And I wondered if I was awake or asleep, if it was the moon's paleness or Lucifer's, if it was midnight or dawn!

Marguerite Duras’s essay “Joy: we believe: we don’t believe anymore” (1977) translated by Mia Ruf

Ten poems translated from the Greek by Pria Louka.

Farrokhzad speaks as a form hewn to the "line of time," trapped in the earthly realm — her sorrowful longing is one of disillusionment given the unrealizability of divine ecstasy.

Four poems from Émile Verhaeren’s Tentacular Cities (1895) translated from the French by Jacob Siefring.

Seven poems by Francisco Segovia translated by Katherine Silver, with artwork by Carolie Parker.

And on the fourth midnight the new bride slumbered on the stretch of grass * And in the same breath, I was in the newly sprouted leaves * or in the fluttering breeze * and perhaps even in the deep waters * And the breath of the wind stirring little blossoms on the thick tree wailed in me * and bright streams of rain wept in me. *

An 1891 interview with Mallarmé, translated from the French by poet Cid Corman.

When the class that, unbeknownst to our age, we continue to attend, truly reaches its end, night falls on the self. What’s the use of clarifying it, full of tears?

We seek to utilize the force of our creative ability to fashion a world of our own or thereby change that which is given.

Then, early one morning, as the night was thinning out; as — like a ball of alms rice whitened with yogurt in the hand of the mendicant called Time; like a lump of foam on the dark river of the night sky; like a fragment of the celestial nymph Menakā’s white crystal nail file; dappled as beautifully as a honeycomb

“The category of experience connects original composition to translation. Just as poets shape their experience into a poem, the translator shapes a more specific experience, the experience of the original poem, into the translation.”

“I decided early that poetry is made of exact details.” Ultimately, in his poetry, [Flora’s] details are raised far beyond prosaic, everyday specification, simple catalogues of what make up, to use the title of one of his early books, The Physical World (1977).

The act of writing, as Mancinelli conceives of it, takes her into her darkroom, a “place of the unknown, where [her] demons nestle [and her] most tenacious and impenetrable shadows [can be found].”

Selections from Intact (2018) by Claudia Masin, translated from the Spanish by Robin Myers.

“The visitor wanted to create some very special clothing for the special person, like nobody had ever seen.”

Selections from Invisible by Jacek Gutorow, translated from the Polish by Piotr Florczyk.

Ioanna Kostopoulou reviews Genese Grill’s translation of Robert Musil’s Theater Symptoms

From within Varela’s rough text, Lara extracts unexpected threads of forms, unarticulated rhythms and figures of speech that keep the metaphors together and yet, by the same token, undermine and fulfill Varela’s austere treatment.

The wish to avoid the difficulties of attempting to reproduce Valéry’s own rhyme and scansion is understandable, but replacing them with another set of procedural impositions doesn’t necessarily allow the translation to do justice to the original.