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This attitude perhaps provides us with a clearer image of what Rilke is doing intellectually; however this often obscures the emotional force of Rilke’s poems. In the third poem of Rilke’s sonnet sequence, “Sonnets to Orpheus,” he addresses a youth, a “Jüngling,” who presumably has been writing bad love poems. Here is Snow’s translation: “It’s [i]not[/i], youth, when you’re in love, even / if then your voice...
...judging various translations, we as readers are put in unique positions of judging, and experiencing, different versions of the same poem. All poets offer truths that are pressing and immediate, and yet often our immediate understanding of poetry happens only when the poem’s aesthetic affects us in a certain way. So, assuming translations maintain a reasonable accuracy, it really is a matter of personal preference which translation you choose. For me, Mitchell did the job. However, I believe Snow has put together a translation that will present the ideas and emotions embedded in Rilke?...
...Neither this country - nor the values that we were founded upon - could exist without men and women like these 13 Americans," Obama said. "Their life's work is our security and the freedom that we too often take for granted. Every evening that the sun sets on a tranquil town; every dawn that a flag is unfurled; every moment that an American enjoys life, liberty and the pursuit of happiness - that is their legacy...
...Simple truths are often the best. But even these, on television, come swimming now against a current of expectations: Is this line a signal about future troop levels? Is that paragraph a veiled play for bipartisan support on health care? Is the tone appropriately pastoral in this section and sufficiently martial in the next? TV's original power was its immediacy, its you-are-there quality. More and more, it seeks instead to mediate. A nation of citizens is invited to become a culture of critics...
...journalist Hu Shuli has often been called "the most dangerous woman in China." And she may become even more so. As the pioneering editor of China's most influential business magazine, she managed to publish groundbreaking stories on official ineptitude and financial malfeasance despite China's tight control of the media. She may be on the verge of even greater freedom after cutting her ties with the owners of her magazine. On Monday, Hu announced that she was resigning from Caijing (Finance and Economics), the publication she built into one of China's rare voices of journalistic autonomy. Instead...