Posts filed under 'literary translation'

Translation Tuesday: “A Corpse” by Hamid Ismailov

April 12, 2016  |  in Translations  |  by Daniyar Ismailov

"Looking from behind his son’s shoulder to the small pile in front of them, he saw a naked arm protruding from the snow."

Let him who gives me a shadow not hold me.
You know the breadth of a star
is not equal to the embrace of the ray.

Let me go, blue holy light,
my shadow is in torment on the black earth.
Am I drunk, or is my road drunk? 

The snow flows, the earth is white and black.
The word ‘I’ is a wanderer like I,
you are eternal as an icy, cracked puddle.

 Did we trip over our shadow
or did the mirage melt in the icy pupil—
a roof, holding up a lamp, when the house moved.

As the day approached noon, Zamzama awoke, and walked into his smaller bathroom to wash himself for the day. The light happened to be on in the narrow room, and he stretched his hands out towards the tap. At exactly the same point, his still-sleepy eyes happened to notice a naked adolescent lying in the bath. Maybe he realised that it was an adolescent due to the fact that the whole body could fit into the bath. Maybe also due to him lying in an empty bath naked, Zamzama purposefully didn’t look in that direction, rather washing his hands with soap and distracting himself with the trickling tap. ‘Perhaps I should have knocked, although he seems to be keeping silent,’ he thought for a moment, though this thought appeared and disappeared just as fast as the flowing water, circling down the drain.

The boy indeed kept silent. In order to avoid bad luck, he didn’t want to shake his hands dry. Therefore, trying to locate the towel in his mind, he unwillingly glanced at the figure in the bath. Was he one of the unmannered friends of his son? For some reason, his vision fell onto their fluffy crotch, jumping back up to the boy’s slanted, closed eyes. Whilst rushing out of the bathroom trying to make no sound, the fact that there was no water in the bath astounded him. Had the young man fallen asleep, and if so, how could he? Was he drunk? Only having just seen his fluffy groin, he thought, are his legs a little disproportionately short? Maybe they were just going into the dark bottom of the bath… READ MORE…

Translation Tuesday: An excerpt from “Making Skeletons Dance” by Peter Macsovszky

April 5, 2016  |  in Translations  |  by John Minahane and Peter Macsovszky

"We’re waiting for a favourable wind in our skulls. Simon taps his forehead and grimaces."

The action of the novel takes place in one day (as in Joyce’s Ulysses and Woolf’s Mrs. Dalloway). The main character is Simon Blef, a man who has emigrated to Holland, where he met his future wife, a Mexican-Dutch girl named Estrella. As he waits for Estrella, who is returning from Spain, Simon wanders into the Amsterdam pubs and starts drinking. As time passes, all kinds of memories surface from the past. There is no striking action in the novel; it is rather an impressionistic reverie with glimpses of humour and a mordant commentary on the main character’s ambition to become a writer. This novel was shortlisted for Slovakia’s most prestigious literary award, Anasoft Litera Prize, in 2011.

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1. There’s somebody

whose refuge is a pub like this, neither filthy nor speckless, but the sort of place where a passer-by does not stay too long. Battered, creaky chairs, dust-coated wooden panelling, a slot machine. For somebody refuge means a bar counter, subdued conversation, light music, world-famous glances from bronzed faces. For someone, again, it’s a woman willing to hear the cycled effusions of pain, morning and evening. Hear them, care for them, cultivate  and protect them. Fantasies of alleged wrongs and menaces. For Simon Blef, whom no misery is tormenting today and therefore he claims no concern, refuge means this Amsterdam pub, neither filthy nor speckless, scrunched at the corner of Gravensstraat and Nieuwe Zijdsvoorburgwal. From there Simon Blef gazes at the world, observes passers-by, how they borrow and  steal gestures, each in a way that is both unique and custom-worn. Not quite half an hour ago he was boring through the crowds that came hurtling out from the platforms of Centraal Station and wondering whether to go left and find some quiet boozer in the Red Light District sidestreets, or if he ought to go right and cast anchor as ever in this unprepossessing drinking shop, which basically serves as an entrance hall for a hotel and restaurant on the first floor.

Simon has picked his spot by the window so as to be able to see the doings not only on the street but also by the bar counter. Encompassing with one’s gaze the largest possible segment of the world currently served up: then he feels in a place of refuge. READ MORE…

Translation Tuesday: Seven Micro Stories by Alex Epstein

March 22, 2016  |  in Translations  |  by Yardenne Greenspan

"Take a deep breath. Write until the page turns blue."

Hope

In the religion column the robot wrote: human.

Immigrants

It was an old spaceship with no windows (they couldn’t afford a new one). Before takeoff, they painted stars on the ceiling of their child’s bedroom.

A Children’s Story

All the children in the kindergarten had superpowers. One could move clouds (and furniture) through the power of thought. Another could walk on air as high as the tops of trees. A third (her name was Sappho) could stretch her arm up and touch the moon. There was also a child who could replace his stutter with a song.

READ MORE…

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

March 15, 2016  |  in Translations  |  by David Colmer

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.’

READ MORE…

Ask a Translator with Daniel Hahn

March 14, 2016  |  in Ask a Translator, Interviews  |  by Daniel Hahn

Either I’m being a parasite on their work, or they’re being a parasite on mine—but either way, it’s potentially a delicate, complex relationship.

Once again, award-winning writer, editor, and translator Daniel Hahn is here to respond to reader queries about anything and everything relating to literary translation! This month, Daniel responds to a question from reader Marius Surleac:

How often do you discuss a translation with the author?

You can see why the whole business could make an author nervous. Imagine approaching pretty much any writer and saying, “Look, here’s the plan, we’re going to change lots of things in your book—no, I really mean lots of things, like all the words—then we’re going to publish it all over the world in your name, but you won’t get to see what it actually says… Sound OK?” They’d be within their rights to feel more than a little uneasy about it. A book over which they have absolutely no control, going out as though it were theirs, allowing all the world’s readers and critics to judge them, based on… what?

Sure, we may not really phrase the question quite like this, for obvious reasons (mostly because I’m guessing nobody would ever say yes), but this is essentially what a writer is signing up for every time she or he agrees to have a book published in translation. Translators have been known to grumble about their authors wanting to meddle in their translations, but I’m not one of those translators (OK, except that one time—you know who you are…), because I do understand the anxiety. Frankly, I’m rather surprised anyone lets translation happen at all.

I’ve done book-length literary translations of more than twenty different writers, and I have always sought to involve the writer in my process. (Well, the only exception was dead and, I assumed, probably past caring.) And they almost always express an eagerness to help. (Same single exception.) For various reasons, writers being translated into English tend to be far more involved in the process than writers being translated out of it, which suits me.

Sometimes I have a number of specific questions for them. (One novelist recently sent me the list of questions he’d already answered for his German translator, to save time. It ran to thirty-two pages.) These fall into four categories: READ MORE…

Elena Ferrante in Slovak(ia): In Conversation with Ivana Dobrakovová and Aňa Ostrihoňová

February 24, 2016  |  in Interviews  |  by Julia Sherwood

"Although Slovak authors do give interviews and appear in public, events where the author is represented by their translator are very rare."

My Brilliant Friend is the 30th book to be published by INAQUE, a small independent publisher in Bratislava, and one of very few in Slovakia to specialise in translated literature. Elena Ferrante’s books appear in INAQUE’s Women’s Fiction series, which features stories by Jamie Quatro and Tessa Hadley, among others.  Titles planned for 2016 include The Story of a New Name, part two of Elena Ferrante’s Neapolitan saga, Manual for Cleaning Women by Lucia Berlin, Jenny Erpenbeck’s The End of Days and Kate Bolick’s Spinster: Making a Life of One’s Own, life stories of distinguished and unjustly forgotten women who lead a full and fascinating life without the need for fathers, brothers or husbands.

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Julia Sherwood: Sometimes an encounter with a book or an author is almost a story in its own right. Where did your own stories intersect with those of Elena Ferrante’s novels?

Aňa Ostrihoňová: Sometime in 2006 in Villerupt in France, I went to see Days of Abandonment during a festival of Italian cinema. A friend was keen to see the movie because, like three other movies shown that day, it starred her favourite actor Luca Zingaretti. I was struck by one scene in particular, in which Olga, the protagonist, is talking to the editor of a publishing house who has asked her to translate a novel. The editor tells her that the manuscript she delivered is a great story but it’s not the book she was supposed to translate. Later I realized this was a ploy the scriptwriter used in order to include in the movie the story of La Poverella, which comes back to haunt Olga in hallucinations from her Naples childhood. The scene doesn’t occur in the book.

READ MORE…

The Lives of the Translators: the Whence and the How

February 22, 2016  |  in Essays  |  by Josh Billings

"Kafka’s fluent homelessness began to look more and more prescient to the Muirs as the years passed..."

Translation, like marriage, is the art of making things work; so it should be no surprise that some of the best translations in literary history were made by married couples.

Frequently this is a matter of convenience, or at least begins that way. One partner is fluent in one language; one is a better writer; one has more time. Talents assert themselves and sacrifices are made, until eventually the two sides work things out enough for the garbage to get taken out and the dog fed. The book gets done, in other words, which is another way of saying that the labor that produced it disappears behind a finish so perfect that it confuses pets and makes guests wish their own lives were so spotless.

For Willa and Edwin Muir, the Scottish couple whose translations of Franz Kafka, Hermann Broch and many others introduced English-language readers to some of the greatest German modernists, translation was a gift and a curse. On the one hand, it offered them money and a sense of accomplishment; on the other, it encroached on the writing that both of them, at different points in their lives, considered a true calling. But no matter how they thought about it, translation remained a means of survival for the couple: a lifeboat in which they bobbed, happily or at odds, through some of the most treacherous waters of the 20th century.

READ MORE…

Ask a Translator: A New Column by Daniel Hahn

January 22, 2016  |  in Ask a Translator  |  by Daniel Hahn

"If at all possible, only translate the kind of books that you feel able to understand."

The December debut of “Ask a Translator,” a new column by award-winning writer, editor and translator Daniel Hahn responding to reader questions, drew rave reviews from Asymptoters worldwide, so we couldn’t be more excited to bring you another installment! This month, Hahn responds to the following question from reader Marius Surleac:

Is there any genre that you would never translate?

The short answer is no—I’d translate anything. Having said that, however, the short answer is in fact a lie. I wish it were true, but it isn’t.

Why? Well, it all comes down to reading and writing. That’s all translation is, after all.

I think of myself as a pretty open-minded reader; a reader, in other words, with wide sympathies. Yes, I have particular inclinations towards certain kinds of book, of course—who doesn’t?—but I’m able to tune into all sorts without too much trouble. Which for a translator is important! You need to be able to find your way to a sympathetic connection with a book if you are to translate it (well, it helps), so frankly it pays to be flexible in your sympathies.

And I think of myself as a pretty versatile writer; which means I should have the tools to create anew (but now in English) many different kinds of books. This means being able to rely on a suppleness of language and register, a good ear for all sorts of dialogue—stuff like that. Which, for a translator, is also important. You need to know what’s involved in writing a book, you need complete mastery of its operating techniques, of its rhythms and dictions and tricks, if you’re to recreate it.

Now, mostly what I get asked to translate is, for want of a more useful genre label, “literary fiction”. It’s what I most commonly choose to read, too, on the rare occasions when I read just for pleasure, and it’s a mode in which I feel very comfortable working. Which is not to say that I’d ever write a literary novel myself, but it’s a manner of writing in which—as a reader with experience of thousands of these things—I feel comfortable faking it, which is what I do whenever I’m hired to spend 320 pages impersonating a Portuguese novel-writer or a Guatemalan short-story writer or a Québécois children’s writer. (I realise it sounds a little weird, the job, when I describe it like that. But isn’t that what it is? Translation is a confidence trick, in which the reader colludes in the deception, volunteering to be deceived.)

It is much less common for me to be asked to translate, say, the more commercial end of crime writing (or, for that matter, any non-fiction at all); and I’ve never once been offered any sci-fi, or romance fiction, and not a single graphic novel; I’ve never had the option of taking on a literary classic or a cookbook or a horror novel; or many other categories besides. And what would I say if were in fact asked? I’d always accept, of course!

Except when I wouldn’t. READ MORE…

Translator’s Profile: Mirza Purić

November 16, 2015  |  in Interviews, Translator's Profile  |  by Patty Nash

Q & A with Bosnian translator and Asymptote editor-at-large Mirza Purić

Mirza Purić (b. 1979) is a translator and musician. A graduate of the University of Vienna, he has been an Editor-at-Large with Asymptote since 2014.

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Who are you and what do you translate? 

Out of necessity, I’ll translate whatever will bring home the bacon, but what I am is a literary translator. When I set out years ago I worked on fiction almost exclusively. These days I mostly do poetry, I don’t know how that happened. I also play obnoxious music on a bastard instrument which is neither a bass nor a guitar. I’m not sure if this answers the first question.

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

I’m working on a selection of poems by Yusef Komunyakaa, who is one of my favourite poets. There’s this sad cliché that says you can’t write about music just like you can’t dance about sculpture, or something to that effect. Whoever came up with that nugget of brilliance has obviously never read Komunyakaa. Apart from that, I try to make myself available to young, up-and-coming authors, people who swim against the tide and/or operate outside of the mainstream, so I’m always on stand-by for Sarajevo Writer’s Workshop, a group of promising young writers and poets founded by the American writer Stacy Mattingly (check out her essay on a project she led for the University of Iowa’s International Writing Program). As Asymptote’s editor-at-large I constantly snoop about for new talent. This country being what it is, a lot of gifted people don’t have a platform. Asymptote provides one, and I do what I can to help these people hop on it. READ MORE…