Tag Archives: New Social Poetry

Ludmila Kaloyanova: East River

Die bulgarische Dichterin Ludmila Kaloyanova lebt in Pittsburgh, PA. Sie veröffentlichte zuletzt den Gedichtband Anadromus (Zahari Stoyanov, 2017). Mit dem hier vorgestellten Gedicht gewann sie den erstmals verliehenen Preis der bulgarischen Literaturzeitschrift „Neue Soziale Poesie“. Der Jury gehörten an: Zlatomir Zlatanov (Vorsitzender), Alexander Nikolov, Ventzislav Arnaoudov, Kiril Vassilev, Christopher Buxton, Krassimir Kavaldjiev, Marco Vidal, Thomas Hübner.  

East River

Am nebligen Nachmittag
im Carl-Schurz-Park
sauge ich Regenspritzer und
den Geruch des Flusses ein
Puerto-ricanische Frauen mit Kinderwagen
führen freundliche
französische Bulldoggen
spazieren
zwei graue Tauben
spähen
vom rostigen Geländer

aus den Strudeln
des East River
winkt mir
angekommen vor hundert Jahren

Onkel Theodor zu
meine Tochter
(die von seiner Existenz nicht ahnt)
knipst sich gerne
vor der Freiheitsstatue

…verblassende Erinnerung
Entropie vererbter Gene
Paradoxien der teuer
erkauften Freiheit…

die Tauben
setzen ihren Seiltanz
auf dem Geländer fort

ich strecke meine Hand aus

Übersetzung: Vladimir Sabourin

——————–

Ийст Ривър

В мъгливия следобед
на Карл Шурц парк
попивам пръски дъжд и
мирис на река
пуерториканки с колички
разхождат приветливи
френски
булдози
два сиви гълъба
надничат
от ръждясалите перила
във водовъртежните ями
на Ийст Ривър
дошъл тук
преди повече от столетие
вуйчо Теодор
ми маха с ръка

дъщеря ми
(която не подозира за съществуването му)
обича да си прави
снимки пред
статуята на свободата

…отронена памет
ентропия на пренесени гени
парадокси на скъпо
платената свобода…

гълъбите-въжеиграчи
продължават своя танц
върху перилата

протягам ръка

——————–

East River

In the foggy afternoon
in Carl Schurz park
I soak up rain spray and
a river smell
Puerto Ricans with push chairs
walk warm-hearted
French
bulldogs
two grey pigeons
are peering
from the rusty railings
in the whirlpool pits
of East River
come here
more than a century ago
uncle Theodore

waves to us
my daughter
(who doesn’t suspect his presence)
likes to take
selfies in front of
the statue of liberty

a crumbling memory…
entropy of transported genes
paradoxes of freedom
dearly bought…

pigeon-puppets
continue their dance
over the railings

I stretch out an arm

Übersetzung: Christopher Buxton 

——————–

East River

In the foggy afternoon
at Carl Schurz Park
I soak up rain drops and
river scent
Puerto Ricanas with strollers
walk amiable
French bulldogs
two grey pigeons
peek
from the rusted railings
into the cyclonic pits of
East River
anchored here more than
a century ago
uncle Theodore waves

to me
my daughter (who doesn’t suspect
his existence)
likes taking photos in front of
the Statue of Liberty

…crumbling memory
entropy of displaced genes
paradoxes of freedom
paid dearly for…

the pigeons–
tightrope walkers–
resume their dance
on the railings

I reach out

Übersetzung: Ludmila Kaloyanova 

——————–

East River

Dans l’après-midi brumeux
du Carl Schurz Park
je m’imbibe de bruine et
d’effluves du fleuve
Des Portoricaines avec poussettes
promènent d’amènes
bouledogues
français
Perchés sur le garde-fou
rouillé
deux pigeons gris
tendent le cou
Depuis les trous de remous
de l’East River
l’oncle Teodor

arrivé ici
il y a plus de cent ans
me fait un signe de la main
Ma fille
(qui ne soupçonne pas son existence)
aime se faire
photographier devant
la statue de la Liberté

…mémoire égrenée
entropie de gènes transmis
paradoxes d’une liberté
cher payée…

les pigeons funambules
poursuivent leur danse
sur le garde-fou

je tends la main

Übersetzung: Krassimir Kavaldjiev 

——————–

East River

En una tarde nebulosa
del parque Carl Schurz
me impregno de gotas de lluvia
y del aroma del río
Puertorriqueñas con carritos de bebé
pasean а sus afables
bulldogs franceses
dos palomas grises
se asoman
por el parapeto oxidado
desde los remolinos profundos
del East River
mi tío Teodor
que llegó aquí

hace más de un siglo
me saluda con la mano
mi hija
(que ni siquiera sospecha de su existencia)
disfruta haciéndose
fotos frente
a la estatua de la libertad

…memoria despojada
entropía de genes transferidos
paradojas de aquella libertad
que resulta tan cara…

Las palomas continúan bailando
sobre el parapeto como en una cuerda floja.

Y yo tiendo la mano.

Übersetzung: Marco Vidal

© Thomas Hübner and Mytwostotinki, 2014-8. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and Mytwostotinki with appropriate and specific direction to the original content. 
© Ludmila Kaloyanova, Vladimir Sabourin, Christopher Buxton, Krassimir Kavaldjiev, Marco Vidal

New Social Poetry: an interview with Vladimir Sabourin

“New Social Poetry” is a Bulgarian literary movement, created in 2016 in Sofia. The first publication of this group, the “Manifesto of the New Social Poetry” has caused a lot of controversial discussions due to the outspoken rhetoric of the text against the so-called “peaceful transition” in Bulgaria, a period after the official end of communism that can be characterized, among others, by a continuity of old elites and their representatives in the cultural sphere.

In an essay collection “Towards a New Social Poetry” by the group’s founder, Vladimir Sabourin, the author offers his analysis of the situation of Bulgarian poetry and the conditions in which it is created today; recent developments related to the prestigious “Literary Journal” (Literaturen Vestnik) were for him obviously the trigger to create this new poetic movement. In the short time since its foundation, the group has held many public readings all over Bulgaria, started a successful journal “New Social Poetry“, and has already a number of book publications in Bulgarian and in translation, of which beside the “Manifesto” and the essay book also an almanach (“New Social Poetry – the Anthology“) are available in English. Reason enough for me (TH) to conduct an interview with the group’s founder, Vladimir Sabourin (VS).

 

TH: Vladimir, you once said that you are not a Bulgarian poet, but a poet who writes in Bulgarian. What did you mean by that and why is this distinction important to you?

VS: I come from a mixed marriage, my mother is Bulgarian, my father Cuban of French origin. I grew up as non-accepted, as stranger, “nichtdazugehörig” as the Germans say, both on the part of the Bulgarians and on the part of the Cubans. Writing, poetry is a homeland that nobody can challenge. I write in a minor language, but I do not share the self-contemptuous image the Bulgarians have of themselves and their language. In the major literary languages, it is perfectly natural to write in a language to which you ethnically don’t belong. I consider the language in which I write a major literary language.

TH: My personal impression as a reader (and occasional translator) of Bulgarian poetry is that many – even well-known – Bulgarian poets write “naive” poetry. I do not mean that in a denigrating sense, but rather as an expression of the fact that it is often not clear to me if these poets are familiar with the spectrum and variety, the history and formal language of modern poetry. Compared to that, your poems left a very different impression on me. Looking at your poetic development, what were the main influences for you? In what tradition do you see yourself as a poet?

VS: Your impression corresponds to a reality, already commented by the first major Bulgarian modernist poet Pencho Slaveykov at the beginning of the last century. It is extremely important to understand however that this is today a reality nurtured by state institutions for both internal and external use. If you like, this can be described as a state-sponsored reality that aims at building a pseudo-identity, just like for exports such as yoghurt. The great modern poets are a problem for this country, they are either just murdered (Geo Milev, Nikola Vaptsarov) or hushed up. Does anyone outside of a small circle in Bulgaria – not to mention outside the country – know Zlatomir Zlatanov or Ani Ilkov? The image of Bulgarian poetry continues to be built on the “naive”, “natural”, even when it is just a marketing trick, adapted to foreign expectation. This expectation is disparaging, and the fitting to it is a testimony of a deep inferiority complex. – In the Bulgarian poetry my teachers are Ani Ilkov and Zlatomir Zlatanov, in the foreign-language poetry in the first place Bertolt Brecht.

TH: Your recent collection of poems “Trotsky’s Remains“, which has been compiling your poetic work since the early 1990s, has been self-published. Why?

VS: My first poetic book was self-published, 25 years later I am again in the position of having to release a collection of my poems myself. From an existential point of view, this is a stoic amor fati. Sociologically, it is a textbook example for the omerta, in which the “naivety” of Bulgarian literature flourishes in a publishing landscape, which is dependent on the initial accumulation of capital with – to say the least – dubious origin. The large publishers are an integral part of the state-capitalist oligarchic model, the small ones are dependent on state subsidies that nurture the ideology of “naivety”. At the end of the day, my conscience as author is clear and none of my books has been published within this framework. For this autonomy, without which there is no modern poetry, I have to thank my parents Jesús Sabourín and Margarita Drenska and my friend and literary brother-in-arms Ventsislav Arnaoudov.

TH: You are not only a poet, but also a congenial translator of poetry. Which poets have you translated and what does translation mean to you?

VS: When I can’t write poetry, I translate poetry. I see translations as an integral part of my own poetry, as Ezra Pound does. And with my translations I am facing the same kind of omerta as with my own poetry, but my personal blog is some sort of “collected translations-in-progress”, including Bertolt Brecht, Fernando Pessoa, Heiner Müller, Jorge Manrique, Nicanor Parra, Rainer Maria Rilke, Roberto Bolaño, Sarah Kirsch, Sylvia Plath, Vicente Huidobro, Virgilio Piñera, Archilochus, Velimir Chlebnikov, Joseph Brodsky, Hugo Ball, Ezra Pound…

Manifesto

TH: Some time ago you wrote a “Manifesto of the New Social Poetry” and a collection of essays “Towards a New Social Poetry: Aesthetico-political Theses”; almost at the same time, a literary group “New Social Poetry” has established itself and there is now also a literary magazine of the same name. What is the “Manifesto” about and what motivated you to write it?

VS: In the summer of 2016 something like “privatization”, in fact another theft of communal property with legal means happened, concerning the most important literary periodical after 1989 – the “Literary Journal” (Literaturen Vestnik). The current editorial team of the newspaper discarded its creators (who in the 1990’s had invited them as editors), ending a long-standing process of corporate academic and literary adhesion, destroying the radical political nature of the “Literary Journal”. As an author, I grew up in the “Literary Journal” during its radical-political phase. Its “privatization” by a corporation of university departments was the drop that made the glass overflow for me. What happened with the “Literary Journal” was another example of the misappropriation of communal property, which characterized the entire “peaceful transition” from socialism to capitalism in Bulgaria. The ongoing deterioration of “Literary Journal” is evident recently in the case of Julia Kristeva – after her unmasking as a former agent of the Bulgarian State Security*, the newspaper should have asked her to withdraw from the Editorial Board of the journal. But they did not. The “Manifesto” turns against this adhesion of unscrupulous academic power and literature.

New Social Poetry

TH: There were – as probably with every new group of poets – a few “faction fights” and splits or resignations within the “New Social Poetry” group. In the meantime, however, the group, according to my impression, is developing a lively activity, which is not limited to just the mentioned magazine. I am thinking of the readings and the book publications. Maybe you can say a few words about that?

VS: The central issue of the “Manifesto” is the revival of literary life after nearly two decades of literary “peaceful transition.” Since the autumn of 2016, when we founded the group “New Social Poetry,” there was a dynamic in the literary field that we had forgotten since the end of the period of political radicality of the 1990s. What’s happening inside our group is part of this dynamics. I like your analogy with the factional divisions and struggles typical of radical political movements. “New Social Poetry” is an avant-garde group that wants to bring back political radicalism to literary life, it is logical to apply this principle within the group as well. Not despite, but rather thanks to the “factional struggles”, we managed to make our first national tour with readings in Varna, Burgas, Plovdiv, Stara Zagora and Sofia in less than a year. At the same time, we issued two anthologies in English and French – at the self-publishing platform CreateSpace – New Social Poetry: The Anthology (translation by Christopher Buxton) and Nouvelle poésie sociale: L’Anthologie (translation by Krasimir Kavaldjiev).

TH: Who are your most important “comrades-in-arms” in the “New Social Poetry“? Are there any interesting young talents beside the established names?

VS: Unlike the predominant economic individualism in the Bulgarian literary circles, which is a reflection of the social misery of personal survival in the poorest country in the EU, we believe in the effectiveness of solidarity. There is no authentic avant-garde without joint action. The word “comrades-in-arms” is accurate – we are in war with the status quo of the “peaceful transition”. I’m mockingly referred to as a Latin American guerrillero, ok, that’s what I am. I am happy to work with Ventsislav Arnaoudov, Kiril Vassilev, Vania Valkova, Christina Vassileva, Alexander Nikolov, Nikolay Fenerski, Ivan Marinov. More recently, the young poet and editor of the magazine A. Nikolov, barely reaching the age of majority, published his debut poetic book “fairness.” Take a look also at his peer, Michaela Angelova, who debuted in our magazine, and whose poem “Time is a Man” is published in the anthologies.

TH: What are the plans for the near future? Your own and those of the group “New Social Poetry“?

VS: We are currently working on the Spanish translation of our anthology, I think in the summer I’m going to have her translated into German. My plan is to blow up the “peaceful transition” with the “New Social Poetry”.

TH: One last question: Which Bulgarian book with poetry would you like to see translated in English?

VS: Kiril Vassilev’s Provinces (Small Stations Press 2015)

TH: Vladimir, thank you for this interview.

 

All three titles (New Social Poetry – the Anthology, Towards a New Social Poetry, and Manifesto for a New Social Poetry are translated in English by Christopher Buxton and were published at CreateSpace in 2018)

*Julia Kristeva denies these allegations; according to her, the whole dossier with several hundred pages, which was published online by the Dossier Commission that deals with the State Security files, is a fabrication with the aim to tarnish her reputation.

Introduction, questions and translation of the interview from the German/Bulgarian original by Thomas Hübner.

This interview was first published at the blog of Global Literature in Libraries Initiative, June 13, 2018 for #BulgarianLiteratureMonth.

© Thomas Hübner and Mytwostotinki, 2014-8. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and Mytwostotinki with appropriate and specific direction to the original content.

 


Джеф Безос и аз

Един умен потребител на ФБ от Русе разбра най-накрая истината за мен. Истината е: името ми е Джеф Безос и аз съм основният акционер на Амазон и най-богатият човек на света!. Да, не се шегувам. И това е как той разбра: тъй като съм издател на платформа CreateSpace, която наскоро публикува две книги от групата NSP и CreateSpace е платформата за самоиздателство на Amazon, истината зад всичко това може да бъде само: Джеф Безос е издател на Новата социална поезия, а в България Джеф Безос използва псевдонима Томас Хюбнер. Сега се страхувам от адвокатите на този умен човек, който ще направи всичко по силите си, за да ме изгони в Русе, където ще ме поставят в килия, където трябва да слушам цял ден на лента с поезия на този човек. И повярвайте ми, в сравнение с това, waterboarding е парче торта!

© Thomas Hübner and mytwostotinki.com, 2014-8. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.