Earlier this month British bookmakers offered Tomas Tranströmer, perhaps Sweden’s most noted poet, as a 5/1 favorite to win this year’s Nobel Prize in Literature, placing him ahead of three other poets ranked at 8/1 - Adam Zagajewski of Poland, South Korea’s Ko Un and Syria’s Adonis - as well as the Paraguayan playwright Nestor Amarilla. Tranströmer, born in Stockholm in 1931 has, in addition to his career as a noted poet, critic and translator, worked as a psychologist providing vocational guidance to Sweden’s incarcerated juvenile offenders. This year is not the first time that he has been on the bookies’ shortlist for this prestigious honor. I welcomed this news but suspected that Tranströmer would not win since last year’s laureate was a European - the Romanian-born German novelist, poet and essayist, Herta Müller. One hopes that geopolitics would not influence the judges, but it does. A Hispanic writer had not won since 1998, when José Saramago, the Portuguese novelist and playwright who passed away in June, took home the Nobel laurels. But when you think about it, no Swede - no Scandinavian - has won the Nobel Prize in Literature since 1974 when Harry Martinson and Eyvind Johnson, both members of the Swedish Academy, shared the prize. So I was not surprised when the Academy anointed Peru’s Mario Vargas Llosa as this year’s winner. He was not the bookmakers choice - his chances were listed as 45/1 - but there can be little argument that Llosa is deserving of the honor.
I will admit that I was pulling for Tranströmer. I have been reading his poetry since I was first introduced to it in English translation almost 40 years ago. Robert Bly, his longtime friend and translator, writing in the introduction to his 1980 translation of Tranströmer’s Sanningsbarriären [Truth Barriers (1978)], has perhaps captured the essence of Tranströmer’s importance and appeal to readers. His “poems are a luminous example of the ability of poetry that inhabits one culture to travel to another culture and arrive.” I felt an immediate connection to his poems when I first heard him read in the spring of 1974 when I was attending graduate school at the University of Arizona, in Tucson.
I was working on a Master’s degree in German Literature at the time and had been involved with the University’s Ruth Stephan’s Poetry Center since my arrival in Tucson. I was especially drawn to its venerable reading series and the small poetry library located in a house donated by Ms. Stephan (a second donated residence, a small cottage, housed the noted poets visiting the Center). Tranströmer came to Tucson in late February 1974 to give a campus reading. He was also interviewed for the new student literary magazine, Window Rock, which also reprinted a couple of his more recent poems. I was there that evening sitting in the front row. Admittedly, I knew very little about the poet and his work when he took to the stage. He came before us as a relatively new presence and voice. Although he rose to prominence as a promising new voice in his native Sweden in 1954 with the publication of 17 dikter [17 Poems], at the age of 23, it was not until the early 1970s, with the publication of Robert Bly’s translation of 20 Poems (1970), and May Swenson’s translations in Windows and Stones: Selected Poems of Tomas Tranströmer (1972), that English-speaking readers were first introduced to the work of this fine Swedish poet. I read some of these translations prior to that evening, especially after hearing Swenson read in Tucson the previous month when she offered effusive praise for Tranströmer’s poetry. I cannot say that I fully understood them, but I was nevertheless intrigued as I felt he was a new and important poetic voice. There was an inborn authority underlying ever word, every phrase.
Now the evening star burns through cloud.
Trees, fences and houses grow, grow larger
with the dark’s soundless, steepening fall.
And under the star is outlined clear and clearer
the other, secret landscape that lives
the life of contour on night’s X-ray plate.
A shadow draws its sled between the houses,
They wait.
[“Epilogue,” from 17 dikter, translated by May Swenson]
What I recall from the poems read that evening, and what I have taken from all of his poetry I have read since, is Tranströmer’s very strong sense of place, even when it tends toward the surrealistic at times - Sweden, of course (he has continued to reside in Västerås near Stockholm), but more particularly the islands of Södermalm and Runmarö and the east-central coastal archipelago of his ancestors where Tranströmer spent the summers during his youth. The audience was enwrapped from start to finish and I left that evening a convert.
Tranströmer’s long poem Östersjöar was published in the autumn of 1974, and Samuel Charters acclaimed English translation Baltics was brought out by the Berkeley publisher Oyez in 1975. I read it as soon as I could lay my hands on a copy (which, I recall, was not very easy). It provided entree into an entirely new understanding of Tranströmer’s poetics and use of metaphor, and I agree with the poet Bill Coyle who later wrote that this collection “ is in some ways the best place for a new reader of Tranströmer to start; it develops more slowly than his shorter pieces, and his metaphors, though as striking here as elsewhere, reveal themselves more gradually.” Again, the strong sense of place - the Stockholm archipelago, and the Baltic Sea.
In the middle of the forest the Baltic also sighs, deep in the
forest you’re out on the open sea.
[Baltics, II]
“The Baltic is Tranströmer’s archetypal environment,” Coyle writes, “with its mixture of sea and islands, of sweet and salt water and, at least during the Cold War, of democracies and dictatorships.” The Baltic states of Lithuania, Latvia and Estonia had been under Soviet domination since the end of World War II, and this long poem reflects the geopolitical realities of the Baltic region and their impact on the poet and his work.
Now, a hundred years later. The waves come in from no man’s
water
and break against the stone.
[Baltics, III]
Transtömer returned to Tucson in November 1975 for a reading at which he presented Baltics in its entirety. I had an opportunity to speak with the poet at some length afterwards and he graciously inscribed my copy of the Charters translation of Baltics as well as my copy (one of 600) of the inaugural 1974 number of Window Rock with it’s interview of the poet and the reprints of two of his poems. I went home that evening with a deeper admiration for the poet and his work, but also a better understanding of the plight of these small nations so close to the poet’s native Baltic archipelago yet suffering under the oppressive Soviet thumb.
And now: the stretch of open water, without doors, the open
boundaries
that grow broader and broader
the farther you stretch out.
[. . . ]
But it’s a long way to Liepaja.
[Baltics, IV]
Baltics came up a few years later, in the autumn of 1979, when I had an opportunity to discuss Tranströmer’s poetry and the plight of the Baltic states with the noted Estonian poet Ivar Ivask (1927-1992) and the Lithuanian historian Vitas S. Vardys (1924-1993) . We shared dinner at the faculty club at the University of Oklahoma, in Norman, Oklahoma, and my long conversation with Ivask, who was then the editor-in-chief of World Literature Today and the founder of the Neustadt International Prize for Literature which Tranströmer would win in 1990, opened my eyes to other approaches to the poem, including those by Baltic writers in exile.
Tranströmer’s English speaking audience has continued to grow as has his influence on other poets. His work in translation appeared in Robert Bly’s Friends, You Drank Some Darkness: Three Swedish Poets: - Harry Martinson, Gunnar Ekelöf, Tomas Tranströmer (1975). Bly’s translation of Sanningsbarriären [Truth Barriers, 1978] appeared in 1980, and an entire issue of Michael Cuddihy’s fine journal, Ironwood 13, was devoted to Tranströmer in 1979 (published in Tucson, by the way). Tranströmer’s Selected Poems, containing the work of several of his noted translators and edited by Robert Haas, was published in 1987, and New Collected Poems, translated by Robert Fulton, appeared in 1997. This volume was greatly expanded in 2006 under the title The Great Enigma: New Collected Poems which represents the first time all of Tranströmer’s poems to date have been available in one volume in English.
I have been lucky to hear Tranströmer read two other times. First, at an evening reading in Stockholm, in the spring of 1985. I had a free evening in the city and it was a treat to hear selections of Östersjöar and other poems read in the original Swedish. Tranströmer was treated like a rock star yet he remained the same humble man I first encountered a decade earlier in Tucson. The last time was here in Washington, DC, when Tranströmer read at the Folger Library, in April 1986. The poet and his poetry had reached a new and recognizable maturity, yet his inner voice, and the voice by which he shared his poems in Stockholm and Washington, were still recognizable from that first time I heard him read in Tucson in 1974. Both, etched by new experiences, remained, spare, clear, and quiet - the benchmarks of his poetry through the years.
Thankfully, Tranströmer at age 79 remains a major poetic voice in the world. Sadly, however, his own voice has been largely silenced by a stroke he suffered in 1990, an event foretold years earlier toward the end of Baltics.
Something wants to be said, but the words don’t agree.
Something that can’t be said,
aphasia
there aren’t any words but maybe a style . . .
[. . .]
Then comes the stroke: right side paralysis and aphasia, can only
grasp short phrases, says wrong words
Can, as a result of this, not be touched by advancement or blame.
But the music’s still there, he still composes in his own style,
he becomes a medical sensation for the time he has left to live.
[Baltics, V]
Despite the cruel silence imposed upon him, Tomas Tranströmer continues to practice his craft and sharing it with the world. We are certainly thankful for his insights and his ability to help us recognize and transcend the boundaries that encompass us all.
As you may have read in the news, the Nobel Prize for Literature went to Swedish poet Tomas Tranströmer. While I hadn't heard of him before the announcement, I am happy that a poet has won (there aren't many poets among the recent laureates). The responses were mixed, but then they are every other year. Too many European laureates, some people says. He's just some obscure Scandinavian poet nobody was aware of, other people may say. I'll just link you to this article written by Tim Parks called 'What's Wrong with the NobelPrize in Literature'. It summarizes all my ideas on the prize: how can you award a prize that is supposed to be truly global when all the judges are Swedish academics? Of course the jury tried to send a red herring by awarding the prize to someone who writes in a minor language, Swedish. Of course, they were not bold enough to venture into kikuyu literature and this makes you think.
I think it is also nice to acknowledge that the Neustadt International Prize for Literature, which some people call the American Nobel, was awarded to Indian-Canadian writer RohintonMistry, which strangely enough I haven't read. He is a lot more famous than Tranströmer and writes in English.
Here you have the other side of the coin and the usual dilemma: is it better that those prizes be awarded to well-known writers who write in languages many people can read or is it worthwhile to dig for new talents in minor languages? And, above all, why do we care so much about these prizes?
Sweden's greatest living poet, Tomas Tranströmer, celebrated his 80th birthday in April of this year. To mark the occasion, Bloodaxe Books published a new expanded edition of his New Collected Poems, the award-winning definitive translation of all his poetry by Robin Fulton.
In Sweden, Daphne Records released Dagsmeja: Emma Tranströmer sjunger Tomas Tranströmer (Noon Thaw: Emma Tranströmer sings Tomas Tranströmer). This is a recording of settings of eighteen poems by Tranströmer performed by his daughter Emma Tranströmer, pianist Andreas Kreuger, guitarist David Härenstam and violinist Bernt Lysell. The main musical emphasis is on Fredrik Jakobsson, an outstandingly talented Swedish composer largely unknown to the general public. Emma also includes a couple of songs by the more established Maurice Karkoff, who recently completed two new Tranströmer settings, plus a few songs by Håkan Parkman, who died in a tragic drowning accident in August 1988, aged only 33.
The project began, Emma says, with the Dagsmeja concert performance at the Gävle Concert Hall in 2007. 'Dagsmeja is a tribute to my father, above all perhaps as a guide in the art of humane living, but also as reflected through his own poetry. Pianist Andreas Kreuger and I had a labour of love in finding the very music which felt perfectly fitting for the occasion.'
Three of the poems they chose for the concert and CD are printed below, with the translations by Robin Fulton from Tranströmer's New Collected Poems which accompany them in the CD booklet – this includes all the poems in the Swedish original with Fulton's translations, along with accounts of the project by Emma Tranströmer and by scholar Niklas Schiöler (who contributes a fascinating piece called 'Reading is listening' on Tranströmer and music). The CD cover shows J.M.W. Turner's painting Rain, Steam and Speed – The Great Western Railway (1844), which hangs in the National Gallery in London. Tranströmer's poem 'A Sketch from 1844' pictures Turner making a sketch possibly featuring the same train.
Pictures of Tomas Transtromer
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Tomas Transtromer
Tomas Transtromer
I will admit that I was pulling for Tranströmer. I have been reading his poetry since I was first introduced to it in English translation almost 40 years ago. Robert Bly, his longtime friend and translator, writing in the introduction to his 1980 translation of Tranströmer’s Sanningsbarriären [Truth Barriers (1978)], has perhaps captured the essence of Tranströmer’s importance and appeal to readers. His “poems are a luminous example of the ability of poetry that inhabits one culture to travel to another culture and arrive.” I felt an immediate connection to his poems when I first heard him read in the spring of 1974 when I was attending graduate school at the University of Arizona, in Tucson.
Tomas Transtromer
Tomas Transtromer
I was working on a Master’s degree in German Literature at the time and had been involved with the University’s Ruth Stephan’s Poetry Center since my arrival in Tucson. I was especially drawn to its venerable reading series and the small poetry library located in a house donated by Ms. Stephan (a second donated residence, a small cottage, housed the noted poets visiting the Center). Tranströmer came to Tucson in late February 1974 to give a campus reading. He was also interviewed for the new student literary magazine, Window Rock, which also reprinted a couple of his more recent poems. I was there that evening sitting in the front row. Admittedly, I knew very little about the poet and his work when he took to the stage. He came before us as a relatively new presence and voice. Although he rose to prominence as a promising new voice in his native Sweden in 1954 with the publication of 17 dikter [17 Poems], at the age of 23, it was not until the early 1970s, with the publication of Robert Bly’s translation of 20 Poems (1970), and May Swenson’s translations in Windows and Stones: Selected Poems of Tomas Tranströmer (1972), that English-speaking readers were first introduced to the work of this fine Swedish poet. I read some of these translations prior to that evening, especially after hearing Swenson read in Tucson the previous month when she offered effusive praise for Tranströmer’s poetry. I cannot say that I fully understood them, but I was nevertheless intrigued as I felt he was a new and important poetic voice. There was an inborn authority underlying ever word, every phrase.
Now the evening star burns through cloud.
Trees, fences and houses grow, grow larger
with the dark’s soundless, steepening fall.
And under the star is outlined clear and clearer
the other, secret landscape that lives
the life of contour on night’s X-ray plate.
A shadow draws its sled between the houses,
They wait.
[“Epilogue,” from 17 dikter, translated by May Swenson]
What I recall from the poems read that evening, and what I have taken from all of his poetry I have read since, is Tranströmer’s very strong sense of place, even when it tends toward the surrealistic at times - Sweden, of course (he has continued to reside in Västerås near Stockholm), but more particularly the islands of Södermalm and Runmarö and the east-central coastal archipelago of his ancestors where Tranströmer spent the summers during his youth. The audience was enwrapped from start to finish and I left that evening a convert.
Tranströmer’s long poem Östersjöar was published in the autumn of 1974, and Samuel Charters acclaimed English translation Baltics was brought out by the Berkeley publisher Oyez in 1975. I read it as soon as I could lay my hands on a copy (which, I recall, was not very easy). It provided entree into an entirely new understanding of Tranströmer’s poetics and use of metaphor, and I agree with the poet Bill Coyle who later wrote that this collection “ is in some ways the best place for a new reader of Tranströmer to start; it develops more slowly than his shorter pieces, and his metaphors, though as striking here as elsewhere, reveal themselves more gradually.” Again, the strong sense of place - the Stockholm archipelago, and the Baltic Sea.
In the middle of the forest the Baltic also sighs, deep in the
forest you’re out on the open sea.
[Baltics, II]
Tomas Transtromer
Tomas Transtromer
Tomas Transtromer
Tomas Transtromer
“The Baltic is Tranströmer’s archetypal environment,” Coyle writes, “with its mixture of sea and islands, of sweet and salt water and, at least during the Cold War, of democracies and dictatorships.” The Baltic states of Lithuania, Latvia and Estonia had been under Soviet domination since the end of World War II, and this long poem reflects the geopolitical realities of the Baltic region and their impact on the poet and his work.
Now, a hundred years later. The waves come in from no man’s
water
and break against the stone.
[Baltics, III]
Transtömer returned to Tucson in November 1975 for a reading at which he presented Baltics in its entirety. I had an opportunity to speak with the poet at some length afterwards and he graciously inscribed my copy of the Charters translation of Baltics as well as my copy (one of 600) of the inaugural 1974 number of Window Rock with it’s interview of the poet and the reprints of two of his poems. I went home that evening with a deeper admiration for the poet and his work, but also a better understanding of the plight of these small nations so close to the poet’s native Baltic archipelago yet suffering under the oppressive Soviet thumb.
And now: the stretch of open water, without doors, the open
boundaries
that grow broader and broader
the farther you stretch out.
[. . . ]
But it’s a long way to Liepaja.
[Baltics, IV]
Tomas Transtromer
Tomas Transtromer
Baltics came up a few years later, in the autumn of 1979, when I had an opportunity to discuss Tranströmer’s poetry and the plight of the Baltic states with the noted Estonian poet Ivar Ivask (1927-1992) and the Lithuanian historian Vitas S. Vardys (1924-1993) . We shared dinner at the faculty club at the University of Oklahoma, in Norman, Oklahoma, and my long conversation with Ivask, who was then the editor-in-chief of World Literature Today and the founder of the Neustadt International Prize for Literature which Tranströmer would win in 1990, opened my eyes to other approaches to the poem, including those by Baltic writers in exile.
Tranströmer’s English speaking audience has continued to grow as has his influence on other poets. His work in translation appeared in Robert Bly’s Friends, You Drank Some Darkness: Three Swedish Poets: - Harry Martinson, Gunnar Ekelöf, Tomas Tranströmer (1975). Bly’s translation of Sanningsbarriären [Truth Barriers, 1978] appeared in 1980, and an entire issue of Michael Cuddihy’s fine journal, Ironwood 13, was devoted to Tranströmer in 1979 (published in Tucson, by the way). Tranströmer’s Selected Poems, containing the work of several of his noted translators and edited by Robert Haas, was published in 1987, and New Collected Poems, translated by Robert Fulton, appeared in 1997. This volume was greatly expanded in 2006 under the title The Great Enigma: New Collected Poems which represents the first time all of Tranströmer’s poems to date have been available in one volume in English.
Tomas Transtromer
Tomas Transtromer
I have been lucky to hear Tranströmer read two other times. First, at an evening reading in Stockholm, in the spring of 1985. I had a free evening in the city and it was a treat to hear selections of Östersjöar and other poems read in the original Swedish. Tranströmer was treated like a rock star yet he remained the same humble man I first encountered a decade earlier in Tucson. The last time was here in Washington, DC, when Tranströmer read at the Folger Library, in April 1986. The poet and his poetry had reached a new and recognizable maturity, yet his inner voice, and the voice by which he shared his poems in Stockholm and Washington, were still recognizable from that first time I heard him read in Tucson in 1974. Both, etched by new experiences, remained, spare, clear, and quiet - the benchmarks of his poetry through the years.
Tomas Transtromer
Tomas Transtromer
Thankfully, Tranströmer at age 79 remains a major poetic voice in the world. Sadly, however, his own voice has been largely silenced by a stroke he suffered in 1990, an event foretold years earlier toward the end of Baltics.
Something wants to be said, but the words don’t agree.
Something that can’t be said,
aphasia
there aren’t any words but maybe a style . . .
[. . .]
Then comes the stroke: right side paralysis and aphasia, can only
grasp short phrases, says wrong words
Can, as a result of this, not be touched by advancement or blame.
But the music’s still there, he still composes in his own style,
he becomes a medical sensation for the time he has left to live.
[Baltics, V]
Despite the cruel silence imposed upon him, Tomas Tranströmer continues to practice his craft and sharing it with the world. We are certainly thankful for his insights and his ability to help us recognize and transcend the boundaries that encompass us all.
Tomas Transtromer
Tomas Transtromer
As you may have read in the news, the Nobel Prize for Literature went to Swedish poet Tomas Tranströmer. While I hadn't heard of him before the announcement, I am happy that a poet has won (there aren't many poets among the recent laureates). The responses were mixed, but then they are every other year. Too many European laureates, some people says. He's just some obscure Scandinavian poet nobody was aware of, other people may say. I'll just link you to this article written by Tim Parks called 'What's Wrong with the NobelPrize in Literature'. It summarizes all my ideas on the prize: how can you award a prize that is supposed to be truly global when all the judges are Swedish academics? Of course the jury tried to send a red herring by awarding the prize to someone who writes in a minor language, Swedish. Of course, they were not bold enough to venture into kikuyu literature and this makes you think.
I think it is also nice to acknowledge that the Neustadt International Prize for Literature, which some people call the American Nobel, was awarded to Indian-Canadian writer RohintonMistry, which strangely enough I haven't read. He is a lot more famous than Tranströmer and writes in English.
Here you have the other side of the coin and the usual dilemma: is it better that those prizes be awarded to well-known writers who write in languages many people can read or is it worthwhile to dig for new talents in minor languages? And, above all, why do we care so much about these prizes?
Tomas Transtromer
Tomas Transtromer
Sweden's greatest living poet, Tomas Tranströmer, celebrated his 80th birthday in April of this year. To mark the occasion, Bloodaxe Books published a new expanded edition of his New Collected Poems, the award-winning definitive translation of all his poetry by Robin Fulton.
In Sweden, Daphne Records released Dagsmeja: Emma Tranströmer sjunger Tomas Tranströmer (Noon Thaw: Emma Tranströmer sings Tomas Tranströmer). This is a recording of settings of eighteen poems by Tranströmer performed by his daughter Emma Tranströmer, pianist Andreas Kreuger, guitarist David Härenstam and violinist Bernt Lysell. The main musical emphasis is on Fredrik Jakobsson, an outstandingly talented Swedish composer largely unknown to the general public. Emma also includes a couple of songs by the more established Maurice Karkoff, who recently completed two new Tranströmer settings, plus a few songs by Håkan Parkman, who died in a tragic drowning accident in August 1988, aged only 33.
The project began, Emma says, with the Dagsmeja concert performance at the Gävle Concert Hall in 2007. 'Dagsmeja is a tribute to my father, above all perhaps as a guide in the art of humane living, but also as reflected through his own poetry. Pianist Andreas Kreuger and I had a labour of love in finding the very music which felt perfectly fitting for the occasion.'
Three of the poems they chose for the concert and CD are printed below, with the translations by Robin Fulton from Tranströmer's New Collected Poems which accompany them in the CD booklet – this includes all the poems in the Swedish original with Fulton's translations, along with accounts of the project by Emma Tranströmer and by scholar Niklas Schiöler (who contributes a fascinating piece called 'Reading is listening' on Tranströmer and music). The CD cover shows J.M.W. Turner's painting Rain, Steam and Speed – The Great Western Railway (1844), which hangs in the National Gallery in London. Tranströmer's poem 'A Sketch from 1844' pictures Turner making a sketch possibly featuring the same train.
Tomas Transtromer
Tomas Transtromer
Pictures of Tomas Transtromer
Tomas Transtromer
Tomas Transtromer
Tomas Transtromer
Tomas Transtromer
Tomas Transtromer
Source URL: http://purkua.blogspot.com/2011/10/nobel-literature-2011-for-tomas.htmlTomas Transtromer
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