As part of this week’s Read This Next feature on Julio Cortazar’s From the Observatory, we just posted an interview with translator Anne McLean about this book, Cortazar in general, and the other authors she’s worked on.
You can read the whole piece here, and here’s a short excerpt:
CWP: As a long time fan of Corátzar (especially the “big” books—Hopscotch, Blow Up, 62: A Model Kit), I’ve been pleasantly surprised and thrilled by the Corátzar books Archipelago has “unearthed.” In my opinion, these really add to the Corátzar mythos . . . From the Observatory isn’t Hopscotch, Part II. It’s still obviously Corátzar, but a more poetic, almost reflective Corátzar. What’s is it like for you to be responsible for bringing this “other Corátzar” into English?
AM: It’s thrilling for me, and also very daunting (as with any seriously good writing, really, when you’re translating it you spend half the time thinking: oh, I can’t wait for people to be able to read this in English, and the other half wondering how on earth you can ever possibly recreate the wonderfulness of the original). But there are many, many “other Cortázars”; there were lots and lots of different Julios inside that one giant of a writer. Many of them were at play and in action in Hopscotch, for example. But you’re right, of course, From the Observatory does come from Cortázar’s reflective, poetic, philosophical side.
CWP: The lyrical nature of this book mixed with the striking images of Jai Singh’s observatories creates a really stunning work, but one that’s hard (for me) to get a handle on. How would you describe From the Observatory to a casual reader?
AM: If forced to describe From the Observatory, I would probably describe it as indescribable, but I guess that wouldn’t help much.
It’s a prose poem about the life cycle of Atlantic eels and about an early eighteenth-century Indian astronomer-prince and his (imagined) observations of the night sky and about science and its fascinations and limitations and poetry and its possibilities and about opening up to life and love and about challenging ourselves and changing the world.
Hey, you know, it was the still practically the sixties.
Click here for the whole conversation.
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .