Entre la extrañeza y las equivalencias naturales: traducir la poesía experimental de Lorine Niedecker

This paper shows how my translations of objectivist American poet Lorine Niedecker for the bilingual volume Y el lugar era agua: Antología poética, published in 2018, have constantly sought for natural Spanish equivalences in sound and rhythm while trying, through different translating and rhetorical techniques, to keep the tone of strangeness that a more literal approach to the translation (after Walter Benjamin’s reflections on the translation of experimental poetry) would render. To this end, specific translation uses (punctuation sings such as the long dash and other visual display elements, paraphrasing and amplification, homophony, alliteration, and techniques for the reproduction of a sustained tone in the target text) will be explained with respect to the translation choices for some of the most successful poems of the author.