Issue three of the literary journal Seedings, edited by Jerrold Shiroma, is now out, featuring sections of my translation of “Taj Mahal Tears” 泰姬陵之泪 by Ouyang Jianghe 欧阳江河–alongside new work by Will Alexander, Marry Oppen, Matt Turner, Elizabeth Willis, Osip Mandelstam, Michael Palmer, and more!

Poetry does not have an identity of its own, its prajñā and insight
are polyphonic, beginning in two, exerted from other objects.
…………….The gods and the departed face off
like the narcissus, intoning the original poem’s splendor
and its fragrance. Tears extract themselves from polysemy,
elapsing and simultaneously creating their boundaries
……………. and plasticity,
because the tears of poetry’s minstrelsy flow from a statue,
within which flow the materials of consciousness,
e.g., the crystals in the nightingale’s throat,
…………….those tiny metals.
But in rural India, why is the peacock’s cry choked up,
why does the history of words again become a history of dust?

诗歌并无自己的身份，它的彻悟和洞见
是复调的，始于二的，是其他事物施加的。
             神与亡灵的对视
水仙般，支吾着一个元诗歌的婀娜
和芬芳。眼泪从词的多义抽身出来，
它一边流逝，一边创造自己的边界
              和可塑性，
因为诗歌的行吟的泪水是雕像流出的，
里面流动着一些知觉的材料，
比如，夜莺深喉里的那些水晶，
               那些小金属。
但在乡村印度，为什么孔雀的叫声如此哽咽，
为什么词的历史会再次成为尘埃的历史？

Click the image above to download the full .pdf of the issue.