Posts filed under 'Dutch'

Translation Tuesday: Excerpt from Joost de Vries’s “A Room of My Own”

My brother put on his big, fake, photo grin, while one of Kissinger’s assistants smiled professionally and said, firmly, 'Please, just one picture'

Henry Kissinger had a flabby mouth he was fond of using to make droll comments, like calling power the ultimate aphrodisiac, an aphorism he repeated so many times people started to believe it, encouraged by his own tendency to pose for the paparazzi at dinners and cocktail parties with a platinum-blond socialite or an aspiring starlet on his arm. Looking at those photos now, you see a square tuxedo with a man stuffed into it. A bulging face, no neck to speak of, tiny eyes behind enormous glasses, classic wavy hair. And a Barbarella babe next to him in a delirious dress, her teeth bared by a smile so strained it looks like she’s putting her face through an aerobics workout.

‘Power is the ultimate aphrodisiac.’ He was referring to those women, but didn’t think his theory through enough to realise it applied to him too. In the run-up to the presidential election of 1968 he’d called Richard Nixon ‘unfit to be president’, but when President Nixon called him three weeks after winning to make him National Security Advisor, he didn’t hesitate for a moment. He too felt his knees quiver and his heart pound when faced with the true power of the White House.

‘Will you be my National Security Advisor?’

‘Oh, I will, Richard. Yes, I will.’

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What’s New in Translation? February 2016

So many new translations this month!—Here's what you've got to know, from Asymptote's own.

Mario Bellatin, The Large Glass (Eyewear Publishing, February 2016, United Kingdom and Phoneme Media, January 2016, United States). Translated by David Shook—review by Alice Inggs, Editor-at-large, South Africa

Cover_Bellatin_april20

Can a life be expressed in a single narrative, or a single form; can it be confined to a single genre? Mario Bellatin’s experimental autobiography (or is it autobiographies?), The Large Glass, employs three different ways of writing a life, challenging the accepted idea of what constitutes biography, and therefore self-expression.

This is not the first time Bellatin has engaged with the genre. His 2013 novel, Shiki Nagaoka: A Nose for Fiction, is a satirical biography of a fictional Japanese author, which includes excerpts, photographs and a bibliography. As critic Diana Palaversich explains, “With Bellatin you are never on solid ground”.

The Large Glass is non-linear, and at times almost nonsensical, rendering memory as character. Bellatin’s style has been described as hewing closer to that of avant-garde filmmakers—Lynch, Cronenberg —than anything literary. This brand of inscrutability or opacity—inherent in all three sections of The Large Glass—means that to distil meaning from Bellatin’s work it is necessary to rely on aspects of the author’s “objective” biography. This has something of a Lazarus Effect on Barthes’s dead author. But to what end?

The Large Glass magnifies those fundamental philosophical questions: Are we the same person throughout our lives? How do experiences and the manner in which we experience them and remember experiencing them shape our understanding of ourselves? How do these memories fit into the narrative of a life? Does a life have a single narrative? Bellatin seems determined to “reach that point where only language acts, ‘performs,’ and not ‘me.’” READ MORE…