Fo ked Tongues
The edi o and publishe g a e ully acknowledge he suppo o he
ollowing ins i u ions in he publica ion o his olume:
The Spanish Minis e io de Economía y
Compe i i idad, which has unded he esea ch
p ojec on con empo a y I ish and Galician women
w i e s FFI2009-08475/FILO.
The Asociación de Esc i o es en Lingua
Galega (AELG) o hei inancial suppo
o he ansla o s o Galician poe y in
his an hology and o hei long-s anding
endo semen o ou esea ch.
The Ramon Llull Ins i u e o he
g an o he ansla ion o he poems
by Vinye Panyella, Susanna Ra a ,
Gemma Go ga and Mi eia Cala ell,
ansla ed om Ca alan in o English,
by Michael O’Loughlin, Paula Meehan, Kei h Payne, Theo Do gan and
he supe iso o he Ca alan sec ion, D Diana Cullell.
Fo ked Tongues
Galician, Basque and Ca alan
women’s poe y in ansla ions
by I ish W i e s
Edi ed by
Manuela Palacios
Shea sman Books
Fi s published in in he Uni ed Kingdom in 2012 by
Shea sman Books L d
50 Wes ons Hill D i e
Eme sons G een
BRISTOL
BS16 7DF
Shea sman Books L d Regis e ed O ice
30–31 S . James Place, Mango s ield, B is ol BS16 9JB
( his add ess no o co espondence)
www.shea sman.com
ISBN 978-1-84861-241-9
Fi s Edi ion
In oduc ion © Manuela Palacios González, 2012.
All igh s ese ed.
The ansla ions p in ed he e a e copy igh © 2012 by:
Mau ice Ha mon (poems by Pila Palla és), Lo na Shaughnessy (Chus Pa o),
Anne Le Ma quand Ha igan (Lupe Gómez A o),
Máigh éad Medbh (Yolanda Cas año), Ma y O’Donnell (Ma ía do Ceb ei o),
Celia de F éine (I xa o Bo da), Ca he ine Phil MacCa hy (Mi en Agu
Meabe), Susan Connolly (Cas illo Suá ez), Paddy Bushe (Lei e Bilbao),
Michael O’Loughlin (Vinye Panyella), Paula Meehan (Susanna Ra a ),
Kei h Payne (Gemma Go ga), Theo Do gan (Mi eia Cala ell).
Co e pho og aph copy igh © A u o Casas, 2012;
landscape a copy igh © José C espí Rod íguez, 2009.
All o he o iginal-language ex s con ained in his olume
a e copy igh © by hei indi idual au ho s.
We a e g a e ul o he o iginal publishe s o pe mission o ep in such ex s
as ha e been published p e iously, and also o hei pe mission o publish he
ansla ions in his olume. Full de ails o he sou ce olumes and
pe missions g an ed may be ound on pp.183–184.
5
Con en s
In oduc ion by Manuela Palacios 7
Galician Poe s
Pila Palla és (Mau ice Ha mon) 23
Chus Pa o (Lo na Shaughnessy) 33
Lupe Gómez A o (Anne Le Ma quand Ha igan) 43
Yolanda Cas año (Máigh éad Medbh) 55
Ma ía do Ceb ei o (Ma y O’Donnell) 65
Basque Poe s
I xa o Bo da (Celia de F éine) 77
Mi en Agu Meabe (Ca he ine Phil MacCa hy) 91
Cas illo Suá ez (Susan Connolly) 103
Lei e Bilbao (Paddy Bushe) 113
Ca alan Poe s
Vinye Panyella (Michael O’Loughlin) 125
Susanna Ra a (Paula Meehan) 137
Gemma Go ga (Kei h Payne) 151
Mi eia Cala ell (Theo Do gan) 161
No es 170
Au ho s and T ansla o s 171
Sou ces and Pe missions 183
I speak wi h he o ked ongue o colony
Ea an Boland, The Los Land
Tides came and wen
wi h me lis ening
o hose whispe ing
was i possible o speak
wi h a o ked ongue o sing
wi h a ongue no soaked in milk?
Ma ila Aleixand e, Ca alogue o Poisons
7
Women Poe s in T ansla ion. An In oduc ion
The ope o he o ked ongue ho e s o e his bilingual collec ion o
poe y. I is p ima ily in ended o sugges he ela ionship be ween he
sou ce and he a ge languages—be ween he e nacula ongues o
Galicia, he Basque Coun y, and Ca alonia on he one hand and English
as a lingua anca on he o he . Bu he no ion o he o ked ongue a ises
also o he bilingual condi ion bo h o he w i e s and o he communi ies
in ol ed in his an hology. Galicia, he Basque coun y and Ca alonia
each ha e wo o icial languages, and so has I eland. Thei w i e s’ mu ual
unde s anding in his espec , alongside hese communi ies’ sund y
poli ical and cul u al bonds, lie as he main mo i a ions o he p esen
selec ion o w i e s. In hese ou communi ies, he e nacula ongue
coexis s wi h ano he powe ul language—Spanish o English—which
has sp ead h oughou cen u ies o e many o he na ions. I is o his
pos colonial condi ion ha he I ish poe Ea an Boland alludes when
she says: “I speak wi h he o ked ongue o colony.” The Mad id-bo n
poe Ma ila Aleixand e, on he pa , del es in o he choice o Galician
as he li e a y language, hough i was no he mo he ongue: “ o sing /
wi h a ongue no soaked in milk.” His o ical and poli ical ci cums ances
ha e made o Galician, Basque and Ca alan mino i ized e nacula s, a
phenomenon which jus i ies he necessi y o posi i e ac ion owa ds hei
isibiliza ion and dissemina ion, such as he one his an hology aspi es o
acili a e by including he o iginal ex s.
T ansla ion also seems o be an ap ope o in e cul u al ela ionships.
“The common language o Eu ope is ansla ion,” a i ms he I alian
philosophe Giacomo Ma amao in a s a emen ha acknowledges
cul u al di e si y and di e ence in he ace o homogeniza ion. The
mee ing poin o he languages spoken in Eu ope—wi h o wi hou a s a e,
o icial o no , e nacula s o o eign languages impo ed by immig an
g oups—is ansla ion because, o he wise, he e is no genuine encoun e
bu submission. T ansla ion is a pe o ma i e ac by which he O he is
acknowledged. I is also a new oppo uni y o enego ia e ou cul u al
bonds on ai e e ms. The encoun e a ou ed by ansla ion necessa ily
en ails some con lic oo, as i is a ely a mee ing o equals. The eno mous
gap be ween a wo ld language such as English and he e nacula s in his
an hology clea ly illus a es his con lic , bu he in e na ional language
is also pu ing i s ex ao dina y powe o dissemina ion a he se ice
o he mo e geog aphically- es ic ed e nacula ongues. A bilingual
edi ion like his one ci cum en s he isk o he bea hug, which would
consis in allowing he dissemina ion o e nacula li e a u es h ough
monolingual ansla ion bu would conceal hei languages, he eby
adding o hei u he supp ession.
The e has been some deba e abou whe he poe s should ansla e
o he poe s. The Mexican w i e Oc a io Paz sugges s ha he c ea i e
impulse in li e a y w i e s who engage in ansla ion migh make hei
ex s s ay oo a om he o iginal e sion. Along a simila line, Madeleine
S a o d has wa ned abou hose ende ings which b ing in o ocus he
poe / ansla o ’s in e en ions, while lea ing he w i e o he sou ce ex
in an excessi ely subdued ligh , and he e o e esul in he ansla o ’s
p omo ion a he expense o a dis o ed di usion o he o iginal au ho .
On he opposi e side o he deba e and con a y o dismissals ha deem
w i e s’ engagemen in ansla ion wo k as ama eu ish, he Galician
w i e and academic Ma ía do Ceb ei o Rábade Villa indica es he
ole o c ea i e w i e s’ ansla ions, which o en esul om w i e s’
a ini ies and mu ual admi a ion, as a necessa y coun e balance o he
p og amming and economic in e es s o he li e a y ma ke .
The English e sions in Fo ked Tongues do no ake he o iginal
poems as a me e sou ce o inspi a ion o he elabo a ion o subs an ially
di e en ex s. Each language has, no doub , i s own hy hm and
musicali y; i s wo ds o en ha e di e gen his o ies and igge di e en
associa ions; i s li e a y hemes ha e ecei ed dis inc elabo a ions in each
li e a y adi ion. Fo all hese easons, he English e sions a e necessa ily
new c ea ions, bu hey a e also co-c ea ions which do no hide hei
ela ionship wi h he sou ce poems: hey do no cancel o igno e hem,
bu a e a en i e and inco po a e hei conce ns and mo i s. The English
poems hus es ablish wi h he sou ce ex s an imagina i e dialogue in
a common sea ch o beau y and au hen ici y, “con ending only o
he glo y o he language,” as Osip Mandels am has sugges ed in his
discussion o Russian ansla ions (in McGuckian and Ní Dhomhnaill).
The majo i y o he I ish poe s in his an hology had p e ious expe ience
in he ansla ion o li e a u e om he communi y hey engage wi h
he e, especially in he case o Galician and Ca alan w i ing. In addi ion
o hei backg ound in he sou ce cul u e, mos I ish poe s ha e ecei ed
he li e al ansla ions and, when necessa y, li e a y and linguis ic supe -
ision om h ee specialis s in he e nacula s ep esen ed he e: D .
Ki s y Hoope o Galician poe y, D . Juan A ana o Basque poe y
9
and D . Diana Cullell o Ca alan poe y, he h ee o hem om he
Uni e si y o Li e pool. I would like o exp ess my immense g a i ude
o he en husiasm and diligence in hei collabo a ion wi h his p ojec .
Fo ked Tongues is, he e o e, a communal, collabo a i e e o ha
subs an ia es he plu ali y o ac o s who in e ene in he p oduc ion and
dissemina ion o poe y.
§
The unp eceden ed upsu ge o women w i e s since he nine een eigh ies
in he ou communi ies ep esen ed in his an hology has been one o
he mos decisi e mo o s o change in hei li e a y sys ems. One canno
deny he impo ance, o his phenomenon, o he long s uggle o he
eminis mo emen since he ea ly wen ie h cen u y and, in pa icula ,
ha o he pi o al second wa e in he nine een se en ies. Women’s
gene alized access o seconda y educa ion, and o a subs an ial numbe
o hem o uni e si y deg ees, has acili a ed he b oad and solid cul u al
backg ound needed o become a w i e . The g adual, hough s ill
incomple e, libe a ion o women om ime-consuming domes ic asks
and he commi men s o la ge amilies has also been a necessa y condi ion
in he ad ance o women w i e s. Fo ked Tongues wishes o ecognize
hese women’s con ibu ion o he no maliza ion and consolida ion o
hei espec i e li e a y sys ems. Male w i e s should do well o in ol e
hemsel es in his s uggle o he isibili y o hei emale coun e pa s
and his is he eason why, while he Galician, Basque and Ca alan poe s
in his an hology a e all women, a numbe o male poe s ha e been
included among he I ish ansla o s.
The ise o women w i e s in Spain was in pa a ou ed by he
ins abili y o poli ical and cul u al ins i u ions a e Gene al F anco’s
dea h in 1975. Times o change may become app op ia e occasions o
eme gen g oups o elbow hei way in o li e a y cen es. Galicia, he
Basque Coun y and Ca alonia a e ecognized as his o ical na ionali ies in
he Spanish Cons i u ion (1978) on accoun o hei espec i e S a u es
o Au onomy be o e he Spanish Ci il Wa (1936–1939). Wi h he
ad en o democ acy a e F anco’s demise, new S a u es o Au onomy
we e passed in Ca alonia (1979 and 2006), he Basque Coun y (1979)
and Galicia (1981) which ha e commi ed hei go e nmen s o p o ec
and p omo e hei e nacula languages and cul u es. The eme gence o
women w i e s in he nine een eigh ies, hen, coincided wi h a pe iod o
16
o he deploymen o a dynamic and s ong li e a y sys em o publishe s,
w i e s, c i ics and eade s. Howe e , Ca alan women w i e s ha e no
been g an ed he isibili y one migh expec in wha would, o he wise,
seem like a no malized cul u al con ex . A collec ion such as Co edo -
Ma heos’, o ins ance, which claims o be he essen ial an hology o
con empo a y Ca alan poe y, does no ea u e a single woman among
he wen y-nine w i e s bo n in he wen ie h cen u y. This supp ession
o women’s w i ing has made posi i e ac ion necessa y in he o m o
women-cen ed an hologies such as Ca me Rie a’s and Enca na San -
Celoni’s.
A e y p oduc i e di ec ion in he poe y o he nine een eigh ies and
nine ies in Ca alonia examined seemingly au obiog aphical expe ience
oge he wi h i s mo al and emo ional implica ions. This main d i
pe sis s in he ea ly wen y- i s cen u y, al hough i is being en iched
wi h al e na i e p oposals, some o which a e illus a ed by he poems in
Fo ked Tongues: “a mo e p o ound explo a ion o he na a i e possibili ies
o he poem, which is now concei ed wi h a longe leng h han he
con en ional epiphanic poem; an inc ease in he numbe o lea ned
allusions; a shi o a en ion o a nea e de ini ion o he ela ionship
be ween li e a u e, eali y and he s a u e o a ; inally, a g adual weeding
o he anecdo al elemen s in he poem in he bene i o a medi a i e s yle
which may p o e mo e ap o poe y o a me aphysical eno ” (Balla
and Julià).
Al hough Ca alan-language poe y is no limi ed o ha p oduced in
Ca alonia and has also had impo an w i e s in he Valencian Communi y
and Balea ic Islands, he al eady b oad scope o his an hology wi h
w i e s om h ee Ibe ian au onomous communi ies has swayed me o
choose ou poe s om Ca alonia whose i s published collec ions ha e
come ou in he las wen y yea s. Apa om being a w i e o poe y
and essays, Vinye Panyella (1954) has co-o ganized a exhibi ions and
has w i en on pain e s such as Picasso, Cézanne, Dalí, Rusiñol and El
G eco. Fo Fo ked Tongues she has selec ed wo poems om he 2007
collec ion Talle Cézanne [Cézanne S udio] which e ince he in e es in
he isual a s and hei possible in e sec ions wi h li e a u e: Panyella
eads a pain ing and h ough he e se we conju e shapes, colou s, lines
and ex u es; she conside s he eminine gaze in ela ion o ha o he
male mas e s o pain ing in hei ende ing o he emale body; she
inqui es abou he p ocess o iden i ica ion be ween he subjec and
objec o ep esen a ion; she ins ils emo ions in he silen a o a s ill
17
li e. Panyella’s poems om he o he collec ions a e songs o expe ience
which del e in o pain and endu ance, he lux o li e and iden i y, and
he blu ed line be ween au ho and ex . Michael O’Loughlin’s e sions
ha e none o he supe luous wo ds o pe iph ases ha we some imes
ind in ansla ions. While accu a e and a en i e o Panyella’s w i ing,
his powe ul e-c ea ion o he poems eads like an o iginal ex .
Susanna Ra a (1962) is a widely acclaimed poe and ic ion w i e .
He ly ic s yle has been desc ibed as “elegan and delica e wo ds, e y
well chosen and cu wi h p ecision o hei place wi hin he e se like
he esse ae o a mosaic. […] ee o dissonance and an a e, ulga i y
and ou bu s s, e e y hing is said wi h he sub le y and ende ness o a
ca ca essing a hand” (Fo cano). Fo Fo ked Tongues, Ra a has selec ed
poems ha dialogue wi h a ious li e a y adi ions and, in pa icula ,
wi h emale w i e s such as Emily Dickinson and So Juana Inés de
la C uz, wi h whom she sha es a medi a i e s yle and a me aphysical
yea ning abou he soul’s ques . Paula Meehan excels in he ende ing
o Ra a ’s exquisi e image y and he I ish poe ’s accomplishmen in he
hy hm and hyme pa e ns o poems such as “Senyo , no m’abandonis a
l’amo ” [Lo d, do no abandon me o lo e] cons i u es a ue homage o
he c a o ansla ion.
Gemma Go ga (1968) combines he me apoe ic c ea ion ha
con e s wi h li e a y adi ions and w i e s om a dis an ime and space,
as in “Llegin Ma suo Bashô” [Reading Ma suo Bashō], wi h poems abou
he p oximi y and complici y o bodies and he physical and emo ional
sensa ions hey a ouse. Kei h Payne is especially e ec i e in his a en ion
o he pace o Go ga’s ph asing and he senso ial imp essions o he e se.
Gemma Go ga eels a home in he liminal space be ween language and
he eal wo ld whe e hey nou ish and inspi e each o he . She cons ues a
desi ing emale subjec who is awa e o he agency in shaping he li e and
he ela ions. Susanna Ra a has said o he 2005 collec ion Ins umen s
òp ics [Op ical Ins umen s]: “[ his] is a book o poems o ewa ding
con alescence. Con alescence p oduces guil less inac ion and en isages
wonde , e lec ion and de achmen om exis ence. Gemma Go ga opens
o us a chambe in which s illness, as a ca ego y, conju es a di e en
ealm.”
Al hough Mi eia Cala ell (1980) is he younges poe in his collec ion,
he wo k has had a signi ican ecep ion in he Ca alan li e a y wo ld and
has al eady been an hologized (Ga cía, Alemany, among o he s). Bo h in
he academic w i ing and he poe y, she has been conce ned wi h he
18
way he body is cons ued h ough discou se and wi h he insc ip ion o
iden i y, gende , sexuali y and class, among o he ca ego ies, in he body.
She acknowledges he in luence o o me Ca alan women poe s such
as Ma ia-Me cè Ma çal, Mon se a Abelló, Felícia Fus e and Te esa
Pascual, who ha e clea ed he way o he as a w i e . The poems she has
selec ed o Fo ked Tongues in e oga e s ill p e alen no ions o oman ic
lo e om an i onic s ance ha sugges s e ealing compa isons wi h he
Basque poe Lei e Bilbao. Theo Do gan handles sound pa e ns wi h a
seasoned skill and mas e ully con eys emo ional yea ning, w y humou ,
he sensuali y o he body, and he pain o knowledge.
Some s ylis ic ea u es and hema ic conce ns may seem
ecu en in his selec ion o hi een poe s: ee e se and speech hy hm,
he p ose poem, he i egula i y o s anzas, he spli ing o he poe ic
oice, he u ban se ing, he medi a i e app oach, he enewal o image y,
he in e -a s analogy, he i onic s ance wi h ega d o ideals —whe he
public o p i a e— and he explo a ion o al e na i e discou ses abou
he emale body, o men ion a ew. The e a e also some ascina ing
examples o amilia pa e ns o hymes, hy hms and s anzas which
e ince an ongoing dialogue wi h li e a y adi ion, wi h i s opes and
subjec ma e . This an hology does no in end o p o ide a simpli ying
and homogenizing su ey o women w i e s’ poe y since he nine een
nine ies ha echoes he edi o ’s pe sonal as e. Fo ked Tongues celeb a es
he spaces o con e gence —among he e nacula li e a u es on he one
hand and be ween hem and hei English coun e pa s on he o he —
bu also he di e gen pa hs ha each poe chooses o ollow in he
indi idual poe ic ques .
Manuela Palacios
Uni e si y o San iago de Compos ela
19
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