Daniel Medin teaches at the American University of Paris, where he helps direct the Center for Writers and Translators, is an editor of The Cahiers Series ,and co-hosts the podcast entitled That Other Word. He has authored a study of Franz Kafka in the work of three international writers (Northwestern University Press, 2010) and curated the second volume of Music and Literature magazine (Krasznanorkai/Tarr/Neumann). He advises several journals on literature in translation.
This seems a timely moment to announce the forthcoming appearance of a translation issue I’ve edited for The White Review. For those unfamiliar, TWR is a London-based journal of art and literature that publishes print (quarterly) and online (monthly) editions. In addition to supporting new writers, the editors make it a point to highlight literature in translation. Recent numbers have included contributions by Dubravka Ugrešić, Vladimir Sorokin, Enrique Vila-Matas, and Javiar Marías, to name but a few.
I spent this past autumn selecting material for the issue, which is slated to go live early next month. Not surprisingly, there was significant overlap with my readings for the BTBA. Here are a few examples:
One’s by the late great Hella S. Haasse, whose gem, The Black Lake, I cited in a previous post. I’ve found the lack of attention devoted to this novel baffling. It is a beautiful little book, conceived and executed with intelligence and grace. The translator, Ina Rilke, ranks among the very best working from Dutch today. You’ve probably come across her work at one point or another by now: Rilke was behind the classic Eline Vere by Louis Couperus, which Archipelago brought out back in 2010; she’s translated multiple titles by W.F. Hermans and Cees Noteboom; and she’s currently at work on Max Havelaar by Multatuli for NYRB Classics. (There’s a full overview of her activity, along with a lovely snapshot of Rilke with Haasse, here.) We’ll print the striking first pages of The Black Lake in The White Review. If your experience of them in any way resembles mine, then you’ll find yourself unable to stop.
I’m delighted that we can include an excerpt from the third volume of Faris al-Shidyaq’s Leg over Leg. The publication of volumes 1 and 2 earlier this year by NYU Press’s Library of Arabic Literature was a moment of glory for literature in translation. Expect plenty of hot sauce in this excerpt—that, and no shortage of ingenious linguistic dexterity on the part of translator Humphrey Davies. For an in-depth take on volume 1, have a look at this review by Michael Orthofer. I share his excitement entirely, and am certain that others will as well once given a taste of al-Shidyaq’s writing.
Occasionally, a work of brilliance will make it possible for a virtuosic translator to outdo, line for line, a great deal of what’s recently appeared in her target language. In 2012, the English of George Szirtes for Satantango’s Hungarian struck me as superior to the sentences of most novels written that year in English. The same’s true of John Keene’s version of Letters from a Seducer by Hilda Hilst. Scheduled to appear this month, it was perhaps my most unforgettable reading experience of 2013. I’m terribly eager to read more Hilst now—and impatient to get my hands on Keene’s Annotations too.
I was glad I could include an excerpt from Orly Castel-Bloom’s acutely funny—and correspondingly painful—Textile. Castel-Bloom writes uncanny narratives that depict, with sensitivity but very little mercy, contemporary Israeli society. First published in 2006, this unpredictable and frequently grotesque novel is unlike most other Israeli fiction that I’ve encountered; it’s as close to Gogol as Hebrew can get. Translated by the eminent recipient of 2010’s BTBA, Dalya Bilu.
I’d like to devote a bit more space to two titles that have survived months of BTBA reading on my own personal shortlist. The first is Stig Sæterbakken’s Through the Night, whose emotional resonance brought me to tears. I found it the bravest, perhaps even riskiest of the novels in competition. (I was also surprised to discover, in its weaknesses as in its strengths, unlikely affinities with The Devil’s Workshop by Jáchym Topol.) Here’s the beginning of a review by Taylor Davis-Van Atta that will appear soon at Asymptote:
In an essay completed not long before his death last year, Stig Sæterbakken wrote: “How strong would our passions be, separated from our fear of dying? We want to live, sure. But we want to die as well. We want to be torn apart. We want to drown in the wonders of ecstasy.” Both the craft of this passage—a single rhetorical question opens a rich vein of content—as well as its sentiment seem to me to epitomize something of both Sæterbakken’s personal philosophy and his artistic ambition. As with all of his writing, the question posed by the Sæterbakken is simple, but deceptively so, situated as it is at an existential crux. And, as with all of his writing, it cannot be ignored nor easily grappled with. Sæterbakken seemingly holds no fear himself when examining the heart of his own experience, swiftly identifying a terrible and unavoidable paradox, an impossibility that nonetheless must be negotiated and further explored. His prose, which so often conveys the mandatory ugliness and pain of existence, yet which is always charged with beauty and great tenderness, is itself infused with paradox. The author of endlessly interesting novels and essays, Sæterbakken is an indispensable artist, one who must be reckoned with and one whose day in the Anglophone world is, I believe, shortly at hand.
Through the Night, Sæterbakken’s last published novel, centers around Karl Meyer, a middle-aged man who, prompted by the sudden suicide of his teenage son, Ole-Jakob, is forced to confront his past disgraces and contemplate his complicity in Ole-Jakob’s death, all while enduring overwhelming feelings of grief. The novel, which almost reads as two separate works, opens in the immediate aftermath of Ole-Jakob’s suicide, with Karl’s wife, Eva, having just lodged an ax in the screen of the family television set. The act is a statement of protest (Karl has been binge-watching since their son’s funeral), but it could almost be interpreted as a telegraphed message from Sæterbakken to his reader regarding what is to come: there will be no further distraction from the situation at hand, however terrifying and all-consuming it becomes. Indeed, the novel quickly delves into Karl’s past through a series of short vignettes in which Karl sets about tracing the history of his life’s two defining love affairs—with Eva and with another woman, Mona, for whom he had recently, if temporarily, left his family.
Issue 5 of Taylor’s Music & Literature, which will publish in spring 2015, will be devoted to Sæterbakken, Chinese novelist Can Xue, and Finnish composer Kaija Saariaho. You can order your subscription, and explore numerous reviews and features, here.
Stig Sæterbakken makes a brief appearance in the introduction to the below interview of Mircea Cărtărescu. As director of the Lillehammer Festival, Sæterbakken was instrumental in bringing the Romanian novelist to Norway. There, Cărtărescu spoke with Audun Lindholm, the editor-in-chief of Vagant, Norway’s most prestigious literary magazine. (Before he embarked upon My Struggle, Karl Ove Knausgård directed the same journal.) The latest issue of The Quarterly Conversation includes a long conversation between Lindholm and Cărtărescu about the Blinding trilogy. Below, a few questions and answers concerning the volume that has just appeared in English—The Left Wing— thanks to Archipelago Books.
AL: You call the child a bricoleur—could the same be said of the novel’s author?
MC: Yes. Generally, I begin with something ordinary and realistic, something I know well, and then, step by step, the logic of the text takes over. I never know what I’m about to write on the next page, I have no plan, I don’t know where I’m headed. I take advantage of the fact that I write quite slowly: because I write by hand, I have plenty of time to think at the same time. The most important thing is the texture of the individual page—it takes precedence over the story or the characters or the larger structure. Writing by hand creates an intimate relationship with the white sheet of paper, almost functioning like a mirror. When the writing turns out really well, it is as if I saw the final text in front of me, I simply erased the white of the paper that hides it. I have the impression that most prose writers start with a strong impression or a clear image in mind, gradually expanding on it and constructing a whole. I, on the other hand, aim at a writing process that consists of a series of such impressions. And I must admit that when I read other novels, even the most realistic among them, my attention is drawn to these very moments, to certain pages and specific formulations.
AL: “You do not describe the past by writing about old things, but by writing about the haze that exists between yourself and the past,” we read early on in Blinding: The Left Wing. And later: “I was always afraid to go to sleep. Where would my being go to during all those hours?”
MC: Yes, I think that the best pages of Blinding are not those that are realistic but those that are phantasmal, oneiric. The earliest memories we have, from the age of two, three, or four, mainly resemble dreams. We may recall buildings, landscapes, and people, and we have the feeling that they must have been real—otherwise we could not have seen them in such vivid detail. The same is true of some of our dreams. I have strong memories of particular dreams I’ve had, outrageous and disturbing dreams. I envision dreams, memories, and reality like a Möbius strip whose sides are indistinguishable from one another. I try to avoid changing historical facts and instead fill the gaps in my memory with fantasies. When information is hard to come by, I let my pen do the work.
To read the interview in its entirety—or a review of the novel published in the same issue—visit the Winter 2014 number of The Quarterly Conversation.
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