Land art. Vertical living walls of green. No images does it justice, the kloof looped with orchids, watered weekly.
Tomas Transtromer’s Poems and the Art of Translation
Transtromer, trained as a psychologist, has always been interested in the ways our personalities obscure as much as they reveal. “Two truths approach each other,” he writes in “Preludes” (translation by May Swenson), “One comes from within, / one comes from without — and where they meet you have the chance / to catch a look at yourself.” In this context, his heavy reliance on metaphor isn’t surprising. A metaphor insists on the similarity of its tenor and vehicle, but also declares their fundamental difference: after all, the metaphor itself would be unnecessary if its components were identical. These countervailing purposes become, in Transtromer’s hands, a way of holding together what he can and can’t say. As he puts it in Fulton’s translation of “April and Silence”: “I am carried in my shadow / like a violin / in its black case.” He balances these often startling juxtapositions with simple diction and generally straightforward syntax, making the complexity of his poetry a matter of depth rather than surface. His poems are small, cool fields dissolving into dreams at their borders.