Translations

Alberto Chimal on Star Wars: The Eternal Reign

Star Wars is not a religion but its myths are powerful.

I must admit that I am one of those who watched the first Star Wars movie in the seventies. In Mexico it was titled La guerra de las galaxias (War of the Galaxies): it arrived in late 1977 or early 1978. The movie was unprecedented in my life because I was a child, and not because I sensed how successful and influential it would become.

The TV commercials had piqued my interest, I remember, and also the lightsabers: they were the most popular toy of the time and were made out of a simple flashlight, attached to a translucent plastic tube. The light was colored by putting a piece of cellophane inside the tube, near the lightbulb. Some kids already had their sabers when my mom took us to the old Cine Hollywood theater to watch the movie. We went with a friend of hers and her children, and all of us watched in envy as those other kids ran around the theater with their swords glowing red, blue, or at times white, if they already had lost their cellophane.

In the end, everyone, us and them, came out singing John Williams’s theme, firing imaginary guns, thrilled by film quotes we rarely recognized as such and by the truly original moments, brilliant in their innocence and speed and beauty, made by George Lucas and his many contributors at Lucasfilm. READ MORE…

Translation Tuesday: “Venus” by Chen Xue

Jointly published with Read Paper Republic

There are works that I feel like translating because of their perspective and politics, and others where it is the language or the narrative that attracts me. In Chen Xue’s best work, and I think “Venus” is an example, she combines these two qualities. Acid, tender, provocative, realistic, fancifulshe has a real arsenal of literary moods and weapons. “Venus” did not get published in a couple of literary translation journals, specifically (I was told informally) because of its transgender perspective. While thanking Paper Republic and Asymptote for including it here, I call shenanigans. Anybody who values the transmission of Chinese-language literature in the English-speaking world ought to celebrate rather than suppress the diversity of Sinophone literatures.

Josh Stenberg

***

The silence of night falls on Phoenix’s room, it’s sometime in July, the dog days, it’s hot and stuffy outside, inside with the air-con on it gets down to 26 degrees, just the right temperature for an exchange of secrets.

Mum and dad are just behind the wall in the main bedroom, but it’ll be alright. At three o’clock in the morning, the despairing and the hopeful are both awake. The world is so quiet that even the sound of breathing seems to be amplified, Phoenix’s long curly hair half-conceals the naked chest, the discarded clothing are strewn about, the tender, naked skin is lustrous, almost reflective, Winter Pine has considered putting on some music to ease his own anxiety, but instead he forces himself to swallow, it’s as though there were some kind of rhythm, inaudible to the ear, emanating from Phoenix’s body, stirring the air, creating waves, with a dizzying gesture she clutches at the bed with both hands, rising from her kneeling position, and when her pale and delicate thighs spread at the crotch, an edifice predicated on her knees, ivory columns perpendicular to the bed, tapering to points, something hidden in the delta between the legs appears, which the neat, even trim of the curly pubic hair makes especially conspicuous.

That something is her penis, she hasn’t had it removed yet, suddenly exposed, it’s flaccid, about ten centimeters long, accompanied by the two ovoid testicles, as her body rises they slowly emerge before Winter Pine’s eyes, so this is it, Phoenix cups it lightly, Winter Pine is staring at the thing in the palm of Phoenix’s hand, he once had a dream in which he had a thing like that, it’s so big he says, Phoenix says, for something so unnecessary it really is very big.

Do you want to touch it? Phoenix takes him by the hand, but he shrinks back, Wait. Winter Pine forces his breathing to grow regular, he nears the bed, crouches next to Phoenix, stretches his hand out to Phoenix’s crotch, gathers up the scrotum and penis in his palm, they’re quite heavy, except in film and television or pictures this is the first time he has seen this thing, this “penis” in real life, Winter Pine is surprised to find it so warm, and that it feels somehow frail, maybe that has to do with the hormone shots, was it bigger before? Winter Pine asked, when he says “before,” he means before she started transitioning, before Phoenix turned eighteen. READ MORE…

Translation Tuesday: On the River Boży Stok by Wioletta Greg

I listened to apocryphal tales, to stories about ghosts, about saints, ghouls and vagabonds coming from the other side of the hill.

“In the beginning there was vast darkness./ Gardens of house mites blossomed within./ A river of light flew through these gardens./ Monsters of hay shifted.// In the beginning there was dense silence/ like inside poppy heads.” [1]

That’s how I imagined my beginnings in the stone house by the pond in Hektary in the village of Rzeniszów upon Boży Stok in the Jurassic Highlands, where I was born in February of nineteen seventy four, when the ice covered nearby ponds and cloth nappies froze stiff in the hall and in the attic. My Grandfather, Władysław Lubasparticipant of the September Campaign, marksman of the 74th Infantry Regiment, stalag prisonerwas given three hectares of land during the Land Reform after the war. That was where he built a house of stone with brick corners, the house which looked a bit like a Polish country house. The right side of itthe dining room and two other rooms divided by a spacious hallwas the residential part, while the left side, with a separate entrance and a small window, was a barn. You could say that we lived together with the animals. In early Spring the rooms were filled with the smell of chopped yarrow for turkeys maturing in a cage under the table. A brooding duck sat under the ladder to the attic. Chickens, rabbits, dogs and cats wandered around the house. Up until the 1980s we used domestic appliances made by Grandfather. These were, amongst others: churns, pastry boards, rolling pins, wooden mixing bowls, pails held together by metal bands, stools and troughs. And since my Father’s hobby was taxidermy, there were stuffed martens, magpies and buzzards on the walls, while a stuffed rabbit in formal wear (in a top hat and with a cane) sat on a birch stump. There were beehives in the meadow by the apple trees. READ MORE…

Translation Tuesday: “Okinawa, Mon Amour” by Betina González

In Japan everything always happened in reverse: wolves did not eat people, kamikazes were not afraid of death, grumpy people smiled.

It’s #Giving Tuesday! If you’ve enjoyed our Translation Tuesday posts, please consider a $25 donation to our newly launched fundraising drive today! Every little will help us bring you more of what you love.

***

In Japan everything always happened in reverse: wolves did not eat people, kamikazes were not afraid of death, grumpy people smiled, and Cinderella was a stoker’s son named Mamichigane.

Every day, Miriam thought about that typhoon-exhausted island she had never seen: Shuri Castle cloaked in flames, the drowned children of the Tsushima Maru, and the woman who came down from Heaven and had to stay on Earth because some man stole her magic kimono.

Every day, Miriam fed her fish, dusted off the glass cases of her tragic geishas, and cursed, with much gentility, her destiny as a South American. Her big brother’s explanations didn’t help much. As Kazuo so often reminded her, the Ryukyu Kingdom had little to do with Japanese traditions, and the people of Okinawa ever fled their island. Okinawa had to be the one place in the world with a commemorative statue of the Father of Immigration: Kyuzo Toyama, the hero who arranged the flight of the first Okinawan-Hawaiian citizens in 1899. For Kazuo, the argument reinforced a historical truth: their ancestors were in fact the first settlers of the Americas and, according to him, merely completing their millennia-long task. The Indian-American was practically Japanese; if Kazuo had any talent, he would draw a manga of the second wave of continental population, destined to perfect a race of supermen through dry-cleaning and karate. READ MORE…

Revisiting Our 2014 Contest Winners: Poetics of Wonder: Passage to Mogador by Alberto Ruy-Sánchez

They became tinged with burning desire for each other, and finally one of them made a colorful confession: "Your voice makes me feel saffronized."

Happy Sunday! Today, we continue with our spotlight on our Close Approximations contest by showcasing the first edition’s winners. If you’re interested or know someone who might be interested, bear in mind that we’ll be awarding $4,500 total in prize money to six emerging translators, and our deadline closes in just sixteen days. Visit our contest page for full details.

The second of our two runners-up in the fiction category, Rhonda Dahl Buchanan, gives us this prize-winning translation of an excerpt from Mexican author Alberto Ruy-Sánchez’s Poetics of Wonder: Passage to Mogador.

What a thrill it was to see a sample of my translation from Poetics of Wonder: Passage to Mogador by the Mexican writer Alberto Ruy Sánchez, published in the January 2014 edition of Asymptote—complete with the beautiful Arabic calligraphy created by Caterina Camastra for the English translation of Nueve veces el asombro and an excerpt of the author reading a passage from the novel in the original Spanish.

I believe this recognition helped Dennis Maloney, editor of White Pine Press, secure a PROTRAD grant from the Fondo Nacional para la Cultura y las Artes (FONCA). With funds from FONCA’s Program of Support for Translation, Poetics of Wonder  was published in July 2014 in the “Companions for the Journey” series of White Pine Press. In September 2014, Alberto Ruy Sánchez and I were invited to Washington, D.C. by the Mexican Cultural Institute to present a bilingual reading of the novel, and we’ve been invited back to D.C. by the Mexican Embassy for an encore book presentation this March.

Shortly before Christmas 2014, Texas Tech University Press published my translation of the Argentine writer Perla Suez’s novel La pasajera in their Americas Series, titled Dreaming of the Delta. I hope that being selected as a winner of the Close Approximations Competition will help me secure grants and publishers for future translation projects. I am truly grateful to Howard Goldblatt, Lee Yew Leong, and the Asymptote editors for this honor that truly has been the gift that keeps on giving!

—Rhonda Dahl Buchanan, Runner-up in the fiction category, Close Approximations

READ MORE…

Revisiting Our 2014 Contest Winners: Ó by Nuno Ramos

Like a whale letting its gas escape, the insane energy of our physical happiness seeks cover—in language.

With less than three weeks to submit to our Close Approximations competition, we thought it’d be a good idea to revisit the winning translations of our previous edition (judged by Eliot Weinberger and Howard Goldblatt), each accompanied by a brief note from the victorious translator.

This year’s esteemed judges—Michael Hofmann (Poetry), Ottilie Mulzet (Fiction) Margaret Jull Costa (Nonfiction)—are itching to start reading your submissions, so we hope these prize-winning translations inspire you to submit your work and stand to win up to 1,000 USD in prize money! Visit our contest page for full details.

This weekend, we will be presenting the two runners-up in the fiction category. First up, Krista Brune’s prize-winning translation of an excerpt from Nuno Ramos’s Ó, from the Portuguese: READ MORE…

Translation Tuesday: “Saliva” by David Clerson

I looked at the animal, at its lifeless eye that would never see another thing, and I thought back to the grilled cheese I had eaten at nightfall.

I’d spotted it lying in the ditch, one eye open, but perfectly still, its left side covered with black blood, its tongue hanging limply from its mouth. I’d stopped, as though the dead animal had been a boundary stone ordering me to a halt, and I’d taken the time to stare it down, thumbing my nose at death or bad luck.

It was a long-legged husky with lovely grey and black fur. Its half-open mouth showed off teeth more white than yellow. And even in this lifeless state, lying there in the ditch, it was impressively built. It was a dog from the north, well used to sniffing around bears and moose. It was also a pet, trained to warn humans of the dangers of the wild. But at the end of the day it was just another animal lying dead at the side of the road, hit by a pickup rattling by at 120 k.p.h. or a truck piled high with heavy logs.

And even though the sight of the dog was enough to spoil anyone’s appetite, I hadn’t eaten since the night before and hunger was gnawing away at my stomach. I looked at the animal, at its lifeless eye that would never see another thing, and I thought back to the grilled cheese I had eaten at nightfall at the rest stop in Hearst, the improbably French-speaking town in northern Ontario. I thought back to the coffee, too, paid for with my last few dollars, that I’d sipped slowly as I waited for morning to come. I recalled it sliding down into my stomach, whetting my appetite; I heard my stomach rumble and I thought of eating again, and told myself that I’d need to get to my destination before I could eat. And so I walked away from the dog, stuck my thumb in the air, and focused on the road. I walked. A cloud of smoke came out of my mouth and the frost creaked beneath my boots.

READ MORE…

Translation Tuesday: from The Atlantic Grows by Julie Sten-Knudsen

"Two moths have gone into the trap, their bodies are stuck to the paper, their wings are still flapping."

The Atlantic Grows investigates notions of family, colour and race, and specifically the relationship between two sisters who share the same mother and yet are divided – by their different fathers, by the colour of their skin, and by the Atlantic Ocean that separates their continents.

***

In the light of the desk lamp
that is yellower than the daylight
the skin of my hand looks almost green,
almost red, with a golden wash.
It is not white.
The wall is white.
The used tissues
and the unpaid bills are white.
My hand has a different colour. The colour has a name.
I learned it when I was small. I used it
in the kindergarten, in the recreation club after school
when I needed a felt tip
in that indeterminable shade of pink
to draw a fleshy arm or a face:
I need the skin-coloured one.
There was no other use for that felt tip.

READ MORE…

Translation Tuesday: Prologue to Bacchae by Euripides

"I have compelled this town to rant and howl, / dressed it in fawnskin, put my pine-cone-tipped / and ivy-vested spear into its hands"

Dionysus:

Here I am, Dionysus, Zeus’s son,
the god whom Semele, the daughter of Cadmus,
birthed, with a bolt of lightning for a midwife.
I am back home in the land of Thebes.

My sacred form exchanged for this mere mortal
disguise, I have arrived here where the Springs
of Dirce and the river Ismenos
are flowing. I can see my lightning-blasted
mother’s tomb right there beside the palace,
and I can see as well her former bedroom’s
rubble giving off the living flame
of Zeus’ fire—Hera’s deathless rage
against my mother. I am pleased that Cadmus
has set the site off as a sanctuary
to keep her memory. I am the one
who covered it on all sides round with grape leaves
and ripe grape clusters. READ MORE…

Translation Tuesday: from Looking at Pictures by Robert Walser

“When he felt his earthly end approaching, it irritated him somewhat that he had evidently produced, alas, almost a little too much.”

Diaz’s Forest

Translated by Susan Bernofsky

In a forest painted by Diaz, a little motherkin and her child stood still. They were now a good hour from the village. Gnarled trunks spoke a primeval tongue. The mother said to her child: “In my opinion, you shouldn’t cling to my apron strings like that. As if I were here only for you. Benighted creature, what could you be thinking? You’re just a small child, yet want to make grownups dependent on you. How ill-considered. A certain amount of thinking must enter your slumbering head, and to make that happen, I shall now leave you here, alone. Stop clutching at me with those little hands this instant, you uncouth, importunate thing! I have every reason to be angry with you—and I believe I am. It’s time you were told the unadorned truth, otherwise you’ll stay a helpless child all your life, forever reliant on your mother. To teach you what it means to love me, you must be left to your own resources, you’ll have to seek out strangers and serve them, hearing nothing but harsh words from them for a year, two years, perhaps longer. Then you’ll know what I was to you. But always at your side, I am unknown to you. That’s right, child, you make no effort at all, you don’t even know what effort is, let alone tenderness, you uncompassionate creature. Always having me at your side makes you mentally indolent. Not for a minute do you stop to think—that’s what indolence is. You must go to work, my child, you’ll manage it if you want to—and you’ll have no choice but to want to. I swear to you, as truthfully as I am standing here with you in this forest painted by Diaz, you must earn your livelihood with bitter toil so that you will not go to ruin inwardly. Many children grow coarse when they are coddled, because they never learn to be thoughtful, thankful. Later, they all turn into ladies and gentlemen who are beautiful and elegant on the outside but self-absorbed nonetheless. To save you from becoming cruel and succumbing to foolishnesses, I am treating you roughly, because overly solicitous treatment produces people free from conscience and care.” READ MORE…

Translation Tuesday: “Chairs and Sentences” by Anna Weidenholzer

"Ferdinand only likes the thin straws, and he likes it when a straw bobs back up after being submerged in a beer bottle."

A brown leather sofa, on it a man, below it a Lurch. A Lurch is a bundle of dirt made of dust, fluff and hair. A Lurch is what I call a Wollmaus. Because the chairs are never cleared away I have a lot to do, the man says. Because the chairs are never cleared away I get angry. But because the chairs are never cleared away I have a job to do. It’s better to have a job than not having a job. Because what would I do if I didn’t have a job. I would just sit at home, sitting at home is nothing, what do you do when you don’t have a job. It’s better to work even if I get the same money I would get if I didn’t work.

The man takes his left hand from his stomach, lays it behind his head, moves his thumb back and forth. Ferdinand watches the man move his left thumb back and forth. Ferdinand watches TV. It’s after ten pm, Ferdinand prefers serious programmes, he appreciates their seriousness and while watching he frequently looks past the television. Is there a hole in the air? A student asked him once; no, a lake, Ferdinand had answered.

READ MORE…

Issue Spotlight: Interviewing Uyghur Poetry Translator Joshua Freeman

"A lot of what's really vibrant and interesting in Uyghur poetry right now is happening primarily on the web, and even on phone messaging apps."

 

Your translation of Merdan Ehet’éli’s poem “Common Night” is Asymptote‘s first piece from the Uyghur. I want to point out two words from the poem: “pig iron” and “hellfruit.” Can you tell us about these words and how you translated them?

The Uyghur word choyun (also chöyün) refers to pig iron or cast iron, and for me it calls to mind something hard and rough. The connotations are much less positive than the words tömür (iron) and polat (steel), both of which are used in Uyghur personal names. In speaking of “a night poured into our spines like pig iron,” Merdan Ehet’éli may be alluding to Tahir Hamut’s well-known poem “Summer Is a Conspiracy,” in which Tahir refers to fear’s “pig iron voice”, which “seeps into the marrow / and hardens.”  READ MORE…

Translation Tuesday: “Breaking Through the Drum” by Bohumil Hrabal

"and everything suddenly seemed so bizarre I thought my ticket-taker’s demon must have come back to play with my mind."

I never felt better than when I was tearing the stubs off people’s tickets and showing them to their seats. In primary school, I loved to make seating plans for the teacher. Then during the war, a weird thing happened to me. A kind of ticket-taker’s demon lit on my back and right in the middle of the newsreel, when the voice announced that eighty-eight enemy aircrafts had been shot down over Dortmund and only one German plane had gone missing, the perverse little imp whispered something in my ear, and I said in a loud voice: “Aw shucks, it’s bound to turn up again.” My voice sounded like it belonged to somebody else, so I turned up the house lights and ordered the person who’d said it to come forward. The other ushers and I walked through the audience, but no one confessed and so, invoking our official powers—we actually had such powers—I declared that the entire program, including the feature film, was hereby cancelled, the tickets were null and void and, as punishment, everyone had to go home without a refund. READ MORE…

Translation Tuesday: “We Are Trouble’s Obedient Children” by Lut Ming

"The army is the dreams we share / Our tent is the sky (we have nothing to hide) / Take a deep breath."

There are no city gates here

No city walls, no army, no tanks

There are the people, there are things they care about, there are tents

There is the night sky with no wind, an empty, empty sky

You can watch the TV, the one and only CCTV,

To learn about the world and

Watch live-edits of people hurting people,

The Tape Recorder looks stuck up

In his suit and tie. He’s getting ready to lie

But his eyes are flickering (tape’s stuck, won’t play)

READ MORE…