Will Vanderhyden (aka “Willsconsin,” which separates him from “Bromance Will” and “Will Cleveland” and all the other Wills that roll through the ROC) is one of the current MA students in the translation program here at the university. (Speaking of, if you’re interested in the program—which is incredible, and has an extremely high rate of publication success—you should apply now. In addition to learning about the art and craft of translation and having a great group of people to learn with and from, you get to work with me here at Open Letter . . . In our new, super-cool offices!1) He specializes in Latin American literature, and is currently translating a few things that Open Letter will be bringing out . . . More on that in another post.
For now, here’s the opening to his review of Sarduy’s Firefly:
To read Severo Sarduy, in the words of Rolland Barthes, is to be “gorged with language,” immersed in “the teeming flux of every kind of linguistic pleasure.” Firefly, the first novel from the Cuban born Médicis Prize winner to be translated into English in over a decade, is a funny and sad coming-of-age story. In keeping with Barthes’ description, Sarduy’s prose—skillfully rendered in Mark Fried’s translation—is virtuosic delight. The syntax is playful, overflowing with expressive modifiers and colorful descriptions that masterfully evoke the swarming excess of the tropics, and the libidinal chaos of adolescence.
Firefly is set in a fictional city—Upsalón U—where the whole history of pre-Castro Cuba comes together in a asynchronous jumble of symbols and cultural markers: hurricanes, slave markets, seamy brothels, mystical cults, radios, jukeboxes and baseball caps (even a big screen TV) coexist in the fluid disorder of a dream or hallucination.
The novel’s protagonist, Firefly, is an aimless, adolescent boy, “a spidery map of bones” with an “oversized head” and a penchant for misadventure. In the opening chapter, as a hurricane rages outside, Firefly, frightened by the storm, is mocked and ridiculed by his family. Humiliated and angry at always being the butt of the joke, he takes his revenge by serving them cups of linden flower tea spiked with rat poison. “So that no one will know I’m afraid.”
In the hospital, surrounded by his comatose family, Firefly pretends to be dead to avoid being blamed for their state. His scam is quickly uncovered by “two retired luminaries of the island’s medical community”—Isidro (an “obese . . . pile of blubber”), and Gator (“olive-skinned, long and bony, all obtuse angles and kinks”). This contrasting pair of quack doctors reappears at random moments throughout the rest of the story, coming to represent the island’s corruption and to embody Firefly’s paranoia and exile from the world of his childhood.
Firefly manages to escape from hospital and he is taken in by Munificence, a “towering” woman who runs a charity school. She provides him with a place to sleep and a job as an errand boy. From that point on, Firefly passes through a sometimes-funny sometimes-surreal series of experiences: he falls in love with the redheaded nymphet, Ada; he discovers the pleasures of alcohol; witnesses acts of corruption and cruelty; catches a case of Lethargy cubensis—a hilarious made up illness, cleverly poking fun at lazy, alcoholic Cubans; runs away; and visits strange brothels and nightmarish sex shows. Sarduy’s pacing is masterful, building a spiraling, downward momentum that has the feel of a week of binge drinking or a bad acid trip. That results is a sort of beautiful mayhem, where nothing makes sense and everything is false, what Firefly describes as “a frayed tapestry with no apparent pattern, seen in a dream.”
Click here to read the full review.
1 Yes, we’re moving again. But this time the move is into a space that’s both appropriate (a suite where we all to work together! with space for grad students!) and permanent. Pics TK, but if I’m MIA on the blog for a couple days it’s because I’m trying to unpack all of my accumulated shit.
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