In my last post, I wrote that I see a lot of anxiety about translations in US literary discussions: “… the threat of translation is the threat of a kind of excess: too many versions of too many texts by too many authors from too many lineages.” Once you add the writing form another country, the illusion of objectivity of a single “tradition” is put in doubt (of course this dynamic is often at play in smaller, non-major countries).
One way this anxiety is manifested is in the skepticism about foreign texts. Whenever there’s a translation, people wonder: Is this really a major writer? Does this writer really deserve to be translated into our language? Is this translation really correct or is it corrupting the truly great poet? Or, as I noted in the essay I linked to last post, are the “young American poets” being “improperly influenced” by foreign writers without having mastered their tradition.
In his anthology “I Am A Face Sympathizing With Your Grief,” Alireza Taheri Araghi shows no intention of creating an illusory alternative canon of great works of Iran. Instead he has searched out underground poets – or more correctly, Internet poets – who have not been deemed publishable by the Iranian government. In a sense Araghi has done the opposite of the typical canonical anthology; he has chosen “young” poets who excite him, many who have little or none of the official recognition that translation discourse tends to demand.