In the Light of

Ciaran Carson has a distinguished history of translation from the Italian (The Inferno of Dante Alighieri, 2002), the Irish (The Midnight Court, 2005; and The Tain, 2007) as well as from the French (The Alexandrine Plan, 1998). He states in his ?Author’s Note” that ?these versons are not conventional translations. . . . There are instances where I have added to or taken away from the original. I have sometimes twisted Rimbaud’s words. And Rimbaud’s words, of course, twisted mine . . .” Carson’s idea of the translator’s work is like the French poet’s own visionary idea of how poetry conveys the hypnotic violence of the real: ?The poet makes himself a seer through a long, prodigious and rational disordering of the senses.” Carson continues: ?However we gloss the title Illuminations, the poems flit within the inward eye like a brightly-coloured magic lantern slides, pictures from a marvellous book, visions of another world, scenes from an avant-garde film. Rimbaud was avant-garde before the Avant-garde; a surrealist before Surrealism; and, environmentalist avant la lettre, his critique of industrial society in some of these poems is still relevant today. In all senses he was indeed a seer.” Only a poet of Carson’s skills could translate the poetry of the poete maudit ?in the light of” the original.

Born in 1948 in Belfast, Northern Ireland, Ciaran Carson studied at Queen’s University, Belfast, where, from 2003?2015, he served as the director of the Seamus Heaney Centre for Poetry. Though recently retired from that post, he continues to teach a postgraduate poetry workshop there, in addition to overseeing the Belfast Writers’ Group. Earlier in his career (from 1975?1998), Ciaran Carson acted as an arts officer for the Arts Council of Northern Ireland. He is also a member of Aosdana and is a Fellow of the Royal Society of Literature. A writer of both poetry and prose?fiction and non-fiction alike?Ciaran Carson has also translated many texts, including The Midnight Court, a work of the eighteenth-century poet Brian Merriman, and a version of Dante’s The Inferno, which won the Oxford Weidenfeld Translation Prize. His other awards include the first-ever T. S. Eliot Prize (1994, for First Language), and the Forward Prize for Best Collection (2003, for Breaking News). As well as being a significant poet and careful translator, Carson is also a scholar of traditional Irish music; he frequently plays the flute alongside his wife, the accomplished Irish fiddler Deirdre Shannon. He has said: ?I’m not interested in ideologies . . . I’m interested in the words, and how they sound to me, how words connect with experience, of fear, of anxiety . . . Your only responsibility is to the language.”