of the French collection of prose poetry. Some of the most popular translations include those by Helen Rootham (1932), Louise Varèse (1946/revised 1957), Paul Schmidt (1976), Nick Osmond (1993), Dennis J. Carlile (2001), Martin Sorrell (2001), Wyatt Mason (2002), and the collaborative team composed of Jeremy Harding and John Sturrock (2004). All of these translators have worked to introduce Illuminations to a new generation, each having their own angle in their presentation of the work. Variations in cross-language (French to English) translation, differences in the ordering of texts, discrepancies in the inclusion/exclusion of certain "proems", and incorporation of forwards/introductions written by the specific translators all account for the ability of these works to offer new meaning to Illuminations. In 2011, poet John Ashbery published a translation of Illuminations, which was favorably reviewed in the New York Times Book Review by Lydia Davis as "meticulously faithful yet nimbly inventive." Analysis of translations The translation of Illuminations from French to English proves a daunting task for the translator. They may either choose to remain as close to the original as possible, often creating ambiguity due to discontinuity; to indulge in their creative liberties as a translator and elaborate/explain in the translation; or to find a medium amongst these two methodologies. Various translators have interpreted their roles in the presentation of Illuminations to the public in a different light, thus producing multiple versions of the collection of prose poems. In the Wyatt Mason translation (2002), much of the Introduction to his version of Illuminations focuses on the biographical details of Rimbaud's life. The intrigue surrounding the poet's scandalous character incites a desire in readers to better understand what inspired Rimbaud, what made him tick. Mason's methodology of focusing so extensively on Rimbaud's life leads readers to conclude his translation functions as a tool of conveying what emotions and feelings Rimbaud was experiencing at the time of his writing. In the Nick Osmond translation (1993), a thorough reading of the Introduction again provides background information and proves useful in examining his purpose for translating. Focusing extensively on the lengthy and uncertain publication process surrounding the original "proems," Osmond attempts to organize the works into distinct groups, establishing some definitive order. Because no one truly knows how Rimbaud intended them to be arranged in a collective work, this decision is left up to the translator. As Osmond suggests, different ordering gives rise to different meaning