{"id":294426,"date":"2013-06-27T15:03:28","date_gmt":"2013-06-27T15:03:28","guid":{"rendered":"http:\/\/www.wdev.rochester.edu\/College\/translation\/threepercent-dev\/2013\/06\/27\/another-interview-megan-mcdowell-and-arturo-fontaine\/"},"modified":"2018-04-16T15:56:37","modified_gmt":"2018-04-16T15:56:37","slug":"another-interview-megan-mcdowell-and-arturo-fontaine","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/2013\/06\/27\/another-interview-megan-mcdowell-and-arturo-fontaine\/","title":{"rendered":"Another Interview: Megan McDowell and Arturo Fontaine"},"content":{"rendered":"

This month, Yale University Press is publishing La Vida Doble<\/em><\/a> by Chilean author Arturo Fontaine, translated by Megan McDowell. <\/p>\n

\n

Set in the darkest years of the Pinochet dictatorship, La Vida Doble<\/em> is the story of Lorena, a leftist militant who arrives at a merciless turning point when every choice she confronts is impossible. Captured by agents of the Chilean repression, withstanding brutal torture to save her comrades, she must now either forsake the allegiances of motherhood or betray the political ideals to which she is deeply committed.<\/p>\n<\/blockquote>\n

\n

Arturo Fontaine\u2019s Lorena is a study in contradictions\u2014mother and combatant, intellectual and lover, idealist and traitor\u2014and he places her within a historical context that confounds her dilemmas. Though she has few viable options, she is no mere victim, and Fontaine disallows any comfortable high moral ground. His novel is among the most subtle explorations of human violence ever written.<\/p>\n<\/blockquote>\n

To mark this publication, YUP<\/span>’s blog just published this interview<\/a> Megan McDowell did with the author.<\/p>\n

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

Megan McDowell: What does it mean to be translated for an English-speaking audience who won\u2019t have the intimate experience and knowledge of Chile\u2019s history that your Chilean readers have had?<\/b><\/p>\n<\/blockquote>\n

\n

Arturo Fontaine: It\u2019s true that the Chileans, Argentines, or Spanish who have read the novel are closer to what I\u2019m narrating. Even so, the story itself is enough. A novel is like a laboratory where an experiment is taking place, but the experiment can be repeated in other places and in other ways because what it shows is of general significance. Hopefully the readers of La Vida Doble: A Novel<\/em> will be submerged in the strange and idiosyncratic world in which Lorena must live, where they\u2019ll find not \u201cChileans\u201d or \u201cLatin Americans\u201d but rather simply humans of flesh and bone who cross over by means of the story. Hopefully. Lorena herself says: \u201cListen well: don\u2019t let the historical anecdote I\u2019m telling constrain you; Chile\u2019s narrow geography, either.<\/p>\n<\/blockquote>\n

\n

MMcD: A related question\u2014in the U.S., words like \u201cSocialism,\u201d \u201cCommunism,\u201d and \u201cRevolution\u201d have a different resonance than they do in Chile. Even for people on the left, \u201ccommunism\u201d is associated with experiences of dictatorship and repression, and doesn\u2019t have romantic or idealistic associations that it does for Lorena, or that people in Chile are more aware of, even if they don\u2019t share them; there is little history of socialist ideas or movements in the U.S. Is there anything in particular you think your North American readers should be aware of about Chile\u2019s history as they read your book?<\/b><\/p>\n<\/blockquote>\n

\n

AF: Not much, really. Lorena makes things understood as they need to be understood; for example, what it means to her to belong to a radical revolutionary movement that tries to win a utopia through armed struggle, one that demands from her the complete sacrifice of her life. There have been so many movements like that, and there always will be. Whether the inspiration comes from Che Guevara, or the movement\u2019s name is this or that, or whatever the specific content of the project for a new society, these are not essential matters. The willingness to sacrifice oneself for something that feels huge, almost impossible, is always a human possibility. The Islamic fundamentalists are painful reminders of this. Furthermore, the immediate enemy is brutal dictatorship. But the use of torture to get information out of terrorist groups is something that has happened in many countries, even in some democratic ones and not too long ago . . . I would like for the novel to show, in contrast to the film Zero Dark Thirty<\/em>, the victim\u2019s perspective, the way his or her identity as a person is gradually torn to shreds. Kathryn Bigelow\u2019s Zero Dark Thirty<\/i>\u2014in spite of its merits, such as its momentum\u2014takes on torture in a superficial way. It only shows us the perpetrator\u2019s gaze, and the victim is thus dehumanized. This kind of treatment \u201cun-realizes\u201d cruelty. Henry James, comparing some Dutch painters with Guardi, at some point uses the expression \u201cartistic conscience\u201d. \u201cThe Italian,\u201d writes James, \u201c. . . dispenses with effort and insight, and trusts to mere artifice and manner\u2014and a very light manner at that. . . . The Dutchman . . . feels that, unless he is faithful, he is doing nothing.\u201d I believe in that concept. I believe that an artist must be faithful to the world he is trying to show, to the world he wants us to imagine. Kafka, for example, was a master in this. For an artist to do this superficially is an ethical failure in his work as such.<\/p>\n<\/blockquote>\n

\n

MMcD: As I worked on the book, you were very helpful and generous in answering my questions, and you also kept a bit of distance, stressing that I had to find the voice, the way to convey the book in English, which was something that I appreciated a lot\u2014a translator couldn\u2019t ask for a better balance. I wonder if you have spent time considering your stance on the translator\u2019s role, or if you\u2019ve ever been a translator yourself?<\/b><\/p>\n<\/blockquote>\n

\n

AF: I\u2019m happy you felt that way. The novel in English is your work. La Vida Doble: A Novel<\/em> should read as if it had been thought and written in English. I think your translation achieves that. It\u2019s been your responsibility, as translator, to find an equivalent to what one reads in Spanish, but also flows in English. Translating is a creative task, an artistic and difficult one. But not impossible. Proust\u2019s A la recherch\u00e9<\/em> . . . flows with a rhythm characteristic of French, of English in Scott Moncrieff\u2019s translation, and of Spanish by Pedro Salinas, Jos\u00e9 Mar\u00eda Quiroga Pl\u00e1 and Consuelo Berges. A priori, it seems like it shouldn\u2019t be possible. I don\u2019t think El Quijote<\/em> ever had an English translation that did it justice until Edith Grossman\u2019s. If Nabokov had read Cervantes in that translation he wouldn\u2019t have written what he did in his Lectures on Literature. He didn\u2019t get the humor or the humanity of Quijote. Gregory Rabassa did an extraordinary translation of One Hundred Years of Solitude.<\/em> When I was studying at Columbia University, Rabassa came to a translation workshop directed by Frank MacShane, who was then the director of the Writing Division. I asked Rabassa what his secret was in translating One Hundred Years of Solitude.<\/em> He answered: \u201cBefore starting to work, I would spend twenty minutes reading a novel by Faulkner\u201d.<\/p>\n<\/blockquote>\n

\n

And yes, I have published some versions\u2014I don\u2019t dare called them translations\u2014of some classic poems in Spanish. Many times, I must admit, I\u2019ve failed. For example, I\u2019ve struggled and struggled for years trying to translate two very famous poems by Dylan Thomas, \u201cDo Not Go Gentle into That Good Night,\u201d and \u201cAnd Death Shall Have No Dominion.\u201d They stood by me like two faithful dogs during my father\u2019s long and painful illness before he died. I have never managed to translate them. I go back and try again every once in a while. The problem, of course, is their music, so interlaced with the metaphors and the meaning. These are cases when it seems like the music shapes the meaning.<\/p>\n<\/blockquote>\n

Read the entire piece here.<\/a> And hopefully we’ll have a review of this up shortly. <\/p>\n

\n<\/a>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

This month, Yale University Press is publishing La Vida Doble by Chilean author Arturo Fontaine, translated by Megan McDowell. Set in the darkest years of the Pinochet dictatorship, La Vida Doble is the story of Lorena, a leftist militant who arrives at a merciless turning point when every choice she confronts is impossible. Captured by […]<\/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":[67486],"tags":[52006,51996,9476,1646,19016],"class_list":["post-294426","post","type-post","status-publish","format-standard","hentry","category-articles","tag-arturo-fontaine","tag-la-vida-doble","tag-megan-mcdowell","tag-review","tag-yale-university-press"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/294426","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=294426"}],"version-history":[{"count":1,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/294426\/revisions"}],"predecessor-version":[{"id":318226,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/294426\/revisions\/318226"}],"wp:attachment":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media?parent=294426"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/categories?post=294426"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/tags?post=294426"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}