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:
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 firstname.lastname@example.org.
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. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .