In doing so, they underscore the extent to which modernists so often regarded translation as a primary creative act rather than secondary or derivative one. Contemporary translators, many of them themselves practicing poets or writers, are increasingly making available modernisms from around the world.
The study of global modernism, too, relies on active and continuous translation efforts. Global modernism, by foregrounding this established problematic of translation in the context of an awareness of the unevenness of global exchange, highlights the centrality of language politics to modernist literary creation. In order to have global modernism, then, there must be translation and, necessarily, its distortions. Historically speaking, the texts we think of as modernist are, almost without exception, the products of lively eras of translation in an expanded sense that reaches beyond the strict remit of textual translation between languages. Its condition of possibility is the circulation of texts through time and space, across languages and in languages that are not the texts’ own. Global modernism exists only in translation.
Poetry, Translation, and the Circulation of Global Modernism: A Roundtable and Reading with Emily Drumsta, Klara Du Plessis, Ariel Resnikoff, and Sho Sugita
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