Auður Jónsdóttir’s critically acclaimed Quake is a novel of a woman in fragments. Recovering from an amnesia-inducing seizure, Saga is made to walk through her life based on hints, illusions, and the capricious words of others. Translated into a haunting, lyrical English by Meg Matich, Quake traverses and trespasses across the demarcations of a single life to mark the entrancing dialogues between the self and other, fact and fiction, and a woman and her selves. In the following interview, Barbara Halla speaks to Matich about the trauma within the text, Icelandic women writers, and the interrogations of motherhood.
The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD15 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.
Barbara Halla (BH): Before we do a deep dive on the actual themes of the book and the story, I like to get a sense of how translators work and how they find their projects. How did you get interested in Iceland, in Icelandic, and how did you come across the book? And perhaps, why did you choose to translate it?
Meg Matich (MM): I had gotten a fellowship from Columbia to go to Slovakia for a tandem translation and along the way, I had to stop off in Berlin to visit a German poet I had been translating for class. The classmates suggested to me I do a layover in Iceland; flights were inexpensive, the hotels were relatively inexpensive. This was 2012, I believe.
I felt this very strong and immediate pull, especially because I was surrounded by ocean and a cold coast, both things that I like. I found out about Icelandic grammar just by asking about it in bookshops and it fascinated me—I like complex grammars as well. And I like strange things. Icelandic, I still think it sounds like cicadas, so I became very attached to it immediately. And soon I found my voice in someone else’s, which is something I hadn’t felt before— translation had always been a very sort of practical exercise to me, or a way to think about language. And it certainly caused me to write poetry differently than I had previously.
I came across Quake by invitation. Jennifer Baumgardner of Dottir Press had done some research on me, and we just started a relationship from there. I found Auður strange and chaotic and fascinating. And she is spellbinding when she talks. You don’t want to do anything else but listen to her. I guess that’s kind of what happened to the book. I was more engaged with her as a person than with the text at first, but that’s how I understood why it was meandering, and tangential.
BH: You also recently translated Magma by Þóra Hjörleifsdóttir and I find it a fascinating text to compare Quake to. In the English-speaking market, there’s been a push to hear more stories from women; do you find that something similar is happening in Iceland? What would you say the place that women’s writing takes in Icelandic literature?
MM: I can’t make general sweeping statements—that it has always been one way or another. In Icelandic sagas, and they’re always troublemakers, seekers, they cause misfortune. But in recent history, I would say yes, there has been a continued trend that more women’s stories are being told. And I want to pin this to one author: a woman called Ásta Sigurðardóttir. READ MORE…
What’s New in Translation: August 2021
New work this month from Lebanon and India!
The speed by which text travels is both a great fortune and a conundrum of our present days. As information and knowledge are transmitted in unthinkable immediacy, our capacity for receiving and comprehending worldly events is continuously challenged and reconstituted. It is, then, a great privilege to be able to sit down with a book that coherently and absorbingly sorts through the things that have happened. This month, we bring you two works that deal with the events of history with both clarity and intimacy. One a compelling, diaristic account of the devastating Beirut explosion of last year, and one a sensitive, sensual novel that delves into a woman’s life as she carries the trauma of Indian Partition. Read on to find out more.
Beirut 2020: Diary of the Collapse by Charif Majdalani, translated from French by Ruth Diver, Other Press, 2021
Review by Alex Tan, Assistant Editor
There’s a peculiar whiplash that comes from seeing the words “social distancing” in a newly published book, even if—as in the case of Charif Majdalani’s Beirut 2020: Diary of the Collapse—the reader is primed from the outset to anticipate an account of the pandemic’s devastations. For anyone to claim the discernment of hindsight feels all too premature—wrong, even, when there isn’t yet an aftermath to speak from.
But Majdalani’s testimony of disintegration, a compelling mélange of memoir and historical reckoning in Ruth Diver’s clear-eyed English translation, contains no such pretension. In the collective memory of 2020 as experienced by those in Beirut, Lebanon, the COVID-19 pandemic serves merely as stage lighting. It casts its eerie glow on the far deeper fractures within a country riven by “untrammelled liberalism” and “the endemic corruption of the ruling classes.”
Majdalani is great at conjuring an atmosphere of unease, the sense that something is about to give. And something, indeed, does; on August 4, 2020, a massive explosion of ammonium nitrate at the Port of Beirut shattered the lives of hundreds of thousands of people. A whole city collapsed, Majdalani repeatedly emphasises, in all of five seconds.
That cataclysmic event structures the diary’s chronology. Regardless of how much one knows of Lebanon’s troubled past, the succession of dates gathers an ominous velocity, hurtling toward its doomed end. Yet the text’s desultory form, delivering in poignant fragments day by elastic day, hour by ordinary hour, preserves an essential uncertainty—perhaps even a hope that the future might yet be otherwise.
Like the diary-writer, we intimate that the centre cannot hold, but cannot pinpoint exactly where or how. It is customary, in Lebanon, for things to be falling apart. Majdalani directs paranoia at opaque machinations first designated as mechanisms of “chance,” and later diagnosed as the “excessive factionalism” of a “caste of oligarchs in power.” Elsewhere, he christens them “warlords.” The two are practically synonymous in the book’s moral universe. Indeed, Beirut 2020’s lexicon frequently relies, for figures of powerlessness and governmental conspiracy, on a pantheon of supernatural beings. Soothsayers, Homeric gods, djinn, and ghosts make cameos in its metaphorical phantasmagoria. In the face of the indifferent quasi-divine, Lebanon’s lesser inhabitants can only speculate endlessly about the “shameless lies and pantomimes” produced with impunity. READ MORE…
Contributors:- Alex Tan
, - Fairuza Hanun
; Languages: - French
, - Hindi
; Places: - India
, - Lebanon
; Writers: - Charif Majdalani
, - Geetanjali Shree
; Tags: - Beirut 2020 explosion
, - diary
, - disaster
, - Indian Partition
, - motherhood
, - recovery
, - social commentary
, - trauma
, - womanhood