The Selected Poems of Miguel Hernandez (review)

In his Prologue to The Selected Poems of Miguel Hernández: A Bilingual Edition, Ted Genoways observes that "At a time in our country when arguments about subjects such as 'Can Poetry Matter?' take place in air-conditioned lecture halls and conference centers, it is well to remember that there are people in the world for whom poetry is an act of defiance worth risking their lives for" (xxiii). While the life and works of Miguel Hernández (1910-1942) are of great importance to the history of Spanish literature, his influence on poetry beyond Spain's borders is equally undeniable. The fact that neither imprisonment, barbaric treatment, nor tragic death of this goatherd turned soldier-poet could not silence his strong voice of resistance makes Hernández a fascinating and emblematic figure in Spanish letters and in twentieth-century poetry in general.

Ted Genoways's bilingual edition of poetry by Miguel Hernández is an ambitious undertaking that yields impressive results. By far the largest collection of Hernández's poetry in English translation, it is also a delight for scholars and readers of Spanish poetry in the original language. By presenting the poems side by side in Spanish and in translation, Genoways offers the reader a unique opportunity to witness at first hand the challenges and processes of translating poetry well, that is to say, without sacrificing the poetic composition in order to accurately convey meanings or vice versa. Genoways rises to this challenge admirably, successfully rendering Hernández's poetry into English versions that are no less powerful than they are in their original language.

Robert Bly's "Foreword" sings the praises of these same characteristics as seen in Genoways's selections and translations, while celebrating Hernández's contributions to poetry of the twentieth century. Bly addresses the complexity and hermetism of Hernández's poetry, informing and/or reminding readers of the writer's admiration of the seventeenth century Spanish poet Luis de Góngora, whose Baroque poetry is notoriously difficult. The Spanish writers known as the "Generation of 27" (including such renowned poets as Luis Cernuda, García Lorca, and Rafael Alberti), were united by their admiration for Góngora's poetic worlds, as was Miguel Hernández, whom they took under their wing and brought into the vibrant literary scene in Madrid. This reminder of the artistic and social context from which Hernández emerged allows us to place him within the evolution of Spanish poetry.

In his "Preface," Genoways recounts the story of how he came to be interested in Hernández's works, and later, why and how he began the project of this edition. Along with his own history of acquaintance with the writings of this heroic Spanish poet, he addresses the translation challenge mentioned above. Genoways's explanations of the criteria used to select some of the best existing translations, and the care taken in his own translations, highlight the skill and artistry of the poet-translator, bringing process to the forefront alongside the final product. Following the "Foreword" and "Preface," Genoways includes a brief essay by Miguel Hernández, "Mi concepto del poema" ("My Idea of a Poem"), a poetic credo in which Hernández warns his fellow poets against offering their readers "fruits without skins" lest they too easily reveal "the secret of the poem" (3). The inclusion of this essay and Genoways's own translation of it provides valuable insights into the motivations and attitudes of the poet, forewarning readers that the poetic world they are about to enter will be filled with obstacles and hard labor.

Genoways's divisions of Miguel Hernández's poetic works between three main periods in his life, namely "The Early Poems: 1923-1936," "The War Poems: 1936-1939," and "The Prison Poems: 1939-1942," provides a sense of the ongoing...