Special issues:

Literature and Linguistics (Vol. 1 No. 2); Literature and Violence (Vol. 3 Nos. 1-2)

Women, Consumption and Popular Culture (Vol. 4 No. 1); Life, Community, and Ethics (Vol. 4. No. 2)

The Making of Barbarians in Western Literature (Vol. 5 No. 1); Chaos and Fear in Contemporary British Literature (Vol. 5 No. 2)

Taiwan Cinema before Taiwan New Wave Cinema (Vol. 6 No. 1); Catastrophe and Cultural Imaginaries (Vol. 6 No. 2)

Affective Perspectives from East Asia (Vol. 9 No. 2); Longing and Belonging (Vol. 10 No. 2, produced in collaboration with the European Network for Comparative Literary Studies)

Transatlantic Literary and Cultural Relations, 1776 to the Present (Vol. 11 No. 2). 


After narrating my personal journey to becoming a translator of Emily Dickinson, I present some ways to approach poetry translation that led me to a methodology consisting of two attitudes: stitch and suture. By stitching, the translator plays an active role in the editorial choices in order to create textual stability. On the other hand, the suturing process accepts the instability of the work and provokes the creative searching for an always elusive subject (or meaning) that flickers in the discursive chain and is unattainable by its own nature. Therefore, the translator’s task is to work both under aesthetic and ethical constraints, since his choices are made before the transfer of the original to his own language.

KEYWORDS: suture, poetry translation, Emily Dickinson, meaning, prosody, latino translation theory, ethics of translation, creativity, transplantation

DOI: 10.30395/WSR.202112_15(1).0006