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                <text>Sweet Corn Halva (translated)</text>
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                <text>This is an English translation of my grandmother's recipe for Sweet Corn Halva, which was written in Hindi. I have translated the recipe into a long narrative form and as a piece of creative non-fiction that offers the reader an insight into the everyday life of my family. </text>
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                <text>Yash Kumbhat (translator)</text>
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                <text>Sweet Corn Halva: A Recipe by Kamini Bhandari</text>
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                <text>Kamini Bhandari</text>
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                <text>A creative transcription of Fokine's figures. </text>
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                <text>In this textual transcription I utilized a derivation of the choreographic notation in Feuillet’s  1701 work Chorégraphie, ou L'art de décrire la dance par caracteres in order to convert Fokine's figures into a textual format. </text>
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                <text>Caroline Conway</text>
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                <text>Houghton Library</text>
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                <text>Performance of "The Lake Isle of Innisfree" (1932) by W.B. Yeats</text>
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                <text>This is a three and a half minute BBC radio broadcast of William Butler Yeats's own voice in 1932 reciting two of his poems, one of which is the most famous of his early poetry, "The Lake Isle of Innisfree" (1888). Yeats prefaces this poetry recitation with an explanation of how he was inspired to write "The Lake Isle of Innisfree" and why he will try to recite it in a musical or performative way. "I’m going to read my poems with great emphasis upon their rhythm," he says, "...and that is why I will not read them as if they were prose."&#13;
&#13;
Yeats wrote "The Lake Isle of Innisfree" in 1888 when he was twenty-three years old. He made ten radio broadcasts recordings of his poetry, most including "The Lake Isle of Innisfree," with the BBC between 1931 (at the age of sixty-six) and 1937 (at the age of seventy-two). He died in 1939 (at the age of seventy-three).&#13;
&#13;
Although this project and its paratexts focus on describing and analyzing Yeats's recitation technique in "The Lake Isle of Innisfree", this 1932 BBC broadcast also includes his recitation of "The Fiddler of Dooney" (1889). The YouTube video in addition includes his 1934 recording of "The Song of the Old Mother" (1899), 1937 recording of "The Lake Isle of Innisfree" (1888) and 1931 recording of two stanzas from a poem he wrote the same year, "Coole Park and Ballylee" (1931). &#13;
&#13;
In order to access this recording on YouTube, copy and paste this URL into your web browser: https://www.youtube.com/watch?v=u2FT4_UUa4I&#13;
&#13;
Alternatively, download the MP3 file of the 1932 recording (attached), Yeats's introduction to the poem and his recitation of it, respectively.</text>
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                <text>October 4, 1932</text>
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                <text>Transcript: https://allenginsberg.org/2013/09/the-voice-of-w-b-yeats/</text>
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                <text>Translation of The Ketuba</text>
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                <text>Like any lawyer will tell you, the fine details matter. While my Ketuba is a piece of art, it still remains a contract and for this reason I wanted my translation to be as precise as possible without losing the gusto of the beautiful, yet archaic, Aramaic. This Ketuba is of specific import because it is the Ketuba that married my parents, and I wanted a lasting tribute to their wonderful marriage; I also want my efforts to preserve their Ketuba to serve as a small token of appreciation for their incredible sacrifice in raising me with so much love. I enlisted the help of a Rabbinic scholar (and fittingly, given the intimacy of this document, a close family friend), Yehiel Poupko, to help me fill in the gaps of my knowledge. Much of the Aramaic I was, in fact, able to decipher; for example, in the portions where it talks about being a devoted partner it was easy for me to translate the Aramaic into English as many of the Aramaic words still appear in modern Hebrew. To give an example of the carryover into modern Hebrew, כסף  (money) and אמר (said) are integral words in modern Hebrew. However, for terms like “trousseau” (sometimes translated as “dowry”) and the semantics of "zuzim transfer” I sought elevated counsel. Rabbi Poupko advised me about how to translate these Aramaic words into English in accord with traditional customary language. My translation differs from the standard translation as it gives a more personal touch, recounting the different monetary figures my father symbolically bequeathed, as well as illuminating the origins of my mother’s Hebrew name. Since when my mother was born, female Bat Mitzvah wasn’t very common, she never received a Hebrew name. In the Jewish tradition, in the absence of a given name the default is Chanah. So, when in the translation it refers to her father as the priest, that is actually referring to the father of the biblical Chana! In summation, my translation sought to capture the specialness and “oldness” of the Aramaic by using equally old English in an attempt to be the most accurate in not just diction but also word choice; my translation also illuminates nuances specific to my familial arrangement. By using a mixture of communal-ritual language and personal language, I can be sure that what I produced is an accurate portrayal of the true uniqueness of this document and does not dilute any of its meaning nor its poetry.&#13;
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                <text>"The Lake Isle of Innisfree" (1888) by W.B. Yeats</text>
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                <text>"The Lake Isle of Innisfree" by Yeats is a ballade-like poem. Each stanza has three lines in hexamater with a caesura after the third foot and a fourth line in tetrameter. The rhyme scheme is ABAB for each stanza.&#13;
&#13;
The most pithy summary of the poem is that the speaker imagines a bucolic existence on an uninhabited island (Innisfree). It is his place of loneliness, which he thinks of as he stands in the middle of a city.</text>
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                <text>This is a poem by my grandfather, Ganpatsingh Bhandari. He writes and shares his poems over WhatsApp, where I first read this poem. He writes in Hindi. </text>
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                <text>This is an English translation of a poem by my grandfather, Ganpatsingh Bhandari. I have translated the piece and have taken care to stay as close to the original as possible. </text>
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