Harri Nordells stora och fina artikel om översättningen av Gunnar Björlings Solgrönt

Så här skriver Harri Nordell i Turun Sanomat om Solgrönt och vår översättning: http://www.ts.fi/kulttuuri/kirjat/749344/Ja+etta+kaikki+on+toden+hyrrassa

I morgon går ett spännande och fantastiskt givande bokprojekt i tryck: Pauliina Haasjokis och min översättning av Gunnar Björlings nyskapande diktsamling Solgrönt (1933). Jag har lärt mig enormt mycket om svenska, finska, poesi och Gunnar Björling under de drygt tre år Pauliina och jag arbetade med översättningen. Det har också varit en glädje – och ett privilegium – att arbeta med det kunniga och engagerade förlaget Poesia, och speciellt med Miia Toivio och Marko Niemi. Så skall man arbeta med poesi!

Poesia: http://www.poesia.fi/

Tigrar i Frankrike II

The world is full of things that represent either danger or opportunity, yet at any one time you aren´t concerned with most of them. Why? Because they are far from you. The tigers in countries across the ocean would eat you in a minute if they could, but you needn´t worry, because they are nowhere near you. This is the gift of space: almost everything is far away from us and can be ignored for the time being.

Imagine a world containing an enormous variety of objects without the organization of space. Anything might impinge on anything else at any time. There would be no distance to keep things separated.

Ur Lee Smolin: Time Reborn – From the Crisis in Physics to the Future of the Universe

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Jeanette Winterson om en av orsakerna

till varför också jag har så svårt med den dominerande anglosaxiska prosanormen. Tillspetsat: Har det hänt någonting annat än kosmetiskt med den typen av roman sedan 1800-talet?

Working off Calvino was a way of aligning myself with the European tradition where I feel much more comfortable. That´s a tradition which uses fantasy and invention and leaps of time of space, rather than in the Anglo-American tradition which is much more realistic in its narrative drive and much more a legacy of the nineteenth century. Modernism here really moved sideways and has been picked up much more by European writers. We lost it completely and went back into something, from the 30´s onwards, which was much closer to the nineteenth century fictional form, whereas writers like Borges and Calvino and Perec wanted to go on with those experiments and didn´t see Modernism as a cul-de-sac, but as a way forward into other possibilities. I think we need that, I think it´s got to be there. The playfulness and the challenge has to be there.