{"id":166535,"date":"2024-01-16T10:54:43","date_gmt":"2024-01-16T15:54:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=166535"},"modified":"2025-09-22T11:43:44","modified_gmt":"2025-09-22T15:43:44","slug":"making-of-a-poem-kuchenmeister-chor","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/01\/16\/making-of-a-poem-kuchenmeister-chor\/","title":{"rendered":"Making of a Poem: Nadja K\u00fcchenmeister and Aimee Chor on \u201cfeathers and planets\u201d"},"content":{"rendered":"
\"\"

Basile Morin, close-up photograph of swan feathers letting sunlight through, via Wikimedia Commons<\/a>. Licensed under CC BY-SA 4.0 DEED<\/a>.<\/p><\/div>\n

For our series Making of a Poem, we\u2019re asking poets and translators to dissect the poems they’ve contributed to our pages. Nadja K\u00fcchenmeister\u2019s \u201cfeathers and planets<\/a>,\u201d translated by Aimee Chor, appears in our new Winter issue, no. 246. Here, we asked both K\u00fcchenmeister and Chor to reflect on their work.
\n<\/em><\/p>\n

1.\u00a0Nadja K\u00fcchenmeister<\/p>\n

How did this poem start for you? Was it with an image, an idea, a phrase, or something else?<\/strong><\/p>\n

The poem began, as it often does for me, with an image (\u201csugar, stirred into cream\u201d) and at the same time a rhythmic set of sounds that, ideally, make a phrase into verse. I like tonal neighborhoods that are not immediately apparent but rather reveal themselves in the writing of a poem (in German, the words Einkaufsnetz<\/em> [shopping bag] and Bett<\/em> [bed] make a tonal connection, as do, more distantly, Netz<\/em> [net] and Fuchs<\/em> [fox]\u2014at least to my ear). However, these resonances, these rhymes, have to emerge on their own\u2014I cannot force them. They establish themselves on the basis of something that was already present in the poem. You could also say that something only comes to be because something else came into being before it. This is true for images and motifs and for sounds as well. In this sense, a poem always also creates itself, although of course I am the one who gives it its order. <\/p>\n

How did writing the first draft feel to you? Did it come easily, or was it difficult to write? (Are there hard and easy poems?)<\/strong><\/p>\n

The final poem I wrote for Im Glasberg<\/em> (In the glass mountain<\/em>) was \u201cfeathers and planets.\u201d It posed a problem for me because for a long time I had only the start of a poem. There were images that wouldn\u2019t fall into place, that stood disconnected alongside each other. It was an abandoned poem. But I knew I still needed a piece for the book because I was aiming for a certain symmetry. (The first poem I had written for the book was \u201cblack laundry,\u201d which also appears in The Paris Review<\/em>.) Eventually I pulled the text that would become \u201cfeathers and planets\u201d back out again. When the \u201cbriefs in the sleeve of a winter coat\u201d appeared, I knew I was safe, poetically speaking, that the poem could work, even though it\u2019s still a fairly small poem for me\u2014perhaps because I had to wrestle with it so much?<\/p>\n

With some poems, the images arise almost as if in a dream\u2014one word elicits the next, one sound leads to the next (as happened with \u201cblack laundry\u201d), whereas with others, I feel like I\u2019m dragging myself from verse to verse with lead on my feet. And that\u2019s not a bad thing. But it shouldn\u2019t show once the poem is finished.<\/p>\n

What was the challenge of this particular poem?\u00a0<\/strong><\/p>\n

The challenge consisted of a dissatisfaction that is hard to explain, that said, You are not finished yet. Sometimes I try to deceive myself\u2014I just want a poem to be done, now! But it\u2019s only finished when it\u2019s finished. Fortunately, over the years you get a good sense for this. Just putting images and sounds alongside each other does not make a poem. It always has to do with the form. This is why, for me, it\u2019s never about working on the feeling but always about working on the language. The language is what creates an emotional center, if one is successful. It is when a text has become more than a collection of images and thoughts that a poem begins.<\/p>\n

When did you know this poem was finished? Were you right about that? Is it finished after all?<\/strong><\/p>\n

At some point, a poem is finished. Or not. If it\u2019s not finished, it\u2019s not a poem, and I set it aside. I don\u2019t make changes in hindsight. I don\u2019t still like all of my poems. But I am uncomfortable with the thought of poets reissuing volumes with poems that have been reedited, since this takes something away from the readers\u2014part of their history with this poem. It\u2019s okay to see in a poem what the poet was not yet capable of at that point. The poem \u201cfeathers and planets\u201d was finished at a certain point, meaning that there was a shape that I had worked to create out of a pile of memories. What is perhaps decisive is that these memories transform themselves in the course of writing; they increasingly become the memories of a lyrical \u201cI\u201d that does not appear as such in this poem. And yet there is a consciousness, recognizable throughout the text, that recalls images, that remembers. I believe that when we are working with memories, literature starts where one starts to invent one\u2019s own life. It is still your own life, and at the same time, it is different.<\/p>\n

2. Aimee Chor<\/p>\n

What was the challenge of this particular translation?\u00a0<\/strong><\/p>\n

One challenge of translating the poem was how much I love it. The way that this translation means and sounds has a lot of me in it\u2014I am giving it to you in the way that I received it. While on the one hand that is inevitable\u2014and welcome\u2014on the other hand I wonder whether I have accurately conveyed the poem written by Nadja to the readers of the translation in English.<\/p>\n

Another challenge is that the English is in some ways very unlike the German: W\u00e4schest\u00e4nder<\/em> does not sound like laundry rack<\/em>, and quark is not really the same thing as cream. But turning the poems into English creates new sonic and linguistic overlaps, both those I work at and the serendipities that I do not plan and for which I am grateful.<\/p>\n

Did the translation otherwise come easily, or was it difficult? Are there hard and easy translations?<\/strong><\/p>\n

On their face, Nadja\u2019s poems aren\u2019t difficult to translate. The language is not especially opaque or convoluted. I do find some translations from German more difficult than others, at least when it comes to unpicking the meaning of the German itself. But beyond that, translating any poetry is difficult in a way very different from writing poetry. The original is always there, even after you let go of any simple idea of equivalence, and the translator is responsible to it, to do justice to it\u2014that sounds like an ethical demand because it is, I think. I was fortunate that the poem comes from a book that is quite coherent, and so translating some of its poems taught me how to translate others, which in turn taught me how to revise the initial translations. The words and the rhythms of the translation have at least as much to do with the other poems in the book as they do with the logic and flow internal to this particular text. I am glad that it stands on its own, but it\u2019s impossible for me to read it that way.<\/p>\n

When did you know this translation was finished?<\/strong><\/p>\n

I could revise a translation forever, I think. But it\u2019s done when trying new words or patterns doesn\u2019t make it any better, just different or worse.<\/p>\n

 <\/p>\n

Nadja K\u00fcchenmeister\u2019s most recent book of poetry is <\/i>Im Glasberg (In the glass mountain). She is the winner of the 2022 Basel Poetry Prize.<\/em><\/p>\n

Aimee Chor is a poet and translator. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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