Can Xue: The Last Lover, trans. from Chinese by Annelise Finegan Wasmoen, Yale/Margellos
The strangest and by far most original work I read this summer was Can Xue’s The Last Lover. How refreshing it is to encounter fiction that so resolutely disregards conventions of character and plot! The protagonists of this book do not develop—they transform, as do their relationships to one another, from one scene to the next. And they do so unpredictably, in ways that surprise and delight. As in much of Can Xue’s fiction, the prose is comic and disturbing at one and the same time. John Darnielle had Vertical Motion in mind when he pointed to the “grammar of dreams” that underpins that volume of stories: “situations in which a general meowing sound throughout a hospital provokes not the question ‘what’s going on?’ but instead ‘where are the catmen hiding?’” A similar grammar is present in The Last Lover, her most ambitious—and perhaps most radical—novel to date.
Faris al-Shidyaq: Leg over Leg volume 3, trans. from Arabic by Humphrey Davies, NYU
I wrote about the charms of this novel last winter, when the first two volumes were eligible for the prize. It should come as no surprise that the other two are now contenders as well. This chapter from volume three appeared in the 2014 translation issue of London’s The White Review. It’s preceded by a concise introduction by Humphrey Davies, whose translation of Shidyaq remains among the most gymnastic and resourceful amongst this year’s competition.
Elena Ferrante: Those Who Leave and Those Who Stay, trans. from Italian by Ann Goldstein, Europa
There’s no denying the force of Ferrante’s writing. I discovered volume 2 of the Neapolitan Novels last spring when it made our longlist. (Such are the privileges of judging for BTBA; you have to read the 25 titles selected to this list, and thereby profit directly from the enthusiasms of others.) I devoured it whole, then did the same to The Story of a New Name. Ferrante inspires that rare thing, rarer still among contemporary writers: the compulsion to read everything she’s ever published. Like its predecessors, Those Who Leave and Those Who Stay bristles with intelligence and is executed with startling clarity. And like the other books in this series, it is all-absorbing. Here’s Ariel Starling in a recent review for The Quarterly Conversation: “Subtle as the plot may be, it would do the work a grave disservice not to note that Ferrante is, in her own way, a master of suspense. Reading these novels, one becomes so immersed in the world of the characters that even an offhand comment from a minor acquaintance can (and often does) carry the force of revelation—the books are nearly impossible to put down.”
Hilda Hilst: With My Dog Eyes, trans. from Portuguese by Adam Morris, Melville House
I’ve already posted on Letters from a Seducer which had been scheduled for 2013 release but entered the world on the wrong side of January 1. Goes without saying that this title and its extraordinary translation by John Keene has not weakened in the slightest since my initial encounter. Hilst deserves to be in the mix when winter arrives and we begin to draft lists. The question then is likely to be: which horse to back? The answer’s not immediately obvious, to the great credit of Hilst’s translators and editors. With My Dog Eyes was as exhilarating to read as the Letter and The Obscene Madame D. Hilst has been blessed with a generation of astute translators who are now introducing her work to an Anglophone readership. With My Dog Eyes struck me as the most aphoristic of the three novels. It begins unforgettably: “God? A surface of ice anchored to laughter.” Adam Levy wrote a canny essay for Music & Literature about this year’s eligible Hilst titles; read it here.
I’ve little doubt concerning the importance of the above works for their respective languages. Those without Chinese or Italian or Portuguese have Annelise Finegan Wasmoen, Ann Goldstein, and Adam Morris to thank for ensuring that their greatness has been preserved in the face of formidable challenges. I’d like to mention briefly the names of a few more translators whose work has impressed over these first few months of reading. They succeed at communicating the vitality of the voices translated, but also for their accomplished prose in English. They are, in no particular order, Jason Grunebaum from the Hindi of The Walls of Delhi by Uday Prakash; Daniel Hahn from the Portuguese (Brazil) of Nowhere People by Paolo Scott; Chris Andrews from the Spanish (Guatemala) of Severina by Rodrigo Rey Rosa; and Karen Emmerich from the Greek of Why I Killed My Best Friend by Amanda Michalopoulou, whose passages about the bewilderments of adolescent sexuality rank—alongside volume three of My Struggle by Karl Ove Knausgaard—among the funniest things I’ve encountered so far.
With Tom on vacation, Chad recorded a special episode of the podcast with Heather Cleary and Jason Grunebaum, both of whom have a book on the National Translation Award longlist. They talk about Sergio Chejfec’s “The Dark,” Uday Prakash’s “The Girl with the Golden Parasol,” air shows, the future of the American Literary Translators Association, and other non-sports related topics. (Seriously, this is a sports-free podcast.)
As an added bonus, there’s a short conversation Chad had with Uday Prakash about his collection “The Walls of Delhi.”Read More...
Thanks to a blown out tire, which forced me to spend most of last Friday riding in a tow truck and sitting in a tire shop, I didn’t have a chance to write my weekly Weekend Reading post.1 So this week, I’m going to triple up on the normal post and write about the three books I hope to spend the next four days reading.
First up is Wiesław Myśliwski’s A Treatise on Shelling Beans, which is translated from the Polish by Bill Johnston and published by Archipelago Books. In case you don’t remember, Bill’s translation of Myśliwski’s Stone Upon Stone won the Best Translated Book Award in 2012, so I’ve been looking forward to this for a couple years.
And to be honest, I’ve been reading it for the last week. In many ways, it’s similar to Stone Upon Stone—a long, looping monologue detailing the crazy adventures of one person’s life, very plain language, intricate narrative structure—but also a bit different in the way that narrator isn’t quite as self-mythologizing as the guy from Stone Upon Stone, and the general setting (in a part of Poland completely destroyed in WWII). Regardless, it’s an excellent book, and one that I’m definitely going to finish tonight or tomorrow, and will be reviewing in full next week.
Next up is a book I should’ve read years ago: The Girl with the Golden Parasol by Uday Prakash, translated from the Hindi by Jason Grunebaum, and available from Yale University Press. Jason is a good friend, and one of the funniest people I know, which is one reason it’s inexcusable that I’ve had this on my “to read” shelf for so many months.
The main reason I’m picking it up now though is thanks to Jason’s essay “Choosing an English for Hindi” from the invaluable collection, In Translation, which was put together by Esther Allen and Susan Bernofsky.
In this essay, Jason invents two possible readers for this novel—Krishna, who lives in South Delhi, is a polyglot who is comfortable reading and speaking in Hindi, English, and Panjabi; and Kris, an English-reader born in Detroit and living in Chicago who has lots of South Asian friends and has attended bhangra dance parties. The crux of Jason’s piece is on whether he should translate The Girl with the Golden Parasol for Krishna (and the potentially huge audience of Indians who would be comfortable reading this book in English), or for Kris (and the much smaller number of American counterparts who might buy this), and what falls out from that particular decision.
Leaving certain words from the Hindi in the English translation won’t be the only difference in strategy if I translate for Krishna. I might also decide to write in a more South Asianized English. I might use an idiomatic phrase like, “I am just coming,” confident that Krishna would take this to mean what in American English would translate as, “I’ll be right back.” Sometimes Uday’s characters use English words in their Hindi or even speak in complete English sentences, like when the protagonist, Rahul, bursts into tears, and his friend implores him (and this is the Hindi), “Don’t be senti, Rahul!” “Senti” comes from the word “sentimental,” and here means an excessive public display of emotion: when someone loses it, can’t keep a grip on himself, fails to keep a grip on himself or hold it together. Krishna would know what “senti” means, and I could leave this, and many other instances of English-in-the-Hindi, as is.
There are several more interesting examples, but you’ll just have to buy, borrow, or steal In Translation to find out what they are.
And the last book I’d like to get to this weekend: The Only Happy Ending for a Love Story Is an Accident by J. P. Cuenca, translated by Elizabeth Lowe, and available from Tagus Press.
First off, this is a Brazilian book, and if you’ve been following this blog at all the past few months, you’ve probably heard about my Brazil obsession. (Which will culminate in our publication of Rafael Cardoso’s The Chronicle of the Murdered House in Margaret Jull Costa’s translation a few years from now.) As a result, I’ve been reading bunches of Brazilian books, but mostly by author’s I’d already heard of. By contrast, I hadn’t heard of J. P. Cuenca until reading “Before the Fall” in Granta’s special young Brazilian authors issue.
It’s also really intriguing that the setting for this book is Tokyo, in the near future, and featuring a mad poet whose hobby is spying on his son. I’ve read the first few chapters in this book, and can confirm that the jack copy is pretty much on target:
In poetic and imaginative language, Cuenca subtly interweaves reality and fiction, creating a dreamlike world whose palpable characters, including a silicone doll,2 leave a lasting impression. Written like a crime novel, full of odd events and reminiscent of Haruki Murakami’s work,3 this disturbing, kaleidoscopic story of voyeurism and perversion draws the reader in from the very first page.
What I really like about this book though is the title. Such a great title. And the fact that it’s from Tagus Press, a relatively new venture specializing in lusophone writing.
Anyway, that’s it for this week—see you after the break!
1 OK, yes, I know this is only “weekly” in my mind, but I do have every intention of making this a more regular feature. Also, to follow up on the last one of these posts—the one about Viviane by Julia Deck—I have to tell you that Viviane turned out to be amazing. So amazing that I’m going to be teaching it in my class next semester, and highly recommend it to everyone.
2 If I had written this copy, I would’ve referred to Yoshiko as a “silicone sex doll.” I’m not sure how accurate that is, but from the first page: “I could not be anything else because I have this body, and I only have this body, I am this body. And the purpose of this body is just one thing: to serve Mr. Okuda.”
3 But better.
At some point, we’ll run a review of this book, but for now, I just wanted to point out UWAP’s conscientious approach to highlighting the fact that this book is a translation—an approach that truly sets a new standard for all publishers to follow.
First off, here’s the front cover. Note that Jason’s name is equally as large as both the title and the author. That in and of itself is pretty impressive.
BUT, what’s really impressive is the spine:
And there you are. Based on this single data point, I think that from now on every publisher who fails to acknowledge the translator on the spine deserves to be publicly shamed.
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .