Robin Myers is one of the very cool young translators that I met for the first time at this year’s ALTA conference. In many ways, she’s the perfect example of the benefits of ALTA’s fellowship program . . . A student at Swarthmore who is focused on translating Spanish poetry, I can’t imagine she would’ve ever attended ALTA if she hadn’t have received a fellowship. But thanks to that, she was able to attend a lot of panels (which I think she liked), meet a lot of fellow translators (such as Stephen Kessler who talked to her about translating Luis Cernuda), present her own translations (which must be an amazing experience), and have a great night out at Liquid Kitty (and yes, I’m just going to let that statement ride).
It’s meeting people like Robin (and Erica and Sarah and Andrea and Wendy and Lucas and Jason and J.P. and a host of other young, hip translators, many of whom will be featured here in the near future) that makes the ALTA conference so much fun, and gives me a great deal of hope about the future of the organization and translation as a whole. That there are so many energetic, brilliant, passionate people involved in this field is incredibly encouraging and exciting.
Anyway, on to the questions and comments:
Favorite Word in Any Language: Luciernaga (“firefly”)—for the sound!
This really is a beautiful word to pronounce—or hear pronounced. Much more so than “firefly.” What’s really funny about Robin’s answer is that “luciernaga” was Megan McDowell’s second favorite word, and at one point, Robin tried to change her answer to “murcielago,” which is Megan’s absolute favorite word.
Best Translation You’ve Done to Date: “Don’t Copy Pound” by Gonzalo Rojas
Again, I can’t find a copy of the English version of this poem online (Robin—you should post it in the comments or e-mail it to me), but here’s a write up on Rojas from Poetry International that mentions it:
Rojas is a hard-to-classify, somewhat enigmatic poet, whose work nonetheless convinces instantly. He admonishes, jokes, complains and protests, in a poetry that defies all existing hierarchies. It is even anarchistic, in every possible way. There is a constant tension between colloquial speech and poetic license, between the ordinary and the absurd.
Rojas likes to drop names, from the past as well as the present. Past and present freely intermingle. Nor does he leave out the future. The dramatic unities of time, place and action are abandoned with an obvious vengeance and even the syntax is free. All in all, one might argue that he is not unlike Ezra Pound. Significantly, one of Rojas’s funniest poems bears the title ‘Don’t copy Pound’. Rojas does not copy Pound, but he shares the American’s awesome vitality. And he, too, needs many words. There is, indeed, a talkative quality to this poetry. We are continually being talked to, engaged in polemics, in dialogue. We, the readers, are kept on our mettle. The poem rarely shows us where it is going until we have reached the end. While reading, we seem to be determining the outcome ourselves.
‘Desocupado lector’ (To the idle reader) has such an ending, which determines the perspective in retroaction. In this case the perspective is abysmal, yet the effect is bracing rather than depressing. It is all part of Rojas’s careful design.
Book that Needs to Be Published in English Translation: Poems of Ezequiel Zaidenwerg (Argentina) and Hernan Bravo Varela (Mexico). Both are young gifted poets, and are themselves wonderful translators into Spanish.
Not a lot available online about either of these poets, but is that all that surprising? I’m echoing something Erica told me (and hopefully not overlooking some kick ass website), but there really does need to be a better hub for information on international poets. There is lyrikline.org but they can only do so much . . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .