To supplement the advance preview of Jean Echenoz’s Lightning — this week’s Read This Next — book, I talked with translator Linda Coverdale about Echenoz, and the three “Eccentric Genius” books of his that she’s translated.
You can read the entire interview here, but for now, here’s an excerpt:
Chad W. Post: Were you excited when you first started translating Echenoz? These books are pretty different from his earlier works.
Linda Coverdale: When I picked up Ravel, I thought, oh goody, here we go, we’re going to have this sort of rambunctious circus-like atmosphere, it will be rollicking and lots of fun, let’s see what happens. Well, it was Ravel. My first reaction was, what? Now I’m translating Echenoz and he’s gone into a monastery? It was delightful but it certainly was a surprise. It was as if he were playing around, doing his homework, taking his exercise in all sorts of ways. But it was always Echenoz, and he was working on his style and how he would manipulate the language. It seemed that he had taken along the two things that I had most enjoyed about his writing before: that it was very antic, he had a wonderful sense of humor, and yet, it was very elegant—even when it sprawled, he was in control. He took those two aspects and he, in a way, compressed them, and raised them to a higher level, and started tackling what one might call more serious things. Which isn’t to be nasty to previous novels at all, no, he likes change, he’d been playing with different genres before and he said he was ready for a change, so, as I understand it, he was actually trying to do something different in the way of time, because previous books had always been set in the period in which they were written, so he thought he might try his hand at something else. But he didn’t want to do a historical novel, some sort of bodice-ripping thing. He wanted to set it—and this was the particular allure of this idea—in the period between the two wars, which was very rich, and he was going to have all sorts of real characters in there, real people, Ravel among them, and Ravel ended up walking off with the book that Echenoz eventually wrote. So that’s how he got into that. He was making a change, and he was experimenting with it, the experiment fizzled, but there was a by-product that proved to be, from my point of view, solid gold. That’s how he started with the Three Lives.
CWP: Do you know how historically accurate these books are? I mean, Ravel seems very much based on historical records, whereas in Lightning, Tesla’s name is changed to Gregor, which raised some questions for me.
LC: With this new style, he stuck very close to biography in the first novel—and they’re all novels, he says very specifically that they’re all novels, but in Ravel, I did the research and I checked up on lots of things, and I kept coming across information that Echenoz must himself have found. He did extensive research—he was looking at letters, he was looking at memos, he was looking at scribbles on manuscripts, looking at books about Ravel, you name it. The idea was, he would have so much . . . So when I say his style became compressed, it seems to me that, after eating all this information, he was very very choosy, he distilled all the data and events and emotions, and crafted his sentences to make them really rich and resonant. Most of the dialogue in Ravel was in fact rooted in reality, but he didn’t create a lot of it in the three novels, because what he was writing was a novel that stayed very close to the actual life that he wanted to explore. Then when he finished Ravel, he thought he’d like to do the same thing again, but he decided to pick an area about which he knew very little, and he decided, sport, sport would be good, and he found his character, Zátopek, and he also started looking into the history and politics of the period, which he didn’t touch on really at all in Ravel. So he was taking the same idea but playing changes on it, and then seeing what would happen, which turned into Running. [. . .]
CWP: And this led to Lightning . . .
LC: It was a logical progression, he thought he’d like to do it once more, and this time he was looking for a scientist, and Tesla was the one he latched on to. He relied on Margaret Cheney’s Tesla: Man out of Time, which he credited. But he had given himself more freedom with the second book when he was dealing with Emil—Echenoz was a little more roman-esque, and allowed himself some curlicues—and he decided that this time, he was going to do more of that. Frankly, he was going to take liberties that he hadn’t taken before, and structure his book more like a novel. Well, listen, Tesla’s life is like a novel. The man was insane.
So when people say it’s a trilogy, Echenoz makes a real point of saying no, it is a suite. He didn’t conceive of it as a trilogy. Each thing led to the next one, and in a way, he was moving blindly, but confidently. After he’d done his research and made his choice, then he knew where he was.
And be sure to check out all the RTN info about Lightning by clicking here.
I mentioned this just before I left for BEA, but last Wednesday the French-American Foundation and the Florence Gould Foundation hosted the Twenty-First Annual Translation Prize ceremony in New York.
This Prize is for the best fiction and nonfiction translations from French into English over the past year and comes with a $10,000 case award. The shortlist was loaded with great books and translators, all of whom were incredibly deserving.
In the end though, the winners were Linda Coverdale for her translation of Jean Echenoz’s Ravel, and Linda Asher for her translation of Milan Kundera’s The Curtain. Congratulations to both Lindas!
There’s a great fiction chronicle Sunday’s New York Times Book Review by Alison McCulloch. A few international writers are featured, including two of my favorites: Jean Echenoz and Robert Walser.
Ravel by Jean Echenoz has been getting some decent praise, and Ms. McCulloch calls it a “beautifully musical little novel.”
The Assistant by Robert Walser has already gotten some play here at Three Percent, and it’s great to see it get some deserved attention in the Times.
Benjamin Weissman reviewed the Walser for the L.A. Times this past weekend, and has this to say:
The Assistant has, at times, the rambling feel of a journal. Perhaps it could have benefited from a rigorous edit, but Walser fans will appreciate the loose approach. Not since Laurence Sterne has the digression been taken on such lovely excursions, in the form of a mental walkabout that occurs in nearly every scene.
Which makes me even more interested in reading this.
Robert Birnbaum’s weekly review digest is now available online and contains a couple books of note.
The one that caught my eye is Ravel by Jean Echenoz and translated by the award-winning Linda Coverdale. There are a number of Echenoz books available in English—Cherokee and Double Jeopardy from University of Nebraska Press, Chopin’s Move from Dalkey Archive, and I’m Gone from New Press just to name a few. And although it’s true that he’s never had a best-seller, Echenoz does have his fan base of people interested in the way he plays with the detective genre in a humorous, fun-loving way with great, three-dimensional characters. (Although in his recent books, like Piano he’s been getting away from the detective thing and exploring new ground.
I’m the first to jump on the “Americans read stupid books” bandwagon, but I’m not sure I agree with Birnbaum’s assessment about this title.
No doubt various strains of xenophobia, Francophobia, and indifference contribute to the American public’s ignorance of Jean Echenoz’s bestselling (in France) novel, Ravel.
I think it’s much more complicated than that, with a lot of blame to be laid at the feet of New Press. Never known for their marketing savvy, New Press continues to do a disservice to Echenoz with this title. To date, this is only the second mention I’ve seen of this book, which, according to their precision-based website, released in “Spring.” (If nothing else, an official pub date at least shows you care.)
When I was at Dalkey Archive Press, it just so happened that we released Chopin’s Move on the exact same day that New Press brought out Piano. Dreaming of review-tastic symmetries, I contacted them months ahead of time to try and coordinate our publicity efforts. There’s no reason to rehash the whole story, but let’s just say that in terms of promotional effort, they didn’t do a damn thing for their book. We did get a number of reviews though, but because I actually wanted people to read our book, we outsold them at a pace of two-to-one. (Which is sort of a rumor. Publishers never share sales figures, and when they do, they exaggerate. By like four times the real amount. So we probably outsold New Press ten-to-one. But whatever.)
The point is, it’s not just American xenophobia or French bashing that drives an author to obscurity. It’s a publisher’s responsibility to create an interest in its books. Sometimes this is more difficult than it should be, and sometimes publishers just don’t bother.
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Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
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. . .