How do non-native forms adapt to the English language?
To translate a poem from one language to another requires linguistic and syntactic compromises, sometimes sacrifices, to bring the poem as intact as possible, and as faithful as possible, across the divide. What, though, of form? In this one-day masterclass we will explore the ways in which poetic forms from non-English languages adapt to English; whether it is the Greek and Latin quantitative metre, the Farsi ghazal, the French kyrielle, the renga, from Japan, or the muwashshah of Arab Andalusia.
Please note: Entry to this course is by application only. If you would like to join please send a submission of three poems to firstname.lastname@example.org If you book online before applying we cannot guarantee that you will be granted entry to the course.
Saturday 11 May, 10.30am – 4.30pm.
All classes will be in our offices at 1 Dock Offices, Surrey Quays Road, Canada Water, SE16 2XU. The venue is a 2-minute walk from Canada Water Station. Take the ‘Lower Road’ exit from the station onto Surrey Quays Road, then walk straight ahead, crossing over Deal Porters Way, and the Dock Offices come up on the left. The door for the school is at the far end of the building.
More information about how all our face-to-face courses work can be found on the Face-to-Face courses page.
image credit: pualv
About Marilyn Hacker View Profile
Marilyn Hacker was born in New York City, and has lived in San Francisco, London and, for the last ten years, in Paris. She is the author of fourteen books of poetry, including Blazons (Carcanet, 2019), Essays on Departure (Carcanet, 2006), as well as A Stranger’s Mirror (2015), Names (2010), Desesperanto (2003) and the verse novel Love, Death and the Changing of the Seasons (1986). A book of literary essays, Unauthorized Voices, appeared in 2010, and DiaspoRenga, a collaborative book written with Deema K. Shehabi, in 2014. She has also published sixteen collections of translations of French and Francophone poets, including Vénus Khoury-Ghata’s Alphabets of Sand (Carcanet, 2009), and A Handful of Blue Earth (Liverpool University Press, 2017), Emmanuel Moses’s Preludes and Fugues (2016), Habib Tengour’s Crossings (2013) and Guy Goffette’s Charlestown Blues (2007). Her awards include the National Book Award for her first collection, Presentation Piece, the Academy of American Poets’ Lenore Marshall Award for Winter Numbers in 1995,which also received a Lambda Literary Award, the American PEN Award for Poetry in Translation for Marie Etienne’s King of a Hundred Horsemen in 2009, the PEN Voelcker Award in 2010, and the Argana International Award from the Beit as-Shir/House of Poetry in Morocco in 2011.
‘I have become more confident in sharing my work, but also more able to accept criticism and to criticise my poetry.'