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.
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .