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Side by Side: New Poems Inspired by Art from Around the World
From the winner of the Michael L. Printz Honor Award comes a poetry anthology inspired by poets and artists from around the globe.
In the groundbreaking tradition of Heart to Heart, this collection examines the connections between an artist’s work and a poet’s response, putting the artist and poet literally on the same page. With an English translation accompanying each poem in its original language, this is a novel, illuminating way to discover poetry and art together. The poems, most published or translated for the first time in the United States, are surprising and engaging, helping us see art from a fresh perspective.
Hailing from thirty-three countries on six continents, the artists and poets included in this collection represent a sampling of the world’s diverse art history, from an ancient Egyptian mummy case to a huge contemporary artwork that takes over an entire museum in Sweden. But they also emphasize the universal appeal of art and poetry. In this kaleidoscope of voices and visions, seeing a painting through another person’s eyes and understanding a stranger’s point of view, shows how similar we all are.
In the groundbreaking tradition of Heart to Heart, this collection examines the connections between an artist’s work and a poet’s response, putting the artist and poet literally on the same page. With an English translation accompanying each poem in its original language, this is a novel, illuminating way to discover poetry and art together. The poems, most published or translated for the first time in the United States, are surprising and engaging, helping us see art from a fresh perspective.
Hailing from thirty-three countries on six continents, the artists and poets included in this collection represent a sampling of the world’s diverse art history, from an ancient Egyptian mummy case to a huge contemporary artwork that takes over an entire museum in Sweden. But they also emphasize the universal appeal of art and poetry. In this kaleidoscope of voices and visions, seeing a painting through another person’s eyes and understanding a stranger’s point of view, shows how similar we all are.
- GenresPoetryArtYoung Adult
88 pages, Hardcover
First published April 1, 2008
34 people want to read
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Displaying 1 - 12 of 12 reviews
March 5, 2021
Great idea. But, in *my* opinion, a failed execution.
For one thing, I felt that Greenberg's taste in both visual arts and in poetry differs radically from mine. That's fine, ok, sure.
What's not so fine is only Eritrea represents African. Only Vietnam represents anything between Pakistan and Australia. I think more work should have been done to collect a broader diversity of poems.
However, I am grateful to learn of the charming sculpture "Girl with a Pitcher" from 1810 Russia: http://www.panoramio.com/photo/24185146.
Edit 2021: the link is now broken. I believe the sculpture is the fountain in St. Petersburg, but since I don't know for sure, I won't give the link. You can google if you want my best guess.
For one thing, I felt that Greenberg's taste in both visual arts and in poetry differs radically from mine. That's fine, ok, sure.
What's not so fine is only Eritrea represents African. Only Vietnam represents anything between Pakistan and Australia. I think more work should have been done to collect a broader diversity of poems.
However, I am grateful to learn of the charming sculpture "Girl with a Pitcher" from 1810 Russia: http://www.panoramio.com/photo/24185146.
Edit 2021: the link is now broken. I believe the sculpture is the fountain in St. Petersburg, but since I don't know for sure, I won't give the link. You can google if you want my best guess.
April 5, 2008
Ekphrasis. Doesn’t fall as trippingly off the tongue as you might wish, eh? Ekphrasis has actually become my favorite new vocabulary word of the day. In ekphrastic poetry a poet looks at a piece of art and writes a poem inspired by the experience. In college I did a Senior photography project based on the idea of how titles affected your perception of a work of art, and I had different poets write poems inspired by what they saw in the images. Never on earth would I have dreamed that there was a term out there for this idea, nor that it should have such a long and venerable history. Unlike me, editor Jan Greenberg is well and truly familiar with ekphrasis and she makes it useful. Her book Heart to Heart: New Poems Inspired by Twentieth-Century American Art paired poets with American works, and displayed the poems they wrote as a result. It was a good idea, if a bit limited from a national perspective. Greenberg has just rectified that situation though with Side by Side: New Poems Inspired by Art from Around the World. Now we’ve Germans defining Norwegian paintings, Vietnamese paints, and cool Turkish words. Greenberg has spanned the globe to bring you works and words from Bhutan, Belgium, Guyana, and Japan. The mix of art and text may work to inspire and aid teachers of poetry and their inspiration-bereft student population. Failing that, it’s a cool idea in a pretty nice package.
The book is split into four parts; Stories, Voices, Expressions, and Impressions. These define how each poet has chosen to interpret the work before them. Stories are tales inspired by the work before you. For example, Pat Mora reminisces about past parties where “I dance and run through the music”, as inspired by a group of painted wooden and ceramic figurines from Mexico. In poems in the Voices section you hear the subjects of the artworks telling their own stories. Expressions is a little more difficult and involves the poet becoming, “interested in the transaction that takes place between the viewer and the art object.” Finally, the Impressions poems are concerned with the presentation of the art itself. Many of these works are translated, sometimes by a translator, sometimes by the poets themselves. Backmatter includes Biographies of the Poets and Translators, Biographies of the Artists, an Index, and a map of the world showing where each poet, translator, and artist lives or lived.
The question of translation is mentioned in the Introduction and given a lot of thought, for which I was glad. Not only do translators get their own biographies at the end of the book, but Greenberg makes a case right from the start regarding their importance. “I would say that, although a translation can never be identical to the original text, at the same time a translated poem from another culture gains a new life, a new sound, a new way of being understood, and a new audience.” Sound about right to me.
Once in a while, the artists that have created some of these pieces have gone on to also write their own interpretive poems. I would have liked a little more notice paid to this form of poetry, which otherwise goes unremarked in the book. To my mind such poems should constitute their own separate section. There are four altogether, which would suggest a dedication to both art forms. In another quibble I would also have appreciated knowing which poets Greenberg commissioned to write poems and which poets came up with poems on their own, unasked. Finally, the map at the back of the book that shows the countries where each poet, translator and artists lived is nice, but the names don’t appear on the map. As a result, the lack of specification makes it seem as if there were people in this book populating Antarctica or the Indian Ocean. A look at the biographies shows this not to be the case, but it’s still a touch unclear.
You might wonder how kid-friendly the book is. Well, for the most part the poems are mature without necessarily being too adult. They’re poems that teens could get something out of, I think. There are a couple exceptions here and there, though. I think younger children would get a kick out of Luis Martinez de Merlo’s poem “Portrait of Prince Balthasar Carlos de Caza” (based on the Diego Velazquez painting of the same name) where a seriously bored prince imagines the darkest possible dungeon he will throw Velazquez into when he is king someday. Or perhaps Grace Nichols’ “Turner to His Critic” based on a story told about his painting “Snow Storm – Steam-Boat off a Harbour’s Mouth” and a critic’s response to it. Humor is definitely lacking in this collection, but at least these two poems hint a little at its existence beneath an artist’s (or subject’s) contempt.
Of course the real question here is how kids can use this title. Is this just some pretty coffee table book for the 8-15 year-old set, or does it actually have a practical purpose above and beyond looking nice? I think so. Both art teachers and teachers of poetry might be able to use this book in a classroom setting. Imagine a professor showing slides of some of this art and then reading the accompanying poem aloud. I can see Wafaa S. Jdeed’s “Forest” shot large on a white wall as the words “Drenched with waiting. He always arrives with winter,” are read to a class. Or if it’s a little more excitement you crave, there’s always Itzhak Danziger’s “Nimrod” with the Roy “Chicky” Arad poem “The Corpse” to accompany it. “It is a rainy day. Nevertheless, a serpent crawls on its belly towards the carcass dome. Out of his tongue rises a vapor of yellow and venom.” Afterwards kids would write their own poems for paintings and works of art. Some famous. Some less so. It’s a creative writing project with art on the side. What’s not to like? What’s not to be inspired by?
At the end of her Introduction Greenberg quotes translator Lawrence Venute when she writes, “I can’t think of anything more creative than extending the life of a foreign poem.” Greenberg has done just that, by simultaneously extending the life of various artworks as well. If kids love the poems that’s all well and good, but if they dislike them it makes for a strong learning opportunity. Interpretation of artwork is open to all. Get those kids writing their own poems by using their displeasure as a starting point. Side by Side continues a very cool idea for a book in a format that is simultaneously accessible and artistic. It’s not for everyone, but it certainly has its uses. A noteworthy follow-up to an original concept.
Ages 12 and up.
The book is split into four parts; Stories, Voices, Expressions, and Impressions. These define how each poet has chosen to interpret the work before them. Stories are tales inspired by the work before you. For example, Pat Mora reminisces about past parties where “I dance and run through the music”, as inspired by a group of painted wooden and ceramic figurines from Mexico. In poems in the Voices section you hear the subjects of the artworks telling their own stories. Expressions is a little more difficult and involves the poet becoming, “interested in the transaction that takes place between the viewer and the art object.” Finally, the Impressions poems are concerned with the presentation of the art itself. Many of these works are translated, sometimes by a translator, sometimes by the poets themselves. Backmatter includes Biographies of the Poets and Translators, Biographies of the Artists, an Index, and a map of the world showing where each poet, translator, and artist lives or lived.
The question of translation is mentioned in the Introduction and given a lot of thought, for which I was glad. Not only do translators get their own biographies at the end of the book, but Greenberg makes a case right from the start regarding their importance. “I would say that, although a translation can never be identical to the original text, at the same time a translated poem from another culture gains a new life, a new sound, a new way of being understood, and a new audience.” Sound about right to me.
Once in a while, the artists that have created some of these pieces have gone on to also write their own interpretive poems. I would have liked a little more notice paid to this form of poetry, which otherwise goes unremarked in the book. To my mind such poems should constitute their own separate section. There are four altogether, which would suggest a dedication to both art forms. In another quibble I would also have appreciated knowing which poets Greenberg commissioned to write poems and which poets came up with poems on their own, unasked. Finally, the map at the back of the book that shows the countries where each poet, translator and artists lived is nice, but the names don’t appear on the map. As a result, the lack of specification makes it seem as if there were people in this book populating Antarctica or the Indian Ocean. A look at the biographies shows this not to be the case, but it’s still a touch unclear.
You might wonder how kid-friendly the book is. Well, for the most part the poems are mature without necessarily being too adult. They’re poems that teens could get something out of, I think. There are a couple exceptions here and there, though. I think younger children would get a kick out of Luis Martinez de Merlo’s poem “Portrait of Prince Balthasar Carlos de Caza” (based on the Diego Velazquez painting of the same name) where a seriously bored prince imagines the darkest possible dungeon he will throw Velazquez into when he is king someday. Or perhaps Grace Nichols’ “Turner to His Critic” based on a story told about his painting “Snow Storm – Steam-Boat off a Harbour’s Mouth” and a critic’s response to it. Humor is definitely lacking in this collection, but at least these two poems hint a little at its existence beneath an artist’s (or subject’s) contempt.
Of course the real question here is how kids can use this title. Is this just some pretty coffee table book for the 8-15 year-old set, or does it actually have a practical purpose above and beyond looking nice? I think so. Both art teachers and teachers of poetry might be able to use this book in a classroom setting. Imagine a professor showing slides of some of this art and then reading the accompanying poem aloud. I can see Wafaa S. Jdeed’s “Forest” shot large on a white wall as the words “Drenched with waiting. He always arrives with winter,” are read to a class. Or if it’s a little more excitement you crave, there’s always Itzhak Danziger’s “Nimrod” with the Roy “Chicky” Arad poem “The Corpse” to accompany it. “It is a rainy day. Nevertheless, a serpent crawls on its belly towards the carcass dome. Out of his tongue rises a vapor of yellow and venom.” Afterwards kids would write their own poems for paintings and works of art. Some famous. Some less so. It’s a creative writing project with art on the side. What’s not to like? What’s not to be inspired by?
At the end of her Introduction Greenberg quotes translator Lawrence Venute when she writes, “I can’t think of anything more creative than extending the life of a foreign poem.” Greenberg has done just that, by simultaneously extending the life of various artworks as well. If kids love the poems that’s all well and good, but if they dislike them it makes for a strong learning opportunity. Interpretation of artwork is open to all. Get those kids writing their own poems by using their displeasure as a starting point. Side by Side continues a very cool idea for a book in a format that is simultaneously accessible and artistic. It’s not for everyone, but it certainly has its uses. A noteworthy follow-up to an original concept.
Ages 12 and up.
August 31, 2008
I thought this one has a wonderful, ambitious intent and am extremely aware that the execution of such a high calling must have been quite difficult -- so many different poets to contact and sort through and poems to choose from and artwork to pick from. Unfortunately, the final product seems to be missing its creator's self-set lofty mark: Not all poems in the "stories" section feel like "stories" or different from the sections in Voices or Expressions and vice versa. (For examples: p.40 - The Corpse, is as much a Story as it is a Voice; and p. 19 Gallop is as much of a Voice as a Story or an Expression) Maybe the artificial distinctions are unnecessary here.
For a book that is obviously intended to by multiculturally educational in its approach, how come none of the artworks and none of the poems come with cultural/country designations? Without checking the artist's biography at the end of the book, one would not easily discern that Malola, the artist who paints the work "Tornado" on page 18 was of Paraguay origin and since the poem and also wouldn't know that the poet Renee Ferrer is of Paraguay nationality, since the only culturally identifiable term is "Spanish" in the translation note. Or the pairing on pages 74 and 75: Shahzia Sikander is Pakistani living in NYC -- a simple Pakistani/Current New York City and the poet Nimah Ismail Nawwab is identified as "English Writer and Saudi Arab activist" in the bio. section... why can't this be identified on the page with the poem? Since there is always ample empty space on each page?
But of course, there is much to enjoy in a collection of artwork and poetry.
Notes: p. 76 - the Chinese/Taiwanese poet/artist Lo Ch'ing's last name is LO not Ch'ing as it is filed under.
p. 72 -- the NAME of the Japanese POEM should not be 西元直子 <-- this is the name of the poet Naoko Nishimoto
For a book that is obviously intended to by multiculturally educational in its approach, how come none of the artworks and none of the poems come with cultural/country designations? Without checking the artist's biography at the end of the book, one would not easily discern that Malola, the artist who paints the work "Tornado" on page 18 was of Paraguay origin and since the poem and also wouldn't know that the poet Renee Ferrer is of Paraguay nationality, since the only culturally identifiable term is "Spanish" in the translation note. Or the pairing on pages 74 and 75: Shahzia Sikander is Pakistani living in NYC -- a simple Pakistani/Current New York City and the poet Nimah Ismail Nawwab is identified as "English Writer and Saudi Arab activist" in the bio. section... why can't this be identified on the page with the poem? Since there is always ample empty space on each page?
But of course, there is much to enjoy in a collection of artwork and poetry.
Notes: p. 76 - the Chinese/Taiwanese poet/artist Lo Ch'ing's last name is LO not Ch'ing as it is filed under.
p. 72 -- the NAME of the Japanese POEM should not be 西元直子 <-- this is the name of the poet Naoko Nishimoto
November 7, 2017
Genre: Poetry
Grade Range: 4-6
Review:
This book of poems was so intriguing because it had the original poems from different languages right next to the translated versions! There is something so cool about seeing languages side by side and appreciating the differences. There was a poem in Arabic and I just thought it was so fascinating that what seems like random lines to me are letters other people use everyday.
Grade Range: 4-6
Review:
This book of poems was so intriguing because it had the original poems from different languages right next to the translated versions! There is something so cool about seeing languages side by side and appreciating the differences. There was a poem in Arabic and I just thought it was so fascinating that what seems like random lines to me are letters other people use everyday.
June 14, 2017
As a lover of history, geography, and art I am always on the lookout for books that I can have in my classroom that feature these subjects. Side by Side is a treasury of poems and stories from the histories of cultures around the world. There is even a map in the back of the book for students to connect the poems and stories to a place, which is helpful when paired with geography lessons.
May 31, 2025
Another book of poems inspired by art by this editor. I appreciate her choices of subjects and writing in her books of art. But I don't get all that much from these poems. And with out text tying the art together, I don't get much from the art either. It all seems very nice and the concept seems a good one.
May 4, 2021
Side by Side: New Poems Inspired by Art from Around the World is a book of ekphrasis poetry
carefully curated by Jan Greenberg. Ekphrasis poems are written about specific works of art (in any visual form including sculpture, photography, and film), and the poems usually appear with the art when in print. This book is a journey - the art and poetry being from around the globe. What is presented is lyrical harmony in word, form and exciting points of view. The work is shown in its original language along with the English translation. A map is included to mark the homelands of the artists, poets, and translators.The words are moving, imaginative, and often culturally educational. Each poet brings you a piece of their world - a glimpse of how they understand the world as a whole. On the part of the reader, coordinating these pieces is the joy of reading ekphrasis. I encourage anyone who loves art as well as poetry, to investigate this book.
carefully curated by Jan Greenberg. Ekphrasis poems are written about specific works of art (in any visual form including sculpture, photography, and film), and the poems usually appear with the art when in print. This book is a journey - the art and poetry being from around the globe. What is presented is lyrical harmony in word, form and exciting points of view. The work is shown in its original language along with the English translation. A map is included to mark the homelands of the artists, poets, and translators.The words are moving, imaginative, and often culturally educational. Each poet brings you a piece of their world - a glimpse of how they understand the world as a whole. On the part of the reader, coordinating these pieces is the joy of reading ekphrasis. I encourage anyone who loves art as well as poetry, to investigate this book.
Read
December 6, 2012Greenberg, Jan. (2008). Side by Side: New Poems Inspired by Art From Around the World. New York: Abrams. 88 pp. ISBN 978-0-8109+9471-3 (Hardcover); $19.95
Greenberg has filled this book with photographs of artwork that lends itself to poetic interpretation. As in her Printz winning anthology, Heart to Heart: New Poems Inspired by Twentieth-Century American Art, Greenberg finds poets to write poems about the art selected. In Side by Side, Greenberg found artists and poets from 33 different countries and 6 continents to include in this volume. Greenberg prints the poems in the poet’s native language (everything from English to Tigrinya) and then includes an English translation. Readers may enjoy attempting to predict what the artwork will be from just hearing the poem or vice versa. Comparing the artwork and the poem side by side, however, is where the real fun begins. This book should have a home in both English and art classrooms, as well as in school libraries.
Greenberg has filled this book with photographs of artwork that lends itself to poetic interpretation. As in her Printz winning anthology, Heart to Heart: New Poems Inspired by Twentieth-Century American Art, Greenberg finds poets to write poems about the art selected. In Side by Side, Greenberg found artists and poets from 33 different countries and 6 continents to include in this volume. Greenberg prints the poems in the poet’s native language (everything from English to Tigrinya) and then includes an English translation. Readers may enjoy attempting to predict what the artwork will be from just hearing the poem or vice versa. Comparing the artwork and the poem side by side, however, is where the real fun begins. This book should have a home in both English and art classrooms, as well as in school libraries.
November 14, 2013
This book is a collection of poems from around the world. The poems are written in their native language then translated to english. The pictures with the poems are paintings or sculptures.
Published: 2008
Genre: Children's poetry
Published: 2008
Genre: Children's poetry
August 5, 2008
Check out my review in the next issue of The Alan Review.
May 6, 2015
I liked it a lot because the poems are from a lotofdifferent places around the world.
December 14, 2015
I registered a book at BookCrossing.com!
http://www.BookCrossing.com/journal/13764049
http://www.BookCrossing.com/journal/13764049
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