{"id":2358,"date":"2021-04-27T19:23:28","date_gmt":"2021-04-27T19:23:28","guid":{"rendered":"http:\/\/mediateka.online\/learnrussian\/poem-of-the-week-what-remains-by-reginald-gibbons.html"},"modified":"2021-04-27T19:23:28","modified_gmt":"2021-04-27T19:23:28","slug":"poem-of-the-week-what-remains-by-reginald-gibbons","status":"publish","type":"post","link":"https:\/\/mediateka.online\/learnrussian\/poem-of-the-week-what-remains-by-reginald-gibbons.html","title":{"rendered":"Poem of the week: What Remains by Reginald Gibbons"},"content":{"rendered":"<p>This rendition of a work by the 20th century Russian poet Osip Mandelshtam is a rich celebration of poetry itself<\/p>\n<figure><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/i.guim.co.uk\/img\/media\/e6a71a5bbb49b268ef0e8766d461751040857dc6\/0_222_1137_682\/master\/1137.jpg?width=445&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=c16835df90fcb01befd646dcf8d14f8b\" alt=\"Osip Mandelshtam, pictured in 1914.\" height=\"84\" width=\"140\" class=\"css-uk6cul lazyload\"><noscript><img decoding=\"async\" alt=\"Osip Mandelshtam, pictured in 1914.\" src=\"https:\/\/i.guim.co.uk\/img\/media\/e6a71a5bbb49b268ef0e8766d461751040857dc6\/0_222_1137_682\/master\/1137.jpg?width=445&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=c16835df90fcb01befd646dcf8d14f8b\" height=\"84\" width=\"140\" class=\"css-uk6cul\"><\/noscript> Osip Mandelshtam, pictured in 1914. Photograph: Heritage Images\/Getty ImagesOsip Mandelshtam, pictured in 1914. Photograph: Heritage Images\/Getty Images<\/figure>\n<p class=\"css-1x4bywk\"><strong>What Remains by Reginald Gibbons<\/strong><\/p>\n<p class=\"css-1x4bywk\">Yes, bread that\u2019s poisoned. And not even one sip of air.<br \/>How hard it is for the wound of life to be cured.<br \/>Joseph himself, sold to Egypt as a slave,<br \/>could not have been more heavily grieved.<\/p>\n<p id=\"sign-in-gate\">\n<p class=\"css-1x4bywk\">Then under the sky-swarm of stars, Bedouins come.<br \/>They quiet their horses. Then in turn, with eyes closed,<br \/>each invents some chanted fragment of their day<br \/>of epic nothing, that only brought them boredom,<\/p>\n<p class=\"css-1x4bywk\">for among such riders, little\u2019s needed to inspire\u2014<br \/>in the dunes, one man lost a quiver of arrows,<br \/>others traded some geldings for a mare\u2014events are<br \/>only a mist that thins and disappears.<\/p>\n<p class=\"css-1x4bywk\">But if\u2014if\u2014such songs are sung out to the end<br \/>with all the heart, with all the breath in the lungs,<br \/>almost everything vanishes . . . And what remains<br \/>is the desert vastness, the stars, the one who sings.<\/p>\n<p>Osip Mandelshtam (1913).<\/p>\n<p>Mandelshtam\u2019s original poem, with an English translation by Bernard Meares, can be compared here.<\/p>\n<figure id=\"93263f20-8ded-419d-a69e-099cf13073a2\" class=\"css-10khgmf\"><iframe class=\"css-8atqhb js-embed__iframe lazyload\" title=\"book break\" name=\"unsafe-embed-7\" data-cy=\"embed-block\" srcdoc=\"&lt;html&gt;&lt;head&gt;&lt;\/head&gt;&lt;body style=&quot;padding: 0px; margin: 0px; overflow: hidden;&quot;&gt;&lt;style type=&quot;text\/css&quot;&gt;.left-rule:before,.right-rule:before{content:&#x27;&#x27;;float:left;width:43%;height:1px;border-top:1px dotted #bdbdbd;margin-top:12px}.right-rule:before{content:&#x27;&#x27;;float:right}svg{display:block;margin:auto}p{margin:0px}#wrapper{margin:0px}&lt;\/style&gt;&lt;div id=&quot;wrapper&quot;&gt;&lt;p class=&quot;left-rule&quot;&gt;&lt;\/p&gt;&lt;p class=&quot;right-rule&quot;&gt;&lt;\/p&gt; &lt;svg version=&quot;1.1&quot; width=&quot;30px&quot; height=&quot;24px&quot; id=&quot;Layer_1&quot; xmlns=&quot;http:\/\/www.w3.org\/2000\/svg&quot; xmlns:xlink=&quot;http:\/\/www.w3.org\/1999\/xlink&quot; x=&quot;0px&quot; y=&quot;0px&quot; viewBox=&quot;0 0 30 24.8&quot; enable-background=&quot;new 0 0 30 24.8&quot; xml:space=&quot;preserve&quot; fill=&quot;#fdadba&quot;&gt; &lt;path d=&quot;M29.3,1.4C26.2,0.5,23.4,0,21.2,0c-3.4,0-5.2,1-6.2,1.9C14,1,12.2,0,8.8,0c-2.3,0-5,0.5-8.1,1.4L0,1.6v23l1.3-0.4 C4.2,23.4,6.7,23,8.8,23c4.2,0,5.2,1.8,5.2,1.9l1.9,0c0,0,0.9-1.9,5.2-1.9c2.1,0,4.6,0.4,7.5,1.3l1.3,0.4v-23L29.3,1.4z M8.8,20.9 c-2,0-4.2,0.3-6.8,1V3.1C4.6,2.4,6.9,2,8.8,2c3.7,0,4.9,1.4,5.2,1.8v18.3C12.9,21.5,11.3,20.9,8.8,20.9z M28,21.9 c-2.6-0.7-4.9-1-6.8-1c-2.5,0-4.1,0.5-5.2,1.1V3.8C16.3,3.4,17.5,2,21.2,2c1.9,0,4.2,0.4,6.8,1.1V21.9z&quot;\/&gt; &lt;\/svg&gt;&lt;\/div&gt;&lt;\/body&gt;&lt;\/html&gt;             &lt;script src=&quot;https:\/\/interactive.guim.co.uk\/libs\/iframe-messenger\/iframeMessenger.js&quot;&gt;&lt;\/script&gt;             &lt;gu-script&gt;iframeMessenger.enableAutoResize();&lt;\/gu-script&gt;\"><\/iframe><\/figure>\n<p class=\"css-1x4bywk\">The multi-talented American poet and translator Reginald Gibbons describes the poems in his latest collection, Renditions, as \u201cversions of, riffs on, and responses to poems in several languages \u2026 intended as an honouring of particular poets and poems \u2026 They have led me, over years of the practice of poetry, to turns and possibilities of poetic thinking and feeling and crafting that I would not have been able to discover alone.\u201d The poem I\u2019ve chosen from this exciting collection, What Remains, reflects Gibbons\u2019 deep affinity with the 20th century Russian poet Osip Mandelshtam. <\/p>\n<p class=\"css-1x4bywk\">\u201cThe bread is poisoned, (all) the air has been drunk\u201d is the more literal translation of Mandelshtam\u2019s first line. It dramatically declares the extreme challenge to creative freedom for a young Jewish writer in early 20th century Russia. But the brief stanzas develop into an ark of glorious self-confidence, bringing super-charged Symbolist technique to the service of personally-signed poetic manifesto.<\/p>\n<p class=\"css-1x4bywk\">Gibbons\u2019 rendition works companionably with the original, but remakes it on a different loom-width. Mandelshtam\u2019s Russian line is rich in sound and texture; it\u2019s not abrupt, the tetrameter rhythm is flexible and flowing. But it moves at an emphatic clip. Hoof beats seem to imprint the rhythm. The syntax is economical. <\/p>\n<p class=\"css-1x4bywk\">The innovative first word, \u201cYes,\u201d confirms agreement with Mandelshtam\u2019s opening pronouncements, and that they\u2019re to become subjects of further meditation. The translator is positioned as a conversationalist, and Mandelshtam\u2019s words become part of a dialogue. Gibbons\u2019 persona is no mere speaker: he speaks <em>with<\/em> Mandelshtam. There\u2019s no Poundian \u201criposte\u201d. Slowly, Gibbons amplify Mandelshtam\u2019s narrative. The long English lines with their varied stress-pattern and syllable-count are confirmations of the original prosody and thought patterns.<\/p>\n<p class=\"css-1x4bywk\">The narrative additions are well-judged, like essential footnotes conscripted into the verse. Political and social relevance may be heightened; contemporary readers, who might not have biblical references at their mental fingertips, are reminded that Joseph was sold into slavery. He eventually transcends that status and even forgives the brothers who sold him, but \u201cthe wound of life\u201d isn\u2019t easily curable. <\/p>\n<p class=\"css-1x4bywk\">What Remains celebrates poetry. Mandelshtam boldly links his poetic art to that of the singers of Bedouin epics. In the original, the poems of the Bedouins are described as <em>byliny<\/em>, plural of <em>bylina<\/em>, an ancient Russian epic form. For the singers of epic in both cultures, there are formal building-blocks of composition and opportunities for improvisation. Gibbons chooses a versatile verb \u2013 \u201cinvent\u201d (stanza two, line three) \u2013 which helps us imagine both the conscious \u201cmaking\u201d and the uninhibited \u201cmaking up\u201d of the singers. Art\u2019s powerful transformation of the ordinary and boring (\u201ctheir day\/ of epic nothing\u201d) is answerable to broader questions of authenticity, and the value of art. His final stanza awards \u201cthe one who sings\u201d parity, at least, with \u201cthe desert\u2019s vastness and the stars\u201d.<\/p>\n<p class=\"css-1x4bywk\">Translator Bernard Meares adds an interesting note to his English translation of Mandelshtam\u2019s poem, saying it \u201cappears to have been written in the light of the expedition to Africa by Nikolai Gumilyov, Anna Akhmatova\u2019s husband and one of the leading Acmeist poets. Gumilyov may be the singer referred to in the last line of the final stanza.\u201d<\/p>\n<p class=\"css-1x4bywk\">So another voice enters the chorus, confirming \u201cthe one who sings\u201d as a composite, of many voices and fragments of song. What Remains, like the whole collection of renditions, bears witness to the crucial importance of collaboration. It\u2019s this timeless conversational exchange that provides the soloist poet with oxygen, and a shared feast of daily bread.<\/p>\n<p>Stuart Goldberg\u2019s discussion of the poem in chapter one of his thesis, on Mandelshtam and Aleksandr Blok, is well worth reading.<\/p>\n<p>What Remains is reprinted by kind permission of Reginald Gibbons, from Renditions (Four Way Books, 2021)<\/p>\n<p><!--noindex--><a target=\"_blank\" rel=\"nofollow noopener\" href=\"http:\/\/www.theguardian.com\/books\/2021\/apr\/27\/poem-of-the-week-what-remains-by-reginald-gibbons\">Source<\/a><!--\/noindex--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This rendition of a work by the 20th century Russian poet Osip Mandelshtam is a rich celebration of poetry itself Osip Mandelshtam, pictured in 1914. Photograph: Heritage Images\/Getty ImagesOsip Mandelshtam, pictured in 1914. Photograph: Heritage Images\/Getty Images What Remains by Reginald Gibbons Yes, bread that\u2019s poisoned. And not even one sip of air.How hard it [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"","fifu_image_alt":"","footnotes":""},"categories":[87],"tags":[],"class_list":["post-2358","post","type-post","status-publish","format-standard","hentry","category-latest-news-from-russia"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Poem of the week: What Remains by Reginald Gibbons - Learn Russian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mediateka.online\/learnrussian\/poem-of-the-week-what-remains-by-reginald-gibbons.html\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Poem of the week: What Remains by Reginald Gibbons - Learn Russian\" \/>\n<meta property=\"og:description\" content=\"This rendition of a work by the 20th century Russian poet Osip Mandelshtam is a rich celebration of poetry itself Osip Mandelshtam, pictured in 1914. 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Photograph: Heritage Images\/Getty ImagesOsip Mandelshtam, pictured in 1914. Photograph: Heritage Images\/Getty Images What Remains by Reginald Gibbons Yes, bread that\u2019s poisoned. 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