In Review: Costume en Face: A Primer Of , choreographed by Tatsumi Hijikata

Why read choreography? Why read choreography—in translation?

This stunning translation of Tatsumi Hijikata’s Costume en Face Butoh choreography notations (transcribed by Moe Yamamoto) is the collaborative work of series editor (Yelena Gluzman, UDP), Hijikata scholars at Keio University (Takashi Morishita), the translator (Sawako Nakayasu), and the book designer (Steven Chodoriwsky). Although of course deeply relevant to scholarship on Butoh dance for English-speaking scholars, this book is a marvel of poetic elision and evocative design.

Nakayasu’s gifted compressions of Moe Yamamoto’s notes read as stage directions for a metaphysical revelation, textured by archetypal figures (from angels to Nazis), modernist paintings, and mythological figures. Her choice to include and briefly gloss specifically Japanese figures in brackets is clever and creates for a seamless experience that exposes the seams of audience. 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…

Weekly News Roundup, 10 June 2016: It’s Always Prize Season

This week's literary highlights from across the world

Happy Friday, Asymptote pals! This week may not be “prize season” per se, but literary prizes abound this and every week, as usual. The United Kingdom‘s former Orange Prize for Fiction—then the Bailey’s Prize—and now titled the “Bailey’s Women’s Prize for Fiction”—has been awarded to The Glorious Heresies by Lisa McInerney. In France, the Prix du Livre Inter has been awarded to Tristan Garcia for his 500-page novel, 7 (fitting: the shortlist was seven titles long). And the British Commonwealth Short Story Prize (judged by Man-Booker-award-winner Marlon James) was awarded to Indian writer Parashar Kulkani, for the short story “Cow and Company.” Finally,  Akhil Sharma beat out 160 other contenders to win the International Dublin Literary Award for his novel, A Family Life READ MORE…

Asymptote Podcast: Science Fiction

A new episode goes live!

In this month’s episode we look at science fiction from all over the world. We’ll start with the Hugo awards, the Oscars of science fiction, where a group calling themselves the Rabid Puppies is trying to take over the ceremony to protest diversity in science fiction which they see as destroying the genre. To prove them wrong, we’ll look at fantastic works from America, Russia, Cuba, and Nigeria that tell stories about dreaming robots, alien plagues, time travel, monstrous sea creatures, and the perils of extra terrestrial communication. This is the Asymptote podcast.

Editor: Mirza Puric
Voice Actors: Piyali Syam, Alessio Frank, and Rron Karahoda.

Music: Spare by Ono, Gotta Run by Wahyas, Let it Me by Drag Sounds, I Was Born on the Wrong Day by Cate Le Bon, Mary Bumble Bee by Purling Hiss Here, Masked Laughter by Dalek, Devil Do by Holly Go Lightly.

All music provided under a Creative Commons license from freemusicarchive.com

Works read: Space Raptor Butt Invasion by Chuck Tingle, Robot Dreams by Issac Asimov, Moom by Nnedi Okparanta, Memories of the Future by Sigizmund Khrizhanovsky, The Cosmonaut by Angel Arango.

“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…

Three Must-Reads from the Spring 2016 Issue

The blog recommends three more must-reads from Asymptote's April Issue—

Hi there, Asymptote readers! When Asymptote’s April Issue came out (nearly two whole months ago!), we recommended five slick pieces to start off your reading. The issue’s still fresh, featuring dozens of articles, poems, interviews, stories, histories, and visual art definitely worth your perusal. These’ll work to stave off translation cravings until you can get your keyboard on to the July issue—which is slated to come out in a little over a month. Let’s get started (in no particular order, of course):

  1. An Interview with Ha Jin, by Henry Ace Knightrecommended by Allegra Rosenbaum, blog editor

    When I first read Ha Jin in high school, by no means did I appreciate his writing. It wasn’t until I was applying to university that I really started to feel the effect that Waiting had made on my life. Part of the application process in the United States is a personal essay. I wrote the first draft and felt fairly confident about it. I told my mother when she got home. She had just seen Ha Jin talk at her job. READ MORE…

Translation Tuesday: “All the Countries of the World” by Krisztina Tóth

"not that face, those hands, or youth’s sepia tint / but the body, the body, that’s all, that's it"

The poplars’ catkins, no “Crematory” sign,
then a tin roof, the stack’s angled design,
that’s it, in the yard a guy’s on his phone,
the gate’s open, hello, best leave it alone,
a man stops me: Yes? —The office? I ask,
the grandma’s yours, then, the one o’clock,
that’s good, he adds, the old lady’s just out,
you mean…I thought, but could hardly doubt,
I’ve still to confirm she’s of our nation
and so by law allowed a cremation.
I show the papers to a woman fiddling
at a screen, the passport flat, its stitching
lies open, in the room’s press like a window,
its stamps attesting: the bearer to
all the countries of the world can go.  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…

Weekly News Roundup, 3 June 2016: Superstar Contributorstars

This week's literary highlights from across the world

Happy Friday, Asymptote!

All translation is approximate, but we don’t always like to think so. “Approximate Translation” is a performance that grapples with intelligibility, performing sections of Ouyang Jianghe’s poem Between Chinese and English. And speaking of canny approximation, the Los Angeles Review of Books‘ “Multilingual Wordsmiths” series continues with Ann Goldstein, past journal interviewee and translator of Italian fever-phenom Elena Ferrante. READ MORE…

Twenty Promenades: Mouth Eats Color in Review

"...translations can never be approached as though they were original texts—even though this is so often the case."

Translation is often asked to be a silent art, an art so subtle that the reader never even sees a ripple in the translator’s wake. The translator is asked to tread softly, to follow an arbitrary measure of “accuracy” or “faithfulness.” This is precisely why Sawako Nakayasu’s Mouth: Eats Color: Sagawa Chika Translations, Anti-translations, & Originals is so brilliant. Within these pages, Nakayasu is at once invisible and intensely present, creating not a translation that masquerades as a stand-in for the original, but rather a translation that works to create new and exciting pieces that coexist alongside the original poetry. READ MORE…

Ask a Translator with Daniel Hahn

Sorry, “certain idiosyncratic syntactical structures” is a horrible phrase. In English, at least.

Our resident translation expert, writer, and jack-of-all-trades, Daniel Hahn, is back to respond to reader questions on the fine art of translation. Today’s question comes from, once again, Romanian reader, physicist, poet, and translator Marius Surleac.

Throughout your career, what was the book that you found the hardest to translate?

I have two very different answers to this, depending on your interpretation of the question. I’ll give you one of them.

The first thing to say is that there are, of course, lots of interesting ways a book can be difficult, lots of writerly qualities to tax a translator’s re-creational skills.

A book might be, simply, hard to grasp fully in the original, hard to figure out what the hell the author is actually doing or meaning. There might be stylistic issues that don’t travel well, or at least not easily—long, nested un-English sentences, say, or effects that depend on certain idiosyncratic syntactical structures that don’t match our own. (Sorry, “certain idiosyncratic syntactical structures” is a horrible phrase. In English, at least.) There might be the distinctiveness of a voice—perhaps slangy or in a dialect—that resists recreation without feeling forced or oddly accented. There might be any number of seemingly intransigent linguistic tricks, clever wordplay, that don’t have direct equivalents in the new language and so require building entirely new acrobatic effects from scratch. There might perhaps be jokes. READ MORE…

Translation Tuesday: An excerpt of “Miss Keaton and Other Beasts” by Teresa Colom

"Death had been tempted by the idea of being a mother for centuries."

Death can arrive at any moment and for one anonymous woman it came when she’d been gestating a fetus for six months. Her shrouded body ended up tossed into a mass grave in a random cemetery. As a compassionate priest devoted a few words to her out of the goodness of his heart, the gravedigger covered her body with dirt. No one claimed or identified the cadaver, and the few folks who noticed her obvious pregnancy assumed that the baby had died along with its mother.

However that wasn’t the case. The fetus continued to nourish itself on her inert body and, just as blackness was about to envelop its incipient existence, the only power able to change its inevitable fate intervened. Death. Death itself, whose job was to carry off designated souls without a second thought, fixed her eye on that small creature.  READ MORE…