The latest addition to our Reviews Section is a piece by Acacia O’Connor on Valeria Parrella’s For Grace Received, which was published by Europa Editions last fall (which is approximately 7 catalogs in “Publishing Time”) in Antony Shugaar’s translation.
Acacia is one of the MALTS (Masters in Literary Translation Studies) students here at the University of Rochester. (For more info on our programs, click here.) She’s been interning for Open Letter all semester, during which time she came up with a couple killer marketing ideas, including an iPhone app that we need a developer for (it’s an anti-guinea pig game) and a really, really cool idea about reading groups, the physicality of books, and Benjamin Stein’s The Canvas.
She actually wrote this review for another class, for which she was supposed to write a review that really looked at the translation as a translation. Which makes this a really interesting piece.
They say “See Naples and die” (Vedi Napoli e poi mori). I once thought this meant that Naples, bordered on one side by a still-active volcano and the sparkling sea on the other, is so breathtaking that there’s no use searching for anything more beautiful. Not so, a southern Italian corrected me. In Naples you notice every little angle of life: Leopardi’s desert flower growing out of the Vesuvian hillside; sad-faced old women in babushkas living on the ground floors of bent and dirty alleys; desperate Senegalese immigrants scheming to pick the pockets of almost-as-desperate Neapolitan teenagers; the soaring song of the tarantella. After a few days in Naples, you’ve soaked in everything in its chaotic, dirty, beautiful honesty.
[. . .]
The collection consists of just four stories, but together they manage to touch on many of the major obstacles life in Naples—or anywhere else—presents. Okay, so there are some things that life does not thrust upon everybody: stabbings, mob bosses, stints in prison, adulterous affairs, drug trafficking, black market books, black market CDs. But in a certain sense these events are incidental. They are presented matter-of-factly, because for anyone familiar with a certain reality of Naples it truly is a matter of fact. Equally important to Parrella’s stories, however, are the emotional consequences for her characters, who sense the limitations of their lives and grapple with them. A copy shop boy in the story “Siddhartha” who once played guitar beautifully and could again, maybe, someday. The woman who despite having it all, longs for “The Imagined Friend.” They are conscious of Possibility and this awareness is painful.
The challenge Parrella’s work presents the translator is that it is idiomatic and makes use of the local dialect. The narration is conducted in a modern voice of Italian while dialogue makes frequent use of dialect. When I began reading Shugaar’s translation before having read the Italian, I wondered if the author had cut down using dialect in this second book of short stories. Well, yes and no. Neapolitan does appear less frequently, appearing via the use of mo’ (now/_adesso_) and ‘sto (this/_questo_), for example. Where it does appear, however, is practically invisible in translation, indicating that Shugaar has normalized the text, attempting to render it in a single English voice. Not only are they normalized, sometimes dialect phrases or casual comments do not always appear in a similarly casual voice in English, thus seeming overformalized.
Click here to read it all.
“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.”
“And this—what. . .
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. . .
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. . .
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. . .
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. . .
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. . .
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. . .
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.. . .
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. . .
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. . .