As in years past, we will be highlighting all 25 titles on the BTBA Fiction Longlist, one by one, building up to the announcement of the 10 finalists on April 10th. A variety of judges, booksellers, and readers will write these, all under the rubric of “Why This Book Should Win. You can find the whole series by clicking here. And if you’re interested in writing any of these, just get in touch.
With the Animals by Noëlle Revaz, translated from the French by W. Donald Wilson
I wrote this one. Initially out of necessity—no one else snatched this one up—and a desire to read this “Céline-esque” novel, since I need a little more mud and anger in my life.
1. W. Donald Wilson’s introduction. Well, not specifically his introduction, which is fine in and of itself, but his articulation of the core problem in translating With the Animals:
In the original French, Paul [the narrator and protagonist of the novel, an uneducated farmer who smacks his wife around and can’t remember the names of his kids] lives in no specific place, nor does he use any particular form of speech or dialect: his idiom is an invented one. Of course many of the idiosyncrasies of his French are unavailable in English, such as his mangling of the more complex French negatives, his ease in inventing reflexive forms of verbs and his placement of adjectives before rather than after nouns (and vice versa). Also unavailable was his constant use of the impersonal pronoun “on,” used to create a greater impression of detachment and depersonalization than is allowed by its closes available English equivalent, “you.” I was therefore concerned to develop a voice that, while delivering that “slap in the face,” would not show any strained attempt to write incorrectly or distort the English language unnaturally, but would flow instead from Paul’s character and situation. Lacking any example or conventional usage to follow, Paul would have to improvise his language, resulting in a certain stylistic awkwardness. His word-order would be unconventional, reflecting the spontaneous order of his thoughts (for instance in the placement of adverbs or in stating the topic or subject of sentences first, as in Georges, he said). His use of conjunctions would be weak. Object pronouns would sometimes be omitted, and the definite article would sometimes occur where no article is normal in English. He would be uncertain of grammatical categories, confusing nouns, adjectives, and verbs. His grasp of verb forms, especially the verb ‘to be’ (as in there is + plural, or you/we/they was), and of pronouns would be unsure (as in me for I and them for those). Yet he would not use common dialect forms such as ain’t, and only occasionally employ double negatives.
In basic English, Paul don’t speak right. Which is really difficult to replicate . . . Seriously. Try writing incorrectly, yet coherently, for a paragraph. Then a page. Then 233. And as much as translation takes its cues from the original text, this is a massive act of creation on the part of Wilson.
2. This gambit of Wilson’s works. Right from the start, Paul’s voice is unique, strange, grammatically distorted, and, most important, interesting to read:
Before when I go out in the morning I’ve knocked back a good brimmer already and things fall together like straw. Till then I’ve a face like night on me and a garlic mouth and I can’t stand anyone wants to be coddled like a snot-nosed pup. Head under the tap and already I’m getting the machines out. Vulva, she’s still dragging round, she scrubs down in a corner and dries off in the kitchen.
3. Use of the term “brimmer.” I love neologisms and reappropriated words and slang that isn’t really slang because only a dozen people use it and none of them are Gawker. So “brimmer” is my new term for a full glass of “plum.” Sure, it’s 10:22 right now, but I CAN NOT WAIT to get home and fill some brimmers and knock them back.
4. Holy shitsnacks is this book offensive. All the Dalkey copy compares Revaz to Louis-Ferdinand Céline, which, sure, I suppose so. Personally, I think that comparison is a bit broad—Céline wrote angry, narrator Paul is angry; Céline was insulting, narrator Paul refers to his wife as “Vulva”; Céline used a ton of ellipses, Revaz wrote in an untraditional way. That said, I think Revaz is up to something different—for one, her book isn’t written in a semi-autobiographical voice—and to reduce her to being “Céline-esque” feels reductive. But anyway, the hate and disgust Paul has for his wife and the world—not to mention the litany of insults and physical beatings he unleashes on “Vulva”—is pretty staggering. This isn’t a character you cuddle up next to and “relate to.” I like that. That’s a difficult thing to do well, to sustain for a whole book. Here’s an example from a point when Paul’s wife is in the hospital having a tumor removed:
What can you say to her, Vulva, when you never think of her? Me, in the end I’ve forgotten she exists, and what difference to me if she goes off to the hospital to have her belly sliced open or her varicose veins shrunk: I don’t give a rat’s fart, it doesn’t squeeze a single big tear out of me nor get the snot-rag out of my shirt pocket, so she can stay away there till the next century if that’s what she’d rather. At least it counts as much for me she’s not around no more to give her jeremiahs after us and go complaining at us every time we open a bottle or go on a wee binge.
5. Because Dalkey has yet to win the BTBA. Granted, this is a reason that goes beyond the text itself, but considering that Dalkey publishes more literature in translation than other publisher in the United States, they’re bound to strike gold at some point. And this book is both brilliant in and of itself, but also presents—and solves—a really fundamental translation challenge. For all these reasons, With the Animals by the Swiss author Noëlle Revaz should win this year’s Best Translated Book Award.
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. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .