17 July 08 | Chad W. Post

So at times I take a bit of pride in my Canadian heritage and think about how cool parts of Canada are, about all the interesting publishers up there, about how nice everyone is, etc. And I make an internal promise to pay more attention to Canadian publications, presses, and the like. But for whatever reason, although I’m living only a small Great Lake away from the largest Canadian city, there’s still a sort of cultural wall between the U.S. and Canada that’s difficult to break through.

A case in point is the new issue of Canadian Notes & Queries which is dedicated to translation. If it wasn’t for Jack Kirchhoff from the Toronto Globe & Mail mailing me a copy, I probably never would’ve come across this.

But this issue—which arrived yesterday with a slew of packages I suspect mail services has been hoarding for weeks—is remarkable and definitely worth spending some time with.

The intro piece by Mike Barnes is cool in part because it’s all about Celine, and tangentially relates to Michael Orthofer’s recent diss of Ralph Manheim’s translations.

The two translation [John Marks’s and Ralph Manheim’s translation of Celine’s Journey to the End of the Night] are so different, line by line, word by word, that it is obviously extremely difficult, requiring much ingenuity, judgement and (presumably) compromise, to render Celine’s language into English. More interestingly, though, the distinctive lineaments of Celine’s creation emerge so unmistakably from both translations that, though made of words, they seem impervious to words. The ideas are too cool not to make it across. (Within limits, obviously; they are immune to the fluctuations of skilled translators doing their level best by the work.) This, and not premature senility or recollected mania, was why I’d felt such ennui reading Manheim’s new translation: I was expecting a revelation, but I’d already had it. Manheim’s new version was more smoothly readable while more sharply particular, grittier, earthier, an improveme in most (not all) ways over Marks’s fifty-year-old, and now a little fusty and clunky by comparison, original. But —

He then goes on to make some line by line comparisons, which are fantastic in the way that Celine’s writing is fantastic, especially when taken totally out of context. First the Manheim, who shies away from nothing, followed in brackets by the Marks.

Upstairs the woman’s ass was still bleeding. [The woman on the third floor was still bleeding profusely.]

The day when those motherfucking wagons would be shattered to the axles . . . [The day those swine and their waggons were smashed to splinters . . .]

. . . the unforgettable depth of her fucking, her way of coming like a continent! [. . . her gift for tremendous delights, for enjoyment to her innermost depth.]

Personally, the Manheim is the one I prefer. Possibly because that’s the one I’m familiar with, the Celine I know, but I think it goes beyond that. Manheim is more direct, vulgar, and vivid. His translation leaps and crackles in a jangly, almost out-of-control way that I find captivating . . .

Anyway, this is so getting away from the issue of CNQ . . . Almost nothing is available online, which is really unfortunate, since so many of the pieces are worth reading:

  • Stephen Henighan’s “The Translation Gap” addresses some of the issues related to teaching literature in translation;
  • Robyn Sarah’s “Delivered to Chance” is about the experience of having her poems translated into French;
  • Alberto Manguel has a short piece on “Translating Borges”;
  • Goran Simic’s essay “To Be Exiled Writer . . . Or Not to Be at All” echoes some of the sentiments found in Dubrakva Ugresic’s Nobody’s Home;
  • Sheila Fischman writes about “A Life in Translation”;
  • And Heather Spears writes about “The Pleasures and Pitfalls of Translating Danish into English.”

There’s even more to this issue—including a nice book review section covering translated poetry and books that came out a few years back—but this post is already way, way too long.

This issue can be ordered online (I think, once again, it’s the same old publisher-website problem and the site isn’t very sophisticated) or by contacting the publisher at 519-256-7367 or biblioasis@yahoo.com.


Comments are disabled for this article.
....
The Truce
The Truce by Mario Benedetti
Reviewed by Adrianne Aron

Mario Benedetti (1920-2009), Uruguay’s most beloved writer, was a man who loved to bend the rules. He gave his haikus as many syllables as fit his mood, and wrote a play divided into sections instead of acts. In his country,. . .

Read More >

I Am a Season That Does Not Exist in the World
I Am a Season That Does Not Exist in the World by Kim Kyung Ju
Reviewed by Jacob Rogers

Kim Kyung Ju’s I Am a Season That Does Not Exist in the World, translated from the Korean by Jake Levine, is a wonderful absurdist poetry collection. It’s a mix of verse and prose poems, or even poems in the. . .

Read More >

Kingdom Cons
Kingdom Cons by Yuri Herrera
Reviewed by Sarah Booker

Yuri Herrera is overwhelming in the way that he sucks readers into his worlds, transporting them to a borderland that is at once mythical in its construction and powerfully recognizable as a reflection of its modern-day counterpart. Kingdom Cons, originally. . .

Read More >

The Invented Part
The Invented Part by Rodrigo Fresán
Reviewed by Tiffany Nichols

Imagine reading a work that suddenly and very accurately calls out you, the reader, for not providing your full attention to the act of reading. Imagine how embarrassing it is when you, the reader, believe that you are engrossed in. . .

Read More >

A Simple Story: The Last Malambo
A Simple Story: The Last Malambo by Leila Guerriero
Reviewed by Emilee Brecht

Leila Guerriero’s A Simple Story: The Last Malambo chronicles the unique ferocity of a national dance competition in Argentina. The dance, called the malambo, pushes the physical and mental limits of male competitors striving to become champions of not only. . .

Read More >

The Little Buddhist Monk & The Proof
The Little Buddhist Monk & The Proof by Cesar Aira
Reviewed by Will Eells

Aira continues to surprise and delight in his latest release from New Directions, which collects two novellas: the first, The Little Buddhist Monk, a fairly recent work from 2005, and The Proof, an earlier work from 1989. There are a. . .

Read More >

Agnes
Agnes by Peter Stamm
Reviewed by Dorian Stuber

The narrator of Peter Stamm’s first novel, Agnes, originally published in 1998 and now available in the U.S. in an able translation by Michael Hofmann, is a young Swiss writer who has come to Chicago to research a book on. . .

Read More >

Class
Class by Francesco Pacifico
Reviewed by Vincent Francone

The thing about Class is that I don’t know what the hell to think about it, yet I can’t stop thinking about it. I’ll begin by dispensing with the usual info that one may want to know when considering adding. . .

Read More >

The Dispossessed
The Dispossessed by Szilárd Borbély
Reviewed by Jason Newport

To be, or not to be?

Hamlet’s enduring question is one that Szilárd Borbély, acclaimed Hungarian poet, verse-playwright, librettist, essayist, literary critic, short-story writer, and, finally, novelist, answered sadly in the negative, through his suicide in 2014, at the. . .

Read More >

A Greater Music
A Greater Music by Bae Suah
Reviewed by Pierce Alquist

A Greater Music is the first in a line of steady and much-anticipated releases by Bae Suah from key indie presses (this one published by Open Letter). Building off of the interest of 2016 Best Translated Book Award longlist nominee. . .

Read More >

The next few events from our Translation Events Calendar: See More Events >