First up today in the Month of a Thousand Forests series is Mario Vargas Llosa, who you might know from such books as Conversation in the Cathedral or Aunt Julia and the Scriptwriter, neither of which he chose to include as his “best piece of writing.” Instead he turned to a couple of his more recent books: The Way to Paradise and The Feast of the Goat.
Rather than excerpt his works, I’m just going to post his whole interview below—it’s really interesting.
Just a reminder, you can buy A Thousand Forests in One Acorn for only $15 by entering FORESTS at checkout on the Open Letter site.
I selected these fragments according to two criteria. First, that each one of them had dramatic significance within the story, and that each alludes to crucial elements of the plot. And second, that these fragments might be read and understood on their own, by someone unfamiliar with the context within which they appear in my books. Two criteria that are difficult to reconcile but that I think I’ve managed to sustain with some success.
The list of unforgettable dead to whom I return time and again, in my memory or by rereading, is long and would fill several pages. Picking a small number of names from among them I have to cite the great novelists of the nineteenth century like Tolstoy, Dostoevsky, Victor Hugo, Dickens, Flaubert, Balzac; from the classics like Cervantes, Quevado, and Góngora, to Martorell’s Tirant lo Blanch, to the Homeric poems I discovered in my old age, to many writers who revealed to me miracles of technique and prose in the telling of a story: Proust, Kafka, Joyce, and Faulkner. The writer I have probably reread most is Faulkner. I discovered him in my first year of university, in 1953, in Lima, and since then I have never ceased to be amazed by the complexity and subtlety that his stories attain thanks to the way he organizes the points of view, the movement of the narrator, the creation of his own literary time, and also, of course, thanks to that enveloping style of extraordinary sensoriality that makes the changes in atmosphere and landscape in which the stories illuminate, or blur, or vanish, creating expectation, uncertainty, and always keeping readers in a kind of trance. Faulkner is perhaps the writer who taught me most about the type of novelist I wanted to be and the type of novels I wanted to write.
From your position with respect to Cuba and Hugo Chávez, and later as a candidate for president of Peru, you have always defended individual freedoms. What’s your perspective on the political and social panorama since 1993, when you wrote El pez en la agua? Has there been an erosion of freedoms or have they been lost?
I think all the opinions I expressed in El pez en la agua I still maintain. I might clarify some details and add others regarding phenomena like Chávez in Venezuela and Evo Morales in Bolivia that did not exist when I wrote down those memories. When I began writing, the idea was widespread that a writer had, in addition to an artistic and intellectual responsibility, a civic responsibility and should participate in the political debate regarding the problems of the time. I learned this reading Sartre, about whom my opinion has greatly changed, but I have always shared his idea that writers should engage in expressing their opinions about politics and social problems. I don’t believe writers should exempt themselves from such participation, just like I don’t believe any other citizen should either. If we want things to improve in our society, we must be involved in political life and writers can contribute to this activity without renouncing their own vocation. In the dominion of the word, for example, political language tends to be clichéd, full of the commonplace, a disseminator of slogans and mottos more than ideas. A writer can give back to politics language that is clean, fresh, that expresses concepts, ideas and not just sensations and clichés. On the other hand, a writer can add imagination and inventiveness to a world that, owing to the advance of specialization, is becoming increasingly routine and predictable, deprived of idealism and creativity. If we want democracy to survive and not to drown in dictators or in total mediocrity, it’s indispensable for us to inject imagination and novelty into democratic life. In this way writers can provide a service to the political life of nations.
Although the video version isn’t available yet, the full transcript of Mario Vargas Llosa’s Nobel Prize speech is now available online. Below is the opening, and if you’re interested in reading a Vargas Llosa book because of this, I’d highly highly highly recommend Conversations in the Cathedral. Absolutely breathtaking in scope, emotion, and innovative literary techniques.
On with the speech:
“In Praise of Reading and Fiction”
I learned to read at the age of five, in Brother Justiniano’s class at the De la Salle Academy in Cochabamba, Bolivia. It is the most important thing that has ever happened to me. Almost seventy years later I remember clearly how the magic of translating the words in books into images enriched my life, breaking the barriers of time and space and allowing me to travel with Captain Nemo twenty thousand leagues under the sea, fight with d’Artagnan, Athos, Portos, and Aramis against the intrigues threatening the Queen in the days of the secretive Richelieu, or stumble through the sewers of Paris, transformed into Jean Valjean carrying Marius’s inert body on my back.
Reading changed dreams into life and life into dreams and placed the universe of literature within reach of the boy I once was. My mother told me the first things I wrote were continuations of the stories I read because it made me sad when they concluded or because I wanted to change their endings. And perhaps this is what I have spent my life doing without realizing it: prolonging in time, as I grew, matured, and aged, the stories that filled my childhood with exaltation and adventures.
I wish my mother were here, a woman who was moved to tears reading the poems of Amado Nervo and Pablo Neruda, and Grandfather Pedro too, with his large nose and gleaming bald head, who celebrated my verses, and Uncle Lucho, who urged me so energetically to throw myself body and soul into writing even though literature, in that time and place, compensated its devotees so badly. Throughout my life I have had people like that at my side, people who loved and encouraged me and infected me with their faith when I had doubts. Thanks to them, and certainly to my obstinacy and some luck, I have been able to devote most of my time to the passion, the vice, the marvel of writing, creating a parallel life where we can take refuge against adversity, one that makes the extraordinary natural and the natural extraordinary, that dissipates chaos, beautifies ugliness, eternalizes the moment, and turns death into a passing spectacle.
Writing stories was not easy. When they were turned into words, projects withered on the paper and ideas and images failed. How to reanimate them? Fortunately, the masters were there, teachers to learn from and examples to follow. Flaubert taught me that talent is unyielding discipline and long patience. Faulkner, that form – writing and structure – elevates or impoverishes subjects. Martorell, Cervantes, Dickens, Balzac, Tolstoy, Conrad, Thomas Mann, that scope and ambition are as important in a novel as stylistic dexterity and narrative strategy. Sartre, that words are acts, that a novel, a play, or an essay, engaged with the present moment and better options, can change the course of history. Camus and Orwell, that a literature stripped of morality is inhuman, and Malraux that heroism and the epic are as possible in the present as is the time of the Argonauts, the Odyssey, and the Iliad.
If in this address I were to summon all the writers to whom I owe a few things or a great deal, their shadows would plunge us into darkness. They are innumerable. In addition to revealing the secrets of the storytelling craft, they obliged me to explore the bottomless depths of humanity, admire its heroic deeds, and feel horror at its savagery. They were my most obliging friends, the ones who vitalized my calling and in whose books I discovered that there is hope even in the worst of circumstances, that living is worth the effort if only because without life we could not read or imagine stories.
At times I wondered whether writing was not a solipsistic luxury in countries like mine, where there were scant readers, so many people who were poor and illiterate, so much injustice, and where culture was a privilege of the few. These doubts, however, never stifled my calling, and I always kept writing even during those periods when earning a living absorbed most of my time. I believe I did the right thing, since if, for literature to flourish, it was first necessary for a society to achieve high culture, freedom, prosperity, and justice, it never would have existed. But thanks to literature, to the consciousness it shapes, the desires and longings it inspires, and our disenchantment with reality when we return from the journey to a beautiful fantasy, civilization is now less cruel than when storytellers began to humanize life with their fables. We would be worse than we are without the good books we have read, more conformist, not as restless, more submissive, and the critical spirit, the engine of progress, would not even exist. Like writing, reading is a protest against the insufficiencies of life. When we look in fiction for what is missing in life, we are saying, with no need to say it or even to know it, that life as it is does not satisfy our thirst for the absolute – the foundation of the human condition – and should be better. We invent fictions in order to live somehow the many lives we would like to lead when we barely have one at our disposal.
Without fictions we would be less aware of the importance of freedom for life to be livable, the hell it turns into when it is trampled underfoot by a tyrant, an ideology, or a religion. Let those who doubt that literature not only submerges us in the dream of beauty and happiness but alerts us to every kind of oppression, ask themselves why all regimes determined to control the behavior of citizens from cradle to grave fear it so much they establish systems of censorship to repress it and keep so wary an eye on independent writers. They do this because they know the risk of allowing the imagination to wander free in books, know how seditious fictions become when the reader compares the freedom that makes them possible and is exercised in them with the obscurantism and fear lying in wait in the real world. Whether they want it or not, know it or not, when they invent stories the writers of tales propagate dissatisfaction, demonstrating that the world is badly made and the life of fantasy richer than the life of our daily routine. This fact, if it takes root in their sensibility and consciousness, makes citizens more difficult to manipulate, less willing to accept the lies of the interrogators and jailers who would like to make them believe that behind bars they lead more secure and better lives.
Good literature erects bridges between different peoples, and by having us enjoy, suffer, or feel surprise, unites us beneath the languages, beliefs, habits, customs, and prejudices that separate us. When the great white whale buries Captain Ahab in the sea, the hearts of readers take fright in exactly the same way in Tokyo, Lima, or Timbuctu. When Emma Bovary swallows arsenic, Anna Karenina throws herself in front of the train, and Julien Sorel climbs to the scaffold, and when, in “El sur,” the urban doctor Juan Dahlmann walks out of that tavern on the pampa to face a thug’s knife, or we realize that all the residents of Comala, Pedro Páramo’s village, are dead, the shudder is the same in the reader who worships Buddha, Confucius, Christ, Allah, or is an agnostic, wears a jacket and tie, a jalaba, a kimono, or bombachas. Literature creates a fraternity within human diversity and eclipses the frontiers erected among men and women by ignorance, ideologies, religions, languages, and stupidity.
Since every period has its horrors, ours is the age of fanatics, of suicide terrorists, an ancient species convinced that by killing they earn heaven, that the blood of innocents washes away collective affronts, corrects injustices, and imposes truth on false beliefs. Every day, all over the world, countless victims are sacrificed by those who feel they possess absolute truths. With the collapse of totalitarian empires, we believed that living together, peace, pluralism, and human rights would gain the ascendancy and the world would leave behind holocausts, genocides, invasions, and wars of extermination. None of that has occurred. New forms of barbarism flourish, incited by fanaticism, and with the proliferation of weapons of mass destruction, we cannot overlook the fact that any small faction of crazed redeemers may one day provoke a nuclear cataclysm. We have to thwart them, confront them, and defeat them. There aren’t many, although the tumult of their crimes resounds all over the planet and the nightmares they provoke overwhelm us with dread. We should not allow ourselves to be intimidated by those who want to snatch away the freedom we have been acquiring over the long course of civilization. Let us defend the liberal democracy that, with all its limitations, continues to signify political pluralism, coexistence, tolerance, human rights, respect for criticism, legality, free elections, alternation in power, everything that has been taking us out of a savage life and bringing us closer – though we will never attain it – to the beautiful, perfect life literature devises, the one we can deserve only by inventing, writing, and reading it. By confronting homicidal fanatics we defend our right to dream and to make our dreams reality. . . .
Read the full text by clicking here.
As any and all long-time (or probably even short-time) readers of Three Percent know, we pick on publisher websites quite a bit. (See for instance, any and every post about Houghton Mifflin Harcourt.)
Most often they deserve it for many of the same reasons that we like to make fun of book ads. I’m totally ripping off Richard Nash here, but if every company advertised its products the way book publishers do—a picture of the product with three quotes saying how great it is—capitalism would’ve crumbled long ago.
And just look at this mess. All the “You Might Also Like . . .” crap is annoying at best, especially since it’s followed at the bottom by “New Books Similar to This One.” And where’s the info about the book (ISBN, price, page count)? Near the bottom of the listing in all italics. You’d never know it, but if you click on the image of the book cover, you get to read an excerpt! And what’s up with all the ads and “Hot@Harper” shit? My six-year-old daughter has better aesthetic sense than the people who designed this.
BUT, occasionally a corporate press gets it right. Like with FSG’s Work in Progress monthly newsletter/website. (Granted, this is apples to oranges in comparing to Harper’s trainwreck, but I’m willing to bet Harper’s monthly promo emails are as aesthetically confused.) Not only is this site elegant, it looks like something you’d want to read, and the marketing aspects of it are subdued and enhanced with interesting content. Such as this conversation between Marion Duvert and Richard Howard on Roland Barthes (Barthes? Can’t imagine another “big” publisher referencing him—AND Samuel Beckett—in their monthly promo-newsletter):
So he called me just to say hello, and say that he would like to come to New York, and could I show him around a little bit because he had never been here.
I said certainly, and that I looked forward to it very much. He arrived. He had the first copy of, I think, Mythologies in print. The first day was very proper and careful. But we got along very well. It was apparent that he had made the right choice, and that we were going to be friends. I suppose that means I met the man first. But he came carrying a book, and I think he knew that I was a translator; and he wanted me to see it. I did translate right away three or four of those pieces that were published in various periodicals here. That was the beginning.
I don’t think he ever again read any of my translations [of him]. I don’t think he had any . . . it isn’t that he didn’t have interest. He would say that he didn’t know English well enough to have it make any difference; it was just his satisfaction that they were in English. At the beginning I think there was some interest in that fact, but I never heard from him again on that subject.
I would ask him questions. I remember calling him up once and saying that he had referred to somebody inadequately or incorrectly, as I just knew. Did he want me to silently correct the mistake? He said, “Oh, of course. Do whatever you want. I have no idea.” And then there was some question of some king or even Egyptian pharaoh, and he said, “Well, make it up. Make it up. I don’t remember the case myself. If it’s not correct in the French text, just make up something.” He had decided that I was trustworthy, and he could rely on me to take care of such things, and there was no further discussion about it. He was not an anxious author about his translations.
This month’s issue also includes interviews with Edith Grossman and Natasha Wimmer on Mario Vargas Llosa, both of which are pretty interesting:
Chapman: You’ve translated a number of García Márquez’s novels—another Latin American Nobel laureate—who is lionized as much for his influence as for his writing. Do you also see the Vargas Llosa imprimatur in younger writers?
Grossman: I can’t really answer that question except in the broadest terms. Vargas Llosa’s influence may lie in the intertwining of the personal and the political. García Márquez’s influence is more stylistic, I think: the intertwining of fantasy and reality, perhaps. They both owe a great debt to William Faulkner and, most of all, to Miguel de Cervantes. On the other hand, the impact of the Latin American Boom on young writers everywhere was enormous, and I don’t think Toni Morrison or Salman Rushdie, for example, would write the same way without that older generation of Latin American writers.
Chapman: Speaking of the next generation, what was your reaction to Granta‘s “Best of Young Spanish-Language Novelists” list?
Grossman: I was very happy that Granta devoted an issue to young Spanish-language writers. In fact, I translated one of the stories, by a Peruvian, Santiago Roncagliolo. He’s a wonderful writer—I did a novel of his, Red April, a couple of years ago.
Kudos to you, FSG, for figuring out this interwebs thing and how 21st-century digital marketing can work. If you’re interested, you can subscribe here.
Whenever this happens, I think of an interview I read a few years ago in the New York Times Magazine with the writer Mario Vargos Llosa about his novel The Bad Girl. In the interview, Vargos Llosa explains that he made his main character a translator to explain the man’s lack of personality and why he’d need to go groveling after the Bad Girl. A translator, according to Vargos Llosa, is an inhibited “intermediary” whose life is “curtailed” and “mediocre.”
My question after reading this was how many translators does Vargas Llosa actually know?
In the poetry world, I’ve found translators usually are the bad girls—the poets most likely to put themselves in dodgy situations in other languages and enjoy it. To disappear for years into other cultures and live in situations that would make their parents cringe but that also leaves them aware of the world in a way that makes them live, think, and take risks they never would have otherwise.
Exactly. So who wants to join ALTA now?
Taking advantage of Vargas Llosa being in NYC for the PEN World Voices Festival:
The Cultural Counselor of the French Embassy, Kareen Rispal, conferred the insignia of Commander of the Order of Arts and Letters on the Peruvian writer Mario Vargas Llosa yesterday in a ceremony in New York. In accepting the honor, Mr. Vargas Llosa described himself as deeply indebted to French literature and culture. As a 21-year-old in 1968, Mr. Vargas Llosa recalled, he won a literary contest, the prize of which was a two-week trip to Paris. He was awed by the city, but was even more startled to discover that there was another celebrity staying in his hotel: Miss France 1968. He danced with her. “This is an experience that marks you for the rest of your life,” the writer said of his first taste of Paris.
The Guardian has a ‘digested read’ of Vargas Llosa’s The Bad Girl:
The most notable event of the summer of 1950 was the arrival in Miraflores of two flamboyant Chilean sisters. I was just 15 and fell in love with the older one, Lily, like a calf. We were inseparable; we held hands, though she teased me with her kisses. “Never on the lips, Ricardito.” Then she disappeared without saying goodbye. The rumour was that she wasn’t an exotic Chilean; she was a Peruvian from the slums. Yet I never forgot her.
PEN announced the first event of the 2008 PEN World Voices Festival. There isn’t any news about other participants, or events, yet, but we’ll keep you posted.
The Three Musketeers Reunited:
Umberto Eco, Salman Rushdie and Mario Vargas Llosa
When: Friday, May 2
bq. Where: 92nd St. Y: New York City
bq. What time: 7:30 p.m.
PEN is excited to make the first event announcement of the 2008 World Voices Festival. The event will feature three literary heavyweights appearing at the 92nd Street Y for a special repeat performance. On October 10, 1995, London’s Royal Festival Hall hosted a historic night of readings by three of the world’s most distinguished writers: Umberto Eco from Italy, British-Indian Salman Rushdie, and Mario Vargas Llosa of Peru. At dinner afterwards, Eco anointed the trio as The Three Musketeers. Now, twelve years later, the PEN World Voices Festival, in collaboration with the Poetry Center, is proud to present The Three Musketeers together again for one unforgettable evening.
The Three Musketeers Reunited will take place on May 2 at 7:30 p.m. at the 92nd Street Y in New York City.
The New York Times Magazine has an interview with Mario Vargas Llosa about his new book, The Bad Girl.
L‘écrivain hispano-péruvien Mario Vargas Llosa a été nommé mercredi docteur honoris causa de l’Université de Reims Champagne-Ardenne, qui accueille depuis lundi et jusqu‘à jeudi un colloque international sur l’auteur né à Lima, a constaté un photographe de l’AFP.
Roughly translated: Vargas Llosa is getting an honorary degree following an international colloquim (which ends tomorrow) on his work.
For the curious, here is the schedule for the colloquim.
Immediately following an exciting tidbit about Whoopi Goldberg and The View, IHT mentions Mario Vargas Llosa:
Mario Vargas Llosa, one of the Spanish-speaking world’s most acclaimed writers, was awarded an honorary doctorate from the University of La Rioja in northern Spain. Vargas Llosa, 71, has written more than 30 novels, plays and essays, including “Conversation in the Cathedral,” “Aunt Julia and the Scriptwriter” and “The Green House.”
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .