Two Lines: Power (co-edited with Marian Schwartz)

All neighbors of the flesh
—form, fields of wheat, emptiness—
are gathered in its immediacy.

—Eunice Odio (trans. by Keith Ekiss & Sonia P. Ticas)


Since 1994, Two Lines has published the best of world writing in an annual anthology. Every edition features a diverse selection of new writers side-by-side with celebrated authors, presented in their original languages and in fresh English translations. Two Lines is the only annual of international writing that offers work from every literary genre and every corner of the world, placed in context by the translators themselves. As such it is essential reading for anyone interested in keeping up on what writers are saying and thinking around the globe.

This volume, guest-edited by Geoffrey Brock (poetry) and Marian Schwartz (prose), includes originals by authors such as Marina Tsvetaeva, Xue Di, Raffaello Baldini, Yahya Kemal, Hédi Kaddour, and Lucretius. Translators include Eavan Boland, Peter Campion, Forrest Gander, Marilyn Hacker, A.E. Stallings, and Sidney Wade. There’s also an essay on translation by John Felstiner.



XUE DI (trans. from the Chinese by Hil Anderson & Forrest Gander)

  • Translators’ Introduction 
  • Rage
MARINA TSVETAEVA (trans. from the Russian by Kristin Becker)
  • Translator’s Introduction
  • “Where does such tenderness come from?”
  • “In order to get to your mouth and your bed”
  • “And in the confinement of wintry rooms”
RAFFAELLO BALDINI (trans. from the Romagnole by Adria Bernardi
  • Translator’s Introduction
  • Picking
ROZA MOISEIEVNA BERSHTYN (trans. from the Russian by Diana Blank)
  • Translator’s Introduction
  • Roza Moiseievna Remembers the Flood that Wasn’t—A Conversation
DAGMAR NICK (trans. from the German by Eavan Boland)
  • Translator’s Introduction
  • No Man’s Land
ALCAEUS (trans. from the ancient Greek by Peter Campion)
  • Translator’s Introduction
  • The Infraction—Fragment 298
CHO SE-HUI (trans. from the Korean by Don Mee Choi)
STEFANO BENNI (trans. from the Italian by Chad Davidson & Marella Feltrin-Morris)
  • Translators’ Introduction
  • When You Are Truly in Love
EUNICE ODIO (trans. from the Spanish by Keith Ekiss & Sonia P. Ticas)
  • Faithful, Belle, and Treu: What Gets Found by Duncan, Beckett, Celan
HÉDI KADDOUR (trans. from the French by Marilyn Hacker)
  • Translator’s Introduction
  • Trees
  • The Flock
FOUAD LAROUI (trans. from the French by Maureen Lucier)
  • Translator’s Introduction
  • A Little Bit of Moroccan Soil
ENHEDUANNA (trans. from the Sumerian by Betty De Shong Meador)
  • Translator’s Introduction
  • Hymn to the Eshumesha Temple of Ninurta
  • Hymn to the Eanna Temple of Inanna
LUCIO MARIANI (trans. from the Italian by Anthony Molino)
  • Translator’s Introduction
  • New Myths
  • Protocols of War
CLAUDIA LARS (trans. from the Spanish by Philip Pardi)
  • Translator’s Introduction
  • A Better Language
  • Ambition
GONZALO ROJAS (trans. from the Spanish by John Oliver Simon)
  • Translator’s Introduction
  • Microfilm of the Abyss
LUCRETIUS (trans. from the Latin by A.E. Stallings)
  • Translator’s Introduction
  • On the Nature of Things (excerpt)
JUHANI AHO (trans. from the Finnish by Jill Graham Timbers)
  • Translator’s Introduction
  • Schoolday Memories
YAHYA KEMAL / PIR SULTAN APTAL (trans. from the Turkish by Sidney Wade, with Yurdanur Salman & Güneli Gün)
  • Translators’ Introduction
  • Yahya Kemal: Göztepe Ghazal
  • Pir Sultan Aptal: The Sufi Way
ZALMAN LIBIN / ZVULUN LEVIN (trans. from the Yiddish by Albert Waldinger)
  • Translator’s Introduction
  • Zalman Libin: A Yiddish-Speaking Socialist
  • Zvulun Levin: A Hush
ISABEL BALLA (trans. from the Spanish by Donald A. Yates)
  • Translator’s Introduction
  • Come Home, Mabel
MILENA JESENSKÁ (trans. from the Czech by Andrée Collier Záleská)
  • Translator’s Introduction
  • On the Art of Standing Still


In this volume, we see the power of human transformation—the urge to create something new of ourselves, the courage to interrupt the flow of routine for something we believe in, whether through a hunger strike in a Korean factory or by standing still amidst the chaos of occupied Czechoslovakia. We see the power of hidden agendas at work in Italian and Argentine letters—and how these currents can sometimes be as obvious as the electricity that surrounds us in our everyday lives. We see power imploding in a Chinese poem of rage and witness Russian love poems borne of powerful desire, despite dire circumstances. As always, we see translators standing on their predecessors’ shoulders to examine the expanse of great poems ripe for retranslation, poems like the ancient Greek text published in its remaining fragments here. We see the interaction between translator and author at its most imaginative, with the power even to reshape a piece in its original language. And we see that the power of belief survives—whether carved five thousand years ago on a clay tablet, published in the underground press fifty years ago, or written about just this year—resilient in its travels from one language to the next. 

Finally, of course, language itself is power. Consider the impact and potential finality of simple phrases like “I do,” “I solemnly swear,” or “Charge!” Words can set events irrevocably in motion: “Lights! Camera! Action!”; “Ready! Set! Go!”; “Ready, Aim, Fire!” The film is rolling, the racers have left their marks, bullets are flying, regardless of what is said next. Think of the mighty whose words have proven their undoing: “I am not a crook.” “Read my lips: no new taxes.” “I never had sex with that woman.” We are never more aware of the power of words than when we are deprived of them. In a nation that theoretically values the freedom of expression, many voices are still censored, even silenced. Some are accused of giving solace to the enemy because they speak against the political establishment; others are accused of collaborating with criminals simply for translating their words. Unbelievably, even editors and publishers may now face serious legal consequences for working on manuscripts from Iran and other disfavored nations, on the grounds that any alterations to such texts amount to trading with the enemy. 

The English politician Lord Hallifax once said, “Power is so apt to be insolent and Liberty to be saucy, that they are very seldom upon good terms.“ In the face of such an abundance of muscle-flexing, we decided to pay tribute to this year’s TWO LINES theme with a power-sharing arrangement of our own: we invited two guest editors to take the helm while I wrestled with the awesome powers of a newborn baby. Marian Schwartz, renowned Russian translator and former president of the American Literary Translators’ Association took charge of the prose; Geoffrey Brock, Stegner Fellow in poetry at Stanford and award-winning Italian translator, handled the poetry. Unilateral force can be a lonely way to go, and we were delighted to establish this balance of power.