{"id":171816,"date":"2025-10-17T10:00:26","date_gmt":"2025-10-17T14:00:26","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=171816"},"modified":"2025-10-15T17:10:27","modified_gmt":"2025-10-15T21:10:27","slug":"making-of-a-poem-natasha-wimmer","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2025\/10\/17\/making-of-a-poem-natasha-wimmer\/","title":{"rendered":"Making of a Poem: Natasha Wimmer on \u201cI Wasn\u2019t Always This Ugly\u201d"},"content":{"rendered":"
\"\"

Roque Dalton in exile in Havana, Cuba, 1967. Casa de las Am\u00e9ricas, via Wikimedia Commons<\/a>. Public domain.<\/p><\/div>\n

For our series Making of a Poem, we\u2019re asking poets and translators to dissect the poems they\u2019ve published in our pages. Natasha Wimmer\u2019s translation of Roque Dalton\u2019s poem \u201cI Wasn\u2019t Always This Ugly<\/a>\u201d appears in our new Fall issue, no. 253. Here, we asked Wimmer to reflect on her work.<\/em><\/p>\n

 <\/p>\n

Can you tell us a little about Roque Dalton and your interest in him? Where was this poem originally published?<\/strong><\/p>\n

Dalton was born in El Salvador in 1935 and is generally considered one of the greatest Latin American poets of the twentieth century. He was very politically engaged\u2014he lived in exile from El Salvador for most of his life, including some crucial years spent in Cuba. In his thirties, he became increasingly committed to the armed struggle and joined a guerrilla group to fight in El Salvador. Four days before his fortieth birthday, he was shot by his comrades in an incident that has never been fully explained.<\/p>\n

I first encountered Dalton through my translations of Roberto Bola\u00f1o. Bola\u00f1o claimed to have met Dalton shortly before he was shot, and The Savage Detectives<\/em> was clearly influenced by Dalton\u2019s autobiographical novel Pobrecito poeta que era yo \u2026<\/em> (as yet untranslated). Over the course of translating him, I\u2019ve fallen victim to his considerable charms\u2014as seems to have been the case with everyone who met him.<\/p>\n

This poem was originally published as part of the collection Un libro levemente odioso <\/em>(A Slightly Nasty Book<\/em>, forthcoming), which I\u2019ve been translating along with another work called Taberna y otros lugares<\/i> (<\/span>Tavern and Other Places<\/i>, forthcoming)<\/span>. Both are part of a larger project by Seven Stories Press to bring Dalton into English. Until now, English-language readers have had only an anthology, Small Hours of the Night<\/em>, and Dalton\u2019s final collection, Stories and Poems of a Class Struggle<\/em>.<\/p>\n

\u00a0<\/strong><\/p>\n

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

Yes, there are easy and hard translations! However, \u201ceasy\u201d translations sometimes resist improvement and revision, because they seem so self-evident. And a translation that at first seems \u201chard\u201d may be more successful in the end because it spurs the translator to think more deeply. The first draft of this poem was relatively easy (alert! danger!). It\u2019s one of Dalton\u2019s most narrative poems, and so it feels closer to what I usually do, which is prose translation. Dalton is almost always playful, and here he turns that playfulness into sparkling miniature autobiography. More often, his playfulness has a cryptic edge, and the translation process is slower because it requires a critical reading that evolves over many drafts and months.<\/p>\n

 <\/p>\n

When did you know this\u00a0translation\u00a0was finished? Were you right about that? Is it finished, after all?<\/strong><\/p>\n

\u00a0<\/strong>This translation was essentially done after a few rounds of light revision. I did keep an early draft, and when I look back at it I see a few more differences than I expected. The first two lines, for example, went from:<\/p>\n

You see, I have a broken nose
\nwhich I got when el tico Lizano hit me with a brick<\/p><\/blockquote>\n

to:<\/p>\n

You see I have this broken nose I got
\nwhen el tico Lizano hit me with a brick<\/p><\/blockquote>\n

from the Spanish:<\/p>\n

Lo que pasa es que tengo esta fractura en la nariz
\n<\/em>que me caus\u00f3 el tico Lizano con un ladrillo<\/em><\/p><\/blockquote>\n

The conversational tone is important here\u2014Dalton is directly addressing the reader. \u201cLo que pasa<\/em>\u201d gave me some trouble. I also experimented with \u201cThe thing is,\u201d but although at first it seems like a closer translation, it doesn\u2019t have quite the same confessional slant as \u201cLo que pasa es que<\/em>,\u201d and it impedes the rhythm of the line in English. I tried a simple \u201cSee I have this broken nose,\u201d but decided it was too abrupt. The addition of the \u201cYou\u201d is perhaps controversial, but it is implied, and I decided it conveyed the right level of intimacy.<\/p>\n

By breaking the line in a slightly different place than Dalton does and dispensing with the relative pronoun clause (\u201cwhich I got\u201d), I rebalanced the couplet and came closer to the bouncy rhythm of Dalton\u2019s Spanish.<\/p>\n

 <\/p>\n

What was the challenge of this particular\u00a0translation?\u00a0<\/strong><\/p>\n

Getting the voice right. Dalton is at his most delightful here\u2014funny, vulnerable, sly, self-deprecating. It\u2019s also a very tight poem, packed with information delivered in neat little parcels. And it has great momentum. I wanted it to feel easy and inevitable, but also irrepressibly vital.<\/p>\n

\u00a0<\/strong><\/p>\n

Do you <\/strong>regret any revisions?<\/strong><\/p>\n

I tend to tighten Dalton\u2019s lines, which I think is generally the right strategy\u2014as it often is, in going from Spanish to English\u2014but in looking at the earlier draft, I see that I lose at least one small detail near the end: \u201csplitting my zygomatic arch in three pieces\u201d becomes \u201csplitting my zygomatic arch.\u201d I presume I dispensed with \u201cin three pieces\u201d to preserve the punch of the line (\u201cen tres pedazos<\/em>\u201d falls in the middle of the line in Spanish; it trails anticlimactically in English), but the specificity of it is funny. The cut is also questionable according to a loosely held principle of mine, which is never to eliminate or add any concrete information.<\/p>\n

And I\u2019m still not sure about that \u201cYou see.\u201d<\/p>\n

 <\/p>\n

Natasha Wimmer\u2019s translations from the Spanish include \u00c1lvaro Enrigue\u2019s <\/em>You Dreamed of Empires\u00a0and Roberto Bola\u00f1o\u2019s <\/em>2666.<\/p>\n","protected":false},"excerpt":{"rendered":"

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