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R A P I D R I V E R A R T S & C U L T U R E
Until relatively recently, Cesare
Pavese (1908-1950) was
primarily remembered as a
novelist, and indeed he wrote
some of the finest novels produced
during and immediately after
the short reign of Fascism in Italy.
Such Pavese novels as The Moon
and the Bonfires
(1950) exposed the
difficulties of being a “regional” writer
in a nation whose leaders were attempting
to suppress regional identity
and individual dignity to create a more
centralized, nationalistic society.
Pavese’s narratives were characterized
by a specific and vivid sense of
place (Turin and the countryside near
that city), and his use of language was
colloquial yet precise. As a measure
of the power and universality of his
writing, most of Pavese’s novels are
available today in English translations
(alas, his remarkable nonfiction work
Dialogues with Leuco
and many of his
short stories are not currently in-print
in English-language editions).
Significantly, the literary qualities
that infused Pavese’s novels were first
realized in poems composed during
the mid-1930s, such as his masterful
narrative poem “South Seas.”
The availability of Pavese’s poetry
in English can be traced to William
Arrowsmith’s 1976 translation of
the Italian author’s debut volume of
poems, Lavorare stanca (published in
1936, with an expanded edition issued
in 1943).
Translated by Arrowsmith as
Hard Labor, this book featured Pavese’s
hypnotic, mysterious story-poems,
transformed by Arrowsmith into
credible English-language versions
that were at the same time understated
and luminous. Another attribute of
the book was its introductory essay,
in which Arrowsmith postulated that
Pavese’s tragic worldview was an
inevitable outcome of his struggles to
survive in an increasingly repressive
society (the Italian authorities, citing
Pavese’s skeptical attitude toward Fascism,
confined the author to exile for
poetry & poets
Cesare Pavese’s Poetry: A Tale of Two Translators
Poetry
Contest
Winners
Winning poems
will be published
in the March 2011
issue of Rapid
River Magazine.
three years). In his introductory essay,
Arrowsmith also traced the influence
on Pavese — who translated into Italian
a number of English-language literary
classsics — of a range of English
and American authors.
Arrowsmith’s powerful translations
attracted the attention of American
readers to Pavese’s poetry, yet Hard
Labor
would eventually fall out-ofprint.
Another translator, Geoffrey
Brock, would fill the void by offering
new translations of Pavese’s poetry.
Cesare Pavese
Unlike Arrowsmith, who focused
exclusively on Lavorare stanca, Brock
translated all of Pavese’s poetry, including
both the 1936 and 1943 editions of
Lavorare stanca
(which Brock retitles
as Work’s Tiring) as well as Pavese’s
later poetry (including the important
sequence of poems “Death Will Come
and Will Have Your Eyes”).
Brock’s interpretations of Pavese
— published as Disaffections: Com-
plete Poems 1930-1950
(Copper Can-
yon Press, 2002) — complemented
rather than imitated Arrowsmith’s
translations. Brock confronted the
relationship of his translations to
Arrowsmith’s texts:
“One of the strengths of the Arrowsmith
versions is that they
emerge into English with an
undeniable energy and sensibility
of their own. For my taste,
such translations are nearly always
preferable to blandly literal versions,
which in their loyalty to the
letter often betray the spirit. Still,
Arrowsmith’s versions sometimes
betray the spirit of the poems in
other ways. They are, for example,
chattier and less measured
(in all senses of that word) than
Pavese’s original poems, whose
tight-lipped rhythm becomes an
integral part of the experience of
reading them, as it apparently was
of the experience of writing them.
I have felt obligated, in my translations,
to try to create a similar
rhythmic experience.”
BY TED OLSON
It is difficult to include in this
short column an adequate example
of Pavese’s poetry because his poems
tend to be lengthier than typical modern
lyric poems and often involve narrative
elements that make little sense
when quoted out of context. Here’s
the entirety of one minor Pavese
poem, “Sketch of a Landscape,” taken
from Brock’s book (page 281):
The pigs and the girls with sacks on their heads
walk through the streets: droplets of rain
are whipped by the wind as they fall. Each puddle,
with its pale blue-gray face, smiles at the clouds.
In the piazza the people can’t seem to argue,
they accommodate everyone, and goats and hogs,
along the town walls. Where mortar has crumbled,
there rises the solid flowering mass of a tree.
Granted that Brock’s Pavese
volume received several prestigious literary
awards for excellence in translation,
I find that when wishing to read
Pavese’s poetry, I — as one who has
marveled for years at Arrowsmith’s
passionate take on Lavorare stanca
— invariably locate my weathered
copy of that earlier book.
Yet Brock should be applauded
for recreating the distinctively structured
prosody of Pavese’s original
Italian poems in accurate Englishlanguage
versions. English-speaking
poetry aficionados should be grateful
to Brock for making all of Pavese’s
poems available within one beautifully
designed and affordable edition.
Ted Olson is the author
of such books as
Breathing in Darkness:
Poems
(Wind
Publications, 2006)
and Blue Ridge Folklife
(University Press of
Mississippi, 1998) and
he is the editor of numerous books,
including CrossRoads: A Southern
Culture Annual
(Mercer University
Press, 2009). His experiences as
a poet and musician are discussed
on www.windpub.com/books/
breathingindarkness.htm.
Poets who would like for their poetry to be
considered for a future column may send
their books and manuscripts to Ted Olson,
ETSU, Box 70400, Johnson City, TN
37614. Please include contact information
and a SASE with submissions.
26 February 2011 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 14, No. 6