fter Rilke is the culmination of more than five years work. I began thinking about the sounds of words (rather than their meanings) the summer of 2001 while reading from bpNichol’s whimsical translations of both Catullus and Apollinaire. It was these works that got me going, opened my mind to other possibilities. However, it was Louis Zukofsky’s Catullus that asked me to put pen to paper. I’m unsure when Rilke’s The Voices entered in, but it was early on. Only later did Spicer begin to help me re-arrange the furniture – the Martians have been with me ever since. As you know, we are the “future poets” that Jack spoke of and this work is meant to correspond with his.
“All first person pronouns have a shared pulse. Here, Rilke’s original poems are being translated by Goldstein (and the epistolary Martians) a la Spicer’s After Lorca
. The author is soaking German for its English. By sound. Did he say what I thought he said? Spider? Milky? A homage to both Spicer and Rilke, this sequence of skewed echoes is inter-cut by angry and comical dispatches. The playful snarl of Language itself.” – Phil Hall
Read Mark Goldstein's essay "The Mask of Translation" on Jacket2 to learn more about his poetics.
Toronto writer Mark Goldstein is the author of three books of poetry published by the award-winning BookThug: Form of Forms
(2010); and After Rilke
(2008). His poetry and criticism have also appeared in periodicals such as Matrix Magazine and Jacket2.
He has taught transtranslation workshops at the Toronto New School of Writing, SUNY Albany and lectured on translation in Paris at the École des hautes études en sciences sociales.
Before becoming a full-time writer, Goldstein played drums alongside Leslie Feist and Broken Social Scene's Brendan Canning in the indie rock band By Divine Right.
48 pages; perfectbound into printed wrappers
ISBN 978 1 897388 21 1