ABSTRACT
This essay shows that the postwar Taiwanese poetry scene is a particularly rich example of the fact that translation and its impact come in “vertical” (or indigenous) varieties as well as “horizontal” (or foreign) ones. In dialogue with film theory, the author employs the notion of “lyrical montage” to consider how juxtaposition in Ya Xian’s poetry leads to interactions that are mutually transformative and destabilizing, questioning conventional assumptions about the original and the translation.
