The January 2011 issue of Words Without Borders is now available, and has a number of really interesting pieces. This issue’s theme is “The Work Force,” which is elaborated on in the little intro to the issue:
Whether loathed or loved, work provides both livelihood and identity; and in times of economic depression and shrinking labor markets, jobs assume even greater importance, determining both personal and political stability. Whether reinventing themselves in a new economy or sticking it out in an old one, the characters here demonstrate the variety of the international work force.
Here’s a list of the pieces that most caught my eye:
The blue building was empty, the name of the factory had been changed, and tough shit for the men and women who had been tossed out—“report to the occupational reclassification department,” which wouldn’t reclassify many people. (I’m writing in March 2004: this reclassification task, which began fifteen months ago, was finished three months ago and still no statistics are available.)
Layoffs continue, and if we’re talking about businesses—their holy name, “business“— that employ less than fifty people, the layoffs are not even accounted for. At Fameck, the blue building is still there, looking sharp with its white gate, while the condition of cars parked in town attest to everyone else’s general health: not so great. But the serious cracks running across the surface of the old world today do not readily reveal the reasons that make them apparent.
(Translated from the French by Alison Dundy and by Emmanuelle Ertel)
The hundred people who work at the Tutto Colore clothing factory have hardly noticed me. I could have been an actor, but here I’m invisible, like an extra. I’d like to think that I’m a spy with a good cover but the truth is that I’m a guy who works in a warehouse; and I have been for a month, for ten hours per day. In the course of these four weeks at work I have repeated a handful of phrases that seldom vary: “Yes, Sir. No, Sir. I’ll do it right now.” I’ve learned to move around the second floor, where I’m stationed, with the agility of a sailfish.
Every day I warehouse garments on metal shelves that look like the skeleton of a space shuttle. I also take inventory of T-shirts and sweatsuits on a long table like the ones in high-school cafeterias and I take orders from my boss—a neurotic man who won’t let me and my coworkers listen to music—with Benedictine humility. On the other floors in the factory, people knit their brows less. They relax, listening to rancheras, merengues, ballads. We work without a sound track. If we could mumble along to any song, whatever it would be, I’m certain of two things: 1. The men I work with would stop obsessively discussing how to keep their women happy and 2. I wouldn’t keep picking my life apart as if it were a Rubik’s cube.
(Translated from the Spanish by Samantha Schnee)
The recent announcement of Shakespeare and Company’s “Paris Literary Prize,” to be awarded to the best novella by an unpublished writer, set me thinking about my inspiration to go into publishing: Shakespeare and Company’s founder Sylvia Beach. (Like many teenagers with literary aspirations, I spent an intense few months working for the bookshop’s current owner, George Whitman.) Beach’s Paris bookshop and lending library was more than just a space where writers could meet and find inspiration; it became a publishing house as well when Sylvia stepped into the breach to produce the first edition of James Joyce’s Ulysses. Sadly, without a mother in Princeton to whom I could cable “Opening bookshop in Paris. Please send money,” I was forced to take a more conventional route into publishing: I got a job as an editorial assistant at Chatto & Windus, an imprint of Random House UK. And given that I was unexcitingly conventional, it was initially hard to see how I could inspire writers to want to work with me. I couldn’t give them an exotic bookshop to hang out in, or—at that point—sign up their novels and trumpet them to influential friends in the media. The only thing of value I had to offer, I decided, was my willingness to read their books closely and carefully, and to make suggestions about how those books might be improved. Thus began my attempt to teach myself to be a good editor.
Notebook # 1. Monday, October 2.
I’ve already been back three days. I returned to Djibouti for professional reasons, not to feast at the table of nostalgia or reopen old wounds. I’m twenty-nine, and I’ve just signed a contract with a North American company; my remuneration will be substantial. I must hand in the results of my investigation, which cannot fail to satisfy its gargantuan appetite: a complete file, with notes, maps, sketches, and snapshots, to be delivered to the Denver office ASAP. I have just under a week to wrap up the whole thing. I will be paid in Canadian dollars transferred to my account, based in Montreal—like me. After that, I am no longer covered by the company. It will be at my own expense. At my own risk, their legal counsel Ariel Klein repeated to me, frowning with his one long eyebrow, as bushy as Frida Kahlo’s. He wished me good luck, turned on his heel and walked away. I headed to the airport with my little trapper’s suitcase.
So here I am on assignment in the land of my birth, the land that would not or could not keep me. I have no talent for sadness, I admit. I don’t like good-byes or returns; I hate all emotional demonstrations. The past interests me less than the future and my time is very precious. It has the color of a greenback. In the world I come from, time doesn’t stretch out before you into the mist. Time is money. And money makes the world go round. Money is the stock market, with its flows of pixels, algorithms, figures, commodities, manufactured goods, rating indexes, ideas, sounds, images or simulation models that pop up on screens the world over. It is the life force of the universe, it’s about killing the competition and grabbing the coveted market.
(Translated from the French by David and Nicole Ball)
At nine a.m. the few people standing around on the subway platform are watching the news on the screens provided by the Barcelona Channel. The trains comply scrupulously with the minimum-service laws. They are running half-empty and many seats are unoccupied, which would be unthinkable at this time of day any other day, when occupancy approaches that of sardines in a can.
In front of the Goya Theater, at the top of Joaquín Costa, there are fewer whores than usual. Perhaps in keeping with the minimum-service notice. The overwhelming majority of shops are closed: from supermarkets to cosmetics stores, including bakeries and auto-repair shops. On Sepúlveda a charcuterie uses the old ploy of keeping the metal gates half-open, so that if a client shows up they can serve him, but if a picketer shows up they appear to be closed. In contrast, the local bar is open, which even the strikers are grateful for. “You’re very brave,” one of them says to the owner of the establishment, as he drinks his beer. “It’s not about bravery. If we don’t work, we don’t eat.” On the sidewalks lie piles of uncollected garbage in enormous black bags, some of them split open. A beggar pisses on one of them, and when he’s finished he lies back down on his piece of cardboard.
(Translated from the Catalan by Mary Ann Newman)
As always, it’s worth checking out the whole issue . . . including the so-so review of Zone.
Floating around the internet amid the hoopla of a new Haruki Murakami release, you may have come across a certain Murakami Bingo courtesy of Grant Snider. It is exactly what it sounds like, and it’s funny because it’s true,. . .
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
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”. . .