This project is composed of a critical discussion about translating the French writer Cécile Sauvage (1883-1927) and a creative translation of selected Sauvage poems into English. Informed by creative critical theories, this project examines the personal stakes residing within this academic framework. Chapter 1 takes up the concept of fannishness as a method of participating in a cultural product. I define fannishness as love for a text, imagine the translator as a fan, and analyze metaphors of spatial distance used to describe creation and criticism. In Chapter 2, I examine the reception of Sauvage’s poetry, arguing that the historical treatment of Sauvage as a ‘woman poet’ has implications for translation. In Chapter 3, I examine how feminist theorists have dealt with Sauvage; drawing upon feminist and queer theories of translation, I connect translation to violence and love. In Chapter 4, I describe my approach to translating Sauvage on the formal level, drawing upon Jean Boase-Beier and Clive Scott to argue that a successful translation is one that embraces the translator’s positioning and extends the source text’s existence in a new way. In Chapter 5, I suggest that anthologizing or editing Sauvage means rewriting her. As I recount my trip to Sauvage’s archives, I bridge translation and editing, arguing that a translation is an extension of a text’s genesis. Chapter 6 discusses the reasoning behind the form, content and presentation of my translated collection, A Sauvage Reader. The Reader follows, interspersed with poetic commentary and quoted intertexts. The six themes that organize the Reader connect to creative critical vocabulary and to metaphors of translation. I conclude that my translation has given Sauvage’s work a new narrative, chronicled a translator’s experience, and brought to Translation Studies a novel articulation of how translators, like scholars, acknowledge relations of partiality, or what I call love.