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In calling this collection Yoruba from Cuba, a phrase from the poem 'Son Número 6', the translator, Salvador Ortiz-Carboneres, draws attention to Guillén's pioneering embrace, more than sixty years ago, of an African identity in Cuba. His selection shows Guillén constantly returning to the theme of race and the historical legacies of slavery in both the Caribbean and the USA. But in poems such as 'Balada de los Dos Abuelos', Guillén is also seen stressing the mulatez heterogeneity of Cuban culture in drawing on African, European and other immigrant traditions. As a life-long Marxist and anti-imperialist, Guillén celebrated the Cuban revolution, including the heroic example of Che Guevara, but he also addressed the tendency to a repressive puritanism within the ruling party in such important poems as 'Digo que yo no soy un hombre puro'. In this dual language selection of one of the outstanding poets of the Hispanic world, Salvador Ortiz-Carboneres has created lively, very readable English versions that capture both the colloquial vigour of Guillén's language and the incantatory rhythms of those of the poems where he draws on the dance patterns of the Cuban 'son'. The selection covers the range of Guillén's work from Poemas de Transición (1927-1931) up to poems from La Rueda Dentada and El Diario que a Diario, both of 1972. With a translator's preface, an introduction by the distinguished scholar of Cuban culture, Professor Alistair Hennessy, notes, a chronology and a reading list, this is an edition that will bring Guillén's powerful and epochal poetry to both the general reader and to the student. His work is unquestionably one of the towering landmarks of Caribbean poetry. Salvador Ortiz-Carboneres teaches Spanish language and Latin American poetry at the Language Centre, University of Warwick.
Ìgbà Èwe is a bilingual poetry collection, containing twenty-six Yorùbá translated poems side-by-side with the original English text first published in 2014 in a collection titled Childhood by the American philosopher and professor Emily R. Grosholz. Ìgbà Èwe was first published under the Tevani imprint of Ouida Books on June 30, 2021. Grosholz' Childhood has been described as "a brilliant poetry book about the joys and challenges of adoption, childhood and motherhood." The translated paperback volume by Nigerian writer and linguist Kọ́lá Túbọ̀sún also features illustrations on the cover and within the pages, done by the Nigerian writer Yemisi Aribisala. Prof. Remi Raji of the University of Ibadan calls Ìgbà Èwe "the exemplary art of cultural dialogue across languages." Prof. Karin Barber, Africanist anthropologist at the London School of Economics, wrote in the blurb: "This is translation in its fullest sense-managing to convey the spirit of a lived world of experience grounded in the landscape, seasons and culture of Pennsylvania while bringing it into rapport with the imaginative resources of the Yorùbá poetic repertoire." Ngugi wa Thiong'o, famous African writer and language activist, wrote: "Translation is the common language of languages. [Túbọ̀sún] is among the young practical visionaries of New Africa." "With this powerful new edition," BrittlePaper.com writes of the work, "Túbọ̀sún introduces Grosholz's work to Yoruba readers the world over...The collection shows the impressive range of (his) abilities as a translator."
Oral poetry is a wide subject that ranges from American 'folk-songs', Eskimo lyrics or popular songs, to the heroic poems of Homer and distinct epic composers in Asia and the Pacific. Unlike previous works, this book takes a broad comparative view and considers oral poetry from Africa, Asia and Oceania as well as Europe and America. Dr Finnegan includes in her argument the results of topical research from all over the world, thus illuminating and suggesting fresh conclusions to many controversies: the nature of 'oral tradition'; possible connections between types of poetry and types of society; the differences between oral and written communication; and the role of poets in non-literate societies.
The Yoruba was one of the most important civilizations of sub-Saharan Africa. While the high quality and range of its artistic and material production have long been recognized, the art of the Yoruba has been judged primarily according to the standards and principles of Western aesthetics. In this book, which merges the methods of art history, archaeology, and anthropology, Rowland Abiodun offers new insights into Yoruba art and material culture by examining them within the context of the civilization's cultural norms and values and, above all, the Yoruba language. Abiodun draws on his fluency and prodigious knowledge of Yoruba culture and language to dramatically enrich our understanding of Yoruba civilization and its arts. The book includes a companion website with audio clips of the Yoruba language, helping the reader better grasp the integral connection between art and language in Yoruba culture.