Translations

Translation Tuesday: “Balancing Act” by Hisham Bustani

He sees that she believes his crossing is The Immutable Truth—nothing else—nothing else but that decision to cross.

For this week’s Translation Tuesday, acclaimed Jordanian writer Hisham Bustani conveys longing and estrangement with a death-defying metaphor in “Balancing Act.” Two individuals are divided by impossible circumstances. Will one risk walking a tightrope to reach the other? The mature and unexpected conclusion defies the simplicity of most parables, and one can even read this poetic story as a meditation on choice itself. Part of the power of Hisham Bustani’s allegory is its applicability to various real-life scenarios: the risks of choosing to cross a divide, be it personal, political, or geographical, always carries the weight of lost (but also new) possibilities.

A rope stretched taut between two tall buildings.

He stands on one rooftop and she on the second, watching each other.

The distance between them isn’t far. Had they been on the ground, they might cross it in twenty paces. But there, on those rooftops with the rope between them, the distance has grown.

The two buildings have no stairs. The two buildings have no elevators. The two buildings have no fire escapes. No one enters the buildings and no one leaves, and they are on those rooftops. There is no other path, and they watch each other from the ends of the tightrope. READ MORE…

Translation Tuesday: “Heimat Who Lives in a Box” by A.E. Sadeghipour

The service was horrible or maybe we were never supposed to be there.

For this week’s Translation Tuesday, inexplicable shapeshifting, bad table service, tangible numerals, and a loving friendship that defies spatial logic are on the menu in “Heimat who Lives in a Box,” written and translated from the German by A.E. Sadeghipour. In this surreal microfiction, a dinner date is marred by embarrassment and a rude (and seemingly inhuman) waitstaff. Sadeghipour’s ability to flout realism while preserving the conventions of the short narrative leads us to a conclusion that is both ironic and “happily ever after”-esque.

My friend Heimat lives in a box which she wears everywhere we go. It constantly causes conflicts when making dinner reservations. The last time we made a dinner reservation and crossed the threshold of the restaurant, she grew larger than the door and continuously banged into the door frame. She grew embarrassed and shriveled down into a matchbox. I picked her up, kissed her, walked in, and was escorted to our table.

The service was horrible or maybe we were never supposed to be there. The other guests closed their eyes as they ate, and the waitstaff’s heads were always transfixed on our position regardless of where their bodies were moving. When the food arrived, it was cold and had a hair in it.

READ MORE…

Translation Tuesday: “Lesbian Fairytales about Men” by Mette Østgaard Henriksen

Once upon a time there was a man with a good explanation for everything. No one could stand him.

This week’s Translation Tuesday spins fairytales into absurdist comedies in these selections from Mette Østgaard Henriksen’s hilarious collection, “Lesbian Fairytales about Men.” Translator Sharon Rhodes explains her technique in preserving the Danish phrase, “Der var engang en mand”: “Literally, this could be translated as ‘there was once a man,’ but to preserve the fairytale element I have used the English fairytale idiom, ‘once upon a time.’” The fabulist literary convention established by this opening line is turned upside down when we actually meet these fairytale characters—mundane, awkward, hapless, yet still painfully human. Our narrator’s deadpan wit and subtle comic timing offers a glimpse into the hidden lives of these sad and clueless men, parodically portraying them as tragic (or tragicomic) heroes.

Once upon a time there was a man with a good explanation for everything. No one could stand him. He never considered that it might be because he trampled on ladybugs. In a rage he set fire to a cat’s tail because it was very soft. That’s part of the story of how he became a little lonelier with each passing day.

Once upon a time there was a man who liked to walk around bare balled. He also liked being whipped, but most found his nakedness overwhelming. They threw blankets at him and pointed at the clothes lying on a chair. When it got to be too much he’d crawl under the covers and press his face against the wall and tell himself he could live with it. READ MORE…

Translation Tuesday: “Air Plants” by Inbar Livnat

I know that time passes, and time is what gives life to my epiphytes.

For this week’s Translation Tuesday, a lonely pensioner opines about life and horticulture in this moving slice-of-life narrative by Inbar Livnat. To carry our narrator’s nuanced voice into English, translator Shoshana Akabas adroitly deploys several techniques to capture the source language’s uniqueness. Writes Akabas: “Livnat’s writing is very cerebral and contains long sentences, which are much easier to understand in the original Hebrew; articles, prepositions, conjunctions, and pronouns are often attached to other words in Hebrew, which allows for concision that is not possible in English. I often had to split sentences or drastically alter punctuation to attempt to give an English reader the same experience or level of comprehension that a Hebrew reader might enjoy. […] On a more macro level, Livnat’s clipped, digressive prose is very characteristic of the modern Israeli style (be it literature, film, or visual art). In the United States, however, that disjointedness is considered much more experimental.”

The old woman in the greenhouse is me. I’m the one planting the Zamioculcas in the yard, growing air plants. I know that time passes, and time is what gives life to my epiphytes. I’m talking about plants that grow only in air that is steeped in humidity. I’m that way too: I grow old in humid air. I don’t feel it moment to moment, but if you put a camera there and photograph me every week, you’d see a difference, just like with the air plants. Like me, they scare some people, all bent, looking a bit like thorns. To me, they resemble fungus, something that isn’t supposed to grow, something that, if no one mentioned it, you’d just forget in some corner. My yard is full of air plants. There are already nurseries contacting me, asking if they can please buy some of the rare ones. Of course I could water and spray them, and, generally, dedication is a vehicle for good, but on principle, I do not nurture them. Just watch them. Just watch them survive. And they do survive. I’m by myself most hours of the day, anyway—I don’t need pity from anyone, thank you very much, that’s what I do best. I’m a retired archeologist and my pension is horrible, so my kids help a little. The state definitely doesn’t. The state’s not good for much, so perhaps I made a mistake giving it all my best years, if that’s what they were. Since Chaim’s gone, I’m alone every day. Oh, I already said that? Alright, so maybe it wasn’t such a good idea to come interview me. Can’t you send the photographer out for a walk now, and you and I can drink some tea in peace and quiet? All this fuss, and for what? I’ll make some tea for us and you can tell me a little about your studies and what a journalist does these days. I hope I’m not talking too much. Ah, no? Good. Well, if the photographer won’t go for a walk, tell him to take pictures of my plants. There are plenty of them. Me? Why on earth would you want to photograph an old lady like me? What do you mean, I’m just being modest? I think you’d be good to sit here on the sofa. It’s not that bad, right? It’s not that bad. READ MORE…

Translation Tuesday: “Mathematician’s Morning” by Kim So-yeon

I have lived long forgotten such tears and such sighs

Acclaimed poet Kim So-yeon weaves abstraction into longing in this week’s Translation Tuesday. Kim’s speaker examines the life of a Mathematician haunted by memories of intimate sensations: an embrace, a heartbeat, the sound of an imagined breath. Fragments of the Mathematician’s embodied experience are juxtaposed with jarring moments of disembodied calculation. This confluence of abstraction and sensation becomes existential as the process of dying is compared to a triangle, a line, even absolute pi. Between these mathematical similes, Kim deftly illustrates a life confined by rational linearity, but which also pines for the tangible, the organic, and the non-linear. 

Mathematician’s Morning

I will die for a moment
like a triangle

Look around the quiet shadows of still objects
A birdcage starts moving around around

READ MORE…

Translation Tuesday: “The Lost Spell” by Yismake Worku

Now I am only a sorrier version of the dog that traversed through the forest with the grace of a cheetah.

For this week’s Translation Tuesday, visionary novelist Yismake Worku adopts fantasy and satire as probing social commentary in this excerpt from The Lost Spell. While researching a book of spells, a wealthy man transforms himself into a dog. We follow the (now) canine protagonist as he journeys to Addis Ababa, and through his eyes we witness the sublime beauty of the Ethiopian landscape. The story of one man’s literal dehumanization allegorizes the abasement our narrator witnesses around him as he simultaneously lauds and laments his country. Through the narrator’s unique position as both subjective participant and objective bystander, Worku presents a fly-on-the-wall (or a dog-on-the-road) view of contemporary Ethiopia that is at once a critique and a bittersweet love letter.

It has been a horrible few days. I feel like some life has been drained from my short dog existence. If I hadn’t managed to drag myself into the middle of a corn farm, I would have been picked apart by merciless scavenging birds.

The cause of my pitiful circumstances was an auto-rickshaw accident. If the God of dogs and all creation hadn’t spared me, I would have departed my dog life by now. The rickshaw didn’t hit me full on; it knocked me on my left rear, bending me like a rubber and causing me to plunge into a drain. An unseasonal rain had been pouring down all evening. So, the flood could have carried an elephant, let alone a battered dog. It hauled me along the garbage of Shashemene. Banging me around with every object it carried along, the flood finally threw me into a small river. The river in turn dragged me through shrubs, sometimes battering me against rocks, and deposited me near a cornfield.   READ MORE…

Translation Tuesday: An Excerpt from “A Cold Season” by Jin Yucheng

The drizzle fell steadily, and in the night, the shallow bridge, the village houses, all faded in the distance, so I could see nothing clearly.

In this week’s Translation Tuesday, novelist Jin Yucheng captures memories of Suzhou in this haunting excerpt from “A Cold Season.” Jin’s Proustian narrator evokes scenes which portend his sense of misplacement: buildings are ragged shades of decay; pedestrians roam silently like spirits; a young man appears pallid and skeletal as he laments his lost love, whose beauty is described as “bleak.” The only breaks in the town’s somber quiet are the omnipresent folksongs which seem to follow the narrator. Jin is a virtuoso of temporality and consciousness; here he slows down and speeds up the narrative via exquisite sensory detail. “Back then,” the narrator begins, though the recalled images of gloom are obfuscated by time and the town’s cold rain.

Back then, I could still sit by the bank all day, watching boats, looking at the town’s bridges. There were shops on both banks, the narrow streets boarded on top with awnings to protect them from the rain and sun. During the rainy season the buildings were ragged and gloomy, the color of mildew and decay. Pedestrians passed each other in a breathless, soundless silence, as intangible as spirits. It was a mournful scene. If you pushed open the window casements, inlaid with shell, you could hear the plaintive sound of girls singing folktales alongside the pluck of silken strings, filling the town with their poetry. Only in the pitch dark nights, by the lights from between the green plastered walls, could you see the fishing lights far off on the lake. READ MORE…

Translation Tuesday: Two Poems by Katerina Anghelaki-Rooke

After Katerina Anghelaki-Rooke passed last week, we honor her life’s work with these two poems of eerie clarity, translated by Karen Van Dyck.

When Katerina Anghelaki-Rooke was a year old, the celebrated writer and critic Nikos Kazantzakis stood as godfather at her baptism. When she was seventeen, he published her poem “All Alone” in an Athenian magazine with a note saying that it was the most beautiful poem he had ever read. By her early twenties she was already an established poet. During the dictatorship (1967-1974), she and a group of younger poets spearheaded a new kind of poetry that grappled with the confusion and censorship of those years. Meeting regularly with the translator Kimon Friar, they produced an anthology of six young poets, one of the first books to break the self-imposed silence initiated by the Nobel laureate poet George Seferis in response to the colonels’ press laws. Linking the women poets of the previous postwar generation (Eleni Vakalo, Kiki Dimoula) to those of the generation of the ’70s (Rhea Galanaki, Maria Laina, Jenny Mastoraki), Anghelaki-Rooke stands out for the lyrical accessibility of her work. Hers is a poetry of flesh, indiscretion, and the divine all rolled into one. For Anghelaki-Rooke the body is a passageway anchoring the abstract metaphysics of myth in the rituals of everyday life. It is through the body that everything makes sense. As she once said in an interview: “I do not distinguish the soul from the body and from all the mystery of existence . . . Everything I transform into poetry must first come through the body. My question is always how will the body react? To the weather, to aging, to sickness, to a storm, to love? The highest ideas, the loftiest concepts, depend on the morning cough . . .” In commemoration of her passing last week, here are two poems of eerie clarity from her last collection in which it is already clear she is looking at the world “with other eyes.”
—Karen Van Dyck, translator

Epilogue Wind

Each time an act ends
humans feel the need
to write an epilogue
on paper or in the heart.
What was created by the mind
like lightening wants to shine
in the heaven of creation, to last
even if only in one small corner of history.
I find myself at that time of life
where I should “epilogue”
but I feel my past disappear
leaving only faint tastes and images
with no explanation.
The wind is there, though,
sometimes wild, sometimes cool,
carrying with it storms or calm.
Yes, the wind is the right epilogue
to a complete life
which, of course, when asked why
has no answer.
READ MORE…

Translation Tuesday: Two Poems by Samer Abu Hawwash

But still; / what illusion always makes you / wait for something . . .

For this week’s showcase, we are thrilled to present two surreal, staccato zen koans by contemporary Palestinian poet Samer Abu Hawwash in Huda Fakhreddine’s concise translation. If you admire these spare lines that probe the relationship between appearance and reality, check out a recent profile of the author by translator Fakhreddine in the online portal Jacket2.

Kafka on the Beach

I hear the trees passing behind the window.
One of them, maybe a palm tree, opens the curtain, stares me down, and moves on.
At the corner, there’s a cat yawning, saying to the old man: “So . . . you can speak?!
The old man responds: “But I am not very bright.”

I think I am looking into a mirror. READ MORE…

Translation Tuesday: “Mr. Shyti Sheds Light on Some Lesser Known Aspects of National Hygiene” by Ardian Vehbiu

. . . it resembled those desk calendars with individual date sheets, on the back of which one can read a quote by Marx or some curiosity from Mars.

For this week’s Translation Tuesday, the prolific Albanian writer, Ardian Vehbiu, mixes the language of bodily intimacy with the language of the state and bureaucratic maintenance. A dry metaphor takes root, illuminating not only the persistence of pastiche but also the tendency of humans to analyze and rearrange thoughts. This tendency, what some may call the poetic or political, exists in some way at every level of human work. With humour, Vehbiu manages to, in the space of a small speech, cast light on material circumstances, personal history, and the idiosyncratic phenomena that rises from circumstance.

“There will be those, among you,” Mr. Shyti said, “who still remember the time when one could not find any toilet paper in Albania: the State of Workers and Peasants, which thought of everything, did not consider it necessary to provide for this indispensable item for the daily wellbeing of its citizens, not because it was its intention to abandon them in their efforts for keeping their private parts clean, but because it was, perhaps, rather confident that the Albanians had such adequate tradition that they would not find it difficult to overcome such a trifle. I, for a start,” Mr. Shyti continued, “did use polished river stones or, indeed, fig leaves for personal hygiene purposes; however, the truth is that, leaving aside a significant—and still unknown—number of compatriots that humbly used jugs of water to wash themselves, the Albanians of the time used the daily newspaper as toilet paper. I do remember, as a matter of fact,” he recalled, “my late Uncle Neptun, who developed a habit of saving his newspaper copies, which, later, when they were past their relevance, he would cut into equally small pieces, with the precision of a surveyor or metalworker, using his wife’s fearful sewing scissors. He used to do this on Sunday afternoons, while listening to live football coverage on his battery-powered transistor. The result of his work was a handsome pile of regular square sheets, fixed on the wall with a monstrous nail right next to the Turkish toilet; it resembled those desk calendars with individual date sheets, on the back of which one can read a quote by Marx or some curiosity from Mars. And, so, like many other guests at Uncle Neptun’s,” he went on to explain, “I, too, would happen to squat on his toilet, waiting for ‘relief,’ while perusing pieces of field news, recommended phrases, headlines as large as tank tracks, fear-instilling political invectives, accusations and counter-accusations against the superpowers and Eurocommunism, letters from common citizens and public epistles; or watching photographic fragments of leaders, terraced hills, military naval ships, milky cows, and front-runner textile workers, always out of context and randomly remixed as if in a Dadaist work of art, thanks to poor Neptun’s magician folding and precise scissors, may his soul rest in peace! Thus, a toilet was transformed into a recycler not only of the Albanians’ metabolic waste and periodical paper, but also of news and information disseminated by those newspapers, even the ideology of the times, albeit always in the form of collage, or in stark combinations. To those of you who are young and have no recollections of such times,” concluded Mr. Shyti, “I will limit myself to saying that reading slightly outdated newspapers in such minimalistic and fragmented pieces resembles, more than one would think nowadays, a news aggregator or portal, including Facebook, which people now think of as something new.” READ MORE…

Translation Tuesday: Two Poems by Antonia Pozzi

But I burned / with the desire to spring out, / in the encroaching sun

This week’s Translation Tuesday features the work of Antonia Pozzi. Translator Amy Newman writes that “Pozzi’s poetry was posthumously altered by her father Roberto Pozzi to reshape her public image; he scrubbed any evidence of his daughter’s passionate love affairs and her doubts about religion.” These translations represent the restoration of a singular vision, showing that the work of translation can polish away the muck of misrepresentation meant to stifle the subjectivity of women. In these poems the brightness of the mind is painted next to the depths of angst. Here, Pozzi explores the poetry of her own body and what it means to contemplate an individual death in a time of the hierarchy and patriarchy of war.

Thoughtlessness

I remember a September afternoon
in Montello. I still a young girl,
with slender braids and itching
to race wildly with my knees.
My father, crouched inside a passage
dug out in a rise of the ground
pointed out to me through a fissure
the Piave and the hills; he spoke to me
of the war, of himself, of his soldiers.
In the shadow, the grass, cold and sharp
grazed my calves: underground,
the roots were perhaps still sucking
some drops of blood. But I burned
with the desire to spring out,
in the encroaching sun, to gather
a handful of blackberries from a hedge.

Milan 22 May 1929 READ MORE…

Translation Tuesday: “9th June” by Jacky Yuen

Each generation must have its roads and its flags

This week’s Translation Tuesday features the work of Jacky Yuen. Titled “9th June,” after the date of the sizable 2019 demonstrations in Hong Kong, this poem paints the energy and direction of the protestors in a way that is both cosmic but not disengaged. Within the symbolism of the poem, the oppression of mass and obscurity are combatted by singular points. The poet expresses a spirit that is constant rejuvenating and resurfacing, which is aptly captured by the translator: clauses tumble over one another like a structure kept in motion by magnets. Inspiration moves through the people as stardust and rainbows, ethereal and material at the same time. The poem presents the material and metaphysical aspects of collective movement, expressed in individual activation, thereby expressing the frustration and hope of the current political climate.

9th June

No one wants to drown twice in the same ocean.
The fins that sank
will resurface.

The comet fights to resurface.
It trails long shards of ice
like a fisherman’s net. When we lowered it they were stones—
When the times released it they were stars in sideburns.
READ MORE…

Translation Tuesday: “Perspective” by Maria Borio

that their borders invert onto one another as they age

This week’s Translation Tuesday features the work of Italian poet Maria Borio. This translation of Borio’s work is deft, bringing out the implausibly smooth staccato of the original Italian. The mix of rhythm and flow in the poem is incapsulated by the symbol of the train that cuts and blows as it glides. Here, the movement of images works to push the boundaries of the movement of thoughts: brackets set off points of views that read almost like cinematic direction, suggesting that the pure movement of the verse—and thought—are always conditioned by some perspectival imposition. Come aboard Maria Borio’s powerful train of thought.

Perspective

The horizon line seemed the border of the world
halted midst your pole and the sea. The sea curving since

the earth is a globe, suspended between nose and horizon hands
fist fight, thrusting images of inconsistency against
[the horizon.

READ MORE…

Translation Tuesday: Three Poems by Gemma Gorga

Like sad eyes / gestures are also inherited

This week’s Translation Tuesday features the poetry of Gemma Gorga. The poems revolve around themes of domestic labor and consumption; but they are not what they appear on the surface. Fastidious consideration of fish-flesh or mercury or cautionary affects inherited by one’s grandmother hint at a nuanced understanding of the traces of events left on the body and the mind. “Still the smell does not want to leave them, / as if tiny bags of memory remained,” Gorga writes, indicating the complex and grotesque traces that always remain after affects. Visceral, but not overly descriptive, the style weaves potent materials with potent concepts in metaphoric embraces. These poems show that whole lives, whole beings, can be explained and articulated by the smallest things: an anchovy’s spine, a pellet of mercury, a poem.

Poetics of the Fragment

When you return from the market
you must clean the anchovies,
which means ripping off the head and tail,
removing the thin strips still sticky
with life, the central spine
that detaches with a slight zip,
afterwards washing them,
purifying them under tap water
(even death requires baptism),
making sure no tiny eye remains
trapped in the moist blindness of your fingers,
finally soaking them in vinegar,
waiting until the flesh whitens
cured in acid, cured all the way through.
They have lain for hours beneath the planetary
light of oil and pepper.
Still the smell does not want to leave them,
as if tiny bags of memory remained
hidden in the folds forming matter and air.
Making sure no one sees me,
I smell the backs of my hands
(for the sea trace from fish bellies)
and I know they are yours. READ MORE…