15 February 11 | Chad W. Post

Similar to years past, we’re going to be featuring each of the 25 titles on the BTBA Fiction Longlist over the next month plus, but in contrast to previous editions, this year we’re going to try an experiment and frame all write-ups as “why this book should win.” Some of these entries will be absurd, some more serious, some very funny, a lot written by people who normally don’t contribute to Three Percent. Overall, the point is to have some fun and give you a bunch of reasons as to why you should read at least a few of the BTBA titles.

Click here for all past and future posts.

Touch by Adania Shibli, translated by Paula Haydar

Language: Arabic
Country: Palestine
Publisher: Clockroot
Pages: 72

Why This Book Should Win: Only book translated from the Arabic on the list; Clockroot Books deserves more attention and praise; she is “The Most-Talked-About Writer on the West Bank.”

Today we finally get another publisher involved, as Hilary Plum of Clockroot wrote this post.

In 2008 when Pam and I were starting Clockroot—a new imprint of Interlink Publishing for literature in translation—we readied ourselves for questions such as: how do you decide what translations to publish? What works to translate? I don’t know if we expected anyone out in the world to ask us this, or whether we were really asking ourselves. In any case, we had our answer prepared, having stolen it from Adania Shibli, who when asked by the Guardian what Arabic writers should be translated into English replied:

I remember a story from four years ago in Ramallah. One night the Israeli army stormed a building in which somebody I knew lived. Everyone was told to get out. After a few hours, the army announced it wanted to blow up the building and gave the inhabitants 20 minutes to go up to their rooms and retrieve what they could. When my friend went up he didn’t know what to take; he had all of his life there, he was totally lost. He finally went to the washing machine, emptied it and went out with the washing, leaving everything else behind to be blown up a few minutes later.

In the same way, I could never say which text to have translated from Arabic into English; if I did, it might be the least important.

It’s the better story to say that on reading this we decided that the texts we should translate should be Adania Shibli’s. In some way this must be true—we signed on both of Adania’s novels without being able to either in full, relying on tantalizing pieces that had been published in translation in magazines, and a stunning essay translated and introduced by Anton Shammas in the 2007 Words Without Borders anthology.

As publishers, we have to do what we can for our books, let our hands get dirtied in “the market,” or maybe we should just call it the world. A few years ago Ahdaf Soueif wrote an article in which she hailed Adania as “the most talked-about writer in the West Bank”—a phrase we of course used in publicity, and which several reviews noted as ultimately maybe regrettable hype. Of course it’s hype, we replied, but we would like people to read her books—actually, of course, we didn’t reply, how could we? Which is no doubt why I am doing so here. The point is, on behalf of our authors sometimes we must deny ourselves the freedom and rigor of expression that we value in our authors. (In a recent interview, when asked “Do you feel that you represent the new generation of Palestinian authors?” Adania answered, “No. (In fact I hardly represent myself and most often fail to do so.)” and proceeded to discuss exile in the internet age, the late work of Darwish, Palestinian literature as “the literature of the last breath that never ends.”)

All publishers know: when the world calls for hype, you hype. But how do we get the taste of all this hype out of our mouths, how do we get to talk again about literature, about falling in love? And—because, after all, our own feelings should not be that important—how do we shield our writers from all this hype, all this world? How do we hold a space open for Adania and her writing in English translation, under the weight of such labels as “the new generation of Palestinian writers,” a “Palestinian woman writer” (picture here all the tired stereotypes of “Muslim women speaking out,” that sort of thing—these will be lingering in the shadows, in the US of 2011 we can’t be free of them, they’re there). Let’s try to answer all these questions at once, for Touch. Because the answer isn’t so hard—_Touch_ holds open its own space, and luminously:

Everyone managed to find black outfits to wear, except the little girl. The search for a black outfit for her, followed by an attempt to improvise one, nearly made the family forget their grief, so it was decided that this task should be left to her.

The closet door was always half open, because no one fixed it or showed any interest in fixing it.

The girl removed all the clothes from the closet and placed them in the small space between the closet on one side and the beds on the other. The pile of clothes remained multicolored, despite what the constantly angry art teacher said, that all colors mixed together would make white.

A pair of dark blue velvet pants and a wool sweater that had in addition to the dark blue other little colors won the almost-black outfit contest. After she put them on, she found a hole in the pants near the left knee.

On the way to the mosque, she bought a bottle of cola with a red ribbon on it. The liquid inside it was black, or closer to black than to any other color around her. She continued on her way, holding the bottle in her right hand and hiding the hole in her pants with her left.

She was the last to arrive at the square of the mosque. When she got there, she found that the mother had fainted and had been taken to an ambulance parked out back, so she headed in that direction.

The back door of the ambulance was open, but she could not get to it, because a huge crowd of women in black created an immense wall between her and the door. She could not even get a glimpse of the mother’s shoes. As the crowd of women in black got bigger and bigger, she, in her dark blue clothes, got pushed further and further back, unable to resist. Her right hand was holding the bottle and her left was covering the hole. She could not remove her hand, or everyone would see the hole.

The pushing became harder and harsher, and each time it would force her hand away from the hole, so she would press on it harder and harder, using all her strength, including that in her right hand. That hand now had weakened its hold on the bottle, and a little black liquid leaked out with each step she was pushed backward.

At the end of the square, the wall of the mosque rose behind the girl, keeping her from getting pushed back any further. She stood there looking toward the ambulance, which had no white left, after the black drape of women wrapped it. But above, on top of the ambulance, the red light kept spinning inside itself, not veiled by anything, switching regularly from dark red to light red. She waited for its regular return to dark red, so that it would look like the red label on the empty bottle in her hand.

Translated from the Arabic by Paula Haydar

In years of reading literature in translation, of reading Arabic fiction—really just in years of reading—Pam and I had never read anything quite like Touch. Its spare, idiosyncratic beauty, the slow pace of the girl’s encounter with the world, so slow as to be merciless, to break your heart, but no, you must go on steadily, as she does. When I think of the novel, I don’t remember particular phrases so much as a feeling, something like: the side of a fist rubbing away the breath fogged within a car windshield—outside, it’s just night. Can I say that this is a book like that? And then add that, also, it’s not—if as publishers we can only offer so much, it’s nice to remember that at least we’ve offered each book the chance to go out and speak for itself.


Comments are disabled for this article.
....
Sphinx
Sphinx by Anne Garréta
Reviewed by Monica Carter

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. . .

Read More >

Morse, My Deaf Friend
Morse, My Deaf Friend by Miloš Djurdjević
Reviewed by Vincent Francone

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. . .

Read More >

The Crimson Thread of Abandon
The Crimson Thread of Abandon by Terayama Shūji
Reviewed by Robert Anthony Siegel

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. . .

Read More >

Life Embitters
Life Embitters by Josep Pla
Reviewed by Christopher Iacono

Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .

Read More >

The Physics of Sorrow
The Physics of Sorrow by Georgi Gospodinov
Reviewed by Izidora Angel

“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .

Read More >

Vano and Niko
Vano and Niko by Erlom Akhvlediani
Reviewed by Vincent Francone

What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .

Read More >

The Indian
The Indian by Jón Gnarr
Reviewed by P. T. Smith

The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .

Read More >

Mother of 1084; Old Women; Breast Stories
Mother of 1084; Old Women; Breast Stories by Mahasweta Devi
Reviewed by Christopher Iacono

Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .

Read More >

Tristana
Tristana by Benito Pérez Galdós
Reviewed by Lori Feathers

The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .

Read More >

The History of Silence
The History of Silence by Pedro Zarraluki
Reviewed by P. T. Smith

Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .

Read More >

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