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.
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