Our latest review is of Can Xue’s Five Spice Street (click here to order from Harvard Book Store; click here for the review), which was recently released by Yale University Press as part of the Margellos World Republic of Letters Series.
Before getting into the review itself, I want to mention that Can Xue and Isabel Allende are appearing together at the 92nd St. Y on April 13th at 9:00pm. And that this might be the most unlikely pairing of authors I’ve ever seen. (If you read my review, you’ll probably know what I mean.)
Here’s the opening to the review:
Recently, I happened to be on the same flight as super-translator Michael Henry Heim (who literally speaks more than a dozen languages). We got to talking about books (naturally) and about what we were currently reading, and as it turns out, we had both brought along Can Xue titles for our trip. He was reading Blue Light in the Sky & Other Stories (from New Directions) and I was reading Five Spice Street (just out from Yale University Press).
What Michael noticed when I gave him my copy of the book and press release (the reason I’m mentioning him at all in this review), is that the quote on the press release was an unedited version of the opening paragraph of the novel.
Since there are very few reviews that focus on the translation (other than to say it was “smooth” or “occasionally clunky”), I thought I’d take a moment to point out the great editing job Yale did on this opening paragraph and what a difference this can make.
So, from the unedited version on the press release:
“When it comes to Madam X’s age, here on Five Spice Street opinions differ: there’s no way to decide who’s right. There must be at least twenty-eight points of view, because at the oldest, she’s about fifty (for now, let’s fix it at fifty); at the youngest, she’s twenty-two.”
(For the rest—including the edited version of that paragraph—click here.)
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. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .