One of the precursors to the Oulipo, and cult-author extraordinaire, Raymond Roussel is one of those authors that everyone of a certain aesthetic leaning likes to rave about. He is the admiration of many a literary fan-boy, and if there was an international fiction cosplay festival, his hat, cane, and ‘stach would adorn many a nerd.
That said, his books still aren’t as widely read as they should be. Part of that is due to the fact that for the longest time Calder was the only publisher of Locus Solus and Impressions of Africa. Calder is a great home for both of these books (the quality of the Calder list taken as a whole will likely never be replicated), but there were various distribution and availability issues.
Thankfully, last summer Dalkey Archive issued Impressions of Africa in Mark Polizzotti’s new translation.
I haven’t read this version, but knowing the book, and knowing Mark, I’m 100% sure that it’s brilliant. And for those of you unfamiliar with this book, here’s the Dalkey description:
In a mythical African land, some shipwrecked and uniquely talented passengers stage a grand gala to entertain themselves and their captor, the great chieftain Talou. In performance after bizarre performance—starring, among others, a zither-playing worm, a marksman who can peel an egg at fifty yards, a railway car that rolls on calves’ lungs, and fabulous machines that paint, weave, and compose music—Raymond Roussel demonstrates why it is that André Breton termed him “the greatest mesmerizer of modern times.” But even more remarkable than the mindbending events Roussel details—as well as their outlandish, touching, or tawdry backstories—is the principle behind the novel’s genesis, a complex system of puns and double-entendres that anticipated (and helped inspire) such movements as Surrealism and Oulipo. Newly translated and with an introduction by Mark Polizzotti, this edition of Impressions of Africa vividly restores the humor, linguistic legerdemain, and conceptual wonder of Raymond Roussel’s magnum opus.
Anyway, the main point of this post is to gush on about Roussel in context of this fantastic essay by Alice Gregory that went up on the Poetry Foundation website earlier this week.
First of all, anything with the subtitle “the upside of crazy” is effing awesome in my book. But more importantly, this is a really interesting look at Roussel’s odd being and its relation to his very strange works. You really have to read the whole article, but here are a few bits:
“Whatever I wrote was surrounded by rays of light,” a young Raymond Roussel told his psychoanalyst, Pierre Janet. “I used to close the curtains, for I was afraid that the shining rays emanating from my pen might escape into the outside world through even the smallest chink; I wanted suddenly to throw back the screen and light up the world.” Roussel was speaking literally, and Janet, who would treat Roussel for years, was taking notes.
Though nobody knows for sure, it’s suspected that Roussel first started seeing Janet in the years just before World War I, almost a decade after that first ecstatic experience he described in their early sessions. The manic spell coincided with the editing of La Doublure, a novel in verse that took most of Roussel’s adolescence to complete and that he believed “would illuminate the entire universe” when it was published. When it finally was published in 1897, La Doublure was ignored by critics. The reception to his obsessively detailed and obviously unsalable work ushered in a lifelong series of public disappointments for Roussel, a writer whose work was met—in his own words—with “an almost totally hostile incomprehension.”
In later sessions with Janet, Roussel proved himself to be outlandishly hubristic and deluded about his chances at fame, predicting, for instance, that he would “enjoy greater glory than Victor Hugo or Napoleon.” Over dinner recently, I quoted this prophecy to a friend and roussellâtre (what one calls a Roussel enthusiast), and he laughed. “That’s what’s so insane about him,” my friend shouted over the restaurant’s ambient noise. “He actually thought that what he wrote was normal, that people would like it, that he deserved—and would find—a mainstream audience!” [. . .]
Roussel’s world is strange because it is so specific, and his imaginative audacity reminds me of nothing so much as anime. Like Hayao Miyazaki movies—in which buses look like cats, amphibious girls have mouths full of salubrious saliva, monsters vomit up bathhouse employees, and decapitated spirit heads cure leprosy—Roussel’s works are littered with inconceivable amalgams. But at least in anime, there are protagonists with motives, however simplistic—they avenge family members, fall in love with characters that look like themselves, and seek adventure in parallel worlds. Roussel’s characters, if they can even be called that, express almost nothing a reader could identify as emotions. Bearing witness to the products of Roussel’s imagination isn’t nearly so unnerving as the moment that comes—quite late, it seems—when you are finally struck by the severe lack of human feeling. Janet outlines what he understands to be some of Roussel’s aesthetic principles: “The work must contain nothing real,” he deduces, “no observations on the world or the mind, nothing but completely imaginary combinations.” [. . .]
Roussel’s eccentricities were sundry and systematic. His biographer, Mark Ford, generously identifies them as “attempt[s] to screen out or neutralize the anxieties of living.” He fasted for days, wore garments for only limited amounts of time (collars, once; neckties, three times; suspenders, 15 times), and started and stopped work always on the hour. Roussel’s love for his own mother bordered on the erotic, and when she died, he had a pane of glass inserted into the lid of her coffin so that he could look at her corpse just a bit longer. There are more impish examples too, like his habit of tearing pages from his favorite books so that nobody could see what he was reading and then devouring them in the back seat of a chauffeured car. Most telling of what was clearly a personality disorder was Roussel’s conduct at social events, where “he became so afraid of causing offence, or of himself being offended, that he would pre-empt all potentially upsetting topics by asking an endless series of factual questions.”
That last little bit is so amazing . . . I think I’m going to employ it next time I’m anxious at some social event . . .
But seriously, you should check out this article and then read the new translation of Impressions of Africa.
The Poetry Foundation website posted a fascinating conversation last week between author/editor/translator Ilya Kaminsky and reviewer Adam Kirsch. The reason for this interview was the recent release of The Ecco Anthology of International Poetry (full review forthcoming), and the main topic is the possibility, or impossibility, of translating poetry.
The entire conversation is worth reading, but I’m going to pull our a few of the highlights. To be honest, this sort of discussion usually gets under my skin. The debate on whether a poem can really be translated from one language to another swerves so greatly from the actual point of an anthology like this: putting together a collection of excellent poems to be read and enjoyed. Literature, ideas, beauty, and words, are what I’m really interested in. Sure, there are interesting theoretical spaces that one can knock around in while thinking about the transference of ideas and writing from one language to another, but so often these discussions simply bolster the pervasive prejudice that, by reading works in translation, you aren’t getting the real thing and, therefore, why bother? It’s all “lost in translation,” anyway, right?
The other week at the Best Translated Book Awards, I read a passage from Edie Grossman’s new book Why Translation Matters about the defensive position of the translator. I know I should get on with quoting from the Kaminsky/Kirsch conversation, but I want to frame this first—so here’s a quote from Edie:
We read translations all the time, but of all the interpretive arts, it is fascinating and puzzling to realize that only translation has to fend off the insidious, damaging question of whether or not it is, can be, or should be possible. It would never occur to anyone to ask whether it is feasible for an actor to perform a dramatic role or a musician to interpret a piece of music. Of course it is feasible, just as it is possible for a translator to rewrite a work of literature in another language. Can it be done well? I think so, as do my translating colleagues, but there are other, more antipathetic opinions. Yet even the most virulent, mean-spirited critic reluctantly admits on occasion that some few decent translations do appear from time to time. And the very concept of world literature as a discipline fit for academic study depends on the availability of translations. Translation occupies a central and prominent position in the conceptualization of a universal, enlightened civilization, and, no small accomplishment, it almost defines the European Renaissance.
This “rhetoric of failure” that’s often applied to translation pisses me off. It’s not like the book and media industry isn’t dripping in failed enterprises already. (Case in point: Adam Kirsch used to write for the New York Sun, which went bankrupt.) I agree that there’s a danger to over-celebrating everything just because it falls into a certain category (not all translations or translated books are wonderful), but why do we have to start with the point of questioning an entire discipline? Theoretical notions be damned, translators and anthologies like this help generate more interesting reading material for people who don’t speak all the languages of the world (re: all of us excepting Peter Constantine and Michael Henry Heim).
All that baggage was what I brought to this article. I was already defensive that I was going to have to be defensive. And Kirsch didn’t let me down. (Which isn’t surprising, considering his reaction to Le Clezio receiving the Nobel the other year.) Although as the interview develops, his position vacillates from a much more interesting perspective to a semi-deluded one. Rather than interject or flood you with my commentary, here’s a remixed version of the conversation—just the pertinent extracts:
AK: But let me start by asking you about the book’s title, which points to one of my own persistent doubts about poetry in translation. Wouldn’t you agree that there is no such thing as an international poem? A poem can only be written in one language, just as it can only be written by one person at a given moment in history. This is, in fact, one of the great themes of twentieth-century poetry, as your anthology makes very clear—the obligation of the poet to his place and time.
IK: Let me ﬁrst state that there is no hidden meaning in the title of this book. A quick look at Answers.com deﬁnes “international” as “involving two or more nations.” It is simply an anthology that collects poetry from more than one nation.
I’m assuming that when you speak about your “persistent doubts about poetry in translation” you aren’t speaking about the classics, from Chapman’s Homer to the King James Bible to Pound’s Cathay. Therefore it’s not that you have doubts about the art of translation itself, but rather about certain translations? If so, I am inclined to agree with you, as I agree with Auden’s statement that a translator should know at least one language well, preferably his own. Anyone who aims to translate into English needs to write well in English. When this is the case, the translation enters the canon of the new language and, perhaps, changes that canon.
AK: The terms of Heaney’s praise for “Incantation” are signiﬁcant: he refers to its message and its truth, but not to its language or music. [. . .] This is why the examples you give of successful translation are really examples of successful reinvention, in which the foreign poem is made to serve the translator, not vice versa. (Notoriously, Pound introduced a Frigidaire into “Homage to Sextus Propertius.”) My fear is that this kind of boldness is less and less common or even possible today, precisely because of our more catholic and cautious approach to international poetry. Maybe we are best served when the translator is not a scholar but a plunderer, taking what he or she needs from the original and flinging aside the rest.
IK: If your standard for translation, along with Brodsky’s, is work in which meters attain a spiritual magnitude “for which nothing can be substituted,” then I agree that very few works of art can meet that rigorous standard. We can stop now and announce to the world that translation is impossible and therefore no one should do it. Various works in English, from Chaucer’s Troilus and Criseyde to Marlowe’s Ovid, from FitzGerald’s Rubaiyat to Pope’s Homer, and all the way to Anne Carson’s Euripides and Sappho, should be discarded as failures.
But perhaps not so quick? As I said in The Ecco Anthology, according to George Steiner an original poem exists in an ideal, static state, and the translator attempts to transmigrate this ideal totality into a second language. Since two languages never mesh perfectly, a translation can never be completely successful; something is always lost.
Few translations in any century could be called “successful reinventions”—or what I would call great translations. But how many great poems are there in any century? Hundreds of poets wrote during the Romantic era; perhaps two dozen are still relevant today. A translator of genius—like a poet of genius—is hard to ﬁnd. But the fact that there are few translators of genius in any century doesn’t justify rejecting the art. [. . .]
But what interests me is not only the genius of the poet translated but also the genius of what is possible in English as it bends to accommodate or digest various new forms. By translating, we learn how the limits of our minds can be stretched to absorb the foreign, and how thereby we are able to make our language beautiful in a new way.
AK: But reading your anthology made me think of how impure all literatures are, and how ironic the cycle of influence can be. In the sixties, American poets helped to liberate themselves from the formal and emotional constraints of the New Criticism by reading Latin-American poets like Neruda. Merwin’s and Bly’s translations of Neruda, which you include in the book, helped to push their own poetry in the direction of open emotionalism, free association, and the speaking voice.
IK: This importing of foreign forms, tones, and approaches is an integral part of our literary tradition. Sonnets and villanelles come from Italy, pantoums come from Malaysia, ghazals from Arabic verses, and so on. English poets whom we ordinarily think of as masters of music are often able to become such masters because of their conversations with other traditions. For instance, Louise Bogan claims very persuasively that “many of the effects in Hopkins which we think of as triumphs of ‘modern’ compression are actually models of Greek compression, as transformed into English verse.”
AK: Randall Jarrell said that in a golden age everyone goes around complaining about how yellow everything is. I don’t want to make that old mistake, but I wonder if there are some costs to living in a time when books like The Ecco Anthology make so much foreign-language poetry so easily accessible. [. . .] But ironically, the current abundance of English translations from all imaginable languages—The Ecco Anthology contains not just French and Spanish and Russian poems, but Armenian and Marathi and Gaelic ones as well—means that the stimulating experience of estrangement is harder to come by. The only way to really “engage in conversations with other traditions” is to get to know those traditions, which requires a good deal of study—and not just of a language, but of the whole literature and tradition in which any given poem is situated.
(Ed. Note: OK, one interjection. Does Kirsch hold that kind of standard to readers of American lit? No Sam Lipsyte for you until you understand your Faulkner and O’Connor.)
IK: You speak of the abundance of English translations of poetry available. But the truth is, very little is available: 50% of all the books in translation worldwide are translated from English, but less than 3% are translated into English. And that 3% ﬁgure includes all books in translation—in terms of literary ﬁction and poetry, the number is actually closer to 0.7%! (The ﬁgures are available at wordswithoutborders.org. My anthology is published in alliance with Words Without Borders, and all the royalties will be donated to keep them alive. They need all the help they can get.) Don’t these ﬁgures suggest that we in the us may be looking into the mirror a bit too much? Maybe we should start looking through more windows for a change?
Opening the window to the world is, in part, the job of a translator.
Rock on, Ilya. Rock. On.
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. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .