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.
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Juan Gelman (Buenos Aires, Argentina, 1930) is one of the most read and influential poets in the Spanish language. He was published more than twenty books of poetry since 1956 and was been translated into fourteen languages. A political activist and critical journalist since his youth, Gelman was not only been a literary paradigm but also a moral one, within and outside of Argentina. Among his most recent awards were the National Poetry Prize (Argentina, 1997), the Juan Rulfo Prize in Latin American and Caribbean Literature (Mexico, 2000), the Pablo Neruda Prize (Chile, 2005), the Queen Sofia Prize in Ibero-American Poetry (Spain, 2005), and the Cervantes Prize (the most important award given to a Hispanic writer, Spain, 2007). He died in Mexico City in 2014.
lament for sim simmon’s weeping
one autumn morning sim simmons
woke without eyes as if they had fallen in favor of the season
“but no matter” he said
and smoothed his memory
“no matter no matter at all” sim simmons would say
placing empty trees in eye sockets
trees he fed with stampedes
cries forgetfulness silent parts
nocturnal insects death’s bearers
made their rounds through the trees
“no matter” sim would say
spreading his tender wings
and circling the sky
“if I were a cloud” he would say “if I were a falcon or catastrophe
what my heart eats away at” he would say
“you have quenched yourself dove” sim simmons would say without weeping
“I have no eyes to cry” he would say “but I should”
he would say remembering everything vegetable
water weeping rain or river needs
a tender nest to guard against the cold
and so sim simmons began to weep
the trees flew all around him
and once again he had eyes to watch or to see or to suffer
and to weep without feeding anyone
“I deserve it” sim simmons would say late
“I quite deserve it” he would say with his eyes now dry
hard brilliant as the sun
beneath the Alabama land
two rivers were born where they buried him
one toward the north the other toward the south
for memory for oblivion
and everyone had water
but sim simmons did not:
he looked downward
now deserving or dead or sad
without trees without trees
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