Amateurs borrow, professionals steal, and this month we're accessories after the fact, presenting a collection of pieces based on, alluding to, and just plain pinched from the work of others. Our contributors target writers from a variety of countries and eras to mimic and riff on, and subvert plots, characters, and the authors themselves. Venezuela's Slavko Zupcic finds theft can be fatal. Eduardo Halfon traces the steps of Hemingway in Paris. Mexico's Guadalupe Nettel channels Haruki Murakami. Lion Feuchtwanger Prize-winner Michael Kleeberg introduces a lighthearted Heidegger. Juan Antonio Masoliver Ródenas honors his fellow poets Álvaro Pombo, Eugenio Montejo, and Antonio Gamoneda, while Dutch poet Nachoem Wijnberg meets bards of the Song and Tang Dynasties. Lúcia Bettencourt keeps watch at Marcel Proust's deathbed. Algeria's Mohamed Magani talks fishing with Richard Brautigan; Muharem Bazdulj conflates a Serbian classic with a British bestseller; and Christopher Kontonikolis proves that form follows function in his odes to ancient Greece. If imitation is the sincerest form of flattery, these subjects receive the most honest compliment of all.
Elsewhere, we present a group of contemporary Polish poets, selected by the critic Grzegorz Jankowski, including new poems by Jacek Dehnel, Julia Fiedorczuk, Justyna Bargielska, Edward Pasewicz, and Piotr Sommer.
Technology, for one, has begun to batter life’s perfect syntax
Imagine an extravagant pageant during which a marksman shoots off the top of a soft-boiled egg
At the heart of "Reasons for Writing Poetry," there is a figure: ostensibly, it’s all zebra from the waist down, but from there up, the Okapi, as it’s called, looks like a giraffe