3 March 10 | Chad W. Post | Comments

Over the next three days, we’ll be featuring each of the ten titles from this year’s Best Translated Book Award poetry shortlist. Click here for all past write-ups.



The Brittle Age and Returning Upland by Rene Char. Translated from the French by Gustaf Sobin. (France, Counterpath)

This guest post is by Brandon Holmquest—poet, translator, and editor of CALQUE. Brandon is devoted to the reception and promotion of international poetry, so I’m really glad he was able to serve on the panel this year. And write up a couple books!

On one particularly bad night we were all in the kitchen with this book, idly translating it into German, Spanish, Chinese. Then the war began. Another time, I handed it to a guy and, flipping through it and seeing how “The Brittle Age” is composed often of single sentences each on their own page, he called it a waste of paper. I made him take it home and when he returned it I asked him if he still felt the same and he shook his head very slowly. I think I’ve read it five times now. Maybe six.

All of which is to say that The Brittle Age and Returning Upland is an eloquent, disquieting book. One that makes an impact. That these two works by a poet who’s been dead for more than two decades is being published in this country for the first time is both great and puzzling. I am unfortunately ignorant of the history of how it came to be published. But neither am I terribly concerned about that, grateful as I am for the mere fact of its existence.

The book contains two poems written in the 60s. The first, “The Brittle Age,” stretches across some 87 pages, made up of single fragments, none of them longer than five lines, many a few words. The second, “Returning Upland,” is more properly a series of poems, if not a serial poem. The two works are discrete, having no relation other than having been written by one person, translated by another.

“Comfort is crime, the fountain told me from its rock.” And on the next page: “Be consoled. In dying you return everything that you were lent, your love, your friends. Even that living coldness, harvested over and over.” And the next: “Death’s great ally, where its midges are best concealed, is memory: the persecutor of our odyssey, lasting from an eve to the pink tomorrow.”

And so on. “The Brittle Age” is undoubtedly the star here, though I doubt very seriously is “Returning Upland” could get a fair hearing in any court containing the other poem. The inclusion of both of them makes the most sense in light of the fact that both were translated by Gustaf Sobin, an American poet for whom Char appears to have been something between mentor and father-figure.

Even the cursory sort of French I possess is enough to reveal the quality of Sobin’s work here. His ear is so good, and his sense of English poetry so sound that he can rewrite individual sentences as he needs to in order to maintain Char’s voice, changing the letter, capturing the spirit of the thing, as when Char’s French reads:

Il advient que notre coeur soit comme chassé de notre corps. Et notre corps est comme mort.

And Sobin’s English gives us:

Sometimes our heart seems as if chased from our body, and our body, as if dead.

Sobin makes two sentences into one. He uses commas to create pauses that work to excellent rhythmic effect and to enable a reproduction, with the double use of the word “body,” of an echo of the homophonic effect the French has with couer and corps, which is where most of Char’s art in this passage resides.

One example, pulled at random from a book which teems with them.

....
Kingdom Cons
Kingdom Cons by Yuri Herrera
Reviewed by Sarah Booker

Yuri Herrera is overwhelming in the way that he sucks readers into his worlds, transporting them to a borderland that is at once mythical in its construction and powerfully recognizable as a reflection of its modern-day counterpart. Kingdom Cons, originally. . .

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The Invented Part
The Invented Part by Rodrigo Fresán
Reviewed by Tiffany Nichols

Imagine reading a work that suddenly and very accurately calls out you, the reader, for not providing your full attention to the act of reading. Imagine how embarrassing it is when you, the reader, believe that you are engrossed in. . .

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A Simple Story: The Last Malambo
A Simple Story: The Last Malambo by Leila Guerriero
Reviewed by Emilee Brecht

Leila Guerriero’s A Simple Story: The Last Malambo chronicles the unique ferocity of a national dance competition in Argentina. The dance, called the malambo, pushes the physical and mental limits of male competitors striving to become champions of not only. . .

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The Little Buddhist Monk & The Proof
The Little Buddhist Monk & The Proof by Cesar Aira
Reviewed by Will Eells

Aira continues to surprise and delight in his latest release from New Directions, which collects two novellas: the first, The Little Buddhist Monk, a fairly recent work from 2005, and The Proof, an earlier work from 1989. There are a. . .

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Agnes
Agnes by Peter Stamm
Reviewed by Dorian Stuber

The narrator of Peter Stamm’s first novel, Agnes, originally published in 1998 and now available in the U.S. in an able translation by Michael Hofmann, is a young Swiss writer who has come to Chicago to research a book on. . .

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Class
Class by Francesco Pacifico
Reviewed by Vincent Francone

The thing about Class is that I don’t know what the hell to think about it, yet I can’t stop thinking about it. I’ll begin by dispensing with the usual info that one may want to know when considering adding. . .

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The Dispossessed
The Dispossessed by Szilárd Borbély
Reviewed by Jason Newport

To be, or not to be?

Hamlet’s enduring question is one that Szilárd Borbély, acclaimed Hungarian poet, verse-playwright, librettist, essayist, literary critic, short-story writer, and, finally, novelist, answered sadly in the negative, through his suicide in 2014, at the. . .

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