Title Page, Copyright

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pp. i-vi

Contents

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pp. vii-viii

Illustrations

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pp. ix-x

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Acknowledgments

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pp. xi-xiv

This book is the result of a long engagement with modern poetry, the practice and theory of literary translation, and the scholarly field of comparative literature. It is also a work that is intrinsically connected to my own personal transatlantic journey that has taken me from my native Granada, Spain, to Dublin, Ireland, and Irvine, Los Angeles, New ...

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Introduction. Poetry after Translation: Cultural Circulation and the Transferability of Form in Modern Transatlantic Poetry

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pp. 1-21

This book studies the ways in which the circulation of modern poetry and poetics is articulated by the translation of various poetic traditions and forms across the diverse spatiotemporal realm of mediation constituted by the Atlantic Ocean. By examining how translation, broadly understood as an interlingual, literary, and transcultural practice, is ...

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1 / Heteronymies of Lusophone Englishness:Colonial Empire, Fetishism, and Simulacrumin Fernando Pessoa’s English Poems I–III

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pp. 22-50

The Portuguese poet Fernando Pessoa (1888–1935) started writing poetry in English at roughly thirteen years of age with a poem titled “Separated from thee . . .” (1901) while he was living in the colonial town of Dur-ban, South Africa. At about the same time, Pessoa had already adopted one of his first transpersonal identities as Alexander Search, an early ...

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2 /The Translatability of Planetary Poiesis:Vicente Huidobro’s Creacionismo in Temblorde cielo / Tremblement de ciel

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pp. 51-80

The Chilean poet Vicente Huidobro (1893–1948) briefly settled in Madrid during the fall of 1918 after having spent almost two years in Paris. During his time in France, Huidobro became fluent in French, composed five collections of poetry, founded the avant-garde journal Nord-Sud with the poets Guillaume Apollinaire and Pierre Reverdy, and more ...

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3 /Queering the Poetic Body: Stefan George, Federico García Lorca, and the Translational Poetics of the Berkeley Renaissance

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pp. 81-116

In 1957, the San Francisco–based poet Jack Spicer (1925–1965) published After Lorca, Spicer’s first published poetic work that, as the title suggests, was inspired by the poetry of the Spanish poet and playwright Federico García Lorca (1898–1936). After Lorca was published in San Francisco by White Rabbit Press, an independent publishing venture run by Joe ...

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4 /Transferring the “Luminous Detail”: Sousândrade, Pound, and the Imagist Origins of Brazilian Concrete Poetry

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pp. 117-145

In 1964, the Concrete poets Augusto and Haroldo de Campos published ReVisão de Sousândrade, an anthology and critical study of the Brazilian romantic poet from Maranhão, Joaquim de Sousa Andrade (1832–1902), generally known within Brazilian literature simply as “Sousândrade.” Despite the fact that ReVisão de Sousândrade was originally published in ...

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5 /The Digital Vernacular: “Groundation” and the Temporality of Translation in the Postcolonial Caribbean Poetics of Kamau Brathwaite

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pp. 146-176

The poetic work of the Barbadian historian and cultural theorist Kamau Brathwaite (Bridgetown, 1930) has constituted from its inception the fundamental part of an intellectual project aiming at the articulation of an original Caribbean aesthetic. From his first published poetic work, Rights of Passage (1967), Brathwaite’s poetry has documented his own ...

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Afterword. The Location of Translation:The Atlantic and the (Relational) Literary History of Modern Transnational Poetics

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pp. 177-188

It appears that Paul Gilroy’s crucial argument in The Black Atlantic (1993) that “cultural historians could take the Atlantic as one single, complex unit of analysis in their discussions of the modern world and use it to produce an explicitly transnational and intercultural perspective” ...

Notes

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pp. 189-198

Bibliography

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pp. 199-210

Index

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pp. 211-218