{"id":293606,"date":"2013-03-29T14:00:00","date_gmt":"2013-03-29T14:00:00","guid":{"rendered":"http:\/\/www.wdev.rochester.edu\/College\/translation\/threepercent-dev\/2013\/03\/29\/why-this-book-should-win-a-breath-of-life-by-clarice-lispector-btba-2013\/"},"modified":"2018-04-16T14:39:29","modified_gmt":"2018-04-16T14:39:29","slug":"why-this-book-should-win-a-breath-of-life-by-clarice-lispector-btba-2013","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/2013\/03\/29\/why-this-book-should-win-a-breath-of-life-by-clarice-lispector-btba-2013\/","title":{"rendered":"Why This Book Should Win: "A Breath of Life" by Clarice Lispector [BTBA 2013]"},"content":{"rendered":"

As in years past, we will be highlighting all 25 titles on the BTBA<\/span> 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.<\/a> And if you’re interested in writing any of these, just get in touch.<\/em><\/p>\n

<\/center><\/p>\n

A Breath of Life<\/em><\/a> by Clarice Lispector, translated from the Portuguese by Johnny Lorenz and published by New Directions<\/b><\/p>\n

This piece is by Will Vanderhyden (aka Willsconsin), student in the University of Rochester’s Translation Program<\/a> and translator of Carlos Labb\u00e9’s Navidad and Matanza<\/em>, which will be released in 2014.<\/i><\/p>\n

Before I talk directly about why I think Clarice Lispector\u2019s A Breath of Life<\/em> deserves to win this year\u2019s Best Translated Book Award, I want to offer a little background about how this novel\u2019s English publication came about, mostly because it strengthens my overall argument, but also because it deals with issues relevant to literature in translation more broadly. (I realize that readers of Three Percent might already be familiar with much of the following information regarding Lispector and her English translations, so if you are one of those readers, please forgive the lengthy digression). <\/p>\n

Although she is considered by many to be the greatest Brazilian writer of the twentieth century, Clarice Lispector has never enjoyed a large English language readership. She is wildly popular in Brazil, revered and adored to the point of idolatry. Her strange, captivating prose, epic life story, and striking beauty have made her a legendary national icon. Her books are sold in vending machines, her face adorns postage stamps, and her name appears regularly in all sorts of literary and popular media. But for whatever reason\u2014be it the challenging nature of her work, the fact that she\u2019s a woman, flat English translations, or a general lack of interest in Brazilian literature\u2014she has never enjoyed the popularity among English readers of other Latin American Boom writers like Jorge Amado, Julio Cort\u00e1zar, and Gabriel Garcia Marquez. <\/p>\n

Over the last several years, New Directions and Benjamin Moser\u2014author of Why This World: A Biography of Clarice Lispector<\/em>, a finalist for the National Book Circle Critics Award in 2009\u2014have been working to change that. In 2011, New Directions published Moser\u2019s retranslation of The Hour of the Star<\/em> (the last novel Lispector published during her lifetime), and in June of 2012 they published a series of four new translations of Lispector novels, all edited by Moser. This series includes retranslations of three of her most well known books\u2014Near to the Wild Heart<\/i> (translated by Alison Entrkin), Aqua Viva<\/em> (translated by Stefan Tobler), and The Passion According to G. H.<\/em> (translated by Idra Novey)\u2014as well as the first English edition of A Breath of Life<\/em> (translated by Johnny Lorenz), a novel which was published after Lispector\u2019s death, and assembled, organized and edited by her close friend Olga Borelli.<\/p>\n

In the introduction to A Breath of Life<\/em>, Moser refers to New Directions series of Lispector translations as \u201cthe most important project of translation into English of a Latin American author since the complete works of Jorge Luis Borges were published a decade ago.\u201d According to Moser, the original English translations of Lispector\u2019s work were woefully inadequate, flattening out, \u201ccorrecting,\u201d and explaining the strange grammar, idiosyncratic syntax, and surprising word choices that define Lispector\u2019s style. Lispector\u2019s own response to an early French translation of Near to the Wild Heart<\/em>, which upset her because of the liberties it took in translating her style, provides definitive support for Moser\u2019s sentiment, in a letter to her editor at the time she wrote:<\/p>\n

\n

I admit, if you like, the sentences do not reflect the usual manner of speaking, but I assure you that it is the same in Portuguese. The punctuation I employed in the book is not accidental and does not result from ignorance of the rules of grammar. You will agree that elementary principals of punctuation are taught in every school. I am fully aware of the reasons that led me to choose this punctuation and insist that it be respected.<\/p>\n<\/blockquote>\n

Though he acknowledges that, to some extent, translators invariably tend to smooth out oddities and correct \u201cerrors\u201d present in original works, for his own translation of The Hour of the Star<\/em> and for the other Lispector translations he edited for New Directions, Moser aimed for the greatest fidelity possible to the syntax and grammar of her Portuguese originals. In the afterword to The Hour of the Star<\/em>, he writes: \u201cThe translator must therefore resist the temptation to explain or rearrange her prose, which can only flatten it and remove from it the \u2018foreign\u2019 aura that is its hallmark, and its glory.\u201d <\/p>\n

Lispector has clearly carved out her place in the canon of world literature. Her unique artistic vision, innovative narrative style, and philosophical insight situate her comfortably among the best writers of the twentieth century. And in light of the aim\u2014and what I believe to be the success\u2014of the Moser\/New Directions project, the comparison to the translation of Borges\u2019 complete works, which might come off as overblown at first glance, seems to me entirely appropriate. Because A Breath of Life<\/em> is the only title in the New Directions series that is not a retranslation, it is the only one eligible for the BTBA<\/span>. Which is not to say that it necessarily represents the significance of the entire project, but at the same time, its importance as a translated book cannot be fully appreciated outside that context. <\/p>\n

So, finally, A Breath of Life.<\/em> This novel, like much of Lispector\u2019s work, delves into the relationships between thoughts, sensations, words, facts, and objects; into the ways language constructs and mediates what we call reality. It is structured as a sort of dialogue between a male \u201cAuthor\u201d and Angela, a character he creates. In short, alternating passages, the two voices reflect on the nature of time, meaning, death, and on the relationship between author and character, between creator and creation. As the \u201cAuthor\u201d states:<\/p>\n

\n

Angela and I are my interior dialogue: I talk to myself. Angela is from my dark interior: she however comes to light. The tenebrous darkness from which I emerge. Pullulating darkness, lava of a humid volcano burning intensely. Darkness full of worms and butterflies, rats and stars.<\/p>\n<\/blockquote>\n

If the novel had a plot, it might be described as the \u201cAuthor\u2019s\u201d struggle to understand Angela and his relationship to her, and Angela\u2019s struggle to understand herself and her relationship to the \u201cthings\u201d of the world. But it all takes place inside; there is no action, no grounding in the world, no \u201creal\u201d handhold.<\/p>\n

The structure of an interior dialogue between author and character\u2014which might be thought of as defining a split in Lispector\u2019s mind, a divided self\u2014undermines the distinction between form and content, laying bare the ways in which not only fiction and fictitious characters, but the \u201cfacts\u201d of the world in which we live, and our identities, what we call \u201cselves,\u201d are fabrications of language. As the \u201cAuthor\u201d writes: \u201cReality does not exist in itself. What there is is seeing the truth through dream. Real life is merely symbolic: it refers to something else.\u201d And: \u201cI wouldn\u2019t exist if there were no words.\u201d And: \u201cAngela goes from language to existence. She wouldn\u2019t exist if there were no words.\u201d<\/p>\n

If all this sounds really abstract, well, it is. Many questions are raised and very few unambiguous answers are given. Angela tells us:<\/p>\n

\n

I know the secret of the sphinx. She did not devour me because I gave the right answer to her question. But I am an enigma for the sphinx and nevertheless I did not devour her. Decipher me, I said to the sphinx. And she fell mute. The pyramids are eternal. They will always be restored. Is the human soul a thing? Is it eternal? Between the hammer and the blows I hear silence.<\/p>\n<\/blockquote>\n

There are many such quotable lines and Nietzsche-esque aphorisms, but in itself this probing into the nature of reality, identity, and meaning is not really what gives this book its power. It is the way Lispector\u2019s style is able to render these ideas not only thought but also felt. The structure and rhythm of her sentences, the surprising juxtapositions, and subtle, provocative rearrangements of ordinary language are able to tap into something primordial that transcends the limits of ordinary expression. And here we readers of Lispector in English are indebted to the extraordinary work of translator Johnny Lorenz and the vision of Benjamin Moser, who, by holding true to Lispector\u2019s unconventional grammar and syntax, sustain the jagged, hypnotic musicality that makes her prose so intellectually rewarding and so viscerally resonant. <\/p>\n

A Breath of Life<\/em> deserves to win the BTBA<\/span> because it is the only entirely new part of a translation series that reintroduces a canonical writer to English readers; but also because it is a beautiful, original, and deeply intelligent book by a writer who leaves us, like the sphinx, mute and wondering at her genius and her mystery. <\/p>\n

(As far as wrestling goes, no contest: Lispector will seduce all comers with her feline eyes then crush them with the weight of her brain).<\/p>\n","protected":false},"excerpt":{"rendered":"

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 […]<\/p>\n","protected":false},"author":292,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[67476],"tags":[50696,24866,9196,48756,50266,25506,46366,56,5686],"class_list":["post-293606","post","type-post","status-publish","format-standard","hentry","category-best-translated-book-awards","tag-a-breath-of-life","tag-benjamin-moser","tag-brazilian-literature","tag-btba-2013","tag-btba-2013-why-this-book-should-win","tag-clarice-lispector","tag-johnny-lorenz","tag-new-directions","tag-portuguese-literature"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/293606","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/users\/292"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/comments?post=293606"}],"version-history":[{"count":1,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/293606\/revisions"}],"predecessor-version":[{"id":333986,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/293606\/revisions\/333986"}],"wp:attachment":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media?parent=293606"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/categories?post=293606"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/tags?post=293606"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}