From Publishers Weekly
The rendering of Baudelaire's ground-breaking classic into English has been tackled numerous times in various ways since the 19th century. In this version, rather than utilizing rhymed stanzas, free verse or prose, prolific poet and translator Waldrop attempts to capture Baudelaire's ever-elusive tone in versets, paragraphs of "measured prose" similar to those used in the King James Bible. While readers may miss the compression and restraint that line breaks demanded in earlier translations, Waldrop does succeed in approaching Baudelaire's layered irony, at once serious and over-the-top, comic and scandalous. Reading "Like some rake...gumming the brutalized tit of a superannuated whore" , it becomes clear why the French government saw fit to ban some of this work in 1857. At the same time, Baudelaire-the archetypal urban dandy-could see the beauty of a female beggar ("your sickly young body, densely freckled, has a sweetness for this poor poet"), identify himself with the "awkward and ashamed" albatross abused by sailors, and see in a naked lover "the hips of Antiope united with the bust of a beardless boy." Waldrop sounds off on all-things-Baudelaire in an informative introduction. New translations of this seminal poet will continue to surface with each new generation of readers and writers: Waldrop brings a contemporary feels to Baudelaire's most important work.
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"Thus the delight and curiosity of Keith Waldrop's new translation. It's close to plain prose: ‘versets,’ he calls them, paragraphs divided where Baudelaire's stanza's break. It's by no means the first prose translation, but it's the most charming: I don't recall another version, verse or prose, that slips so easily into the comradely 'we.'"—New York Times Book Review
The task of the translator...is to reconcile the strengths of the poet with his new surroundings, setting him in flight with wings that do not impede his walk. In part from the landing on versets, but more particularly from his deftness in English and the depth of his understanding of Baudelaire, Keith Waldrop has created a Flowers of Evil that, one gesture, can come to terms with the new needs of poetry readers in English and the foreignness of the language of Les Fleurs du mal."—Rain Taxi
"Waldrop's translations soar...perhaps getting closer to Baudelaire's rich tone than any other English translation."—Chicago Review
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