The Opposite of War -- Henk's Question

Amal al-Jubouri interrogates the significance of poetry in the midst and aftermath of war in "Poetry After the Occupation," addressing poetry as a figure with lines like "a slaver trading my memories / bidding my papers to strangers" and "You gather me into your mouth / a spy speaking half-truths" and "your cheap cell called Poem / your barren prison called Poet". In the same way that Celan continued to write poetry despite--or because of--Adorno's dictum that to write poetry after Auschwitz was "barbaric," al-Jubouri's exploration of poetry's significance in the context of war and suffering voices her fierce doubts about poetry through the medium of poetry. Thus, "Poetry After the Occupation" is one of the most complex and moving poems in the book. However, in M. Lynx Qualey's interview on ArabLit with Rebecca Gayle Howell, the co-translator of "Hagar Before the Occupation/ Hagar After the Occupation, Howell quotes Sarah Maguire approvingly: "translating poetry is the opposite of war". Given the complexity of al-Jubouri's attitude in "Poetry After the Occupation" is viewing poetry translation "as the opposite of war" simplistic? Is Howell overvaluing the power of translation here and thus inadvertently domesticating the text in furtherance of translator-as-hero? I apologize in advance for my questions not being open-ended enough, but this is really nagging at me. It is a significant quote, though, as Howell returns to its point again at the end of the interview. I went back and read the Maguire essay and it makes an involved argument about how, because the CIA covertly funded translation of Eastern Bloc poets during the Cold War, that the "CIA recognized that the translation of poetry could be a political act with significant consequences". While I am quoting out of context, and thus recommend reading the Maguire essay, does arguing that "translating poetry is the opposite of war" then imply that the CIA, by funding translation, was also the opposite of war?