SINCE I AM A TRANSLATOR as well as a Germanist, I should like this article to call attention to the debt that all literature owes its translators, as well as its interpreters. The reputation of Hermann Broch in particular owes this debt of gratitude to the remarkable translation of The Death of Virgil created by the American poet Jean Starr Untermeyer. Her collaboration with Hermann Broch on the translation of Der Tod des Vergil constitutes one of the strangest and most fascinating literary partnerships of modern times. Much of their voluminous correspondence, mostly in English, from 1939 till Broch's death in 1951 is preserved at Yale University in the Broch Archive of Beinecke Library. Of the many women who played a role in Broch's life, Untermeyer's involvement with him is in some ways the most tragic. There are other moments in which it seems so neurotic as to be pathetic, or even comical. I will try to point out some of the high points, and low points, of their relationship. Those of us who have translated deceased poets often wish we could resuscitate them to ask them a few pointed questions. However, the case of Broch and Untermeyer represents a cautionary tale as to the vaunted advantages of working with a living poet.