To differentiate between diffractive and holographic, I normally term something that has dimension as holographic and something that has prismatic surface
reflection as diffractive.
While some of the translations are reprints and revisions from previous publications, such as Joseph Cary's "Non chiederci la parola," from his Three Modern Italian Poets: Saba, Unga retti, Montale (1968), the multiplicity of translations per poem intensifies the readings of the more famous verses, revealing prismatic surfaces
and depths in the differing repetitions of the dynamic, hermetic lines.
Simpler works, such as Spitball or Amaryllis, had fared better with me, but I never understood why Smith had not pursued further the vein of Wandering Rocks, in which the witty ambiguity of the play of light on his characteristic prismatic surfaces
is, for once, not dwarfed by the exaggerated size.