Language: Finnish

Translator Profile: Jennifer Scappettone

"We so desperately need to understand one another better—and not through facile orientalist or New Age appropriations."

An artist, poet, translator, and teacher, Jennifer Scappettone was born and raised in New York. The recipient of a PhD from the University of California, Berkeley, in 2005, she has lived in Italy, Virginia, Japan, California, and Chicago. Scappettone’s poetry has appeared in the anthologies The Best American Poetry 2004, The City Visible: Chicago Poetry for the New Century (2007), The Arcadia Project: North American Postmodern Pastoral, The Best American Experimental Writing 2016, and others. Her translations of the work of Amelia Rosselli from the Italian were published in Locomotrix: Selected Poetry and Prose of Amelia Rosselli, and received the Raiziss/De Palchi Prize from the Academy of American Poets. Scappettone teaches at the University of Chicago.

Allegra Rosenbaum (AR): Who are you? What do you translate? (This is just a preliminary question! To be taken with an existential grain of salt.)

Jennifer Scappattone (JS): I am a poet and scholar of U.S. and Italian nationalities who grew up in New York, across the street from a highly toxic landfill recalling our family’s ancestral land outside of Naples, a zone laced with illegal poisonous dumps. I translate Fascists and anti-Fascists; Italian feminists and a notorious misogynists; inheritors of Futurism and the historical avant-garde; and contemporary poets who are attempting to grapple with the millennial burden of the “Italian” language, channeling or annulling voices from Saint Francis through autonomia.

AR: Describe your current or most recent project. Why is it cool? What should we know about it? 

JS: I have several current translation projects. One is a translation of an “aeronovel or aeropoem” by F.T. Marinetti composed in 1944, amidst the German occupation of a divided Italy during World War II. It is a desperate, breathless, un-punctuated, and unstable text that—in a gasp of last-ditch fascism—imagines the resurgence of Venice as a kitschy female colossus of Murano glass. That’s clearly as cool as it is problematic. Though it isn’t a prize-winning strategy, I believe it is necessary to understand Fascists and misogynists/woman-worshippers from the inside, through their own writing, in an epoch such as ours. No channel could be more intimate and potentially seditious.

I’m also translating selections from Reasonable Chesspiece, a collection of poetry by the art critic and founder of Lotta Femminista, Carla Lonzi. I am undertaking this project in collaboration with Judith Kirshner, who has studied Lonzi’s art writings for decades and will provide a historical introductory narrative, and Silvia Guslandi, a talented young translator who is working on the tape-recorded interviews of Lonzi’s Self-Portrait, a paradoxically titled collection of interviews with male artists from Lucio Fontana to Cy TwomblyWe will bring the pieces together in the hopes of drawing more attention to Italian feminism—both in English-speaking countries and in Italy, where it is dead and mostly forgotten.

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Weekly Dispatches from the Frontlines of World Literature

The latest news from our word-nerds in Finland, Cuba, and Morocco!

Contributor Hanna Heiskanen checks in from Finland:

Over in Finland, several prominent authors have expressed their concern for the writing skills of today’s young people. What began as a Facebook post by Anja Snellman, who has written more than 20 novels and is a recipient the Pro Finlandia Medal, on the quality of the letters she receives from school children around the country, has since been echoed by Salla Simukka and Pasi Ilmari Jääskeläinen, authors of the Snow White Trilogy (Hot Key Books/Amazon Children’s Publishing) and The Rabbit Back Literature Society (Pushkin Press/Thomas Dunne), respectively. Children and teenagers appear to struggle with understanding metaphor and long sentences, and are increasingly unable to write in literary, rather than spoken, language, the authors said. Reading is still generally held in high regard in the country, with 50 million books borrowed from libraries by the 5 million strong population in 2014, though these figures have been in decline.

The national broadcaster YLE shines a light on Elina Ahlbäck, the founder and director of the Elina Ahlback Literary Agency. The eight-year-old agency is behind the string of success stories of the aforementioned Salla Simukka who, like Maria Turtschaninoff, also represented by Ahlbäck, signed a Hollywood film deal some months back. Other good news for the agency is the recent nomination of Laura Lindstedt’s Oneiron for the Nordic Council’s 2017 literature prize, the winner of which will be announced in November. Finnish literature in translation is having a moment, according to Ahlbäck: “Finland is an undiscovered treasure trove, and a source of unique stories and storytelling,” she says in the article. The country still lags behind its western neighbour, however, when it comes to marketing efforts: more than 30 agencies work to export Swedish literature, now a familiar sight on global bestseller lists.

The literature festival Helsinki Lit has published its schedule for this year. The event, May 12-13, will feature discussions with the likes of Orhan Pamuk, Linda Boström Knausgård, and Laurent Binet.

And to wrap up on a more unusual note, a Danish crime literature festival has gained nationwide interest for an advertising campaign gone awry. The Krimimessen festival, the largest of its kind in the Nordic countries and organised earlier this month, was advertised by staging fake crime scenes using fake human bodies. After, naturally, distressed reactions from the general public, the campaign was promptly terminated. “I am horribly sorry”, said the organising town’s Mayor, according to the Copenhagen Post Online.

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What’s New in Translation? March 2017

Our team reviews some of the newest translations published in English this month

heretics

Heretics by Leonardo Padura, tr. by Anna Kushner, FSG

Review: Layla Benitez-James, Podcast Editor

Leonardo Padura’s novel, Heretics, has finally made its way to North American shores and English speakers everywhere thanks to translator Anna Kushner’s work for Farrar, Straus and Giroux. Originally published by Tusquets Editores of Spain as Herejes in 2013, Heretics is a startlingly, and in many ways disturbingly, relevant work for 2017—as rising levels of xenophobia and nationalism are straining already tense relationships across many borders and affecting refugees throughout Europe and North America. Padura’s novel opens in the Havana of 1939 with the rejection of the St. Louis, a German transatlantic liner sailing from Hamburg whose 937 almost entirely Jewish passengers were fleeing the Third Reich. Their tragic return to Europe—a effective death sentence—is watched by Daniel Kaminsky, the first character introduced and the namesake of the first of the novel’s four sections. Daniel has high hopes in his nine-year-old heart that his parents and sister aboard the ship will make it to land.

At 525 pages, Padura has ample space to leap through an ever thickening plot as his characters become more and more entangled in a seemingly unlikely series of events. Yet the read is a quick one, driven forward by drastic jumps between Havana and Amsterdam and a narrative structure which throws the reader several curveballs in the pages where a more traditional detective story might feel the need for resolution. It’s especially relentless in its final two dozen pages. This book, addicting in and of itself, will also compel readers to dive into the real history of the events on which it centers; they are oftentimes much stranger than any fiction could hope to be, even though Padura tells us right before we embark that “history, reality, and novels run on different engines.” However, to describe the work as a historic thriller, or even to focus on the mystery of a stolen Rembrandt that is woven throughout the larger plot, only hits at one level of Padura’s game. He lets us fall through history almost effortlessly, revealing the inevitable repetition of human cruelty from biblical times through the 17th century, the 20th and up through our own muddy 21st. He neither sugar coats nor exploits these horrors, to his credit.

While the novel takes one of Padura’s recurring characters, Mario Conde, as its hero, a reader uninitiated into this Cubano’s world will have no trouble becoming quickly acquainted. His prose style is elliptical; events and ideas are repeated by different characters as if Padura holds each piece of plot up to the light like a precious stone, turning it this way and that to appreciate its different angles and facets. Though Salinger undoubtedly receives the most attention, influences from Chandler, Hemmingway, Murakami, Kundera, and the occasional phrases from Voltaire’s Candide, which perhaps even inspired the name of Conde’s most pious friend, Candito, also find their place. Readers will note quite a bit of Nietzsche, too, as our hero is forced to try and make sense of the emo subculture springing up on the Island, not to mention a healthy dose of Blade Runner and Nirvana references to even things out.

Perhaps one of the most delightful plays between reality and fiction is the one Padura plays with the genre itself.  Despite some dark passages, the work is deeply humorous and self-reflective, especially in the periodic wish of our narrator to compose his own hard-boiled thriller as he continually feels trapped in one himself. No stranger to taking on huge historical figures (from Adiós Hemmingway to The Man Who Loved Dogs, which stars Leon Trotsky), Padura’s Rembrant is compelling and once again does that work of blurring fact and fiction that inspires a desire for the work to have come wholly from the real world.

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Joshua Freeman talks Uyghur Poetry, Part II

The endless choices confronting a translator constitute a great deal of creative freedom.

Our latest issue features three poems by the Uyghur writer Tahir Hamut. Here, the Asymptote Interview Features Editor Ryan Mihaly talks to the translator, Joshua Freeman.

When we first spoke in October 2015, you mentioned your excitement about translating Tahir Hamut. It’s wonderful to see these poems now. How long have you been working with Hamut? Have you worked with him on translation issues?

Tahir Hamut was actually one of the first poets I translated, almost ten years ago. I met him soon after I started translating his work, since I was also living in Ürümchi, capital of China’s Xinjiang Uyghur Autonomous Region, at the time. He’s a terrific conversationalist with wide-ranging interests, and I’ve enjoyed exchanging ideas with him on all manner of subjects over the years. I used to ask him occasionally why he didn’t write much poetry anymore, since I regard him as one of the most talented living poets writing in Uyghur. (His poem “Returning to Kashgar” is perhaps my favorite.) Over the last couple years it’s been exciting for me that he’s suddenly reemerged with a torrent of new work, every bit as good as his work from the nineties.

When I translate work by a living poet—and most poets I translate are still around—I usually produce a semi-final draft of my translation, and then get in touch with the poet about any lingering questions of meaning or interpretation. Those conversations can be quite lengthy, and in fact I really enjoy them; as a non-poet myself, it’s a unique chance to have some access to the literary thought processes of poets I admire. Speaking with Tahir about his work, we’ll sometimes slip briefly from Uyghur into Chinese to discuss a word or a line from the “meta” level of a second language.

Interesting that you call yourself a non-poet. I wonder if you are of the camp that considers a translated poem a new poem all its own? Or do you think it is strictly a translation?

There’s lots of interesting theory on the subject by people who’ve thought about it longer than I have, so I’ll just share my own sense of it. A translated poem is not exactly a new poem, but it’s definitely distinct from the original work. The endless choices confronting a translator constitute a great deal of creative freedom, but the starting point of each choice is still the original poem, and in that sense translating poetry differs fundamentally from writing it. One analogy that comes to mind is music: different musicians will interpret a composer’s work differently, but their performance will still be guided by the same notes on the page. READ MORE…

Weekly Dispatches from the Frontlines of World Literature

Your update from Taiwan, India, and Finland!

This week, put on your walking shoes so we can follow Vivian Szu-Chin Chih, Editor-at-Large for Taiwan, through Taipei, from an international book exhibition to a history museum. Then we’ll zip over to India to meet Assistant Managing Editor Janani Ganesan for discussions about literary translation and, wait for it—bull fighting. And finally in Finland, Assistant Blog Editor Hanna Heiskanen has some Finnish Publishing Industry gossip for us. Cheers! 

Editor-at-Large Vivian Szu-Chin Chih reports from Taiwan:

As the Chinese Lunar New Year ushered in the Year of the Rooster, as well as the Ding-You Year (丁酉年) in the Chinese Sexagenary cycle, readers in Taiwan have been anticipating the annual Taipei International Book Exhibition, which is kicking off on February 8 and will last till February 13. The international event for book-lovers will take place at the Taipei World Trade Center, only a few steps away from the landmark 101 building. Among this year’s featured sessions are a forum specifically dedicated to children’s books in Taiwan and a discussion concerning how local bookstores can be redefined and reshaped, featuring several Taiwanese and Japanese speakers and the founding chair of the Melbourne Writers Festival, Mark Rubbo. The eminent Chinese novelist and poet based in the U.S., Ha Jin, will also deliver two speeches, one on the art of humor writing in fiction, the other to announce his two latest books, “The Boat Rocker” (《折騰到底》) and a poetry collection, “Home on the Road” (《路上的家園》). The female poet and publisher from Paris, Anne-Laure Bondoux, will travel to the island to attend the book exhibition as well, giving several talks including a discussion with the Taiwanese novelist Nathalie Chang.

The 90-year-old Taiwanese poet Luo Men passed away this January in Taipei. His poems are rich in imagery, with an emphasis on the spiritual search of the human mind. The TSMC Literature Award will see its fourteenth iteration this year, presented by the Taiwan Semiconductor Manufacturing Company to encourage emerging young Sinophone writers in Taiwan and overseas. For 2017, all writers under the age of 40 composing in Chinese, traditional or simplified, are welcome to submit a piece of a novel. The deadline will be at the end of August. Since its establishment, the award has provided young Sinophone writers with a platform to debut their literary works. For example, the 2013 first-prize winner from Nanjing, Fei Ying’s novel, was published in Taiwan by INK this past week. One of the previous winners, Liou Dan-Chiou’s latest book on a couple surviving in the wild, is forthcoming, as well.

This year marks the seventieth anniversary of the 1947 228 Incident followed by one of the longest martial law periods in the world, imposed upon the island by the Kuomingtang government. To help the society further comprehend this historical trauma and to commemorate the victims of the incident, the National Museum of Taiwan History in Tainan is holding an exhibition and a series of talks on the event. The exhibition will last until late May.

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Weekly Dispatches from the Frontlines of World Literature

The latest literary news from Slovakia, Hungary, and the Nordic countries.

Friday is once again upon us, dear Asymptoters! This time, our report brings you the latest literature in translation news from Europe. Editor-at-Large for Slovakia Julia Sherwood has been at the Central European Forum conference and Blog Editor Hanna Heiskanen attended the Helsinki Book Fair, while Zsofia Paulikovics has an update from Hungary. Enjoy the ride!

Editor-at-Large for Slovakia Julia Sherwood has these stories from Slovakia:

On 20 October, the emerging writer Dominika Madro’s story Svätyňa [Sanctuary] won the annual short story contest Poviedka 2016. Now in its twentieth year, the competition is run by the publisher Koloman Kertész Bagala and all submissions are anonymous. This year’s runner-up was the story Šváby [Cockroaches] by novelist and Elena Ferrante’s Slovak translator and Asymptote contributor Ivana Dobrakovová.

A survey of reading habits, commissioned by the Slovak Publishers’ and Booksellers’ Association, has recently published very depressing findings: 72 percent of the public don’t buy a single book in any year; 40 percent read books only once a month and 28 percent don’t read at all. Nevertheless, judging by the crowds attending a huge variety of literary events taking place across the capital, Bratislava, over the past month, the picture isn’t perhaps quite as bleak as these figures suggest.

Slovak-Swiss writer and journalist Irena Brežná, Polish novelist Grażyna Plebanek, and recent Neustadt Prize winner Dubravka Ugrešić sought antidotes for despair as part of Bratislava’s annual Central European Forum conference from 11 to 13 November (video recordings here); Dubravka Ugrešić also read from her book of essays, Europe in Sepia, which will be published soon in a Slovak translation by Tomáš Čelovský. Parallel with the conference, some 200 publishers displayed their recent publications at the Bibliotéka Book Fair, held in the somewhat drab Incheba exhibition halls and vying for space with a “World of Minerals” exhibition. At the Centre for the Information of Literature stand two young authors, Peter Balko and Peter Prokopec, along with graphic designer David Koronczi, introduced their new “anti-logy” of Slovak writing. Aimed at schools but very far from being a stuffy textbook, Literatúra bodka sk (Literature.dot.sk) aims to show that contemporary authors inhabit the same world and share the same sensibilities as young readers, and includes samples of fiction and non-fiction as well as a graphic novel, Rudo, by Daniel Majling. Rudo started life as a Facebook cartoon strip and has now been issued in book form by Czech publisher Labyrint (in a Czech translation!).

slovakiaimage_rudo_obalka

On the other side of the Danube, housed inside the Slovak National Gallery and overlooking the river, Café Berlinka is fast establishing itself as a vibrant literary venue, in association with the adjoining Ex Libris bookshop. Since September 2016, the café has been hosting Literárny kvocient [Literature quotient], a series of debates featuring leading literature scholars and critics.  Of the many book launches that took place over the past few weeks, the liveliest must have been the feminist press Aspekt’s presentation of a selection of poems by Hungarian activist poet Virág Erdős, Moja vina [My Fault].  The book was translated into Slovak by Eva Andrejčáková (a past Asymptote blog contributor) in cooperation with poet Vlado Janček, who read some of the hilariously outrageous poems to his own guitar accompaniment (you can watch Virág Erdős perform “Van egy ország”/ “There is a Country” in Hungarian with the band Rájátszás here). READ MORE…

Weekly Dispatches from the Frontlines of World Literature

This week's literary news from the Nordic countries, the UK and Israel.

The week is nearly over, which not only means it’s the weekend but also that it’s time for our literary catch-up! For this edition, Blog Editor Hanna Heiskanen shares updates on the upcoming awards season, among other news from Scandinavia. Editor-at-Large Julia Sherwood then reports on literary happenings from the UK. Rounding it all up is our correspondent for Israel, Alma Beck, currently residing in New Orleans, where she teaches philosophy for children.

Obligatory reminder: After you’ve caught up with all the news, head over to our just-launched Fall 2016 issue here!

First up, Blog Editor Hanna Heiskanen has the latest from the Nordic countries:

Lars Huldén, the Swedish-speaking Finn poet, has passed away at the age of 90. Born in Pietarsaari, Finland, Huldén was a much loved and highly regarded writer, scholar, translator, and recipient of the Swedish Academy Nordic Prize in 2000. He grew up among a tradition of oral storytelling in the local Swedish dialect and worked tirelessly throughout his adult life, publishing a large collection of poetry, prose, plays, and sonnets, among other works. He also produced Swedish translations of Finnish and English classics, such as the Finns’ national epic, Kalevala, and Shakespearean texts.

Finnish Literature Exchange (FILI) is accepting applications for grants until November 1. If you are a publisher, translator, author, or event organizer interested in working with Finnish literature, FILI has a handy guide on their site to guide you through the options. FILI, founded in 1977, hands out approximately 700,000€ worth of grants annually, in addition to hosting translator residencies and maintaining a database of translations of Finnish literature.

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Translation Tuesday: An excerpt from “The Midwife” by Katja Kettu

To this day I can’t say what spurred me into action the first time I helped bring a life into this world.

Today we’re thrilled to present an extract of Katja Kettu’s breakthrough novel, The Midwife—also Kettu’s debut in English, available from Amazon Crossing today. This Runeberg Prize–winning work depicts a passionate love story set against the severe backdrop of World War II’s Arctic front and the desolate beauty of a protective fjord. For a taste of this epic romance, and to discover the book that went on to become 2011’s most widely read title in Finland, read on.

We could hear Lisbet’s screams from the yard. I’d spent the journey sit­ting on the back of a green Tatra truck, my thighs caressed by the wind. Initially I tried to force my way into the cab beside you, Johannes, but Jouni forbade me. I didn’t protest. There’s no arguing with the greatest rumrunner in Lapland.

I didn’t wait for Jouni to haul his stout body down from the pas­senger seat. I barged through a sea of head scarves into Näkkälä’s rose-patterned bedroom. The air smelled of incense and blood. A candle flickered on the altar, and next to an icon, Greta Garbo gave a divine, papery smile. I gripped the white lintel decorated with lace, because the sight of Lisbet shocked me. She was still beautiful, but distress and pain were pushing forth from beneath the beauty. Her milky-white thighs were caked in blood and mucus, her hair stuck across her eyes, now wide with the fear of death. Without ceremony I slid my hand between Lisbet’s thighs. I recalled my very first delivery, at the Alakunnas house­hold, just as I did every time I midwifed.

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In Review: “Unknown Soldiers” by Vaino Linna

Daniel Goulden reviews a book "so good it hurts to read."

In November 1939, the Soviet Union invaded Finland in hopes of annexing Karelia, a strip of forested lands on the border of Finland. It wanted Karelia as a buffer to safeguard nearby Leningrad. Finland fought back fiercely, but ultimately had to surrender portions of its Eastern Lands. Two years later, in June 1941 (when the Nazis broke the Molotov-Ribbentrop pact), Finland was trapped between two authoritarian regimes. Allying itself with Nazi Germany, Finland entered the war against the Soviet Union and attempted to regain the territory lost during the Winter War.

The novel Unknown Soldiers by Vaino Linna presents the morally ambitious events of the Continuation War. The story follows a company of soldiers, some excessively patriotic—and others considerably less so—as they march through the forests of Karelia. The perspective seamlessly switches from character to character, so the reader witnesses the war from multiple perspectives. Despite their differences, each character quickly realizes that the war is horrifying and pointless. The only characters who do not realize this ostensible truth of war are the deluded officers, more concerned about medals and careers than the lives of their men. READ MORE…

Pop Around the World: Rising Sun Blues

There is a house...

It’s hard to say just how your favorite songs become your favorite songs, but it shouldn’t be hard to understand that sometimes our favorites are also immensely popular. We are not unique snowflakes, at least not when it comes to pop music, and sometimes (as previous iterations of this column have tried to show) we aren’t even that different from people across borders, seas, and continents.

A good song travels at the speed of radio waves, taking up residence in ears wherever, whenever.  Folk songs have traveled best of all, passing from porch to porch or from prayer-bench to prayer-bench, until the likes of Alan Lomax and the Greenwich Village folkies recorded and spread these tales like acoustic wildfire. READ MORE…

How well do you know your neighbor?

"The linguistic closeness is a false cognate for cultural closeness. And for that, we can't blame the translators."

My chair is uncomfortable, I don’t understand Danish, and it smells like someone in my general vicinity had kippers for dinner. I’m at the Oslo Central Library’s panel discussion on “What is good Scandinavian literature?,” and it isn’t going well. READ MORE…