Following on the earlier post about Quarterly Conversation, here are excerpts from two interviews with translators that appear in the new issue, starting with Heather Cleary, the translator of two Open Letter books—The Planets and The Dark by Sergio Chejfec. This interview was conducted by Stephen Sparks, one of the members of this year’s BTBA Fiction Panel.
SS: You’ve written elsewhere that Chejfec’s prose “both deflects and draws the reader in,” which I’ve found to be a very apt characterization of his work. That indeterminacy or wavering—as if Chejfec is inviting the reader in while keeping his foot against the door—is one of the more compelling (if occasionally frustrating) aspects of his writing. How, then, do you as a translator find your way into the text?
HC: Yes, and I think this is particularly true of The Planets. Sergio wrote a beautiful essay a few years ago called “Simple Language, Name,” in which he talks about his development as a writer and the way his father’s difficulty learning Spanish late in life affected his own use of the language, driving him toward a certain stylistic opacity that he was only able to move away from over time. Then there’s the fact that so much of what’s going on in The Planets has to do with navigating the space between oneself and another, particularly when that other person exists in an entirely internalized form, that is, only as a memory. This is explored in the prose itself, which often gives the language an air of being borrowed, somehow unnatural. That said, The Planets is a beautiful book, as thorny as it can occasionally be, and an important one in that it approaches the themes of friendship, loss, and memory in an innovative, even startling way.
So, it was never really a question of whether I would try to make my way in . . . the how of it, I suppose, was through certain passages I found particularly moving, and which offered insight into the more abstract sections. For example, during one of the disjointed conversations M and the narrator have as boys, the narrator repeats something M has said as though it were his own thought, though he doesn’t even fully believe it. It’s such a simple moment, but that detail seemed so true and really crystallized the dynamic between the two boys for me; it also anticipates what comes later, as the narrator struggles to preserve M’s memory by keeping his voice alive, in some very surprising ways. There are many moments like this—the image of the narrator running around an entire city block so that he can have a second chance to acknowledge M’s mother when their paths unexpectedly cross; the guilt he feels at not having fully invoked M’s memory in conversation with a mutual friend. Those anchored the story for me, and lent depth and immediacy to the more abstract passages. [. . .]
SS: What is your translation process like? Do you have a particular passage that proved tricky, etc. that you’d like to discuss? I’m interested in some of the nitty-gritty of the act of translation here. How many dictionaries do you consult? How many drafts do you go through?
HC: It’s a little different with each project. I usually start with a period of pre-reading—going through the text to be translated once or twice, as well as other works by the writer, interviews when possible, sometimes criticism. Whatever might help me find my way into the narrative voice. Then there’s the actual translation part. I use the RAE (dictionary of the Real Academia Española) and the OED, and often ask search engines or kindly friends about how a word is used colloquially. This has been key with Sergio’s work, since he tends to slip in phrases that are just a shade off from typical constructions. I end up with a chaotic draft full of notes, and then revise. And revise, and revise. There’s generally a lot of snacking involved at this stage.
I can’t recall any one passage that proved particularly tricky (they all were, each in its own way), but I had to pay very close attention throughout to the tension between the narrator’s philosophical reflections and his reminiscences about his lost friend. It felt to me that there was something underneath that first kind of rumination; while obviously thematically relevant, they also felt like a means of withdrawing from the experience of remembering M and feeling that memory fade. The challenge was to get this across, balancing the concrete and the abstract within a single narrative voice in a way that suggested a deeper connection between the two, without letting them bleed together or pull the narrative apart at the seams (any more or less than they do in the Spanish, that is). It was a similar process with the other voices at work in the novel—in addition to the first-person narrative, M and his father intervene to tell a series of elliptical, grotesque stories about nomads and eyeballs and a wedding gone awry, and then there’s the meta-commentary that appears in italics, contesting the first-person narrative at times, corroborating it at others—though these were more clearly delineated.
Finally, there’s also an interview with Georges Szirtes conducted by Bethany Pope:
Bethany W. Pope: Which is more important to you, the literal word-for-word translation of the text or reconstructing the atmosphere of the piece?
George Szirtes: There is no such thing as a literal word-for-word translation, at least not one that will sound anything like literature. There is however a difference between that impossibility and the other, the full rendering of meaning in terms of atmosphere or anything else. In translating you are entering a world with rules and manners that have meanings (plural) for the native reader. You are trying to understand some aspect of those meanings and to transplant it into the receiving language using any means possible, which will include a degree of lexicographical fidelity as long as it works.
B.W.P: In your translation of Gyula Krúdy’s The Adventures of Sindbad I noticed that the atmosphere of the piece—that slightly humorous melancholy—had a lot in common with the tone and atmosphere of your own work, most recently found in your tweets about the ageless crustacean doctor and his lobsteresque paramour. How much influence does translation have on your own work?
G.S: Sindbad was a pleasure to translate because I felt I understood Krudy’s world as soon as I entered it. There may be a difference between the person who is primarily a translator and the one who is primarily a writer who translates. The two may overlap, and there are translators who become writers in the act of translating. For me it was a writerly recognition. Krudy’s Hungary was not my Hungary, not by a long chalk, but it was a real world, particularly in the minds of close friends. The humorous melancholy in Krudy is, as I discovered, an aspect of my own imagination, one that working on Sindbad brought to light. It is possible to hope that any engagement in translation will bring out some latent possibility in the writer-translator.
The Adventures of Sindbad was the second work of fiction I translated (the first was Anna Édes by Kosztolanyi) but by that time I had translated a good many poems and the verse-tragedy. Sindbad came along at the right time. I think my imagination was ready for it, ready, that is, to render it into English but also to feel it as a voice that might be adapted to my own. Most of my translations have been a kind of enrichment of voice. I have learned a great deal from them.
I should add that the longer poems I wrote as a result of my first 1984 visit, that constituted the backbone of the resulting book, The Photographer in Winter (1986) are not at all Sindbad like. They are darker, heavier, more cavernous things.
Remember, you can read the whole issue of Quarterly Conversation by clicking here.
The recent reissuing of several of Stig Dagerman’s novels by University of Minnesota Press has rekindled interest in his works, which have until now been little-known outside Sweden. Just twenty-four when he wrote A Burnt Child (here newly translated by. . .
Paul Klee’s Boat, Anzhelina Polonskaya’s newest bilingual collection of poems available in English, is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel. A former professional ice dancer(!), Polonskaya left the. . .
In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
There are curious similarities in three Italian mystery series, written by Maurizio de Giovanni, Andrea Camilleri, and Donna Leon.1
They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .