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Submission declined on 15 October 2023 by
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reliable sources. Reliable sources are required so that information can be
verified. If you need help with referencing, please see
Referencing for beginners and
Citing sources. Declined by
Johannes Maximilian 7 months ago. |
Anthony Kerrigan (March 14, 1918 [1] – March 7, 1991) was an Irish-American man of letters, poet, essayist, art critic and award-winning translator, best known for his seven-volume translation of the works of Spain’s great heterodox and passionate existentialist Miguel de Unamuno [2], and the first and last to render Argentine writer Jorge Luis Borges into English [3].
Kerrigan was conceived in the Panama Canal Zone, the world’s most dramatic and effective frontier, “lying as it does between two mighty oceans and two mighty continents” [4]. He was born in Winchester, MA., USA, and would live at saltwater’s edge for most of his life, first in Cuba and New England as a teenager, Florida and California as a young adult, and back and forth between the islands of Mallorca and Ireland for the greater part of his life. Late in life he returned to a self-imposed exile in the USA.
Although he led a privileged existence in Cuba, it came to an abrupt end at the age of twelve with the early death of his father—the Havana assistant to manager of United Fruit Company—at forty. His world came asunder, and this marked the beginning of what would be a deracinated life. Although he considered himself an autodidact, Kerrigan was to attend a spate of schools—eight in four years—both in Cuba (Christian Brothers in Havana) and on the East and West Coasts of the USA. He is said to have achieved a certain maturity at the age of 15, after seeking out the Boston Symphony Orchestra, reading the Karamazov Brothers and graduating from Winchester High School [4]. He then went on to study at the University of San Diego (formerly San Diego State College).
It was at this period that Kerrigan began a literary career and live by his pen, as well as to marry his first wife, at seventeen, Marjorie Burke, an ancient Greek scholar, who bore him his first son, Michael Kerrigan. Both being communists at the time, the Party sponsored their underage marriage, as well as to provide Kerrigan with a job, since the YCL (Young Communist League) was in control of the WPA Writers Project in San Diego. He wrote studies for the American government on architecture and agriculture [5]. Meanwhile, his fealty towards communism was fast waning and he was subsequently expelled for sympathizing with a Trotskyite, which he'd soon become too. Some of his fellow travelers included Ward Moore, Harvey Breit, Kenneth Patchen or Carl Foreman [5], who all went on to greater things, as he himself did. By then he'd come to the attention of Hoover’s FBI, which concocted a file of preposterous activities, such as planning to take over the Douglas Aircraft Company, where he'd been employed for a year [6] [7] [8].
At the outbreak of World War II, Kerrigan enlisted and was assigned to Intelligence Service to decipher and translate Japanese, as he'd previously studied the language while a nightshift taxi driver, in time becoming an instructor in Sino-Japanese at the University of California at Berkley. After the war he took up residence in St. Augustine, Florida, where he ran a weekly newspaper. Through his association with the St. Augustine Historical Society, he began translating for a living, initially of early Spanish chronicles of exploration, as a faculty member of the University of Florida [9].
Like many an American before him, the pull of Europe (and adventure) was too strong to resist, and before the cutoff date for GI Bill benefits for study abroad, he eloped with Elaine Gurevitz, who had studied music under Carl Friedberg. She would become his second wife and mother of his five other children, all born in Europe. His first port of call was Paris, where he spent a year studying at the Sorbonne and where his daughter, the literary agent, Antonia Kerrigan, was born. He then moved to Mallorca to be close to the University of Salamanca—on the mainland—where all of Unamuno’s papers were kept. In 1961 he purchased what had been Gertrude Stein’s home during her Mallorca sojourn in the early part of the century, and from which she'd written a number of plays, claiming that “a certain kind of landscape induces plays” [10]. The same house from which Kerrigan, a little over a century and a half later would embark upon a fifteen-year project with Princeton University Press and the Bollingen Foundation to translate Unamuno’s most notable works. A thinker who was close to his heart and a project which he was encouraged to undertake by writers Edward Dahlberg and Sir Herbert Reed. And it was Robert Graves, whom Stein had encouraged to come to Mallorca, who had this to say: “It is very exciting to revisit Gertrude Stein’s distant corner of Palma which the Kerrigan’s have made their own […].” [11]
Robert Graves landed in Mallorca in 1929 and was a magnet for a number of foreign intellectuals and artists who followed in his footsteps. There was also the Galician Nobel Prize winner, Camilo José Cela, who had moved to the island around the same time as Kerrigan did, who would further cement Mallorca as a literary center with his Papeles de Son Armadans, the literary journal he founded in 1956, as well as the Prix Formentor, an international literary award which he created along with poet and editor Carlos Barral. Kerrigan became a regular contributor to Papeles de Son Armadans [12] from its inception, and actively participated in many of Formentor’s yearly gatherings, as well as being Cela’s English translator.
In the late 1950’s, Kerrigan felt an urge to visit the country of his ancestors, and what was meant to be a mere fortnight, turned into a twenty-year-long affair with Ireland. The Kerrigans rented an apartment in Fitzwilliam Square, in the heart of Dublin, and decided to spend winters in Mallorca and summers in Dublin’s cooler clime. It wouldn't be long before Kerrigan was moving in Dublin’s bohemian literary circles and contributing poetry and prose to the city’s main literary journals. Through the aegis of Dolmen Press, which published two books of poetry and one of translation and prose [13], Kerrigan was to meet and befriend the leading poets and writers of the day, among them: Austin Clark, Thomas Kinsella, John Montague, Liam Miller, Aidan Higgins, Desmond O’Grady, Sybil Le Brocquy and a host of others [14] [15] [16] [17]. He wrote about “The Troubles” [18], “The Travelling People” (Tinkers) [19], as well as introducing Spanish-speaking authors such as Borges, Unamuno, Pablo Neruda, and Cesar Vallejo to English-speaking audiences through his translations.
Kerrigan’s relationship with North America was never severed. Not only did he work with Princeton and the Bollingen Foundation, but he made steady contributions to a number of magazines and journals throughout the years, including The Malahat Review, The Critic, Fiction, Exile, Confrontation, The National Review, The Texas Quarterly, Partisan Review, Atlantic Monthly, and Modern Age. He was a visiting professor at the State University of New York at Buffalo in 1974, and lecturer at several universities, including the University of Chicago and the University of Michigan. From 1984 to 1991, he was a Senior Guest Scholar at the Hellen Kellogg Institute for International Studies, at the University of Notre Dame, Indiana, where he completed a new annotated translation of The Revolt of the Masses, by Spain’s preeminent political philosopher José Ortega y Gasset, which carried a foreword by Kerrigan’s long-time friend Saul Bellow. He translated Atlas, the final book of Jorge Luis Borges, who considered Kerrigan the best of his English translators [20]. While at the Kellogg Institute, Kerrigan, who was adamantly opposed to all forms of totalitarianism, and most critical of the Castro brother’s communist Cuba, not only translated exiled Cuban writers but visited the island for his last time in 1986, to report on what the newly literate were reading. The report appeared in no less than five publications [21]. Up to the days before his death, Kerrigan was working on a comprehensive volume of poetry, yet to be published. He died in Bloomington, IN., USA.
In 1950, Kerrigan opened an art gallery (Kerrigan-Hendricks) ₂₁ on Oak St., around the corner from Lake Michigan in Chicago, whilst working as Fine Arts Editor for the American Peoples Encyclopedia₂₂. Leon Golub would the gallery’s most renowned artist₂₃, but Kerrigan, whose sights were set on Europe, would soon set sail for the old continent. However, his relationship with painters and sculptors would continue throughout his lifetime. He would meet and write about many artists: Miró, Picasso, Tapies, Millares, Solana, Saura, Vedova, and others. In Spain he became North American editor of Goya, that country’s leading art journal, as well as a regular contributor to Arts, in New York.
Kerrigan’s poetry has been highly praised by a number of critics. The reception given to At The Front Door of The Atlantic was formidable: ₂₄
“[...] poems of extraordinary texture, bearing influences of Catholic Ireland... and bearing, also, great affinity with surrealist painters; strange and challenging appositions of situation, theme and emotion.
The word-manipulation is immense; the literary, artistic, religious, architectural and theological associations are innumerable; the humanity is undeniable. [...]”
Hugh McKinley, “Immured in Simplicity”
The Athens Daily Post, September 7, 1969
“[...] I have described Mr. Kerrigan as a romantic poet. More accurately, his view of life is metaphysical... He appears to oppose the flux of life with the metaphysical permanence of the artist’s carefully wrought images. [...]”
“[...] Mr. Kerrigan’s new collection of poems should establish him as one the most adept and authoritative poets of our time. I say “should” rather than “will,” for Kerrigan’s work makes few concessions to the general, is openly occasional, and uncompromisingly allusive.”
“The poems are lyrical without being rhetorical, easily constructed without being loose, intellectually alive without being cerebral, and always musical and precise in diction. [...]”
Robin Skelton, The Malahat Review
(copyright © The Malahat Review, 1969)
October, 1969 [22]
“[...] Kerrigan is not discovering a new thing; he's working over the terrible complexity of having lived and having paid attention to it. And his questions, having the complications of much attention, have become ones which are often both hard and beautiful in their formulation.” (p. 5)
Colton Johnson, in Hierophant
(Copyright 1972 by Thomas Kerrigan), April 1972 [23]
“Kerrigan’s poetry therefore relies on the perceptions of the mind that has studied the real places out there, the scenes we should enjoy if we came to stand where in memory he stands. Dublin, Chicago, Barcelona, Paris, the galleries of the early twentieth-century painters, whose forms he sometimes contemplates by translating their essential ideas of structure into attitudes about people or music or building—but always arriving at something that he can say vey succinctly.”
Jascha Kessler, in Parnassus
Fall/Winter, 1973, Pp. 223, 225-27 [24]
Regular contributor to Encyclopædia Britannica and Britannica Book of the Year. Contributor of short stories, essays, poems, art criticism and translations to periodicals in the United States, Canada, Ireland, and Spain.
The American Friend of Spanish Literature – Watching America
Anthony Kerrigan: The Attainment of Excellence in Translation
An Interview with Anthony Kerrigan with Stephanie Steams
Translator’s Note: “After “Las Formas Puras,” After Lorca" by John Matthias
Submission declined on 23 February 2024 by
Deb (
talk). This submission does not appear to be written in
the formal tone expected of an encyclopedia article. Entries should be written from a
neutral point of view, and should refer to a range of
independent, reliable, published sources. Please rewrite your submission in a more encyclopedic format. Please make sure to avoid
peacock terms that promote the subject.
Where to get help
How to improve a draft
You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
|
Submission declined on 15 October 2023 by
Johannes Maximilian (
talk). This submission is not adequately supported by
reliable sources. Reliable sources are required so that information can be
verified. If you need help with referencing, please see
Referencing for beginners and
Citing sources. Declined by
Johannes Maximilian 7 months ago. |
Anthony Kerrigan (March 14, 1918 [1] – March 7, 1991) was an Irish-American man of letters, poet, essayist, art critic and award-winning translator, best known for his seven-volume translation of the works of Spain’s great heterodox and passionate existentialist Miguel de Unamuno [2], and the first and last to render Argentine writer Jorge Luis Borges into English [3].
Kerrigan was conceived in the Panama Canal Zone, the world’s most dramatic and effective frontier, “lying as it does between two mighty oceans and two mighty continents” [4]. He was born in Winchester, MA., USA, and would live at saltwater’s edge for most of his life, first in Cuba and New England as a teenager, Florida and California as a young adult, and back and forth between the islands of Mallorca and Ireland for the greater part of his life. Late in life he returned to a self-imposed exile in the USA.
Although he led a privileged existence in Cuba, it came to an abrupt end at the age of twelve with the early death of his father—the Havana assistant to manager of United Fruit Company—at forty. His world came asunder, and this marked the beginning of what would be a deracinated life. Although he considered himself an autodidact, Kerrigan was to attend a spate of schools—eight in four years—both in Cuba (Christian Brothers in Havana) and on the East and West Coasts of the USA. He is said to have achieved a certain maturity at the age of 15, after seeking out the Boston Symphony Orchestra, reading the Karamazov Brothers and graduating from Winchester High School [4]. He then went on to study at the University of San Diego (formerly San Diego State College).
It was at this period that Kerrigan began a literary career and live by his pen, as well as to marry his first wife, at seventeen, Marjorie Burke, an ancient Greek scholar, who bore him his first son, Michael Kerrigan. Both being communists at the time, the Party sponsored their underage marriage, as well as to provide Kerrigan with a job, since the YCL (Young Communist League) was in control of the WPA Writers Project in San Diego. He wrote studies for the American government on architecture and agriculture [5]. Meanwhile, his fealty towards communism was fast waning and he was subsequently expelled for sympathizing with a Trotskyite, which he'd soon become too. Some of his fellow travelers included Ward Moore, Harvey Breit, Kenneth Patchen or Carl Foreman [5], who all went on to greater things, as he himself did. By then he'd come to the attention of Hoover’s FBI, which concocted a file of preposterous activities, such as planning to take over the Douglas Aircraft Company, where he'd been employed for a year [6] [7] [8].
At the outbreak of World War II, Kerrigan enlisted and was assigned to Intelligence Service to decipher and translate Japanese, as he'd previously studied the language while a nightshift taxi driver, in time becoming an instructor in Sino-Japanese at the University of California at Berkley. After the war he took up residence in St. Augustine, Florida, where he ran a weekly newspaper. Through his association with the St. Augustine Historical Society, he began translating for a living, initially of early Spanish chronicles of exploration, as a faculty member of the University of Florida [9].
Like many an American before him, the pull of Europe (and adventure) was too strong to resist, and before the cutoff date for GI Bill benefits for study abroad, he eloped with Elaine Gurevitz, who had studied music under Carl Friedberg. She would become his second wife and mother of his five other children, all born in Europe. His first port of call was Paris, where he spent a year studying at the Sorbonne and where his daughter, the literary agent, Antonia Kerrigan, was born. He then moved to Mallorca to be close to the University of Salamanca—on the mainland—where all of Unamuno’s papers were kept. In 1961 he purchased what had been Gertrude Stein’s home during her Mallorca sojourn in the early part of the century, and from which she'd written a number of plays, claiming that “a certain kind of landscape induces plays” [10]. The same house from which Kerrigan, a little over a century and a half later would embark upon a fifteen-year project with Princeton University Press and the Bollingen Foundation to translate Unamuno’s most notable works. A thinker who was close to his heart and a project which he was encouraged to undertake by writers Edward Dahlberg and Sir Herbert Reed. And it was Robert Graves, whom Stein had encouraged to come to Mallorca, who had this to say: “It is very exciting to revisit Gertrude Stein’s distant corner of Palma which the Kerrigan’s have made their own […].” [11]
Robert Graves landed in Mallorca in 1929 and was a magnet for a number of foreign intellectuals and artists who followed in his footsteps. There was also the Galician Nobel Prize winner, Camilo José Cela, who had moved to the island around the same time as Kerrigan did, who would further cement Mallorca as a literary center with his Papeles de Son Armadans, the literary journal he founded in 1956, as well as the Prix Formentor, an international literary award which he created along with poet and editor Carlos Barral. Kerrigan became a regular contributor to Papeles de Son Armadans [12] from its inception, and actively participated in many of Formentor’s yearly gatherings, as well as being Cela’s English translator.
In the late 1950’s, Kerrigan felt an urge to visit the country of his ancestors, and what was meant to be a mere fortnight, turned into a twenty-year-long affair with Ireland. The Kerrigans rented an apartment in Fitzwilliam Square, in the heart of Dublin, and decided to spend winters in Mallorca and summers in Dublin’s cooler clime. It wouldn't be long before Kerrigan was moving in Dublin’s bohemian literary circles and contributing poetry and prose to the city’s main literary journals. Through the aegis of Dolmen Press, which published two books of poetry and one of translation and prose [13], Kerrigan was to meet and befriend the leading poets and writers of the day, among them: Austin Clark, Thomas Kinsella, John Montague, Liam Miller, Aidan Higgins, Desmond O’Grady, Sybil Le Brocquy and a host of others [14] [15] [16] [17]. He wrote about “The Troubles” [18], “The Travelling People” (Tinkers) [19], as well as introducing Spanish-speaking authors such as Borges, Unamuno, Pablo Neruda, and Cesar Vallejo to English-speaking audiences through his translations.
Kerrigan’s relationship with North America was never severed. Not only did he work with Princeton and the Bollingen Foundation, but he made steady contributions to a number of magazines and journals throughout the years, including The Malahat Review, The Critic, Fiction, Exile, Confrontation, The National Review, The Texas Quarterly, Partisan Review, Atlantic Monthly, and Modern Age. He was a visiting professor at the State University of New York at Buffalo in 1974, and lecturer at several universities, including the University of Chicago and the University of Michigan. From 1984 to 1991, he was a Senior Guest Scholar at the Hellen Kellogg Institute for International Studies, at the University of Notre Dame, Indiana, where he completed a new annotated translation of The Revolt of the Masses, by Spain’s preeminent political philosopher José Ortega y Gasset, which carried a foreword by Kerrigan’s long-time friend Saul Bellow. He translated Atlas, the final book of Jorge Luis Borges, who considered Kerrigan the best of his English translators [20]. While at the Kellogg Institute, Kerrigan, who was adamantly opposed to all forms of totalitarianism, and most critical of the Castro brother’s communist Cuba, not only translated exiled Cuban writers but visited the island for his last time in 1986, to report on what the newly literate were reading. The report appeared in no less than five publications [21]. Up to the days before his death, Kerrigan was working on a comprehensive volume of poetry, yet to be published. He died in Bloomington, IN., USA.
In 1950, Kerrigan opened an art gallery (Kerrigan-Hendricks) ₂₁ on Oak St., around the corner from Lake Michigan in Chicago, whilst working as Fine Arts Editor for the American Peoples Encyclopedia₂₂. Leon Golub would the gallery’s most renowned artist₂₃, but Kerrigan, whose sights were set on Europe, would soon set sail for the old continent. However, his relationship with painters and sculptors would continue throughout his lifetime. He would meet and write about many artists: Miró, Picasso, Tapies, Millares, Solana, Saura, Vedova, and others. In Spain he became North American editor of Goya, that country’s leading art journal, as well as a regular contributor to Arts, in New York.
Kerrigan’s poetry has been highly praised by a number of critics. The reception given to At The Front Door of The Atlantic was formidable: ₂₄
“[...] poems of extraordinary texture, bearing influences of Catholic Ireland... and bearing, also, great affinity with surrealist painters; strange and challenging appositions of situation, theme and emotion.
The word-manipulation is immense; the literary, artistic, religious, architectural and theological associations are innumerable; the humanity is undeniable. [...]”
Hugh McKinley, “Immured in Simplicity”
The Athens Daily Post, September 7, 1969
“[...] I have described Mr. Kerrigan as a romantic poet. More accurately, his view of life is metaphysical... He appears to oppose the flux of life with the metaphysical permanence of the artist’s carefully wrought images. [...]”
“[...] Mr. Kerrigan’s new collection of poems should establish him as one the most adept and authoritative poets of our time. I say “should” rather than “will,” for Kerrigan’s work makes few concessions to the general, is openly occasional, and uncompromisingly allusive.”
“The poems are lyrical without being rhetorical, easily constructed without being loose, intellectually alive without being cerebral, and always musical and precise in diction. [...]”
Robin Skelton, The Malahat Review
(copyright © The Malahat Review, 1969)
October, 1969 [22]
“[...] Kerrigan is not discovering a new thing; he's working over the terrible complexity of having lived and having paid attention to it. And his questions, having the complications of much attention, have become ones which are often both hard and beautiful in their formulation.” (p. 5)
Colton Johnson, in Hierophant
(Copyright 1972 by Thomas Kerrigan), April 1972 [23]
“Kerrigan’s poetry therefore relies on the perceptions of the mind that has studied the real places out there, the scenes we should enjoy if we came to stand where in memory he stands. Dublin, Chicago, Barcelona, Paris, the galleries of the early twentieth-century painters, whose forms he sometimes contemplates by translating their essential ideas of structure into attitudes about people or music or building—but always arriving at something that he can say vey succinctly.”
Jascha Kessler, in Parnassus
Fall/Winter, 1973, Pp. 223, 225-27 [24]
Regular contributor to Encyclopædia Britannica and Britannica Book of the Year. Contributor of short stories, essays, poems, art criticism and translations to periodicals in the United States, Canada, Ireland, and Spain.
The American Friend of Spanish Literature – Watching America
Anthony Kerrigan: The Attainment of Excellence in Translation
An Interview with Anthony Kerrigan with Stephanie Steams
Translator’s Note: “After “Las Formas Puras,” After Lorca" by John Matthias