In a way, translation is always doomed to failure. Rather than trying to hit a target, it's as if translators face away from the target and simply try not to shoot their arrows too far. Perhaps another metaphor is to think of translation as being more like performance. The notes are on the page for reach poem, so to speak, but how each translator “performs” the poem will vary for each translation, just as one orchestra’s “translation” of Haydn will differ from another’s. All the performances will have necessary and inescapable similarities, yet also slight variations of interpretation, both arrived at independently. The source of those variations, however, is essentially not other orchestras—other translators—but the original text itself, which inherently contains, it seems fair to say, all the possible interpretations. As Edward Hirsch has said, translation “brings the world to our doorstep.” Nevertheless, in A Book of Tea, Kakuzo Okakura writes that “Translation is always a treason, and as a Ming author observes, can at its best be only the reverse side of a brocade” (New York: Dover Publications, 1964, edited and introduced by Everett F. Bleiler, page 19). What follows here, at their least, are the reverse sides of a few brocades.
Working mostly with Emiko Miyashita as my cotranslator, my translations have appeared on numerous websites and in several poetry journals, in books from PIE Books (Tokyo), on the back of a U.S. postage stamp, and through the publications and broadcasts of Haiku International and NHK World Radio. If you have any comments or questions, please contact Michael Dylan Welch.

Translations by Michael Dylan Welch

All of the following translations done with Emiko Miyashita

Fukushima by Nagase Tōgo [Japan earthquake haiku]

Translations of Poetry by Michael Dylan Welch

Into Aklan [one haiku]
Into Chinese [ten haiku]
Into Chinese [one poem]
Into Hungarian [104 haiku and senryu translations, including 41 poems in my Thornewood Poems sequence]
Into Japanese [61 of my food haiku and senryu translations; scroll down or search for my name]
Into Japanese [twelve  of my most widely published haiku]     +
Into Japanese [some of my haiku presented in haiga]
Into Japanese [ten haiku]
Into Persian [one tanka]
Into Portuguese [five haiku]
Into Punjabi [four haiku]
Into Romanian [five haiku]
Into Romanian [ten senryu]
Into Romanian [41 poems from my Thornewood Poems sequence]
Into Russian [nine senryu translations]
Into Russian [60+ haiku and senryu translations]
Into Russian [six haiku translations from Haiku Moment]
Into Russian [three haiku translations from The Haiku Anthology]
Into Swahili [five haiku]
[many more links to come; my haiku, senryu, and tanka have appeared in at least twenty-one languages, including
Akeanon (also known as Aklanon, a Panay Filipino language), Bulgarian, Chinese, Dutch, English, French, Gaelic, German, Hindi, Irish, Japanese, Persian, Portuguese, Punjabi, Romanian, Russian, Serbian, Serbo-Croatian, Spanish, Swahili, and Turkish]

Translations of Essays by Michael Dylan Welch

Becoming a Haiku Poet [into Serbian]
Becoming a Haiku Poet [into Simplified Chinese]
Haiku and the Japanese Garden [into Japanese; scroll down or search for my name] 
Haiku Checklist plus discussion [into Russian]
Haiku Form and Content [into Serbian]
[more links to come]
Emiko Miyashita and Jane Hirshfield
Emiko Miyashita (who cotranslated the book 100 Poets: Passions of the Imperial Court with Michael Dylan Welch) visiting with Jane Hirshfield in Tokyo, 2009