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George Szirtes
George Szirtes's many books of poetry have won various prizes including the T. S. Eliot Prize (2004), for which he is again shortlisted for Bad Machine (2013). His translation of László Krasznahorkai's Satantango (2013) was awarded the Best Translated Book Award in the US. The act of translation is, he thinks, bound to involve fidelity, ambiguity, confusion and betrayal.

Articles Available Online


Foreword: A Pound of Flesh

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Issue No. 12

George Szirtes

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Issue No. 12

1.   ANALOGIES FOR TRANSLATION ARE MANY, most of them assuming a definable something on one side of the equation – a fixed original...

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January 2014

Afterword: The Death of the Translator

George Szirtes

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January 2014

1. The translator meets himself emerging from his lover’s bedroom. So much for fidelity, he thinks. 2. Je est...

Of his art dealer, Daniel-Henry Kahnweiler, Pablo Picasso once wondered, ‘What would have become of us if Kahnweiler hadn’t had a business sense?’ The dealer, who did so much with his Paris gallery between 1907 and 1914 to usher Cubism into the world, felt similarly indebted: ‘it is great artists’, he said, ‘who make great dealers’ Then as now, one without the other is unimaginable   Kahnweiler is one among several historic dealers in modern and contemporary art who might serve as role models to the gallerists who are today responsible for bringing ground-breaking artists to a wider public He was, by some accounts, a meagre businessman, but he had the temper for Cubism when few others did He knew not only how to spot artists (he showed all the principal Cubists: Picasso, Georges Braque, Juan Gris, Fernand Léger) but also how to put them into conversation When his artists were unsure, he suggested titles for their work; he wrote about their paintings to provide audiences with context; he recognised the force of their style ‘I did not have the slightest doubt,’ he said, ‘as to either the aesthetic value of these pictures or their importance in the history of painting’   By the time he opened his gallery at 28, rue Vignon, the Salon de Paris had long been on the wane and public tastes were shifting The most affluent members of the bourgeoisie had the money for art, but only a nascent sensibility for abstraction They needed a gallery like his to put the art into context Kahnweiler’s Cubist programme – like Alfred Steiglitz’s photography programme at his 291 gallery in New York, or Charles Egan’s Abstract Expressionist emphasis at his eponymous New York gallery in the 1940s – lent focus to a new chapter in the history of modernism   The most important dealers have always made that their task That’s what the American art dealer Leo Castelli did with his gallery, which he opened in New York in 1957 In January 1958, he hosted Jasper Johns’ first solo show The exhibition, which included Johns’ paintings of American flags, rang the closing bell for

Contributor

August 2014

George Szirtes

Contributor

August 2014

George Szirtes’s many books of poetry have won various prizes including the T. S. Eliot Prize (2004), for which...

Shine On You Crazy Diamond

poetry

November 2013

George Szirtes

poetry

November 2013

And so they shone, every one of them, each crazy, everyone a diamond shining the way things shine, each becoming a gleam in his...
Rescue Me

poetry

November 2013

George Szirtes

poetry

November 2013

Pain comes like this: packaged in a moment of hubris with a backing band too big for its own good. It isn’t the same...

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fiction

December 2016

The Giving Up Game

Rowan Hisayo Buchanan

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December 2016

The peculiar thing was that Astrid appeared exactly as she did on screen. She was neither taller nor shorter....

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April 2014

by Accident

David Isaacs

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April 2014

[To be read aloud]   I want to begin – and I hope I don’t come across as autistic...

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October 2012

Pressed Up Against the Immediate

Rye Dag Holmboe

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October 2012

The author Philip Pullman recently criticised the overuse of the present tense in contemporary literature, a criticism he stretched...

 

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