THE DILEMMA OF MODERN BILINGUAL POETRY: virtues & indiscretions.
Bilingualism/multilingualism in written and performed poetry is a fascinating and complicated topic, encompassing many questions, including what type(s) and level(s) of writing does one assign one’s varying language capabilities, when and how one uses a translator or editor efficiently, questions regarding research of historical, cultural, socio-economic and geographical events when making references in poetry, politico-social sensitivities across cultural boundaries etc. Not to mention the appropriateness of using one language instead of another, and questions regarding market demands and specifications from publishers. The fact is that many poets are currently writing in languages other than their native tongues – for a variety of reasons, and with varied success.
I have been reading and hearing much "bilingual" poetry written and published by people from all over the world the past few years. Poetry writing is not a static process. Even excellent bilingual writers often work quite hard to find the right balance between artistic license, spontaneity, grammatical perfection, spelling, etc.; all the while retaining the special qualities that make poetry "literature" and universal while still achieving a personal form of expression. My premise is that: a) all writers face the same challenges, b) bilingual expression makes these challenges (and successes and failures) even more poignant, and that c) some authors have learned how to achieve a balance which works – both for themselves, and for their readers .. while others have not.
What strikes me about my own disposition towards bilingual literature is that it affords me an extra set of wings on which to soar .. high above the limitations that both I and others set for myself. I love to experience languages and “foreign” cultures, and find that multilingual writing gives me the opportunity to reach out to persons from many cultures on their turf – whether by way of publishing poetry in different languages, or by performing my poetry in different countries .. in Spanish in Buenos Aires; in English in Kathmandu (including reciting my poetry based upon local culture, with references to indigenous vernacular and customs); and at home in Norway: to expose the small Norwegian literary community to the larger world by reciting poetry in Norwegian, English and Spanish – all in one reading. That being said, there is (in all honesty) an element of “extreme sport” in it for me – as exemplified by my most recent poetry collection (“Three-legged Waltz”) which includes poems in Spanish, English and Norwegian – this because I enjoy testing out my interests and skills where other languages are concerned against the appropriate level/form of expression; thus the “act of multilingual writing” becomes a statement and a form of expression in itself. And yet, there are certain experiences that simply ache to be expressed in French or Spanish, or Norwegian .. and no Greek epic poem is really “Greece-inspired” in my mind if it does not contain some Greek words or phrases. Latin and Arabic and other languages are also subject to falling victim to my poetic palette. Of course, there is an enormous responsibility connected with such sport. Not only to try to get the grammatical and contextual elements correct, but also to firmly grasp and communicate across different cultures with sensitivity and just the right amount of “foreignness” to incite and provoke a stretching of minds and hearts within the readers and/or listeners. Poetry is not a precise discipline for most of us – it is full of abandonment, liberties and artistic license .. and at times error and foolhardiness.
My own experiences to date with bilingualism in writing have generally been quite positive. That is perhaps only because I have learned to “soar” as an international poet, rather than to continuously knock at the door of national and local arts institutions whose mandate and focus are often more nationalistic and transcultural rather than international. I have also gone my “own way” in terms of publishing – seeking out or being sought out by publishers who are culture-blind and truly international in scope, practice and philosophy. Such institutions are generally quite open artistically, but sometimes place much of the responsibility for bilingual/multilingual proof reading (regarding both language and cultural knowledge) in the hands of the artist – at least when one is writing in a “tongue” which is different than the “mother tongue” of the country where the publisher is physically situated. This is understandable in that many of these publishers are small press enterprises, with limited resources. Personally, I rather like having their trust, and being responsible for my own artistic expression. Am I sometimes unsure? You bet! Especially when I write about politics or religion, or when I wonder if some socio-political themes acceptable in the Western world will be accepted in Asia or Africa. Poetry may be universal, but ideas and values are often culture-specific. It is that tension that makes bilingual poetry writing and performance a breathtaking sport for me, I suppose.
I do not speak, write or understand any language anywhere near “perfectly”. However, desiring to “get it right – both linguistically and culturally” - and writing with intent (and on a level commensurate with my linguistic skills and cultural understanding), is always a goal; if not an obsession when writing in any language. In spite of much research and proof reading, I admit that I do not always get everything perfect. It happens that I do misunderstand grammatical rules and indigenous nuances in foreign languages, or quite simply use the wrong word in the intended context. Free automatic internet translation services are rarely 100% reliable, and there exist inaccuracies in many internet articles. I have also experienced that proof readers and translators have sometimes disagreed upon how something is best expressed, creating even more insecurity on my part. And cultural references in poetry can also be problematic, since different persons observe and experience things through different eyes.
Yes, I do react sometimes when I read particularly and consistently faulty English which perhaps could have been avoided by asking (or paying) someone to proof read. This goes for native-born English-speaking poets as well as poets who do not have English as their first language. So much is lost for both the author and the reader in such cases – and quite unnecessarily so. But then again, not all speakers of English speak “the Queen’s English”, and if English may be prone to being used or interpreted differently from culture to culture then the same is certainly true for other languages. Here one must also differentiate between creative play with language and idiom, and plain oversight. Sometimes a poet is truly “ahead of his/her time”, and sometimes just blind to one’s own limitations. Learning to discern between oversight/inaccuracy, poetic doodling and literary genius is not always so simple (neither for poet nor audience) in a discipline where most every type of expression is accepted – from poetic and rapturous prose to closely designed feminine rhyme. Creative doodling and oversight can – in fact – open up for new forms of expression, understanding and linguistic permutations in literature, and inaccuracies can sometimes provide valuable learning about writing and one’s own levels of tolerance/intolerance.
So in summary, I encourage bilingualism/multilingualism with personal responsibility and growth. Expect that you will make mistakes sometimes, and that you may later discover that you have misinterpreted another culture’s idiom or sensibility in your writing. When reading the poetry of others try to evaluate some of the questions and challenges posed in this essay and the following interview against your own levels of curiosity and personal tolerances. Writing/art is about exploration, expression and the criss-crossing of perceptions, and is – therefore – never a static process. And perhaps most importantly: don’t worry about becoming world-famous. Fame will find you if that is your destiny and disposition – no matter what language you employ.
To explore these issues a bit further, I have devised 10 sets of rather pointed questions; and I have asked five excellent international writers to comment on them, giving their "international" perspectives. Their varied comments and experiences are – of course – their own, and not necessarily those of the interviewer.
- Adam Donaldson Powell
2006
TAKE ME TO THE INTERVIEW!
Adam Donaldson Powell (USA/Spain/Norway) [author of the essay and the interviewer] is a multilingual author, literary critic and visual artist, who has worked with issues related to artistic multiculturism for many years. He has published five poetry collections to-date (in the USA, Norway and India), and has otherwise published and performed his poetry in literary publications and at literary/arts venues on several continents (North America, South America, Europe and Asia). He has previously authored theatrical works performed onstage in Norway. Adam often combines his interests in community and international issues with art, and he has been quite active in art and cultural debates, with focus on world art.
(Image at top of page: "Censorship as art: homage to a Norwegian painter", oil painting/collage by Adam Donaldson Powell.)
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