Translator’s Note:
This selection of poems was drawn from Sylvie Kandé’s Gestuaire (Gestuary), a collection of “gestures” inspired by Michel Leiris’s Glossary, a collection of glosses. Seagull Books will be publishing these translations in spring 2026. Included in this wide-ranging compilation of the many gestures that make us human—both violent and tender—are references to Kandé’s childhood in Senegal and France, the legacy of slave trade, and works of art (sculpture, painting, jazz, among others). Boundaries between the dead and the living, as well as the past, present, and future, are often blurred. Elements of Diola culture and theater abound.
“Genealogy” refers to a water well that bears the name of the author’s paternal grandfather, Jean Kandé, located on Carabane Island, in Senegal. The word “delou” references a traditional goatskin receptacle used for drawing water from a well. It provides a good example regarding the challenges of translating Kandé—especially her avoidance of commas and periods, as well as the use of ellipses that function as question marks. This lack of punctuation contributes to the surreal quality of the poem and underscores the importance of oral reading, perhaps in the tradition of the griots in sections of West Africa.
Kandé’s poems are steeped in lyricism, which I try to honor in my translation. Before translating a single word, I do a detailed search for the salient patterns of alliteration and assonance in the poem, as well as any word play that might be present. (Kandé’s word play serves as a backdrop to underline her serious, and sometimes tragic themes.) For example, the first line, in French, of “Genealogy” is as follows: “Le seau percuterait les parois du puits.” I took note of the p-alliteration and tried to establish a pattern of alliteration in the first line of my translation, as follows: “The bucket would bang against the walls of the well.” Since I couldn’t reproduce three p-sounds (“percuterait”; “parois”; “puits”), I used b-alliteration (“bucket”’ “bang”) and w-alliteration (“walls”; “well”), which I hoped would help the reader better appreciate the musicality of the original text. (“Walls” and “well” also shared the double l-alliteration near the end of each word.) This process adds another time-consuming layer to the translation process, but results, I hope, in a translation that comes the closest to the overall effect of the French.