Language: English

Dear Britain: Notes of an Adopted Daughter

"Poking your ribs aside, Britain, we do not need to see our various hyphenations as fracture."

“Look, I admit I came to Paris to escape American provincial, but that doesn’t mean I’m ready for French traditional.”
—Audrey Hepburn, Charade

Dear Britain,

In spite of Murakami and the rural male youths of my mongrel pubescence informing me otherwise, I still prefer to think of a “morning glory” as a cat licking its paws through choppy rays of light—just at the moment when “rosy-fingered” dawn neatly vivisects your eyes and the living room in two (if the postmodern turn has accomplished anything worthwhile, it has bestowed scalpels on Homeric metaphors), leaving little else to do than bat the sand from your lashes and gulp down that third cup of coffee.

It was during of one these scenes from my everyday homeostasis, Britain, when I began to realize, at first rather absently, that for all legitimate reasons, my cat is British. READ MORE…

Jamón, Jambon, Ham

"Each product comes from same part of a pig: the upper hind leg where thigh becomes rear. The consensus ends there."

In the 1992 melodrama Jamón Jamón a lovers’ quarrel turns violent. Class tensions drive the conflict. Jose Luis’ (Jorge Molla) parents own a factory. He falls in love with one of the workers, Silvia (Penelope Cruz), and gets her pregnant. His parents reject their plan for marriage and hire the fit, sexy Raul (Javier Bardem) to seduce the young woman. Raul sells jamón, with dreams of bullfighting and underwear modeling. In a spate of anger, Jose Luis arrives in Raul’s trailer with a club in hand. Legs of jamón hang from the ceiling. To defend himself, Raul grabs one of the hams and uses it as a weapon. Jose Luis meets a slick, salty end.

The film retains its Spanish-language title in its American release, with a parenthetical (Ham & Ham). Jamón Jamón evokes something aromatic, sensuous. The legs of ham that hang from the ceiling in Raul’s shop are lithe and firm. The translated title Ham & Ham highlights the campy humor of the movie, but misses on the sex appeal. The image conjured is not of golden and burgundy cured meat and fat, but of the pink, clove-studded, maple-glazed behemoths featured at holiday feasts or Easter brunch. It’s more Jaime Lee Curtis than Javier Bardem. The French Jambon Jambon hardly fairs better, rousing images of the boulangerie staple: le parisien, two slices of cooked ham sandwiched between a half a baguette, slathered with butter.  READ MORE…

Translation Tuesday: An excerpt of “Life in the Court of Matane” by Eric Dupont

"The funny thing about memory is that it always ends up chasing its own tail. The most important thing is to keep it moving."

Nadia Comaneci’s gold-medal performance at the Olympic Games in Montreal is the starting point for a whole new generation. Eric Dupont watches the performance on TV, mesmerized. The son of a police officer (Henry VIII) and a professional cook—as he likes to remind us—he grows up in the depths of the Quebec countryside with a new address for almost every birthday and little but memories of his mother to hang on to. His parents have divorced, and the novel’s narrator relates his childhood, comparing it to a family gymnastics performance worthy of Nadia herself.

Life in the court of Matane is unforgiving, and we explore different facets of it (dreams of sovereignty, schoolyard bullying, imagined missions to Russia, poems by Baudelaire), each based around an encounter with a different animal, until the narrator befriends a great horned owl, summons up the courage to let go of the upper bar forever, and makes his glorious escape.

***

From the first lot we lived on, if you went down a big grassy hill and crossed the road you’d find us by the river. In the summer, the sand could become burning hot in the sun, despite the glacial currents that flowed down from Labrador. Reels of dried-up seaweed revealed how high the tides rose and stretched out in arcs from east to west. We found green sea urchin skeletons, blue shells, and pink tampon applicators. Sometimes we would step on a piece of glass polished by the salt. It would slide so smoothly between our fingers that we could barely imagine its sharp past. When we held it up to the sun it would look like part of a stained-glass window washed up on the beach at Matane. Coke and Pepsi bottles produced translucent shards of polished white. The green bits of glass came from 7UP bottles. Beer bottles splintered into small, dark amber pieces. On this strip of beach, the waves deposited at our feet the shattered stained-glass windows of a church sunk off the Matane coastline. My sister and I picked up the pieces without ever beginning the impossible task of putting them back together. We knew that they had once been part of a whole, but that an earthquake had probably separated them. The sea salt had made them smooth so that their edges no longer fit together. They had taken on a shape all their own. They could be traced back to a family only by their colour. A distant kinship. They had ended up where the Gulf of St. Lawrence melts into the northern blue sky, leaving ships arriving from the Atlantic in July dangling from an invisible thread. The horizon gives way to a blue void that draws the soul northward. The trip is pleasant enough. When you really let yourself go, you soar high above the gulf, the taiga, and the permafrost, until you reach the tundra, where on a sunny January day you can drift off into the light of the north. READ MORE…

In Conversation with Alfred MacAdam

"They are like magic formulas, and it’s not a good idea to tamper with magic."

Recently, Interview Features Editor Ryan Mihaly spoke via e-mail with Alfred MacAdam, translator of the likes of Fernando Pessoa and Surrealist filmmaker and novelist Alejandro Jodorowsky. For an excerpt from Jodorowsky’s Albina and the Dog-Men, check out this recent installment of Translation Tuesday. This interview is also available in the Asymptote Fortnightly Airmail. Subscribe here.

***

RM: What was it like translating Alejandro Jodorowsky’s Where the Bird Sings Best and Albina and the Dog-Men? Did Jodorowsky’s prose get under your skin? You are an experienced translator and are perhaps more immune to the novel’s effects, but I found Albina‘s dark mythology to be intoxicating. What was it like to translate that?

AM: First, let me say that when Ilan Stavans asked me if I might be interested in translating Jodorowsky, I was dumbfounded. To me he was the crazy filmmaker of the 1970s whose El topo or Fando and Lis knocked me and my friends silly. I had no idea he had metamorphosed into a novelist.

So when Ilan sent me Where the Bird Sings Best I was simply not prepared for what it was. First of all, the Jewish essence of the book, its tracing the circuitous route of Jews who end up in Spanish America, whose religion suffers innumerable modifications along the way, was, I thought, a subject whose time in Spanish American literature had long since come. By which I mean that in the U.S. we take our Jewish writers for granted, that the Bellows, the Malamuds, the Roths (both of them) are simply part of our culture. But where was the “great Jewish novel of the Spanish American world”?  READ MORE…

“The Neighbor” by Marie Darrieussecq

"The guitar playing and the shrieks were bad enough. But then they had a piano delivered."

‚The original version of “The Neighbor” was published in the author’s collection, Zoo, copyright 2006 by Editions P.O.L.

***

At the Dakota, my life was peaceful.

I had inherited the apartment from my father’s sister, along with a modest sum of money.  Living at the Dakota carries with it certain obligations.  When the co-op decides, for example, to renovate the basement, you’d better be able to pay your share.

Until then, I had always lived with my mother in a little village in the west of France.  I was a furniture maker, I had my own workshop, and everything was going well.  I’d led an idyllic childhood with my widowed mother, and I would have been satisfied to continue just as I was.  My mother admired my work, above all the delicately inlaid little chests.  The prospect of my leaving made her very angry.  She used to hate her American sister-in-law.

But I couldn’t resist the lure of the Dakota.  My aunt’s death literally changed my life.  I gave up my work and crossed the Atlantic, and my main activity ever since has consisted of living at the Dakota. READ MORE…

In Review: Antìgona González by Sara Uribe

"Both epic poem and annotated bibliography of Latin American Antígonas, Antígona González is a work of excess and heartbreaking silence."

John Pluecker translates the epigraph (from Cristina Rivera Gazra) at the beginning of Antígona González¿De qué se apropria el que se apropria?—as “What does the appropriator appropriate?” This apparently straightforward translation tellingly reflects the translation strategies he will deploy throughout the book.

This central question echoes a pronounced tendency in Pluecker’s translation: peopling. “The one who appropriates” becomes “the appropriator,” the agent of appropriation. Throughout this translation, subjects becoming into people from more distant Spanish syntax are an artistic and ethical point of return. “They” appears again and again in sentences without subjects, “una habitante de la frontrera” (a [female] resident of the border) becomes “a woman living on the border,” and “todos” unfailing becomes “all of us.”  READ MORE…

On the Anniversaries of Dead Writers: Make Room

"There is something to be said about the Western world constantly emphasizing its own literary canon and even more so the canon of dead authors."

Shakespeare is celebrating the 400th anniversary of his death this year and Cervantes is as well. England and Spain are having their respective celebrations. I set up news alerts for these kinds of updates in hopes to find out about literary events around the world. It keeps me in the know to a certain extent.

As I looked through my news alerts for World Literature over the past few months, I was unsurprised by the continual focus on the West, specifically these two writers. I’m not against it. I’m a huge fan of both of these writers’ works. Of course their works have influenced countless writers and of course literature would not be the same without them. Shakespeare and Cervantes are some of the largest names in the canon.

That doesn’t mean the emphasis should consistently be on the canon.   READ MORE…

In Conversation with Peter Constantine

"The only role I filled in my Chekhov translations was that of the translator."

Peter Constantine not only speaks German, Russian, French, Modern Greek, Ancient Greek, Italian, Albanian, Dutch, and Slovene, but he translates them as well. He has translated Machiavelli, Sophocles, Mann, Rousseau, and a host of others. As a translator from Russian, he has an interest in translating the lesser known, early works of Anton Chekhov.

In the West, Chekhov is known primarily as a playwright, but he was equally accomplished short story author. Peter Constantine’s most recent translation, Little Apples and Other Early Stories, out now from Seven Stories Press, is a collection of Chekhov’s early works, when he wrote under a pen name to support his family and put himself through medical school. These stories are tragic and comic; gut-wrenching and laugh-out-loud funny. Constantine’s translation captures the wit and skill that would make Chekhov known as one of the greatest writers of all time. I discussed Little Apples with him through email.

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Daniel Goulden: What drew you to translating Chekhov, particularly his early stories?

Peter Constantine: Chekhov is one of the great stylists of Russian literature. His range and creativity present an interesting challenge for a translator; particularly his early stories of the 1880s, where every week he would publish several pieces in a number of literary magazines, sometimes two or three pieces per magazine, writing under different pseudonyms: Mr. Champagnsky, Man Without a Spleen, My Brother’s Brother. He had a great facility for writing fast and well and with spectacular energy and creativity. READ MORE…

Translation Tuesday: An excerpt of Fernando Royuela’s A Bad End

"A man is the hunger he has suffered—whatever the hunger, whoever the man."

I’ve known an endless string of bastards in my lifetime and not wished a single one a bad end. I won’t make you an exception. Human beings roam this world blissfully unaware of the tragedy that’s lurking around the corner. Some invent gods to help soften the pain, others, meanwhile, seek out the immediacy of pleasure to keep the inevitable at bay, but all are finally measured by the yardstick of death. I’d been warned about my fate, but I never thought it would happen the way it did.

I know why you’ve come, but I’m good. Till now I’d never faced up to the implacable advance of nonexistence, and that’s why your presence belittles rather than terrifies me. I now realize that from the very beginning my life had pointed to our meeting, that my steps were doomed to reach this moment, that I couldn’t possibly escape my fate, however ridiculously hard I tried, that nobody, not even those I have loved, will ever be able to mourn my departure. I know you have come to relish the spectacle of my death, I’ve seen that in your rust-veined eyes, in your grisly fascination, but I no longer fear the end. People say that at the moment of death, scenes from one’s life dizzily return like the stills of a film. They say that once you have seen them, consciousness shuts down. That may be true, and right now I may be witnessing the accelerated passage of memories of a blurred past. The likenesses of the faces of the dead underline the continued presence of the spirit and can help the living unpick the conundrums posed by awareness of their finite nature. That will be where I will overcome. Nothing else matters; it’s idle chatter and conjecture. READ MORE…

A Dispatch from the Abu Dhabi International Book Fair

"Languages are not islands. Relationships between languages are necessary for one another’s growth."

Although it may not yet have the statistics or the industry renown of the Frankfurt or London book fairs, each year the Abu Dhabi International Book Fair attracts writers, readers, and book folk from across the world, from wherever Arabic is spoken, and then some. The event was held this year for the 26th time—not bad for a country that’s only 44 years old—and boasted a record number of exhibitors (1,260), as well as 500 cultural initiatives, 600 authors, 20 artists, and a handful of 3 star Michelin chefs. This year booksellers from 63 countries set up their stalls in the ADNEC convention center, in the capital of the United Arab Emirates, which is itself emerging as an important location for conversation and cultural exchange. For Lebanese publishers and Sudanese translators, for Indian illustrators and Nigerian publicists, the Abu Dhabi Book Fair provides a place to meet in the middle.

I spent the better part of a week wandering through the massive convention hall, who’s striking resemblance to an airport reminded me just how much, and how rapidly, this city is redirecting flight paths and avenues of discussion and innovation. I was able to navigate by flipping between my four overlapping program guides, and weaving through the rows and rows of Arabic books—contemporary, mass market, antique, translated, children’s, cooking, coloring. Fortunately, the hall was never too crowded; the only occasional traffic came from groups of children wheeling suitcase-shaped book carts, courtesy of the event, that rivaled them in size.  READ MORE…

Asymptote Podcast: Literature in Transit

A new episode goes live!

What ever happened to savoring the moment, or better yet, the moment in between two others? Why don’t stories ever focus on the euphoria of transition? There’s a lot to be learned in between point A and point B that we might not recognize. Today on the Asymptote Podcast, Blog Editor, Allegra Rosenbaum brings us literature in transit; literature from the places in between places, where the rules and regulations that govern our lives disappear behind us, as new ones loom up ahead. Allegra has spent most of her life traveling and with the help of Ezra Pound, Blaise Cendrars, Agustín Fernández Mallo, and Teju Cole, she tries to figure out what is going on in those moments of transition. This is the Asymptote Podcast.

The Persian Edifice of Catch 22

"To rebuild the edifice of Catch 22 in Persian would not have been possible with just one architect."

Written by Ehsan Norouzi[1]

***

I read Catch 22 in high school, completely by accident. I found it in a box of books in an abandoned basement. I read it during my third-year quarterly exams, and it made me fail geometry. My ruined summer was worth my laughter while reading it, though. Amidst the structure of school and the terrifying purgatory of the pre-university year and its entrance exam, Catch 22 (Joseph Heller), The Good Soldier Švejk (Jaroslav Hašek) and other books like them provided a restless teenager like me with some respite. However, the joy of encountering Catch 22 in those teenage years, those dreamlike moments filled with satire that demanded a different kind of laughter, were the result of something else as well.

At the time, literature had not yet become my profession and reading was simply an act of pleasure, with no goal in mind. Later on, there would come a time when I couldn’t read an extraordinary sentence without thinking about how it could be translated into Persian. I lost the joy of reading. READ MORE…

Translation Tuesday: An excerpt of Alejandro Jodorowsky’s Albina and the Dog-Men

"I am a wound awaiting the gaze of another in order to heal. A frog who will never turn into a princess."

Like all Chileans, Crabby spoke in a singsong way, her voice vibrating in her nose. She laughed at everything, even celebrity deaths, and made cruel jokes. She drank red wine until she collapsed in snores, only to wake up barefoot because someone had stolen her shoes. She ate empanadas and sea urchin tongues in green sauce seasoned with fresh, extra-hot chili. Whenever the cops beat a “political agitator” to death, she turned a blind eye, pretending not to notice. Actually she wasn’t Chilean but Lithuanian.

She landed in Valparaíso when she was two, pulled along by her mother, a fat redhead who spoke only Yiddish, and her father a tall (almost seven-foot), skinny fellow as light on his feet as a bird. His profession was the most pedestrian imaginable: callus remover. Using prayer, he made the calluses on people’s feet fall off. Since his name was Abraham and his wife’s name was Sarah, he dreamed—for too many years—of having a son he could name Isaac, which in Hebrew means, “he laughs.” After anguished efforts, ten months of gestation, anemia, forceps, a cesarean, a strangling umbilical chord, Sarah finally gave birth to a daughter. Abraham stubbornly insisted on naming her Isaac, but very early in life, even before she began to walk, the girl would burst into an angry fit of wailing the instant she heard that persistent “Isaac.” Only a teaspoon of honey would calm her down.  READ MORE…

In Review: Y.T. by Alexi Nikitin

"At the heart of Y.T. is an obvious but nonetheless suitable message. The citizens of the former Soviet Union have been hustled."

“Play is older than culture, for culture, however inadequately defined, always presupposes human society, and animals have not waited for man to teach them playing.” This is how the Dutch historian Johan Huizinga begins Homo Ludens: A Study of the Play Element in Culture. Written in 1938, just prior to the Second World War, the book might have been wholly contretemps if the author hadn’t deftly considered how combat and politics are each shot through with elements of play and gamesmanship. Who are generals and politicians if not, at least in part, overgrown boys wagering the fate of nations? The stakes were outrageous and the rules inhumane, but then, as Huizinga put it, play doesn’t need humans, enlightened humans least of all.

The cruel aspects of play are made apparent in Y.T. a recent novel by the Ukrainian Alexi Nikitin, translated by Anne Marie Jackson and published this April by Melville House. The title is an initialism, shorthand for “your turn” a term used in a strategy game developed by bored students assigned to agricultural duty in the Ukrainian countryside. The action begins in 1984. Associations with George Orwell aside, the date is an unlucky one for the narrator Alexander Davidov and his four companions. The decrepitude of the Soviet system has become all too apparent for those living within it, but the reforms of Perestroika have yet to come. The students have gone to university to study radiophysics, but this is immaterial to their job helping peasants grow apples. As city kids, the students are wholly unsuited to the task. There is nothing to be done except play cards and dine on country cooking. Better entertainment is needed. Using algorithms learned in their university studies, they partition the Soviet Union into a set of fictional entities that vie with each other for military, economic, and political supremacy. READ MORE…