14.50 pounds)
Gazelle Book Services Limited
White Cross Mills, High Town
Lancaster. LA1 4XS. United Kingdom
Ph: 0152468765
Fax: 0152463232
Email: Sales@gazellebooks.co.uk
Website: http://www.gazellebooks.co.uk
New Zealand and the Rest of the World (RRP $29.95 [NZ dollars])
Otago University Press
P.O. Box 56, Dunedin
Phone: 64 3 479 8807
Fax 64 3 479 8385
Email: university.press@otago.ac.nz
Website: http://www.otago.ac.nz/press
ABRAHAM LINCOLN / The Magazine
Just $5 (or best offer) will buy you a copy of
ABRAHAM LINCOLN
issue the first
spring/summer 2007
editors: K. SILEM MOHAMMAD & ANNE BOYER
This new journal of poetry --42 JUICY PAGES of poetry-- is printed on the cheapest paper and clumsily stapled for your reading pleasure. In terms of materials and editorial labor, it's worth about 37 cents. But the value of the poetry it contains CANNOT BE CALCULATED IN MONETARY UNITS. Still, if you can't afford $5.00 to buy this exciting new record of the best and happiest moments of the happiest and best minds, WE UNDERSTAND. Just send what you think is fair. How many magazines offer you a deal like that? NOT VERY DAMN MANY, THAT'S HOW MANY.
featuring work by
Brandon Downing
Gary Sullivan
CA Conrad
Alli Warren
Matt McCloud
Rodney Koeneke
Sharon Mesmer
Nada Gordon
Sandra Simonds
Shanna Compton
Michael Magee
Lanny Quarles
Bill Luoma
Rachel Dakarian
Drew Gardner
Katie Degentesh
full-color cover by LRSN
SUBSCRIPTIONS are the best way to go:
single issue: $5 (or best offer)
one year: $8
five years: $25
seventeen years: $968
Send checks, payable to K. Silem Mohammad, to:
Abraham LincolnOR
c/o 840 Park St.
Ashland, OR 97520
pay Anne Boyer (anneboyer at gmail dot com) via PayPal.
Unsolicited submissions will be gaily defenestrated.
5/25/07
The Sacred in Translation: A Response to Susan Schultz
Susan,
It is interesting how what one considers innovative in one language would be of the very essence of the other, particularly when that language is dealing with "sacredness," whether it occurs or is spelled out in ritualistic or institutional terms or not.
Turkish is also full of similar puns, partly but not completely due to the narrow sound range of the language. Since Ece Ayhan’s work in the 1950's and 1960’s (A Blind Cat Black and Orthodoxies, Sun and Moon Press, 1997), Turkish poetry exploits this quality continuously, in all sorts of ways. The "Godless Sufism" which I attach to this poetry in an essay I wrote in 1995 (Talisman, no. 14) partly derives from it.
At the moment I am translating a poem, “Hotel Kuskuncuk,” by the Turkish poet Haydar Erg¸len where I am struggling with one of these pun clusters: "ay" ("moon") also means "ah," both of pain and rapture; "ayla" ("with the moon") also means a woman's name; "ayna" means "mirror," etc., etc.
Another cluster occurs in an Seyhan ErozÁelik poem: the word “kiragi” means “frost”; “kir agi” also means “meadow web”; “kir” also means “break,” “crush,” “emotionally hurt,” “disappoint”; “agi” also means “dirge.” The poem involves a boy’s memory in early morning walking in the field and crushing the frost with his heel, the incredible pleasure he feels and also oddly the trauma. Words as fragments explode in the poem, of pleasure, pain, song, etc.
This poem belongs to the book, Rosestrikes and Coffee Grinds (G¸l ve Telve), which I am translating in its totality. (Sections from it appeared in English in the Eda: An Anthology of Contemporary Turkish Poetry, Talisman House, 2004, and in Bombay Gin, 2006, translation issue.) The poem in question is the final piece in the Rosestrikes section. Undoubtedly, it is one of the greatest poems written in the last twenty years, in any language. Interestingly, the title of the poem in Turkish is a word in English, “Rosebud,” which is a reference to another formative childhood experience in snow, Orson Welles’s, together constituting a Spicerean correspondence, a continuum, or, put in another way, both belonging space/universe of Walter Benjamin’s “ideal language.”
Susan, I think we come here back to the issue of the “sacred,” what it means, and how it relates to the questions you raised in your initial post, the possibility of a “refusal to translate.” The sacred is that part of the dialectics of translation which wants to keep itself intact, “untranslatable.” In a text, the sacred often manifests itself as style, that aspect of a writing most involved with its own “modes,” its own culture (I discuss this in “Translation and Style,” Talisman, No. 6, 1991, and http://www.cs.rpi.edu/~sibel/poetry/murat_nemet_nejat.html). No true translation can exists without containing these traces of style. That is why, essentially, what a translation translates is distance, its untranslatability. In my own case, and in the case of Turkish, eda is those stylistic trace, segueing into the sacredness of Sufism, and the inviolable wholeness of the dream city Istanbul, and the elusive wholeness of Turkish as an agglutinative language.
In this dialectic the other side belongs to the target language, its own sense of lack at the moment of contact in relation what the original text has to offer, the translation starting out of this insufficiency . The target language in some ways has to transform itself to accommodate this other, its elusiveness, “growing a new limb.” This aspect of the dialectic leads to experimentation, linguistic innovation.
Following this argument leads to a startling conclusion: linguistic experiment, innovation must involve a confrontation with the sacred. To put it within the framework of the poetics of our time, translation involves the confrontation of the secular language with the sacred. In more general terms, isn’t this confrontation between the secular [“democratic,” “rational”] and the sacred [“terroristic,” “sentimental”] the primary ideological battle of our time, doesn’t this make translation the quintessential form, the most relevant of this historical moment?
I would like to refer to Jerome Rothenberg’s The Technicians of the Sacred, the anthology which was crucial in bringing the idea of the sacred to the surface. Unfortunately, American poetry since then, a very significant portion of it, seems to have focused on creating a poetics of the avant garde basically decoupled from this sacred dimension, as if poetic experiment can thrive basically as social criticism, within the infernally endless machinery of language. This to my mind is sad and peculiarly drained of reality.
There is a deep spiritual strain –a strain of the sacred- in American poetry, starting from Biblical sermons to Emerson, Thoreau, Hawthorne, Melville, Spicer, Duncan, Creeley, Fanny Howe, Kent Johnson, Forrest Gander, Linh Dinh, etc., etc. (the list is rich and long). If one frees oneself from the dichotomy of The Avant and The School of Quietitude –which is an attempt to project a poetic movement of about thirty years onto the total history of American poetry- the primacy of the spiritual (as opposed to exclusively political or social) in this poetry becomes self-evident: one has then a spectrum the two ends of which are the sacred and the secular, inhabited in between by the blasphemous, the profane, the witty, the ironic, dying towards the indifferent.
As David-Baptiste Chirot says, American poets are looking for a new Fleurs Du Mal.
A poem in two languages, a kaona:
An/kara: My Kind Hearted Step Mother*
Ankara.
An--: moment, second.
kara: black.
Ankara:
Second black, not first.
An(a): mother.
kar: doing it.
kar: snow.
kar(a): to the snow.
kara: land.
kara: black.
K(i)r: prick.
kar(i): the snow.
kari: old crone.
Kirhane: prick house
next to our synagogue in Istanbul there was a prick house,
on wooden tables at the end of Yom Kippur
in the dark, in the intersection of our street and theirs,
the ladies of the night and their pimps left
glasses of water for us to drink
for free: Sebil.
Mysterious Cybil.
So civil-
Ized.
Realized.
thirty years later I went to the same spot.
the synagogue and its porch garden
(where I'd spent two evenings a year, the twinkling lights mixing with the stars through the Succah)
was all in ruins,
the rusting gate ajar,
and a red rooster was strolling at home among the lunar mounds and weeds.
Red rooster: as in red light district?
Red: kizil.
(Kiz): virgin.
(Kiz): angry.
Yuzde yuz kiz: hundred percent virgin.
Yuz: hundred.
Yuz: face.
Yuz: swim.
Rooster: horoz.
Whore
and oz, as in the Wizard of O's.
(from Io’s Song)
*Ankara: my Kind Hearted Step Mother is a line from the Turkish poet Cemal S¸reya. The capital city of Turkey, Ankara, is a step-mother compared to Istanbul, which culturally and historically was the main Turkish city. Another expression along those lines is: Ankara is a wife, Istanbul is a mistress.
Ciao,
Murat Nemet-Nejat
It is interesting how what one considers innovative in one language would be of the very essence of the other, particularly when that language is dealing with "sacredness," whether it occurs or is spelled out in ritualistic or institutional terms or not.
Turkish is also full of similar puns, partly but not completely due to the narrow sound range of the language. Since Ece Ayhan’s work in the 1950's and 1960’s (A Blind Cat Black and Orthodoxies, Sun and Moon Press, 1997), Turkish poetry exploits this quality continuously, in all sorts of ways. The "Godless Sufism" which I attach to this poetry in an essay I wrote in 1995 (Talisman, no. 14) partly derives from it.
At the moment I am translating a poem, “Hotel Kuskuncuk,” by the Turkish poet Haydar Erg¸len where I am struggling with one of these pun clusters: "ay" ("moon") also means "ah," both of pain and rapture; "ayla" ("with the moon") also means a woman's name; "ayna" means "mirror," etc., etc.
Another cluster occurs in an Seyhan ErozÁelik poem: the word “kiragi” means “frost”; “kir agi” also means “meadow web”; “kir” also means “break,” “crush,” “emotionally hurt,” “disappoint”; “agi” also means “dirge.” The poem involves a boy’s memory in early morning walking in the field and crushing the frost with his heel, the incredible pleasure he feels and also oddly the trauma. Words as fragments explode in the poem, of pleasure, pain, song, etc.
This poem belongs to the book, Rosestrikes and Coffee Grinds (G¸l ve Telve), which I am translating in its totality. (Sections from it appeared in English in the Eda: An Anthology of Contemporary Turkish Poetry, Talisman House, 2004, and in Bombay Gin, 2006, translation issue.) The poem in question is the final piece in the Rosestrikes section. Undoubtedly, it is one of the greatest poems written in the last twenty years, in any language. Interestingly, the title of the poem in Turkish is a word in English, “Rosebud,” which is a reference to another formative childhood experience in snow, Orson Welles’s, together constituting a Spicerean correspondence, a continuum, or, put in another way, both belonging space/universe of Walter Benjamin’s “ideal language.”
Susan, I think we come here back to the issue of the “sacred,” what it means, and how it relates to the questions you raised in your initial post, the possibility of a “refusal to translate.” The sacred is that part of the dialectics of translation which wants to keep itself intact, “untranslatable.” In a text, the sacred often manifests itself as style, that aspect of a writing most involved with its own “modes,” its own culture (I discuss this in “Translation and Style,” Talisman, No. 6, 1991, and http://www.cs.rpi.edu/~sibel/poetry/murat_nemet_nejat.html). No true translation can exists without containing these traces of style. That is why, essentially, what a translation translates is distance, its untranslatability. In my own case, and in the case of Turkish, eda is those stylistic trace, segueing into the sacredness of Sufism, and the inviolable wholeness of the dream city Istanbul, and the elusive wholeness of Turkish as an agglutinative language.
In this dialectic the other side belongs to the target language, its own sense of lack at the moment of contact in relation what the original text has to offer, the translation starting out of this insufficiency . The target language in some ways has to transform itself to accommodate this other, its elusiveness, “growing a new limb.” This aspect of the dialectic leads to experimentation, linguistic innovation.
Following this argument leads to a startling conclusion: linguistic experiment, innovation must involve a confrontation with the sacred. To put it within the framework of the poetics of our time, translation involves the confrontation of the secular language with the sacred. In more general terms, isn’t this confrontation between the secular [“democratic,” “rational”] and the sacred [“terroristic,” “sentimental”] the primary ideological battle of our time, doesn’t this make translation the quintessential form, the most relevant of this historical moment?
I would like to refer to Jerome Rothenberg’s The Technicians of the Sacred, the anthology which was crucial in bringing the idea of the sacred to the surface. Unfortunately, American poetry since then, a very significant portion of it, seems to have focused on creating a poetics of the avant garde basically decoupled from this sacred dimension, as if poetic experiment can thrive basically as social criticism, within the infernally endless machinery of language. This to my mind is sad and peculiarly drained of reality.
There is a deep spiritual strain –a strain of the sacred- in American poetry, starting from Biblical sermons to Emerson, Thoreau, Hawthorne, Melville, Spicer, Duncan, Creeley, Fanny Howe, Kent Johnson, Forrest Gander, Linh Dinh, etc., etc. (the list is rich and long). If one frees oneself from the dichotomy of The Avant and The School of Quietitude –which is an attempt to project a poetic movement of about thirty years onto the total history of American poetry- the primacy of the spiritual (as opposed to exclusively political or social) in this poetry becomes self-evident: one has then a spectrum the two ends of which are the sacred and the secular, inhabited in between by the blasphemous, the profane, the witty, the ironic, dying towards the indifferent.
As David-Baptiste Chirot says, American poets are looking for a new Fleurs Du Mal.
A poem in two languages, a kaona:
An/kara: My Kind Hearted Step Mother*
Ankara.
An--: moment, second.
kara: black.
Ankara:
Second black, not first.
An(a): mother.
kar: doing it.
kar: snow.
kar(a): to the snow.
kara: land.
kara: black.
K(i)r: prick.
kar(i): the snow.
kari: old crone.
Kirhane: prick house
next to our synagogue in Istanbul there was a prick house,
on wooden tables at the end of Yom Kippur
in the dark, in the intersection of our street and theirs,
the ladies of the night and their pimps left
glasses of water for us to drink
for free: Sebil.
Mysterious Cybil.
So civil-
Ized.
Realized.
thirty years later I went to the same spot.
the synagogue and its porch garden
(where I'd spent two evenings a year, the twinkling lights mixing with the stars through the Succah)
was all in ruins,
the rusting gate ajar,
and a red rooster was strolling at home among the lunar mounds and weeds.
Red rooster: as in red light district?
Red: kizil.
(Kiz): virgin.
(Kiz): angry.
Yuzde yuz kiz: hundred percent virgin.
Yuz: hundred.
Yuz: face.
Yuz: swim.
Rooster: horoz.
Whore
and oz, as in the Wizard of O's.
(from Io’s Song)
*Ankara: my Kind Hearted Step Mother is a line from the Turkish poet Cemal S¸reya. The capital city of Turkey, Ankara, is a step-mother compared to Istanbul, which culturally and historically was the main Turkish city. Another expression along those lines is: Ankara is a wife, Istanbul is a mistress.
Ciao,
Murat Nemet-Nejat
5/22/07
Padcha Tuntha-obas review by Craig Perez
Please find here a review of _composite.diplomacy_, by Tuntha-obas:
http://galatearesurrection6.blogspot.com/2007/05/composite-diplomacy-by-padcha-tuntha.html
Tinfish Press has published a number of translations from the Chinese, Korean, Vietnamese, and other languages. See tinfishpress.com
We have also published work in which languages other than English are NOT translated, including the Tagalog and Baybayin of Barbara Jane Reyes's _Poeta en San Francisco_, the Samoan of Jacinta Galea`i's _Aching for Mango Friends_, and our several titles in Pidgin (Hawaiian Creole English).
The Pidgin titles are--mostly--accessible to a standard English reader (though we included a cd with Joe Hadley's _2 poems bai bradajo_, because his "calligraphy" is difficult to assimilate. But try to translate these works into standard English and you get a largely working class content and diction sounding as if it's been run through a King's English strainer. The Pymalion effect, perhaps.
So what I'm wondering, based also on a heated discussion I had recently with Linh Dinh, is the question of when it might be best NOT to translate? Are there occasions when for thematic reasons, as with the Reyes project, that the resistance of Tagalog to the rather more imperial English is effective as a symbolic act (even when most readers do not comprehend the word by word meaning of the language), or is it best to try always to convey meaning directly? What do you make of Jacinta Galea`i's contention that, while she uses Samoan in her mainly English language work, she does so in a "friendly" way, providing enough context for a non-Samoan speaker to understand what is going on? Would it be preferable for her to write about her experience using one language that most of us know and another that most of us do not?
aloha, Susan
PS coming soon, _Tinfish_ #17 and _Corpse Watching_, an English language text by Sarith Peou, who survived the Cambodian genocide.
http://galatearesurrection6.blogspot.com/2007/05/composite-diplomacy-by-padcha-tuntha.html
Tinfish Press has published a number of translations from the Chinese, Korean, Vietnamese, and other languages. See tinfishpress.com
We have also published work in which languages other than English are NOT translated, including the Tagalog and Baybayin of Barbara Jane Reyes's _Poeta en San Francisco_, the Samoan of Jacinta Galea`i's _Aching for Mango Friends_, and our several titles in Pidgin (Hawaiian Creole English).
The Pidgin titles are--mostly--accessible to a standard English reader (though we included a cd with Joe Hadley's _2 poems bai bradajo_, because his "calligraphy" is difficult to assimilate. But try to translate these works into standard English and you get a largely working class content and diction sounding as if it's been run through a King's English strainer. The Pymalion effect, perhaps.
So what I'm wondering, based also on a heated discussion I had recently with Linh Dinh, is the question of when it might be best NOT to translate? Are there occasions when for thematic reasons, as with the Reyes project, that the resistance of Tagalog to the rather more imperial English is effective as a symbolic act (even when most readers do not comprehend the word by word meaning of the language), or is it best to try always to convey meaning directly? What do you make of Jacinta Galea`i's contention that, while she uses Samoan in her mainly English language work, she does so in a "friendly" way, providing enough context for a non-Samoan speaker to understand what is going on? Would it be preferable for her to write about her experience using one language that most of us know and another that most of us do not?
aloha, Susan
PS coming soon, _Tinfish_ #17 and _Corpse Watching_, an English language text by Sarith Peou, who survived the Cambodian genocide.
5/20/07
Organized by the literary webzine Litlive (Danmark) and folk high School of Biskops-Arnö (Sweden), there was an extremely successful all-Nordic seminar on "Alternative publishing / literary innovation" held in Biskops-Arnö, May 10 to 13. The starting point for the three day discussions was Charles Bernstein's essay, "Provisional Institutions: the Alternative Presses and Poetic Innovation"; all in all, the event came to present an important step forward in building a new, transnational literary space in these parts. There's a (still) very active seminar blog, mostly in Danish and Norwegian; to get an idea of the cooperative spirit and some of the ideas prevalent in the discussion, I recommend you to check out the excellent mini-essay in English by Icelandic poet Eiríkur Örn Norðdahl, on "The importance of destroying a language (of one's own)", at his blog English For the New Illiterati.
5/18/07
Dubravka Djuric: Sound Only
photo: Ch.Bernstein, 2007
I recently recorded Dubravka Djuric reading in Serbo-Croatian; it's at her new PennSound page. Here is a good test of Basil Bunting's remark that ninety percent of the poetry comes across just hearing it. Her performance is remarkable and much does come through without knowing her language. Or am I kidding myself (which I like to do in any case)?
5/16/07
The Continental Review
The Continental Review, the first exclusively video-only forum for contemporary poetry and poetics on the web, has just gone live. Curated by Nicholas Manning, an Australian poet living in Paris, this site is a continuously updated collection of video readings, video reviews and video interviews of and about contemporary poetry and poetics. For the launch, videos by these poets are featured:
Noah Eli Gordon
Eileen Tabios
Linh Dinh
Tom Beckett
Chris Vitiello
Jonathan Leon
Joshua Marie Wilkinson
Allyssa Wolf
It is hoped that The Continental Review, with its videos available simultaneously on the website and via YouTube, signals a new approach in the communication and reception of contemporary poetry and poetics by means of new media.
Noah Eli Gordon
Eileen Tabios
Linh Dinh
Tom Beckett
Chris Vitiello
Jonathan Leon
Joshua Marie Wilkinson
Allyssa Wolf
It is hoped that The Continental Review, with its videos available simultaneously on the website and via YouTube, signals a new approach in the communication and reception of contemporary poetry and poetics by means of new media.
5/8/07
NEWS FROM MEXICO
If somebody wants to get a glimpse of what Mexican writing is now about, buy any book by Mario Bellatin (experimental narrative). He's Peruvian-Mexican and has more than a dozen titles.
One of the latest books by Mario was published by a press called Almadia, located in Oaxaca (along with Chiapas the revo-labs where something is cooking). You can visit Almadia's site: www.almadia.com.mx
* Remember: Mexican lit has no "mainstream" / "alternative" division, so in any editorial catalog you can find "mainstream" stuff in the American sense (lyrical, realist) and experimental ("post-modern").
In this colection, later this year, Almadia will publish in Spanish a translation of Charles Bernstein's now classic essay on Artifice and Absorption. (And also my book Mañana de la cibernmémica ('Morning of Cibermnemics') on Olson imperialistic failure to understand Mexican (imperialistic) ancient poetics and other concepts I'm introducing in the book, like "pantopia" and "co-control".
* If somebody wants to know more about poetics in Spanish buy the recent small volumes by Raúl Zurita (Los poemas muertos) and Un ensayo sobre poesía by Eduardo Milán, published by Acrono-Umbral.
(Remember: Latin American experimental poetics from the seventies is still somewhat romantic (at least in my perspective) but very interesting). These neo-baroque poetics small books can be bought (I hope) directly from the editor: acrono@cablevision.net.mx
And finally, would like to let you know that in the beggining of October there's a Congreso Internacional de Poética taking place in Puebla (close to Mexico City), dedicated this year to ethnopoetics and to the work of Mexican poet José Vicente Anaya, one of the original members of the infrarrealismo movement (from the 70's, a group in which Roberto Bolaño was one of the leaders—though not the only one as he wanted you to believe, ok? In case somebody wants to know more about this Mexican 70's avant-garde read Sontag on Bolaño (David Buuk gave me that English link) but read it knowing this piece by Sontag follows the Bolaño version on "Infra". I published a more critical and (I think) complete story on this movement in a recent issue of a magazine called Alforja.
José Vicente Anaya was one of the first translators of New American American poetry (disliked by Octavio Paz group—still in 'power' in Mexico City).
Anyway, I would like to go on, but can't for now. Saludos from the Mexican border.
5/7/07
Swedish Poetry and Poetics: A Gathering
now on line at PEPC
boundary 2
29.1, Spring 2002
boundary 2
29.1, Spring 2002
Swedish Poetry and Poetics: A Gathering
In the following pages, we present the work of seven Swedish language poets. John Mathias, Fredrik Hertzberg, Anders Lundberg, and Jesper Olsson all worked with me to make the selections. This Swedish cluster reflects boundary 2’s ongoing commitment to presenting innovative poetry and poetics in an international context and is an extension of 99 Poets/1999: An International Poetics Symposium, a special issue of boundary 2, which I edited three years ago.
The selection features Fredrik Hertzberg, Gunnar Björling,, Lars-Håka Svensson, Jesper Svenbro, John Matthias, Anders Lundberg, Jesper Olsson, Stig Larsson, Ann Jäderlund, Jörgen Gassilewski, Helena Eriksson, & Lars Mikael Raattamaa
— Charles Bernstein
- Hertzberg, Fredrik.
- Gunnar Björling: Poetics and Poetry: An Introduction
- Björling, Gunnar, 1887-1960
- Hertzberg, Fredrik, tr.
- Poetics; Poetry
- Svensson, Lars-Håkan
- Jesper Svenbro: In Translation: An Introduction
- Svenbro, Jesper
- Kit for an Orpheus Poem; Syntagma; Propertius Mistranslated
Matthias, John., tr.
Svensson, Lars-Håkan, tr.
- Matthias, John
- The Co-Translator's Dilemma
- Lundberg, Anders.
- Five Poets of the Nineties: An Introduction
Olsson, Jesper.
- Larsson, Stig
- Distress or a Deaf
Lundberg, Anders, tr.
Olsson, Jesper, tr.
- Jäderlund, Ann.
- From "Nature"; Kiss My Mouth; Purple Piece
Lundberg, Anders, tr.
Olsson, Jesper, tr.
- Gassilewski, Jörgen
- To Catullus
Lundberg, Anders, tr.
Olsson, Jesper, tr.
- Eriksson, Helena
- From Skäran
Lundberg, Anders, tr.
Olsson, Jesper, tr.
- Raattamaa, Lars Mikael
- The Children That Float
Lundberg, Anders, tr.
Olsson, Jesper, tr.
- Gassilewski, Jörgen, 1961-
- Close-reading of non-existing texts is a political act
Lundberg, Anders, tr.
Olsson, Jesper, tr.
5/5/07
5/3/07
PROGRAM OF 46th Annual SARAJEVO POETRY DAYS
Wednesday
9.5.2007
Opening Ceremony
Participants: Rasim ÿelahmetoviÿ (Serbia), Muhamed Ahmed Hamad (Egypt), Fadila Nura Haver, Kent Johnson (USA), Susanne Jorn (Denmark), Kama Kamanda (Congo/Luxemburg), Uwe Kolbe (Germany), Ivan Kordiÿ, Sonja Manojloviÿ (Croatia), Christoph Meckel (Germany), Faruk _ehiÿ, Ale_ _teger (Slovenia), Inuo Taguchi (Japan), Sreten Vujoviÿ (Montenegro), Almir Zalihiÿ .
Host-moderator: Senadin Musabegoviÿ
Youth House «Skenderija»
13,00h
Contemporary German Poetry
Participants: Uwe Kolbe, Christoph Meckel, Simone Trieder.
Host-moderator: Stevan Tontiÿ
Recited by: Hasija Boriÿ
Bosnian Institute
19,00h
International Poetry Evening – Guest appearance at Kakanj
Participants: Muniam Alfaker (Denmark), Rasim Æelahmetoviæ (Serbia), Kama Kamanda (Congo/Luxemburg), Faiz Softiæ, Ale_ _teger (Slovenia), Narcisa Vuèina, Sreten Vujoviæ (Montenegro).
National Library Kakanj
19,30h
Poetry Evening: Lars Gustafsson
Host: Refik Lièina
Caffe «Carabit»
21,00h
Thursday
10.5.2007
My Poetics – Autopoetic Confessions
Participants: Bisera Alikadiæ, Bo_ica Jelu_iæ (Hrvatska), Uwe Kolbe (Njemaèka), Forrest Gander (SAD), Lars Gustafsson (_vedska), Christoph Meckel (Njemaèka).
Host-moderator: Stevan Tontiæ
Galerija «Gabrijel» Kamernog teatra 55
11,00 sati
Hommage: Æamil Sijariæ
- Opening of the exibition: Life and Work
Participants: Asmir Kujoviæ and Nenad Radanoviæ.
Museum of Literature and Theatre Bosnia and Herzegovina
13,00h
Poetic Encounter with Forrest Gander and Kent Johnson
American Corner (Sarajevo City Library)
18,00h
Literary Portrait: Veselko Koroman
Participants: Grzegorz Latuszynski, Hanifa Kapid_iæ-Osmanagiæ and Mile Stojiæ.
Gallery «Gabrijel» of Chamber Theatre 55
19,00h
International Poetry Evening
Participants: Muniam Alfaker (Denmark), Flora Brovina (Kosova), Alija Duboèanin, Mohamed Ahmed Hamad (Egypt), Husein Haskoviæ, Ilhan Isik (Turkey), Juan Octavio Prenz (Argentina), Ale_ _teger (Slovenia), Haris Vlavianos (Greece), Narcisa Vuèina, Sreten Vujoviæ (Montenegro).
Cultural Center – Dobrinja
19,00h
German Poetry Today: Uwe Kolbe and Christoph Meckel
Host-moderator: Stevan Tontiæ
Master Library of Eastern Sarajevo
19,00h
Guest appearance in Tuzla: International Poetry Evening
Sudjeluju: Barbara Korun (Slovenia), Gokhan A açc o lu Cengizhan (Turkey), Rajko _urica, Orsolya Kalasz (Hungary), Kama Kamanda (Congo/Luxemburg), Admiral Mahiæ, Kemal Mahmutefendiæ, Sonja Manojloviæ (Croatia), Dara Sekuliæ, Jasna _amiæ, Inuo Taguchi (Japan), Almir Zalihiæ.
Host: _ejla _ehaboviæ
National Theatre Tuzla
19,00h
Friday
11.5.2007
My Poetics: Autopoetic Confessions
Participants: Kent Johnson (USA), Susanne Jorn (Denmark), Veselko Koroman, Juan Octavio Prenz (Argentina), Inuo Taguchi (Japan), Haris Vlavianos (Greece).
Host-moderator: Stevan Tontiæ
Gallery «Gabrijel» of Chamber Theartre 55
11,00h
Contemporary German Poetry
Participants: Uwe Kolbe, Christoph Meckel, Simone Trieder.
Faculty of Philosophy Sarajevo, Department of German Language and Literature
11,00h
Poetic Noon With Elementary Shool Students
Participants: Ivo Mijo Andriæ, Ismet Bekriæ, Husein Dervi_eviæ, Ibrahim Kajan, Ivica Vanja Roriæ, Miroslav Jovanoviæ Timotijev (Montenegro), Valerija Skrinjar-Tvrz (Slovenia).
Host: Mirsad Beæirba_iæ
Old Town Municipality
12,00h
Poetic Evening With Elementary School Students
PArticipants: Ivo Mijo Andriæ, Ismet Bekriæ, Husein Dervi_eviæ, Ibrahim Kajan, Ivica Vanja Roriæ, Miroslav Jovanoviæ Timotijev (Montenegro), Valerija Skrinjar-Tvrz (Slovenia).
Host: Mirsad Beæirba_iæ
New Town Municipality Hall
17,00h
Evening of Bosnian Poets in Exile
Participants: Mustafa Arnautoviæ, Dragoslav Dedoviæ, Munib Delaliæ, Goran Jankoviæ, Refik Lièina, Goran Sariæ, Goran Simiæ, Faiz Softiæ, Jasna _amiæ, Narcisa Vuèina, Vjekoslav Vukadin.
Host: Senadin Musabegoviæ
UNITIC
18,00h
Poetry Evening «My poetics»
Particicipants: Bisera Alikadiæ, Forrest Gander (USA), Lars Gustafsson (Sweden), Bo_ica Jelu_iæ (Croatia), Kent Johnson (USA), Susanne Jorn (Denmark), Uwe Kolbe (Germany), Veselko Koroman, Christoph Meckel (Germany), Juan Octavio Prenz (Argentina), Inuo Taguchi (Japan), Haris Vlavianos (Greece).
Host: Dragan Jovièiæ
Musical program: Damir Imamoviæ Trio
Chamber Theatre 55
21,00h
Saturday
12.5.2007
Poetic Weekend in Mostar (in cooperation with «Mostar Literary Spring»)
Participants: Bisera Alikadiæ, Gokhan A açc o lu Cengizhan (Turkey), Munib Delaliæ, Ilhan Isik (Turkey), _eljko Ivankoviæ, Kent Johnson (USA), Alija Kebo, Zdravko Kordiæ, Barbara Korun (Slovenia), Dragan Marijanoviæ, Admiral Mahiæ, Sonja Manojloviæ (Croatia), Miro Petroviæ, Juan Octavio Prenz (Argentina), Goran Sariæ, Safet Sariæ, Mile Stojiæ, Simone Trieder (Germany).
Queen Katarina Gallery, Coatian House of Herceg Stjepan Kosaèa
20,00 sati
Sunday
13.5.2007
Field trip: Poèitelj, _itomisliæi, Blagaj.
Monday
14.5.2007
Translators Encounter: Between Tradition and Modernism
- Foreign and domestic translators discussion
Participants: Katica Acevska (Macedonia), Ismail Bandora (Jordan), Danilo Capassa, Ranko Æetkoviæ (Germany), Danuta Æiriliæ (Poland), Suat Engullu (Turkey), _ela Georgieva (Bulgaria), Francis Jones (United Kingdom), Marko Kravos (Slovenia), Grzegorz Latuszynsky (Poland), Josip Osti (Slovenia), Astrid Philippsen (Germany), Viktoria Radiæ (Hungary), Gamal Sayed (Egypt), Damijan _inigoj (Slovenia), Kayoko Yamasaki (Japan).
Moderator: Prof. Zvonimir Radeljkoviæ
Faculty of Philosophy Sarajevo
11,00h
Literary and Artistic Profile of Vladimir Puljiæ
Exibition of literary works and paintings
Pariticipants: Nikola Kovaè and _eljko Ivankoviæ
Writers ClubGallery
18,00h
Encounter With Poets: Gokhan A açc o lu Cengizhan and Ilhan Isik.
Host: Alena Èatoviæ
Turkish Cultural Center
19,00h
Poetry Evening „Secrets of Craft"
Participants: Flora Brovina (Kosova), Ferida Durakoviæ, Fadila Nura Haver, Orsolya Kalasz (Hungary), Barbara Korun (Slovenia), Radmila Laziæ (Serbia), Sonja Manojloviæ (Croatia), Nermina Omerbegoviæ, Ljubica Ostojiæ, Ana Ristoviæ (Serbia), Jasna _amiæ, _ejla _ehaboviæ, Simone Trieder (Germany), Marina Trumiæ, Narcisa Vuèina.
Host: Adisa Ba_iæ-Èeèo
Musical program: Jelena Milu_iæ Quintet
Club «Colosseum»
20,30h
Guest appearance in Banja Luka – International Poetry Evening
Participants: Amir Brka, Aleksandra Èvoroviæ, Dinko Deliæ, Forrest Gander (USA), Lars Gustafsson (Sweden), Bo_ica Jelu_iæ (Croatia), Susanne Jorn (Denmark), Kristina Mr_a, Senadin Musabegoviæ, Goran Simiæ, Mile Stojiæ, Faruk _ehiæ, Sreten Vujoviæ (Montenegro), Nikola Vukoliæ.
Banski dvor
19,00h
Guest appearance in Gora_de – International Poetry Evening
Participants: Muniam Alfaker (Denmark), Rasim Æelahmetoviæ (Serbia), Mohamed Ahmed Hamad (Egypt), Irfan Horozoviæ, Kama Kamanda (Congo/Luxemburg), Refik Lièina, Faiz Softiæ, Inuo Taguchi (Japan), Stevan Tontiæ.
Host: Had_em Hajdareviæ
Cultural Center «Youth House» Gora_de
19,00h
Tuesday
15.5.2007
Translators Encounter: Between Tradition and Modernism
- Discussion with foreign and domestic translators.
Participants: Katica Acevska (Macedonia), Ismail Bandora (Jordan), Danilo Capassa, Ranko Æetkoviæ (Germany), Danuta Æiriliæ (Poland), Suat Engullu (Turkey), _ela Georgieva (Bulgaria), Francis Jones (United Kingdom), Marko Kravos (Slovenia), Grzegorz Latuszynsky (Poland), Josip Osti (Slovenia), Astrid Philippsen (Germany), Viktoria Radiæ (Hungary), Gamal Sayed (Egypt), Damijan _inigoj (Slovenia), Kayoko Yamasaki (Japan).
Moderator: Marina Trumiæ
Bosnian Institute
11,00h
Old Town Sarajevo and museums tour
(9,30h – 14h)
Closing Ceremony
Participants: Muniam Alfaker (Denmark), Flora Brovina (Kosova), Amir Brka, Gokhan A açc o lu Cengizhan (Turkey), Dragoslav Dedoviæ, Alija Duboèanin, Forrest Gander (USA), Lars Gustafsson (Sweden), Husein Haskoviæ, Ilhan Isik (Turkey), Bo_ica Jelu_iæ (Croatia), Orsolya Kalasz (Hungary), Veselko Koroman, Radmila Laziæ (Serbia), Juan Octavio Prenz (Argentina), Damir Uzunoviæ.
Reward giving ceremony: «Bosanski steæak» for 2007. godinu
Musical program: Jelena Milu_iæ Quintet
Youth House «Skenderija»
19,30h
9.5.2007
Opening Ceremony
Participants: Rasim ÿelahmetoviÿ (Serbia), Muhamed Ahmed Hamad (Egypt), Fadila Nura Haver, Kent Johnson (USA), Susanne Jorn (Denmark), Kama Kamanda (Congo/Luxemburg), Uwe Kolbe (Germany), Ivan Kordiÿ, Sonja Manojloviÿ (Croatia), Christoph Meckel (Germany), Faruk _ehiÿ, Ale_ _teger (Slovenia), Inuo Taguchi (Japan), Sreten Vujoviÿ (Montenegro), Almir Zalihiÿ .
Host-moderator: Senadin Musabegoviÿ
Youth House «Skenderija»
13,00h
Contemporary German Poetry
Participants: Uwe Kolbe, Christoph Meckel, Simone Trieder.
Host-moderator: Stevan Tontiÿ
Recited by: Hasija Boriÿ
Bosnian Institute
19,00h
International Poetry Evening – Guest appearance at Kakanj
Participants: Muniam Alfaker (Denmark), Rasim Æelahmetoviæ (Serbia), Kama Kamanda (Congo/Luxemburg), Faiz Softiæ, Ale_ _teger (Slovenia), Narcisa Vuèina, Sreten Vujoviæ (Montenegro).
National Library Kakanj
19,30h
Poetry Evening: Lars Gustafsson
Host: Refik Lièina
Caffe «Carabit»
21,00h
Thursday
10.5.2007
My Poetics – Autopoetic Confessions
Participants: Bisera Alikadiæ, Bo_ica Jelu_iæ (Hrvatska), Uwe Kolbe (Njemaèka), Forrest Gander (SAD), Lars Gustafsson (_vedska), Christoph Meckel (Njemaèka).
Host-moderator: Stevan Tontiæ
Galerija «Gabrijel» Kamernog teatra 55
11,00 sati
Hommage: Æamil Sijariæ
- Opening of the exibition: Life and Work
Participants: Asmir Kujoviæ and Nenad Radanoviæ.
Museum of Literature and Theatre Bosnia and Herzegovina
13,00h
Poetic Encounter with Forrest Gander and Kent Johnson
American Corner (Sarajevo City Library)
18,00h
Literary Portrait: Veselko Koroman
Participants: Grzegorz Latuszynski, Hanifa Kapid_iæ-Osmanagiæ and Mile Stojiæ.
Gallery «Gabrijel» of Chamber Theatre 55
19,00h
International Poetry Evening
Participants: Muniam Alfaker (Denmark), Flora Brovina (Kosova), Alija Duboèanin, Mohamed Ahmed Hamad (Egypt), Husein Haskoviæ, Ilhan Isik (Turkey), Juan Octavio Prenz (Argentina), Ale_ _teger (Slovenia), Haris Vlavianos (Greece), Narcisa Vuèina, Sreten Vujoviæ (Montenegro).
Cultural Center – Dobrinja
19,00h
German Poetry Today: Uwe Kolbe and Christoph Meckel
Host-moderator: Stevan Tontiæ
Master Library of Eastern Sarajevo
19,00h
Guest appearance in Tuzla: International Poetry Evening
Sudjeluju: Barbara Korun (Slovenia), Gokhan A açc o lu Cengizhan (Turkey), Rajko _urica, Orsolya Kalasz (Hungary), Kama Kamanda (Congo/Luxemburg), Admiral Mahiæ, Kemal Mahmutefendiæ, Sonja Manojloviæ (Croatia), Dara Sekuliæ, Jasna _amiæ, Inuo Taguchi (Japan), Almir Zalihiæ.
Host: _ejla _ehaboviæ
National Theatre Tuzla
19,00h
Friday
11.5.2007
My Poetics: Autopoetic Confessions
Participants: Kent Johnson (USA), Susanne Jorn (Denmark), Veselko Koroman, Juan Octavio Prenz (Argentina), Inuo Taguchi (Japan), Haris Vlavianos (Greece).
Host-moderator: Stevan Tontiæ
Gallery «Gabrijel» of Chamber Theartre 55
11,00h
Contemporary German Poetry
Participants: Uwe Kolbe, Christoph Meckel, Simone Trieder.
Faculty of Philosophy Sarajevo, Department of German Language and Literature
11,00h
Poetic Noon With Elementary Shool Students
Participants: Ivo Mijo Andriæ, Ismet Bekriæ, Husein Dervi_eviæ, Ibrahim Kajan, Ivica Vanja Roriæ, Miroslav Jovanoviæ Timotijev (Montenegro), Valerija Skrinjar-Tvrz (Slovenia).
Host: Mirsad Beæirba_iæ
Old Town Municipality
12,00h
Poetic Evening With Elementary School Students
PArticipants: Ivo Mijo Andriæ, Ismet Bekriæ, Husein Dervi_eviæ, Ibrahim Kajan, Ivica Vanja Roriæ, Miroslav Jovanoviæ Timotijev (Montenegro), Valerija Skrinjar-Tvrz (Slovenia).
Host: Mirsad Beæirba_iæ
New Town Municipality Hall
17,00h
Evening of Bosnian Poets in Exile
Participants: Mustafa Arnautoviæ, Dragoslav Dedoviæ, Munib Delaliæ, Goran Jankoviæ, Refik Lièina, Goran Sariæ, Goran Simiæ, Faiz Softiæ, Jasna _amiæ, Narcisa Vuèina, Vjekoslav Vukadin.
Host: Senadin Musabegoviæ
UNITIC
18,00h
Poetry Evening «My poetics»
Particicipants: Bisera Alikadiæ, Forrest Gander (USA), Lars Gustafsson (Sweden), Bo_ica Jelu_iæ (Croatia), Kent Johnson (USA), Susanne Jorn (Denmark), Uwe Kolbe (Germany), Veselko Koroman, Christoph Meckel (Germany), Juan Octavio Prenz (Argentina), Inuo Taguchi (Japan), Haris Vlavianos (Greece).
Host: Dragan Jovièiæ
Musical program: Damir Imamoviæ Trio
Chamber Theatre 55
21,00h
Saturday
12.5.2007
Poetic Weekend in Mostar (in cooperation with «Mostar Literary Spring»)
Participants: Bisera Alikadiæ, Gokhan A açc o lu Cengizhan (Turkey), Munib Delaliæ, Ilhan Isik (Turkey), _eljko Ivankoviæ, Kent Johnson (USA), Alija Kebo, Zdravko Kordiæ, Barbara Korun (Slovenia), Dragan Marijanoviæ, Admiral Mahiæ, Sonja Manojloviæ (Croatia), Miro Petroviæ, Juan Octavio Prenz (Argentina), Goran Sariæ, Safet Sariæ, Mile Stojiæ, Simone Trieder (Germany).
Queen Katarina Gallery, Coatian House of Herceg Stjepan Kosaèa
20,00 sati
Sunday
13.5.2007
Field trip: Poèitelj, _itomisliæi, Blagaj.
Monday
14.5.2007
Translators Encounter: Between Tradition and Modernism
- Foreign and domestic translators discussion
Participants: Katica Acevska (Macedonia), Ismail Bandora (Jordan), Danilo Capassa, Ranko Æetkoviæ (Germany), Danuta Æiriliæ (Poland), Suat Engullu (Turkey), _ela Georgieva (Bulgaria), Francis Jones (United Kingdom), Marko Kravos (Slovenia), Grzegorz Latuszynsky (Poland), Josip Osti (Slovenia), Astrid Philippsen (Germany), Viktoria Radiæ (Hungary), Gamal Sayed (Egypt), Damijan _inigoj (Slovenia), Kayoko Yamasaki (Japan).
Moderator: Prof. Zvonimir Radeljkoviæ
Faculty of Philosophy Sarajevo
11,00h
Literary and Artistic Profile of Vladimir Puljiæ
Exibition of literary works and paintings
Pariticipants: Nikola Kovaè and _eljko Ivankoviæ
Writers ClubGallery
18,00h
Encounter With Poets: Gokhan A açc o lu Cengizhan and Ilhan Isik.
Host: Alena Èatoviæ
Turkish Cultural Center
19,00h
Poetry Evening „Secrets of Craft"
Participants: Flora Brovina (Kosova), Ferida Durakoviæ, Fadila Nura Haver, Orsolya Kalasz (Hungary), Barbara Korun (Slovenia), Radmila Laziæ (Serbia), Sonja Manojloviæ (Croatia), Nermina Omerbegoviæ, Ljubica Ostojiæ, Ana Ristoviæ (Serbia), Jasna _amiæ, _ejla _ehaboviæ, Simone Trieder (Germany), Marina Trumiæ, Narcisa Vuèina.
Host: Adisa Ba_iæ-Èeèo
Musical program: Jelena Milu_iæ Quintet
Club «Colosseum»
20,30h
Guest appearance in Banja Luka – International Poetry Evening
Participants: Amir Brka, Aleksandra Èvoroviæ, Dinko Deliæ, Forrest Gander (USA), Lars Gustafsson (Sweden), Bo_ica Jelu_iæ (Croatia), Susanne Jorn (Denmark), Kristina Mr_a, Senadin Musabegoviæ, Goran Simiæ, Mile Stojiæ, Faruk _ehiæ, Sreten Vujoviæ (Montenegro), Nikola Vukoliæ.
Banski dvor
19,00h
Guest appearance in Gora_de – International Poetry Evening
Participants: Muniam Alfaker (Denmark), Rasim Æelahmetoviæ (Serbia), Mohamed Ahmed Hamad (Egypt), Irfan Horozoviæ, Kama Kamanda (Congo/Luxemburg), Refik Lièina, Faiz Softiæ, Inuo Taguchi (Japan), Stevan Tontiæ.
Host: Had_em Hajdareviæ
Cultural Center «Youth House» Gora_de
19,00h
Tuesday
15.5.2007
Translators Encounter: Between Tradition and Modernism
- Discussion with foreign and domestic translators.
Participants: Katica Acevska (Macedonia), Ismail Bandora (Jordan), Danilo Capassa, Ranko Æetkoviæ (Germany), Danuta Æiriliæ (Poland), Suat Engullu (Turkey), _ela Georgieva (Bulgaria), Francis Jones (United Kingdom), Marko Kravos (Slovenia), Grzegorz Latuszynsky (Poland), Josip Osti (Slovenia), Astrid Philippsen (Germany), Viktoria Radiæ (Hungary), Gamal Sayed (Egypt), Damijan _inigoj (Slovenia), Kayoko Yamasaki (Japan).
Moderator: Marina Trumiæ
Bosnian Institute
11,00h
Old Town Sarajevo and museums tour
(9,30h – 14h)
Closing Ceremony
Participants: Muniam Alfaker (Denmark), Flora Brovina (Kosova), Amir Brka, Gokhan A açc o lu Cengizhan (Turkey), Dragoslav Dedoviæ, Alija Duboèanin, Forrest Gander (USA), Lars Gustafsson (Sweden), Husein Haskoviæ, Ilhan Isik (Turkey), Bo_ica Jelu_iæ (Croatia), Orsolya Kalasz (Hungary), Veselko Koroman, Radmila Laziæ (Serbia), Juan Octavio Prenz (Argentina), Damir Uzunoviæ.
Reward giving ceremony: «Bosanski steæak» for 2007. godinu
Musical program: Jelena Milu_iæ Quintet
Youth House «Skenderija»
19,30h
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