The singer of all things that we know

In the Hispanic sphere, Whitman’s maxisterium affected the literature in Spanish above all. Neruda and Lorca dedicated-y poems; Concha Zardoya consecrated an essay and León Felipe y Borges translated it. With too, the first Whitman translation published in Spain was a Catalan version of 1909, by Cebrià Montoliu, prior to the Spanish version of Álvaro Armando Vasseur, of 1912. The Galician and Basque translations were more extensive. tardiegues: the “Canto de min mesmo” in a version by Xosé Manuel Freire came out in 2001, while the chin by Xabier Galarreta (“Belar-hostoak”) was published in 2003.

Walt Whitman is considered an Anguaño as a canonical poet, teacher and not only of English-speaking poets, synonymous of all contemporary poets. Harold Bloom himself included his work “The Western Canon” as his own, making a significant effort to make him an acceptable author in his moral and aesthetic universe. D’aende the importance of having an Asturian translation of your poetry. With too, what Milio Ureta, the translator d’esti “Cantar de mi mesmu”, offers us in his work goes beyond intercultural communication. Thanks to him, we have the opportunity to enjoy the work of a poet who, due to the scope of his referential universe, arouses in those who wear the feeling that he is missing from all things we know. The idea is reinforced by allusions, so current, to the world of work and immigration and by anti-racist and feminist declarations that are repeated from day to day in these verses.

In the foreword to the book, Milio Ureta deals with this aspect, focusing on the readers of Asturias. “One of the most surprising revelations, –adiz– cabbages that a ñacíu north of El Pontón can come across when translating Walt Whitman, is that of the extraordinary resemblance of imaxinaries that the North America of 1855 and the Asturias of the first meta of the XX century they share ”. The importance of the poem on the theme of nature and the date that the landscapes described are from the Atlantic tipus make this impression: “Nel llagar tastiando’l sweetness of the brown magaya… […] /… Nes esfoyaces and esbilles, nes fiestes del ramu les cases… […] / Where the palanques ceben d’herba les squares, and scatter / the curáu pation, and the beaten cow awaits the cut… ”.

Ureta translated the work into Asturian language, which is the central-eastern variety, a debatable criterion that reduced the effects that the work could have on the language normalization plan. The use of this variety and, moreover, a two-edged weapon: the nineteenth-century air that is achieved through archaisms and dialects can cover the modernity of the Whitmanian discourse, which is characterized by an abundance of neoloxisms and polity. mix of records. The result, with too, is very estimable, thanks to the bayura and the lexical precision and the effort to use Asturian idioms.

Sing of my mesmu

Walt Whitman Trans. of Milio Ureta

Delallama Editorial 128 pages

16 euros

Help from the Regional Ministry of Culture, Language Policy and Tourism of the Principle of Asturias


Leave a Comment

This site uses Akismet to reduce spam. Learn how your comment data is processed.