Super-Close Reading: On Marjorie Perloff’s “Infrathin: An Experiment in Micropoetics”
This superb critical study explores “what makes poetry with a capital P so captivating and indispensable.”
Tal Goldfajn is assistant professor of Spanish and Portuguese Studies at the Department of Languages, Literatures and Cultures at UMass Amherst. She earned her PhD in General Linguistics and Comparative Philology from the University of Oxford, and her BA in Psychology from the Pontificial Catholic University in Rio de Janeiro, Brazil. She is the author of, among other works, Word Order and Time in Biblical Hebrew Narrative (Oxford University Press), and a co-editor of a special issue on Translation and History in Latin America published by the Estudios Interdisciplinarios de America Latina y el Caribe (Tel Aviv University). Her research interests include language and emotion, pragmatics and translation, translation theory and multilingualism. She was the managing editor of the Mediterranean Historical Review (Taylor & Francis) for 15 years and is a practicing translator (Spanish, English, Portuguese, French, Hebrew). Her Hebrew translations of the plays A Kiss in the Asphalt by Nelson Rodrigues (from Brazilian Portuguese) and Caricias by Sergi Belbel (from Spanish and Catalan) were recently staged in Tel Aviv, and her latest translation from Hebrew is Nurith Zarchi’s and Rutu Modan’s The Mermaid in the Bathtub (Restless Books, 2019).
This superb critical study explores “what makes poetry with a capital P so captivating and indispensable.”
Tal Goldfajn digs up two translations of “The Posthumous Memoirs of Brás Cubas” by Machado de Assis.
Tal Goldfajn pores over “The Hebrew Bible: A Translation with Commentary” by Robert Alter.