27 October 08 | Chad W. Post

Over at Love German Books is a very interesting interview with Ross Benjamin about his translation of Kevin Vennemann’s Close to Jedenew for the Melville House Art of the Contemporary Novella series.

Ross, tell us about the book . . .

It’s an account of a pogrom against a Jewish family by their neighbors, who had been their longtime friends, in a fictitious village called Jedenew near the Polish-Lithuanian border during the German invasion. This horrific incident is recounted in the first-person plural — “we” — and the group of characters indicated by this pronoun expands and contracts at various points, but the point-of-view of these passages is aligned with a single female protagonist who remains nameless. During the onslaught, she and her sister Anna hide in their unfinished treehouse in the woods, where they witness the destruction of their home. Having lost their loved ones, they recall the events of their truncated childhood and especially stories that have been told to them by their father and their older brother. Different voices, tales, and memories interweave as the narrative moves forward and backward in time, the scenes and speakers often shifting unexpectedly in the middle of a sentence. The novel never departs from the present tense, even when this means violating grammatical convention. The effect is a sense of simultaneity that heightens the harrowing loss at the heart of the novel.

[. . .]

You’ve kept the very difficult grammatical structure (all present tense, confusing sentence structure) more or less untouched, as far as I can tell. Were you tempted to take a more interventionist approach? If not, why not?

I felt strongly that the exclusive use of the present tense was an essential feature of the novel, so I was never tempted to alter it. Even when German grammar would usually require another tense, whether past, future, or indirect discourse, the novelist stayed in the present, and if this was at times awkward in the original, the awkwardness was clearly a deliberate effect. So I reproduced this to the best of my abilities in the translation. Of course, this posed a challenge. Overall, I had the impression that the German language was more conducive to Vennemann’s technique than English, for both the historical present and the ability to refer to future events in the present tense are available, conventional options in German more often than in English. So at times something that was only somewhat jarring in the original would be more intensely jarring in English. But I thought this still reflected the author’s aesthetic better than to restore grammatical fluidity and familiarity would have. Though I tried to keep the level of estrangement close to that of the original, at times some degree of enhanced awkwardness in the English version was inescapable. But since the device was used as a grammatical Verfremdungseffekt in the German version, this felt justified. As for the complexity of the syntax, some degree of confusion is endemic to the novel. Again, such intricate, long sentences are less unusual in German than in English, but my rationale for retaining them was similar to my approach to tense. The labyrinthine nature of the sentences in the original was intentionally disorienting, and to efface this by composing more easily readable sentences would have been to dispense with a key aspect of the experience of this novel.

Comments are disabled for this article.
Rambling Jack
Rambling Jack by Micheál Ó Conghaile
Reviewed by Vincent Francone

“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.”
“50 pages?”
“Including illustrations.”
“And this—what. . .

Read More >

The Things We Don't Do
The Things We Don't Do by Andrés Neuman
Reviewed by Tiffany Nichols

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. . .

Read More >

Private Life
Private Life by Josep Maria de Sagarra
Reviewed by Christopher Iacono

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. . .

Read More >

Dinner by César Aira
Reviewed by Lori Feathers

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. . .

Read More >

We're Not Here to Disappear
We're Not Here to Disappear by Olivia Rosenthal
Reviewed by Megan C. Ferguson

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. . .

Read More >

The Queen's Caprice
The Queen's Caprice by Jean Echenoz
Reviewed by Christopher Iacono

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. . .

Read More >

French Concession
French Concession by Xiao Bai
Reviewed by Emily Goedde

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. . .

Read More >

Anna Karenina
Anna Karenina by Leo Tolstoy
Reviewed by Christopher Iacono

For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .

Read More >

The Cold Song
The Cold Song by Linn Ullmann
Reviewed by David Richardson

Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .

Read More >

This Life
This Life by Karel Schoeman
Reviewed by P. T. Smith

Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .

Read More >

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