Aug 122017
 

Takacs

.
Blush

They took the district psychologist for a body search
to the drugstore office thanks only to her professional
myopia, because she couldn’t have imagined
that the substitute security guard with erection
problems could flop so badly as to take her
for a thief, and that he was so hard on her
heels in the empty store minutes before closing
time, solely to catch her in the act. So she was
summoned to return at once the (old) blush
she had sunk into her handbag, while conscientiously
placing an identical one in her shopping cart
so that, after payment, she could powder her cheeks
with it for the award ceremony of the Freud medal
for lifetime achievement, to be handed her
by the minister of education himself. ‘But I’ve seen her
steal it with my own eyes!’, the security guard protested
and in his indignation kicked a cardboard box
full of condoms, making a sizable hole
in it. The therapist’s face had no need for the blush
to burn. But her calling, to ease the guard’s bewilderment,
proved stronger than her shame, and with the battle
cry, the patient is always right, she sprang to the guard’s
defense in front of the manager who, blaming
the heat wave, in his embarrassment
hastily put on his long winter overcoat.

.
Revolt of the Extras

We long to be continued after the last
episode, although the producers opened
the champagne and gave us a small farewell
party. This afternoon even we sit
on the kitchen stools in front of the camera
hoping to see ourselves in the new chapter: we have
played our part for a full year and this recent
indifference to our fate, the plotlines unfolding
without us in the new scenario
hurt us to the quick. No, this is not
what kept us pacing up and down the street,
shivering as usual at winter’s
end. Is it possible that the audience is losing
interest in us? Has our time passed
for good, our story passé, even though we are still
stirring? Coming and going we can hear
the camera’s buzz. As before, we tread with nimble
feet, but a low growl comes from the machine’s
jaws. We fear it might be disapproving.

.
The Other Side of the Coin

To bear the unsayable agony
of the lovers seated on an anthill,
the rhythmic squeaking of bedsprings at the moment
of climax, a rumble of the stomach in the midst
of an ardent declaration of love, to mix up the dear
addressee’s name when reunited at last.
While contemplating suicide by the open
window, to be soaked not in springtime
melancholia but in grenadiermarsch[1] stench.
To suffer the priest’s flu-inflected
staccato prayer over our dead body.
After a night spent awake due to the weather
turning, to drowse off when our life
sentence is announced.
Instead of ours, to enter the hotel room
of the lust killer who is shaving naked
in front of the full-length mirror. To go raspy
when given the right to the last word.
To meet ourselves on the staircase
(she going upstairs, I tumbling down).
Incensed, to shove our manhood
into the bread slicer instead of bread.
To knock on our own door, waiting to be let in.
With our mouth full of spinach to choke
convulsively on some antediluvial joke
on the silken sofa of the newly wed.
To eat gilded-edged caramel custard
while changing diapers. To shake
hands with the disciple who tries
to sell us the dead master’s gold tooth.
To see the light under shadowy circumstances.
To remain standing for good, half-dressed,
in front of the cupboard, or sitting
in the bathtub until icicles grow on the tap
out of a penchant for parallelism.
…………………………………………..And if not, let go!
Then the day will come: the grenadiermarsch
smell in the open window, the killer
with the razor will come to cut off the ice
from our skin. And spring! spring will come!

.

A Royal Day

During his visit now and then the king
stops on a whim, and throws a look
across his realm. Winter has worn out
the city, the fences lean in, the frost drove
new cracks in the pavement.
Snow, black, is blocked in the gutter mouths.
Open lorries carry sand to a nearby
construction site, fine dust
drizzles down. With light fingers he wipes
the grains from his brow. On tram fifty-nine
homeless bums are yelling across to each
other over the passengers’ heads
in a tongue of the realm he barely understands.
He arrives at Déli Station. Descends
into the subway’s draughty inner
halls. The brass band strikes up
a fanfare. He spots the mutilated
Romanian sitting in the same corner,
a babbling would-be greeting on his cardboard sign.
So his faithful subject has come to him,
travelling all night on the blackened train,
or defecting across the green border of hope!
He waves at the man kneeling at his feet, whose
eyes run over with tears. Daily routine.
On a mouth organ a duke plays operetta.
The hailing, the attention directed at him,
the loud calling of his name, the hands grabbing
the hem of his robe wear him out, he feels repulsion.
And yet: he was born for this, when all the bells
spoke of hope, I will be one of them,
he said, but now it is as if he were watching
in a microscope the beings, invisible to the naked
eye, scurrying, worming on the ground.

.

Innocence

I dreamed I gave birth to a child: by him.
But they warned me beforehand: it is stillborn.
The most awful of all was my indifference,

I didn’t care what was happening with me,
I felt not pain but ennui rather. A huge,
waxen newborn was laid out on the table

covered in transparent nylon.
Next to it, under a damask cloth,
props of an unfinished breakfast.

We must behave as if he were alive, the midwife
said and cried out twice: Look,
how cutely he is wobbling!

.

I knew I was to be sentenced

I started eating. On the newborn’s brow
above the bridge of the nose, a wound cut
with a blade appeared, I tried to smooth it out,

fighting my repulsion, but couldn’t. No
blood oozed from it: it was final.
Like the outcome of something long-planned,

done in cold blood, it was: concrete.
I knew I was the one who wounded him, unawares
when slicing the bread. I even recalled how

the knife ran into the still protesting skin.
I felt fear and hazy remorse.
I knew I was to be sentenced.

.

For everything around us is: life

Surely I cannot be the killer of our love?
Surely it was the child of another, a stranger,
not yours, and by no means mine?

It was a strange child laid out on the table,
stillborn, since the wound didn’t bleed:
this should be sufficient evidence.

Most likely it was a wax doll. Someone
must have made a savage joke,
for everything around us is: life.

And inside me too: you surely know me!
Even if leaves are falling on the rails
and the tram turns the corner with long shrieks.

.

The Chain and the Link (A Lánc És a Szem)

(1) The most exquisite movement (A legszebb mozdulat)
It is now clear that the forcefully united
stands out in parts. Needless to resist
anymore: as I have always wanted,

the chain and the link crumble a-part.
(I never managed, as I now realize,
to align, however hard I tried.)

Leaf, how gently you fell on the lake’s
water. Gentler than any lover
on the craved pudenda.

This was the most exquisite movement, thank
you, leaf. You didn’t mingle. You didn’t quiver.
This was the most exquisite movement.

(2) To leave (KIMENNI)
the crowded room at the height
of ovation when the arch-funereal
clowns perform their lightning-fast

jest, not to be duped by their countless
tricks, to break through the elated
row, to reclaim from the mesmerized

cloakroom girl hat, coat and umbrella
for a song, to cross the city when its theatre wings
are being rearranged but the night shift

has not arrived yet, the clocks stand
still, our sole companion the disinfectant
smell on the last pestilential streets.

(3) Going on (FOLYTATÁS)
Not to call anyone (the greenery will
outgrow their pots anyway and, pushing
open the window, lean out),

not to avenge, nor to get over
insult, not to have tooth-ache, inflamed
cornea, leukemia treated,

not to open the door when the house is aflame,
not to cling on when drowning, to turn back
from the loathed door at the moment

of arrival. Not to look forward on the way
but backward only. To stand up to the clash.
Then on the water a leaf may fall.

.

Yearning for an ancient cup

To not rebel, even if you possess the necessary
skills, but execute the emperor’s order.
To smuggle my remembrance into the manner of the farewell,
the moral of experience paid with blood, the gift
of clear-sightedness, before my eyesight is
blurred and my pupils hitch upward.
Where does bargaining begin, the withdrawal
of consent, the defensive fidgeting, the living
for the last moment, the hour stolen
for banqueting, or making love? I might
lapse there as well – our emperor left the decision to us,
but Socrates forbids cowardly action.
If I linger on among you for a while, it’s only
to say, I owe a cock to Asclepius.
But since you had promised to pay my debt,
what would hold me here still? The command
summons me, to quote the tragic poet, and it’s high time
to arrange for a bath. I’ll drink the cup right after.
The sand sifting from my eyes will settle on
the borders of Athens. I have never believed in borders,
yet feel no triumph. My legs go heavy,
I lie down on my back, as the man
who brought the hemlock advised.
The world loses its contours, grows cold.

— Zsuzsa Takács, Translated from the Hungarian by Erika Mihálycsa

 .

Zsuzsa Takács is the doyenne of Hungarian poetry. She started publishing in the early 1970s, gradually developing a consciously understated, slightly elegiac lyric voice coupled with profoundly personal themes, addressing both private and historical traumas. A former professor of Romance literatures, she has translated St. John of the Cross, Pessoa, Borges and others into Hungarian. Her story “Conference Hall” originally appeared in her 2007 volume A megtévesztő külsejű vendég. Önéletrajzaim [The Deceptive-looking Guest. My Autobiographies]. Her work is widely anthologized, and has been translated into English by George Szirtes, Laura Schiff, and Ottilie Mulzet, among others. Her poems and stories have appeared recently in World Literature TodayThe Missing Slate, and Locomotive Magazine. Reviews of her work and an interview can be read on Hungarian Literature OnlineShe lives in Budapest.

§

Erika

Erika Mihálycsa is a lecturer in 20th-century British literature at Babes-Bolyai University Cluj, Romania, a Joyce and Beckett scholar. She has translated works by Beckett, Flann O’Brien, Patrick McCabe, William Carlos Williams, Anne Carson, Julian Barnes and others into Hungarian. Her translations of contemporary Hungarian prose and poetry have appeared to date, or are forthcoming, in World Literature TodayThe Missing SlateTrafika Europe, and B O D Y Magazine. A regular collaborator to various Hungarian reviews, she is editor, together with Rainer J. Hanshe, of Hyperion, issued by Contra Mundum Press.

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Footnotes    (↵ returns to text)

  1. Translator’s note: Potatoes and pasta stewed with onions, some sort of meat or bacon, and eventually anything else that could be thrown in – in this respect, a bit like the famous Irish stew. It is very consistent, and became a food of the poor. The smell would have been of onions stewed in pork grease, into which the mixture is then thrown with water. Appropriately bathetic.
Aug 112017
 

Kinga Fabo black and white

.

Vibrato

I. Hidden in distortion

Back into the body; may commotion reach her no more. Busy people had disturbed her relentlessly. Bad memories—noises—had showered her, even amid the strain of—inner—tunes. All rhythm, sheer sound. Tension ever at the ready—ready for rhythm: attuning to the other, conjuring up any of her own rhythms, indeed, any sound she’d ever heard. That which it didn’t conjure up, that, she composed. No one knew of her rare ability; she kept the secret well. The concealed sounds now began storming within her—all of them, at once. (Making their word heard?) A fine orgy flooded through her. Perhaps her overblown need for a personality, her oversize ability to attune, was linked to her singular sensitivity to sounds. Effortlessly she assumed the—rhythm of the—other. Only when turning directly its way. She is in sound and she is so as long as she is—as long as she might be. Yet another orgy flooded through her. She would have broken through her own sounds, but a complete commotion?! May nothing happen! “VIRGINITY  IS  LUXURY, MY  VIRGINITY  LOOSE  HELP ME,” T-shirts once proclaimed. This (grammatically unsound) call to action, which back then was found also on pins, now came to mind. An aftershock of the beat generation. And yet this—still—isn’t why she vibrated. Back then, everyone wore tight T-shirts and jeans. T-shirts emblazoned with words, wrapped snugly around breasts. She should have bulged on the outside—now too. Campaigns bent on conquering—those, she didn’t undertake, after all. Beautifying operations—she was weary of those. No ambition, no action; no action going forward, either. Because externals were all sucked into her at once, they were stuck in her—hiding her. No aligning of perspectives. She’d become mired in authoritarianism. Under a one-way communications blackout she’d been forced into a singular pleasure—a self-pleasuring (art). The vibrations within her were too many. Sound or prosthesis? No longer did it matter. If only she could be done with them. Her whipped-up body knew that an unanticipated stimuli would one day cause its explosure. Her perpetual doubt about whether she lived up to her body’s demands, satisfying it, had now seen dubious proof. Her unique sensitivity to sounds had heightened to the extremes. At every sound she shrank all the more. Now she herself—putting into practice the performative act of naming—dubbed her unprecedented illness, which she was the first to suffer from, “ego-atrophy.” (In the absence of use, personality fades away. Through sound—it comes, and so too it goes. In the meantime: totally tied up.) And, indeed, as her body slowly gobbled up her shrinking self, the exertion bent it out of shape. Having formed a parentheses, it was charged with covering its once (already, then) perfect shape; depriving her of her womanhood before it would deprive her of everything. Until now her shape and form had not overlapped, and so the gaps, where they did occur—there had always been some, and they remained—are for voyeurs to peep through. She tolerated no eyes upon her. For being watched neither on the outside nor the inside; nor for peeping upon her through the gaps. She wore a cuirass. No one could see—in—there. Her onetime desire, slow with the body, was realized in here in distorted form and late (in delay is the pleasure—but whose?). In a distorted mirror, she seemed tinier. Her full, sensual mouth—in parentheses; lying fallow (in reserve, words squelched). Doors and windows elsewhere: she had to fear in two directions. As far as goings-on were concerned, mornings were more radical even now. The house made a big hoopla over her. It screwed her down—one turn, every sound. He abounds at my expense, she thought, my thyroid minds. Can the soul be seen, or only if its stain is? Not wanting to injure an ear, she all but thought this only. My body—a smoothly turning screw; my soul—a metabolic disorder. This, she really did think, but—still not injuring an ear. A great advocate of silent bouts of being left alone, that she was. But, bewitched by the degree of her exploitation (the screw is turning), still driven by the centrifugal force (away from the centre!),[1] words came to the mouth: “I will not share in your degree of noise.” This, she didn’t even think. The late declaration of her stifled demand for her ego—extruding from the mouth—derailed at once: lost in the general commotion. Thus she was compelled to keep sharing. It was to her that every ringing noise pulled in. There was always noise—at the ready. Continual reinforcements: lines waiting. Her anachronistic organs cramped; as with heart and soul. Her love organs could not interlock, her working organ went kaput. If a glance could kill! Alas, it couldn’t. By now her hearing had turned cocky: she differentiated between people based on sound alone. The difference was not too big—only a matter of who happened to fling off which portion of his/her own sound back upon her. Of a certain ringing she claimed to know: surely is to be continued. (It was.) She didn’t want to hear it. She switched to her own volume. She opened all her sources of noise and leapt into their dizzying waves.

(Optional musical closure, cadence)

A singular life—she chose: for it a singular—death. Always she drew on her own source, and so on her own she would have—run out. And yet she didn’t wait it out.

“Shall I regard you as absence?”

“Feel free.”

Never had—the scene and in it, her: simultaneously—become a fact, given that she really had gone away, by homeopathic means: with noises. She couldn’t stand them, so with them she killed herself. Her neighbor, who was not at all rhythmically attuned—helped her unwittingly in this. Or too attuned? With noises he murdered his unknown partner into—into—suicide.

.
II. Bestial rutting; the tension degenerates

Out of the body; ready for noise at once. Bad memories didn’t bother him; his were that too.

(He was quite willing to forget anything.) Not even busy people; he too was one. Most of all he liked to make noise (bent on it, he was, hissing from the mouth), but he irritated (tormented, molested) other organs too. His act hit home patient at once. He screwed onto her with every noise. He kept screwing onto himself, too, until—he became erect and stayed that way. His body, prancing as a sheer exclamation mark (a priapism?) but feeling no desire (a priapism indeed) covered everyone: to swarm and to occur! Out and in all directions; dispersed and every which way. And in fact: he was constantly flickering and buzzing. At first he scattered—compliments—properly. His tool gradually took over—on him. His glance—blocked—an operational territory. Storms of communication got stuck there—all of them. He knew no—joke—when it came to noise level. His hyperactivity—mounting to the max—as much as could be. He partook of—singular pleasure. Because his attention could not be riveted, he always adhered to other loose ends. (Perfect cementing.) As a signal of his recognition, at such times he gave forth all sorts of clicking and knapping sounds. He always pulled another to his constantly subservient threads—rotating them often. They were a tool; a silent partner. When he managed to tie himself down, he had pleasure—lots of it. With them—totally tied up. Thus it was he turned cocky (became free). Time having passed, his mood having been satiated, his public disturbances became routine. He organized splendid little mornings (orgies) for himself. He could cause a ruckus as he wished on the house. Spirits set ablaze—the screw turned higher and higher. (Squeezed, pressed, screwed.) Passions set ablaze awaited their turn in subservience (in bonds). His whip was frayed, while he was marching on his own. The chronic, pleasureless swelling of his male organ (the aforementioned priapism)—has entered into a chronic ego-hypertrophy. His onetime desire, May a woman never deflate me, has now reversed, distorted, late: Someone deflate me already! He moved an entire crowd. His great big ego ensured a spewing of pleasure to behold. So much spewing that it almost emptied out, cut to shreds. The tool, the object, the method changed along the way, but—not the aim: to cleave the ear with noise, for he is a homeopathic—murderer. The mass of naked torsos didn’t bother him. Everyone gathered, links in the chain; a public in line (canon fodder). But then one day (malfunction? rigor mortis?), silence fell. His singular mercilessness (exquisite dispassion) toward noises intensified to no end. He rang the doorbell of a random neighbor. A door can’t stand in the way, he thought, indeed—and, intoxicated by this repository of burgeoning opportunities—he flung himself on all potential sources of noise, among them his neighbor, who was just starting to give an overdose of sound,

(Optional musical closure, cadence)

and who, in the end, died multiple deaths. Opening the sources of noise (like turning on the gas on a stove), she overdosed on the noise (as on medication); jumped (as from the fourth floor); and—drowned—in the waves. Finally, she exploded (like a gas tank) due to the simultaneous inner and outer pressure.

.
I. and II. Homeopathic murderer and suicide up and away for good . . .

The bodies, and those who take pleasure in them (both of their own), could get mixed up and away even when exploding (much energy in a tight space) but no later than when plummeting. And in the foams! The organs and events are similar, after all, as is, indeed, the method—homeopathy—though in their lives they could have done so. Now—not by chance—they were preparing to plop into a black hole. Explosions yielded many of them everywhere. Nearing the event-horizon, its current immediately sucked everything in. No goal was kicked. And had one been, the black hole would have gobbled it up, too. Neither she who (would have) received it nor he who (would have) kicked it—felt it. Enormous anesthesia, as if after orgasm.

—Kinga Fabó, translated from the Hungarian by Paul Olchváry

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Kinga Fabó is a Hungarian poet, linguist, and essayist. She is the author of eight books. Her latest, a bilingual Indonesian-English poetry collection titled Racun (Poison), was published in 2015 in Jakarta, Indonesia. Fabó’s poetry has been included in various international journals and zines, as well as in anthologies. Some of her individual poems have been translated into Persian, Esperanto or Tamil. One of her poems, “The Ears,” has six different Indonesian translations by six different authors. She has also written an essay on Sylvia Plath. In everything she’s done, Fabó has always been between the verges, on the verge, and in the extreme. Kinga lives in Budapest, Hungary.

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Paul Olchvary

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Paul Olchváry, a native of Amherst, New York, spent much of his adult life in Hungary and has translated numerous Hungarian novels into English for such publishers as Simon & Schuster, New Directions, Hougton Mifflin, Northwestern, and Steerforth. He has received translation grants from the National Endowment for the Arts and Hungary’s Milán Füst Foundation. The founder and publisher of New Europe Books, he lives in Williamstown, Massachusetts.

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Footnotes    (↵ returns to text)

  1. Desire, never yet so fast; maybe—because it is—already it is away from there.
Aug 042017
 

This excerpt comes early in Igiaba Scego’s novel, Adua, available from New Vessel Press, and follows the character of Zoppe, Adua’s father, as he adapts to life in an Italian prison. Scego is journalist and novelist born in Itay in 1974 to Somali parents.

Adua was translated from the Italian by Jamie Richards.

.

Zoppe knew that the best escape route was through his head.

That was the place where he found all the lost scents of his childhood. There, caano geel, shaah cadees, beer iyo muufo.

Candied ginger. Marvelous cinnamon. His Wonderland Somalia.

Zoppe thought about all this crouched down on the cold floor of his cell in Regina Coeli. His head between his knees and his thigh anxious against a battered chest. Vertigo and stabbing pain coursed through his tired veins. And his aching limbs felt defeated. He suspected he had two broken ribs. It was hard for him to breathe and even to bend over.

“Those bastards really mangled me.”

And as if that weren’t enough, they had tossed him unceremoniously in solitary. “This way you’ll learn what happens when you mess with us.”

Beppe gave him a pat on the head before handing him over to the prison. He touched him like a mother her young. Then he had him sip a yellow liquid.

“Drink, nigger, drink.”

Zoppe gulped with difficulty. He made a horrified grimace and felt something burning inside. Was he dying?

Beppe patted him again. “Drink up, you’ll feel better.”

And Zoppe drank and died once, twice, three times. Then with the fourth sip, the warmth began to reach his spent cheeks.

“My aunt’s walnut liqueur can revive even the dead. You’ll feel better soon, you’ll see,” the soldier said, smiling.

In that miserable cell where they’d stuck him there was a cot and a bowl of slop. Limp potatoes floated alongside prickly worms. Zoppe was young, he was famished, but he couldn’t bring himself to eat.

“I don’t want to shit myself to death in this stinking cell.” The room was square, gray, repugnant. Words inscribed with bloody fingernails covered the walls with pain. Zoppe started reading to try to figure out what lay ahead in his increasingly uncertain future.

Mauro da Pisa, Alessandro da Bologna, Antonio da Sassari, Lucio da Roma, Giulio da Pistoia, Simone da Rimini, have all passed through here. The oldest date was 1923. The best inscription was dated 1932. Zoppe recognized it immediately, the supreme poet was one of his favorites:

Through me is the way to the city of woe.
Through me is the way to sorrow eternal.
Through me is the way to the lost below.

“They’ve never cleaned up, that’s clear,” he said, addressing an imaginary audience. Actually, he didn’t mind the quiet of that isolation. It was a reprieve from the torture, from the senseless beatings that had defiled him down to his soul.

His tormenters would soon appear with their stinking farts and vulgar taunts. But in the meantime there was that strange, rat-scented calm to cradle him.

The pain didn’t subside. It was his groin that hurt to death, especially his testicles. Beppe had really beaten him badly. Zoppe asked himself if after all those hits his seed would still be fertile. His testicles throbbed and a yellowish liquid dripped from the tip of his penis. He felt heavy. And he could barely open his puffy eyes.

At the age of twenty he was an old man.

A premature oday, with a drooling mouth and achy bones.

He had his visions to comfort him. His mind catapulted him back into the home of Davide the Jew and his little girl, Emanuela.

He had recently been their guests, and the details were still so effervescent and fresh in his mind that he could almost remember without trying.

He could see the sour cherry preserves that Rebecca, Davide’s wife, had prepared for dessert. He’d filled up on that delicious tart and had also relished what had come before.

“What is this dish called?” he’d asked, astonished at his overflowing plate.

“It’s rigatoni con la pajata,” Rebecca replied.

Just then Zoppe noted how much mother and daughter resembled each other. The same wide forehead, the same big ears, and those sparkling emerald eyes. But whereas Emanuela was exuberant like all children, Rebecca had something mysterious and seductive about her.

Zoppe envied Davide.

And he said: “It smells good. I envy you this rich dish.” Davide accepted that sweet envy.

Looking around, there was really little to be envious of. It was all so small. Even the furniture was tiny. The house was composed of two rooms united by the reddish light that filtered in through a small window. The kitchen with an iron stove was in plain view. In the middle, a table, some tattered chairs and a flesh-toned armchair. The space was packed with furnishings. In every detail there was a certain affinity for symmetry that made such a chaotic space endearing. Zoppe was drawn to a blond walnut cabinet with drawers covered in faux vellum. It was an exquisite object that did not fit well with the overall simplicity. It was a little bit like Rebecca, that cabinet, too refined to be the centerpiece of that set.

Rebecca … Davide … Emanuela …

It was incredible for him to see white Jews. Zoppe had known only Falasha Jews, the Beta Israel, from Lake Tana, even though his father had told him that in the West there were Jews “with skin as pale as the moon.” These were pink Jews, so cordial, and their Roman house so cozy and inviting.

Zoppe was blinded by the ochre walls that matched harmoniously with the violet flooring. He was impressed by the hoard of books; they formed a cathedral. And the knickknacks scattered all over the place: ceramic dolls with real hair, decorative wall plates, tasseled colorful boxes and lots of photographs of old people in shiny, faux, silver frames.

Zoppe liked this middle ground where sour cherries intermingled with knowledge.

If he had his basin with him he’d have read the fate of those three people. He would have seen their beginning and their end. All their happiness and their atrocious suffering. Their passionate kisses and betrayals. If only he had his basin he would have warned them about all the dangers and joys of the world.

§

“Water,” he requested to the guard. “I’m thirsty.”

“Not so fast, Negro,” was his answer. “You’re not at the Grand Hotel. Learn some manners. You say ‘Water, please.’”

“What dfference does it make? You people don’t have good manners anyway,” Zoppe retorted.

“Ah, we’ve got a rebel here,” the guard said. “If times were different,” he added, “we would have shown you, you piece of shit. In Regina Coeli we don’t like rebels. You’re ticks, useless lice of humanity. In Regina Coeli it’s easy to die of hunger or thirst, learn that. It’s easy to bring down that cocky crest you’ve got. In Regina Coeli it’s a short path to the graveyard. But you’re a damned lucky louse. They told me not to let you die. So I’ll bring you your water. But mind you, I might not be able to kill you, but put you through hell, that I can do.”

Zoppe said nothing. He wanted to smash that fatso’s face. But he was in chains. And weak all through his insides. Eventually he ate the slop of potatoes and prickly worms. From the very first bite he could tell that his stomach would refuse to digest it. Vomiting was the logical consequence of an unwanted meal.

Zoppe was a cesspool. The worms dropped from his mouth whole. Restless worms, still alive and a little stunned. He could see them creeping slowly over his wasted body.

“Where’s my water?”

He needed to try to sleep. But could one sleep in such a state?

He wondered whether his father, Haji Safar, knew that he was in prison now.

“I’m sure he had a vision.” And Zoppe prayed that it hadn’t made his father suffer too much.

Happy images from his former life stopped the pain. The lively eyes of his sister, Ayan, his father’s gentle hand, the discipline of the Jesuits who had taught him Italian, and the intense letters from his Ethiopian friend Dagmawi Mengiste. They surrounded him and urged him not to give up. He saw their prayers spiral around him in an embrace of courage. “They love me,” Zoppe thought, “and they’re thinking about me right now.” Even the Limentani family was thinking of him.

He could hear the little girl asking her mother, Rebecca, “How do you draw a wildebeest, Mama? Do you think it has the same hump as a camel? Why don’t we invite the brown man over for lunch again and ask him to draw one for us?”

Zoppe saw Rebecca’s face tensed in a mask of fear. Maybe she knew about him.

Maybe news of his arrest had spread.

He’d ended up in trouble over Francesco Bondi, that Romagnolo with the flat nose and yellow teeth.

Zoppe appreciated nothing about that man. He was too tall, too invasive, too chatty.

He detested the droopy mustache and red hair that the Romagnolo showed off like a trophy. Bondi was always there asking question after question, waiting for amazing answers that Zoppe was never able to give.

And also, he only ever talked about women—bottoms, bosoms, lips, sex. Zoppe found him vulgar. Obviously.

“Do you have a girl?” the Romagnolo often asked. But Zoppe didn’t open up.

Of course he had a girl, but he had no intention of telling that guy about it. Asha the Rash was his woman. Every night in his dreams he savored the moment when he would make her his. But he didn’t want to share such private thoughts with anyone, let alone that lout Francesco Bondi. He didn’t want to sully her beautiful name with a filthy person like him. The Romagnolo ruined women, for sure. Every day he went bragging about his conquests. Mirella, Graziella, Elvira, Carlotta. All of them with big busts and big bottoms. All snatched up under the nose of distracted husbands. These provincial Don Juan routines bored him. He didn’t have all that time to waste. He had to work, not dawdle around. Zoppe’s greatest desire was to impress his superiors. He wanted honors. He wanted cash. So he had to look active. Lots of work didn’t scare him. Especially when he thought of the nice gifts that he would be able to give his Asha the Rash one day.

But then that strange morning came.

Francesco Bondi pounced on him with breath that still smelled of sleep.

Zoppe wasn’t alone. In that miserable and miniscule room he was ashamed to call an office, there was a man with yellow hair.

“Hey, Negro,” Bondi yelled euphorically. “I saw another Negro like you on the street yesterday. I thought you were the only one in Rome.”

Then the Romagnolo noticed the man with the yellow hair. “You’re not military,” Bondi said, a little irritated. “What are you doing here?”

“Don’t judge by appearances. I’m even more, in a sense. The name’s Calamaro.” The two men shook hands hesitantly.

“And this Negro you saw on the street, what was he like, if I may ask?”

“He was a Negro, what do you think he was like …”

“They’re not all the same, did you know that?” said the man with the yellow hair. “There are different types, in every region. Their hair and noses diverge wildly. It depends on the climate.”

“Hair? That stuff this guy has on his head, you expect me to call that hair?”

“Yes,” said Calamaro, calmly.

“Are you kidding me?”

Zoppe buried his nose in his papers and mentally wandered through the city of Rome in search of the other African Bondi was talking about.

There was definitely Menghistu Isahac Tewolde Medhin. The Eritrean hothead. He ran into him one day around the Pensione Tedeschi on Via Flavia. The Eritrean walked slowly, he didn’t worry about being seen too much like Zoppe did. Medhin didn’t want to hide, let alone disappear. His movements were filled with pride. He walked with his head high. He had just finished at the Monte Mario international college run by the Methodist Episcopal Church and was trying to figure out what the future held for him. Zoppe didn’t like the man. His words were too learned, complicated. And his avid anti-Italian ferocity terrified him. That man would soon get himself into trouble. “I shouldn’t have anything to do with him, otherwise he’ll ruin me.”

As he was lost in these thoughts he saw Francesco Bondi’s hand sink into his curly hair.

“You call this hair? is is wool, not even good quality wool!”

“It’s hair,” Calamaro replied calmly. “It’s not pretty, but it’s hair. The gentleman is a Negro, but his features are less Negroid than the anthropological specimens I examined in the Congo.”

And then he too, no different than Bondi, sank his hand into the hair on Zoppe’s exhausted head.

The Somali exhaled with all the strength he had in his lungs and sat there despairingly listening to the two Italians.

He couldn’t say exactly when the discussion turned into something more serious. Had it been Bondi who offended Calamaro, or maybe the reverse? Zoppe was confused. He saw only, through his hair, that the two had moved on to hands—their hands. Fists, in short.

“Please, gentlemen,” said Zoppe, disconsolate. “Please,” he repeated. Then he got the inauspicious idea of trying to break it up.

The police arrested only him for that strange morning brawl.

— Igiaba Scego, Translated from the Italian by Jamie Richards

Published with permission from New Vessel Press

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Igiaba Scego is an Italian novelist and journalist. She was born in Rome in 1974 to Somali parents who took refuge in Italy following a coup d’état in their native country, where her father served as foreign minister.

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Jamie Richards is a translator based in Milan. She holds an MFA in Literary Translation from the University of Iowa and a PhD in Comparative Literature from the University of Oregon. Her translations include Igort’s Ukrainian and Russian Notebooks, Giovanni Orelli’s Walaschek’s Dream, and Jellyfish by Giancarlo Pastore.

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Jul 132017
 

“The Black Lace Veil” is one of the stories from Fleur Jaeggy’s collection, I Am the Brother of XX. It was translated from the Italian by Gini Alhadeff.

— Joseph Schreiber

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My mother had an audience with the Pope. I found this out from a photograph of the Holy Father with her looking at him, wearing a black veil. From that photograph I understood, perceived, in fact clearly saw, that my mother was depressed. Depressed in a definitive way. The smile is sad, the glance, which is trying to be kind, is without hope. Mother was a rather sociable person, elegant, lovely jewelry, a lot of charm, Givenchy, Patou, Lanvin — ​in fact many aesthetic qualities which are not dissimilar to internal ones. In the photograph I noticed for the first time that Mother was all in all a desperate woman — ​or almost desperate. In spite of her little bridge tables. She entertained a great deal, now some of the bridge tables have been left to me and sometimes I hear the calls: sans atout, passe, hearts. Then I ask myself why she went to see the Pope. I am her daughter and would never have thought of going. What made her seek the blessing of the Holy Father? Maybe her despair: she wanted to be blessed. Wearing the dark lace veil, partly obscuring her face that was so sad. There is something frightful in realizing from a photograph that one’s own mother was depressed. Definitively depressed. Or perhaps she only was at that moment. The presence of the Holy Father threw her into such a state of bewilderment that it made her expression unhappy. With no way out. As she desperately tried to smile and the eyes were already in darkness. They are — ​one could say right away — ​extinguished, dead, closed. Yet she was still beautiful. Beauty could not conceal the despair, as the grim veil she wore on her head could not hide her beauty.

Now I’d like to know why she went to see the Holy Father. Did she seek solace? Maybe I was wrong. It was the first impression that made me say that her gaze was desperate. She looked the Holy Father in the eye, with a distant and very direct gaze. She looked him straight in the eye. Even though her gaze was far from cheerful. It was cold and hopeless. She had no hope. Her son was beside her. And he, too, had a sad expression in his eyes. And so her son looked at the Holy Father in the bored manner of a little boy who doesn’t believe in anything. The mother wants to take him to the Pope, an audience for the very few. It is a luxury to be able to see the Holy Father, they say. I don’t know if the word luxury is a suitable one, but it is not common to be received by the Holy Father, so close that one can kiss his ring or bow one’s head or genuflect. Perhaps genuflecting is too much. I don’t know a great deal about ritual behavior toward the Holy Father. But my mother who knows the etiquette and was immediately granted an audience, she must have bowed as she started to bow before destiny. Before a not too favorable destiny that was undermining her life. Her beauty hadn’t altogether faded, there were still flashes of it, which to a careful glance might have been quite fascinating and moving. Her daughter, who does not have the depth of the mother, has always believed in the surface of things. And so in beauty. In appearance. What does she care about what is inside? Inside where? And what is the inside? Anyway the daughter believes more in photographs than in the people portrayed. A photograph might tell more than a person. Perhaps. Naturally perhaps. Always perhaps. No affirmation could lead her to grant total credence to the affirmation itself. So, to return to despair. A theme that is dear to her. What could be better than despair? If one discovers from looking at her in a photograph that a person is desperate, after the first shock a kind of calm sets in. A remission. I had never seen my mother so desperate, I would never have thought she could be desperate. It was we, her daughter and her son, who always thought we were — ​the two of us, he and I — ​desperate. Not Mother. That was our prerogative. Mother does not even know what despair might be, we thought. Well, she deceived us. To put it crudely. The card player, and perhaps a player in life, the woman who for a while protected us, who protected her children — ​and then let them go. Because all that was around her left her. Like a flash of lightning, there is an instant that descends, wounds, and is gone. And leaves an aura of spoliation. All it took was a photograph, the photograph of Mother in the presence of the Holy Father, to convince her daughter that she was desperate. She will continue to repeat that word, because she, the mother, never uttered it. She never uttered a word that concerned her. That concerned any malaise of hers. Any possible malaise of hers.

Even now, though many years have gone by and Mother is no longer here, I’d like to know what made her go to the Pope. Why the audience? And why that look in her eyes. If she felt the desire to see the Pope, and perhaps receive his blessing, why did she have that terribly sad look in her eyes? So much so that her daughter, many years later, was jolted — ​as though her mother were alive at that moment and told her that she’s had enough of life. Sufficit. The daughter was jolted, felt a pang of love for her mother who perhaps had always hidden from her that she was terribly unhappy and let herself be found out in a photograph.

— Fleur Jaeggy, Translated from the Italian by Gini Alhadeff

Published with permission from New Directions Publishing Company.

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Fleur Jaeggy (1940– ) was born in Zurich, Switzerland and lives in Milano, Italy. In addition to her own work, she has translated the works of Marcel Schwob and Thomas de Quincey into Italian as well as written texts on them and Keats. The London Times Literary Supplement named Jaeggy’s S.S.Proleterka a Best Book of the Year: and her Sweet Days of Discipline won the Premio Bagutta as well as the Premio Speciale Rapallo.

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Gina Alhadeff is the author of The Sun at Midday and Diary of a Djinn. She translated to great acclaim Patrizia Cavalli’s My Poems Won’t Change the World.

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Jul 102017
 

The Death of the Perfect Sentence Book Cover

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At the moment when the telephone rings, Raim is sitting having lunch with his parents. There is a tablecloth on the table, not because it is some sort of special occasion, but because that had always been the custom in Raim’s mother’s home, even if it meant they had to wash their tablecloths more often; they had a washing machine for that very purpose. Not one of those front-loading Vyatka automatics with a window in the door – she wasn’t sure whether she could really trust one of those – but the far simpler Aurika, where you had to lift your washing from one compartment to another so that the drier could do its work. But anyway, Raim’s mother has made meatballs today. And at this very moment Raim’s father has just lifted up a meatball on the end of his fork, and it is halfway to his open mouth. We don’t realise straight away that they are meatballs, because they are swamped in sauce. Raim’s mother is in the habit of simmering her meatballs in sauce for a few minutes before serving them, again because this was the custom in her family – even though Raim and his father preferred the meatballs dry and crunchy. But the meatball on the end of Raim’s father’s fork hasn’t come to a standstill halfway to his mouth because he’s fighting an aversion to the food. No, Raim’s father’s mouth is open because he is preparing to say something. And he knows exactly what that will be, even if he hasn’t fully formulated the sentence yet. Clearly it will be something to do with politics. Raim’s father wants to say that in the current situation only a crazy person, someone who is totally ignorant, who has taken complete leave of their senses, an idiot in fact, would say anything to rock the boat, which is sailing steadily towards a better and freer life. It’s never a good idea to poke a sleeping bear. The finest minds in the West have said that too, experts in their field, Sovietologists in academic institutes, each with a budget bigger than the whole Estonian economy. Moscow holds the keys. It isn’t a good idea to be hasty now that the straitjacket is starting to come apart at the seams. They should just keep moving cautiously towards the destination and be happy with what they have. For him personally it’s more important that he can go on a trip to Finland without having to apply for permission from the relevant departments (and that he is allowed to exchange more than thirty-five roubles), not whether the blue, white and black flag of Estonian independence flutters on the Tall Hermann tower of Toompea Castle. And he is convinced that the majority of the Estonian people, or at least those who are capable of thinking rationally, are of exactly the same opinion. Raim’s father knows that once he has formulated and stated his sentence it will lead to an argument. That Raimond, his only son, this blond-haired, broad-shouldered boy with his wilfully jutting chin, who can become all those things which he was not, will disagree with him again. That’s how it normally goes. He doesn’t like it, and who would, but he has resigned himself. At least that way he has some sort of relationship with his son. It was the same way with his own father when he was young. And so he is annoyed when the phone call interrupts his chain of thought. But Raim is not, because for him those arguments with his father have long since lost any purpose. He doesn’t yet know who is calling, or if the call is even for him, but he has already decided that if someone is looking for him, then he will use it as an excuse to flee this scene of domestic bliss. So what if he is still hungry. If the meatballs weren’t covered in sauce, he would pick one up as he ran out of the room. But this is the way things are.

*

Things weren’t exactly how the authorities thought they were back then: that a multitude of isolated, downtrodden people were embracing a vision of happiness and a historical mission which required them to speak a foreign language and to celebrate a foreigner’s victories – a vision which promised to unite them, to restore them, to make them greater. Neither were things as some people like to remember them today: cinders glowing valiantly in every hearth, ready to blaze up into a tall, proud flame as soon as the first bugle call was heard. There was a quiet war being waged for sure, but it was so quiet that even the sharpest ears might not pick up the rumble of its cannons, and the clever chaps abroad had concluded that peoples’ backs were so bowed that they would never stand upright again. That is until the newspapers told them quite how wrong they had been, leaving them unable to explain exactly what had happened. There was a quiet war being fought, but without a frontline moving backwards and forwards on demarcated territory. In the place of trenches there was something more like the circulation of blood, or mushroom spores: thousands, hundreds of thousands of little frontlines, passing through meeting rooms, wedding parties, family photographs, through individual people, who could be upstanding Soviet functionaries from nine to five and then turn into fervent idealists watching Finnish television in the evenings. But there is no point in asking if things could have been otherwise, only why those people’s descendants are the same to this day, even if they have changed their colours. The printed money wasn’t worth much back then, even if there were plenty of sweaty-palmed people with no scruples about handling it. There was however another important currency in circulation – trust. Some may use simpler terms such as acquaintances, contacts, but nothing would have counted without trust. Because in the end it was impossible to trust anyone if you had not gone to school together, shared the same sauna, gone scrumping with them, studied together, worked in the same office, done military service together, stolen something, eaten and drunk with them, slept with them. If you trusted someone, you could share your books, your telephone numbers, your smoked sausage, your summer house, anything you had, even trust itself – names, places, times. You didn’t use a dentist whom you didn’t trust, you didn’t ask someone to pass a letter to your Swedish relatives if you didn’t trust them. If you could help it you had nothing to do with people you did not trust – they might very well be working for the other side.

Trust was the only valid currency.

It was just so exhausting.

And so we used that trust to pay for our freedom, and we’re still collecting the change to this day.

*

There were two of them walking along, one of them taller, with broad shoulders and a chin which jutted determinedly forward, he was walking a bit slower. The other was older, shorter, but more edgy and animated, evidently his companion’s mentor, the one who was in charge. They walked back and forth along the road between the Victory Square underpass and St Charles’ Church, making sure that no one was watching in front or behind. Raim was speaking while Valev listened with a worried expression on his face.

“It’s a real drag, that’s for sure,” Valev said, casting a quick glance over his shoulder, “and I hope that Karl bears up. It’s going to be really tough for him. I’m afraid that if they don’t let him go after a couple of days that means that they’re getting properly stuck into him. They’re particularly brutal at the moment.”

A passer-by looked in their direction and Valev fell silent for a moment.

“Because we’ve actually won already, you know,” he said. “I found out – don’t ask how – that an order was sent from Moscow, from the head of the KGB himself, telling them to work out a plan for going underground. Including cover stories for their own people and contact points for transferring funds in the future. And of course a network for blackmail operations.”

“Aha,” said Raim.

“That means two things,” Valev said. His voice almost became a whisper, and his cheeks started to flush. “Firstly, that we’ll get our country back, sooner or later. That’s certain. No doubt about it any more. But secondly, because there is a secondly as well … if their plan succeeds, we might end up with a maggoty apple. You understand what I mean, an apple full of maggots.” Raim thought he could see Valev trying to trace the shape of an apple in the air. “A maggoty apple.” Then his arms fell limply on either side of him, he cleared his throat and recovered his voice: “That is if we don’t do anything to stop it.”

“So what can we do?” Raim asked.

Valev started to explain. He looked around again and then took an object wrapped in yesterday’s paper from inside his coat.

It was a miniature camera, originally invented by one Walter Zapp, an engineer of Baltic German extraction who had lived in Tallinn’s Nõmme district in 1936 before moving to Riga. Now known as the Minox EC, it had been significantly improved in the intervening years, was being manufactured in Germany, and had earned renown as the world’s smallest photographic device, capable nevertheless of producing very high-resolution pictures.

And he also had a name to give Raim. Someone who had been stirred from the silence of the shadows: Gromova.

*

Clearly Raim did not ask where Valev had got hold of the information about Lidia Petrovna Gromova, but in the interests of clarity let it be explained. As it happened the source of that information was the same woman from the block where Lidia Petrovna lived, the one who had helped her find work in the security organs. Which had also come about by chance. A certain very handsome man used to visit this woman to comfort her during her husband’s long drinking binges and other absences. He didn’t wear a uniform, but he carried a work-issue gun with him at all times. And this woman was happy to be helpful in other ways too. One time the man told her about a well-paid vacancy, obviously hoping that she would apply; unfortunately she couldn’t type, but she knew that Lidia could turn her hand to that kind of work. Later, when it turned out that this man was only interested in getting information about her husband’s colleagues, they fell out badly. After that another man started to come round and console her. He was no less handsome, but he had completely different views, he was one of the leading figures among the local Russian nationalists. Lidia’s former neighbour was happy to be helpful to him in every way possible too. And this nationalist really liked those plump women with pale skin and a slightly motherly appearance, so they were well suited to each other. You might not believe it but back in those days the Estonian and Russian nationalists got on marvellously, united as they were by a common hatred for the Bolshevik regime – although the Estonians believed that the Soviet occupation which started in 1940 was a much worse crime than the execution of the last Russian tsar and his family, as ugly as that might have been. At the necessary moments they had helped each other out of trouble before. Moreover, the Russian nationalists thought that if copies of KGB files made it through to the West, then it would be a great help for their cause too.

In addition to Lidia Petrovna’s name, two other names reached Valev’s organisation in the same way, but it proved impossible to make an approach to them. And the fact that Lidia Petrovna had once worked at Raim’s school was certainly going to be useful.

Valev knew nothing more about her. And that was for the best.

*

At the precise moment that Lidia opened the door of her apartment – dressed in her dressing gown and feeling some trepidation, since her doorbell rarely rang – Raim had still not thought up the words with which to address his former Russian teacher after all those years.

But when he saw the immediate, complete and unambiguous look of recognition in her eyes, he realised that sometimes it was not necessary to think – only to be.

He closed the door behind him, put the cake and flowers on top of the cupboard in the corridor, took hold of Lidia’s shoulders, pulled her gently towards him, slid his hands under her dressing gown, across her naked back, and pressed his lips on to hers.

In other words, he did exactly what he had always wanted to do every single time he had seen Lidia Petrovna in his life.

*

Who cares about cake when there are fingers, hair, a nose, lips, a hollow in the back, shoulder blades, buttocks, and breasts? Who cares about flowers when a warm, moist welcome beckons from between the legs, and trousers can no longer contain the urge which has been suppressed for all those long years. Fortunately Lidia managed to edge slowly backwards, guiding them into the bedroom, so that they could become one for the first time on her quilt rather than on the corridor floor. But could anyone rightfully demand greater self-restraint when every square centimetre of their flesh yearned to be pressed against the long-awaited other, pressed so firmly that it could never be prised loose? Can you ask why someone who is parched after weeks in the desert drinks so greedily that the water sloshes out from either side of the jug?

If only he had thought to come here before, and not for the reason which had eventually brought him.

*

In the town which Lidia Petrovna originally came from, wherever it was (Voronezh, Suzdal, Irkutsk, some other Russian town, Raim couldn’t remember exactly), they believed that the vocation of Russian teacher was well suited to a pretty, decent girl who had the good sense and motivation to take seriously her studies at the local pedagogical institute. All the more so that with her looks there was slim chance she would be one of those long-serving teachers who end up as shrewish old maids. They taught her how she was supposed to understand those obscure poems, and she even got to stand in front of a class a bit before getting herself fixed up with a man and leaving. Naturally, her love and respect for the great language of Pushkin, Turgenev and Mayakovsky did not go anywhere. And wherever she lived they would beckon her out from the four walls of domesticity to go and follow her vocation. After all, there were schools everywhere, and a shortage of good Russian teachers – here in Estonia too. How could she have known that by choosing to come and live in this country she was getting herself caught up in someone’s grand project, a project which aimed to deprive all those clumsy, lanky boys and precocious plaited-hair girls, together with their parents, uncles, aunts, neighbours, relatives and their colleagues of that strange, incomprehensible language which they spoke amongst themselves? But gradually she started to realise that something was not quite right. It was evident from the way some of them started looking at her in the classroom or corridor, as if she were a guest who had outstayed her welcome. It was evident from the way in which the other teachers suddenly stopped talking when she entered the staffroom. Why didn’t they realise that she was not the problem? She wanted to explain, but somehow she couldn’t get her mouth round that strange and incomprehensible language; it was as if it just didn’t want to give up the sounds it was used to. So she preferred to stick to her wonderful mother tongue, which she spoke beautifully, and she knew that they understood, so it was easier for everyone that way. But some things remained unsaid of course. Over time she got used to the situation, just like everyone else. She comforted herself with the thought that Pushkin, Turgenev and Mayakovsky would stay who they were regardless of what was said in their beautiful language in sepulchral tones on the nine o’clock news on television every night. She didn’t know that not a single one of those lanky boys or plaited-hair girls, nor the women who fell silent when she entered the staffroom, ever watched those news programmes. She took pride when one of her students occasionally saw themselves reflected in the heroes and heroines of Russian literature and she saw a spark of comprehension in their eyes which spanned the gap between two worlds. The chance of that happening made her life worth living. And at home she had her books. She went to the ballet, and sometimes the opera. And to concerts. Occasionally the cinema. There wasn’t much else. And the situation remained the same when she left her position at the school. She used to shrug off any doubts about the nature of her new work; she didn’t have anything to hide. Anyway, the salary was nearly two times bigger, the hours significantly shorter, and she didn’t have to wear a uniform. She quickly got used to leaving gaps in the right places, and she was quite happy that she was not authorised to know what the papers were about. It was other peoples’ business to fill them in.

*

But sometimes things take many years to reach their culmination, and if the outcome is a good one, then why not be happy?

Raim was in the eleventh grade back then. He was standing in front of the class, and Lidia Petrovna was saying nothing. Strictly speaking, Raim had been caught out, but there was something about him which resembled a budding exhibitionist who was savouring being completely naked for the first time.

Raim was good at drawing, especially pictures of things which were important to him. He had gone to art class for six years before his father decided that it was better to be good at one thing than mediocre at many, and so Raim had chosen volleyball – there was no other way, he was already captain of the team by then. But of course he kept on doodling away for his own pleasure. And the picture which he had accidently left in between the pages of his Russian exercise book was a really good one. An Art Institute lecturer wouldn’t have expected anything better from one of their student’s life model sketches – except this picture was not drawn from real life but from imagination, from desire, from adoration.

Lidia Petrovna was lost for words. She raised her eyes and looked at this boy – to be honest he was virtually a man already – who had seen her like that in his mind’s eye. It was clear that the picture had been drawn from the purest and truest of motivations. Of course she knew where to draw the line of propriety, but she couldn’t restrain a fleeting thought which sent a shudder right through to the tips of her toes.

She knew very well that she would have to handle the situation like a normal person. Not like a teacher. If she wanted to remain a normal person, that is. Because she would still be a teacher whatever she did.

“Sit down,” she said with a slightly hoarse voice, and gave the exercise book back to Raim. That was it. She kept the picture, and never raised the subject again.

But Raim would have been happy to know that the very same evening Lidia Petrovna stood naked in front of her mirror for a while, looking at herself. And for the first time in ages she liked what she saw.

In fact Raim had come to Lidia Petrovna’s block two days earlier, but without going in. He remembered the address from his school days; one evening he had followed her all the way to her front door, without her even knowing. It was strange, but after all those years he still mentally referred to her by her first name and patronymic, Russian style. He had just got used to it. Of course the other students had called her Lidia Petrovna too, because that was required as a sign of respect, but when her back was turned everyone knew her simply as Gromova, and that was who she remained, since not a single nickname stuck. Everyone apart from Raim that is, who knew her as Lidia Petrovna, even in his thoughts.

Raim wasn’t sure that his former teacher would still be living there, but Lidia Petrovna was very happy in her small Pelgulinna flat. She had moved there after separating from her husband, part-exchanging it for her three-room Mustamäe apartment, which had left her with enough money to decorate properly and even to buy herself the occasional dress to go to the opera in – so that the men who saw her wouldn’t think she was one of those culture widows. Maybe her new place wasn’t as comfortable as the old one, but she couldn’t stand the sympathetic looks of her husband’s former colleagues who lived in her old block. And she had got used to the new place by now.

And now, it should be added, she certainly didn’t want to move anywhere else.

Raim had stood on the other side of the street, trying as hard as he could to think up what he would say on the off chance that Lidia Petrovna’s flat was not occupied by new inhabitants who might have her forwarding address. But when Lidia Petrovna appeared at the front door he recognised her straight away. Fortunately she didn’t glance in Raim’s direction but headed straight off towards town. Beautiful, majestic and completely her own woman, just as if all those years had never passed.

“I’ve been living here for ages,” said Lidia Petrovna, “and you only just found me.”

It was actually a question, but Raim didn’t yet know how to answer.

“I still have that drawing of yours somewhere,” Lidia Petrovna said with a grin.

*

“What a total bastard you are!” said Lidia Petrovna, trying to hide the tremor in her voice.

She was sitting up in bed and smoking, with her satin pyjama jacket open. Raim had just placed the Minox EC camera on the bedside cupboard and explained to Lidia Petrovna how to use it, and what kinds of pictures she should take with it.

For Raim the moment which followed seemed to last much longer than it actually did, because he had little experience of such situations.

But Lidia Petrovna now had two options.

Her employers would assume that she would inform them about the conversation which had just taken place, and as a consequence Raim would then be arrested, most probably followed by several of his friends and acquaintances, especially the acquaintance who had given Raim that wonderful piece of equipment invented by the Baltic German engineer. In other words, her employers would have assumed that she would betray her lover.

Her lover, however, assumed that she would put her liberty and maybe even her life on the line to join a struggle that she didn’t necessarily identify with in order to enable something to pass across the border between two worlds, something which might eventually determine the fate of many people, most of whom she didn’t even know. In other words, that she would betray her employers.

The question was which of those scenarios would result in Lidia Petrovna betraying herself.

In other words, there was no question.

—Rein Raud translated by Matthew Hyde

Published with permission from Vagabond Voices. Click here for more information.

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Rein Raud was born in Estonia in 1961. Since 1974, he has published numerous poetry collections, short stories, novels, and plays. For his works he has received both the Estonian Cultural Endowment Annual Prize and the Vilde Prize. Having earned his PhD in Literary Theory from the University of Helsinki in 1994, Raud is also a widely published scholar of cultural theory as well as the literature and philosophy of both modern and pre-modern Japan.x

Matthew Hyde is a literary translator from Russian and Estonian to English. He has had translations published by Pushkin Press, Dalkey Archive Press (including the Best European Fiction anthology for the last three years running), Words Without Borders, and Asymptote. Prior to becoming a translator, Matthew worked for ten years for the British Foreign Office as an analyst, policy officer, and diplomat, serving at the British Embassies in Moscow, and Tallinn, where he was Deputy Head of Mission. After that last posting Matthew chose to remain in Tallinn with his partner and baby son, where he translates and plays the double bass.

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Jul 062017
 

Even though Saba’s text is incomplete, he gives us enough of a glimpse into pivotal events in the life of Ernesto to make his novella an important, historical piece of gay and bisexual literature.  — Melissa Beck

Ernesto
Umberto Saba
Translation by Estelle Gilson
New York Review of Books, 2017
160 pages; $14.95

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Umberto Saba’s unfinished novella Ernesto, published this year for the first time in English translation by The New York Review of Books, is part of an ever-growing body of recent literature that explores the idea that human sexuality is more pliable and fluid than the rigid labels to which we assign it. The recent novels by Bae Suah (Reciation), Andre Aciman (Enigma Variations), and Anne Garreta (Not One Day) have also opened up important conversations about experimentation with sexuality. But what sets Ernesto apart and makes it stand out among the works of these other authors is that it was written in 1953, a time in which many considered homosexuality scandalous, or often illegal.

Born in 1883, in the Mediterranean port of Trieste, Italy, Umberto Saba is best known for his deeply personal and honest poetry. Ernesto is, in fact, his only work of fiction. Written at the age of seventy when, after suffering one of his many nervous breakdowns, and confined to a sanatorium in Rome, Ernesto tells a loosely autobiographical coming-of-age tale about a boy’s burgeoning sexuality. Estelle Gilson, the translator, writes in her introduction to the NYRB edition, “What he was writing was for himself alone—his adolescent experiences in Trieste as they suddenly welled up within him and demanded release.”

Like his teenage protagonist in Ernesto, Saba was abandoned by his father, raised in Trieste by an aunt and a single mother, worked in a flour factory at the age of sixteen, and had serious questions about his sexuality. Because of the autobiographical and sexual content of Ernesto, Saba showed his drafts to a few carefully chosen confidants. In addition to his doctor at the sanatorium, one of the only other people to read Ernesto was Saba’s daughter, Linuccia, to whom he would send parts of the manuscript with very strict instructions about keeping his writings secret. In his letters to Linuccia, Saba requests that his daughter keep his drafts in a locked container and that she send his writing back to him immediately after reading it. Linuccia took her father’s instructions seriously and didn’t publish Saba’s novella until 1975, nearly twenty years after the author’s death.

Composed in five “Episodes” with an additional section entitled “Almost a Conclusion,” the strength of Saba’s writing lies in the bold and, at times, brutally honest language that he employs throughout his text. Set in Trieste, in the last few years of the nineteenth century, the sixteen-year-old protagonist is raised by his single mother and his elderly aunt. Ernesto’s world reflects the diversity of Trieste which, because of its location in northeastern Italy between the Adriatic Sea and Slovenia, was influenced by Italian, Slavic and German cultures. During this period of time, Trieste is an Imperial Free City within the Austro-Hungarian Empire, and had been under Hapsburg rule since the fourteenth century. Although most of its citizens were Italian and loyal to an Italian Republic, Germans controlled the bustling business and commerce of the city and held positions of power.

Ernesto works as an apprentice in a German flour factory where he meets a laborer, a lower-class Triestine, identified as “the man” with whom he has his first sexual encounter. Ernesto’s erotic exploits with the man leave him bewildered, ashamed and confused not only because of the illicit nature of his experiences, but also because he is still sexually attracted to women.

Ernesto’s sexual encounters with the man take place in the first Episode but the emotional consequences linger with Ernesto throughout the narrative. The language of Saba’s Ernesto is candid, especially when describing the titillating and erotic first sexual encounter between Ernesto and the man. The two negotiate the intimate details of what the sex will be like as Ernesto is both excited and scared about this new experience:

“There’s a lot of things you can do in an hour,” the man said urgently.

“And what do you want to do?”

“Don’t you remember what we were talking about yesterday? That you almost promised to do. Don’t you know what I’d like to do with you?”

“Yeah, put it up my ass,” Ernesto replied with quiet innocence.

In an essay entitled “What Remains for Poets to do,” Saba argues that “It remains for poets to write honest poetry.” Saba applies this pursuit of literary honesty to his prose as well when he inserts his own commentary into the text to explain and justify Ernesto’s explicit language. Saba’s interjection of his own voice into the narrative are some of the most beautiful and enlightening pieces of writing in the novella:

With that brief, precise utterance, the boy unwittingly revealed what many years later, after many experiences and much suffering would become his “style;” his going to the heart of things; to the red-hot center of life, overriding resistance and inhibitions, foregoing circumlocutions and useless word twistings. He dealt with matters considered coarse, vulgar (even forbidden) and those considered “exalted” just as Nature does—placing them all on the same level. Of course, he wasn’t thinking of any of that now. He had blurted the sentence (which practically had a laborer blushing) because the circumstance warranted it.

The episode ends with an act that deftly mixes emotions of both tenderness and shame: the man kindly turns over the stained sack of flour at Ernesto’s request so that no one will be suspicious of what happened between them.

Shame is a theme that Saba returns to repeatedly in his narrative as Ernesto attempts to find fulfillment, pleasure and love with a man and a woman. The fact that the man is never given a name is perhaps significant because Saba, likely through his own sense of shame at recalling these events, can’t bring himself to give Ernesto’s seducer a true identity. After two months, Ernesto decides that he can no longer keep having these sexual encounters with the man because they make him feel dirty and keeping such a secret from his mother feels shameful and wrong. After his trysts with the man, Ernesto has the overwhelming desire to prove himself a man and is impatient to have sex, for the first time, with a woman. He is ashamed because all of his friends have bragged about sleeping with women and the only sex he has had is with a man. Shame is what motivates him to seek out sex with a prostitute which erotic scene in the book is equally as tender and explicit as the one with the man. This time, however, he gives the prostitute a name because sex with a woman, even though it is a prostitute, is not as shameful as having sex with a man.   Once Tanda undresses Ernesto, she finds the best position that will give Ernesto the most pleasure for his first time. And after he climaxes she washes him with a disinfectant and his sense of shame and embarrassment cause him to excessively overpay her and leave suddenly.

Themes of loneliness, alienation and sadness—demons with which Saba himself wrestled throughout his life—also pervade Saba’s coming-of-age narrative. Ernesto is initially drawn to the man who propositions him with sex because the man loves the boy. Because of the absence of a father in his life, Ernesto wants to please the man who shows him affection and adoration. He likes the prostitute because she is warm and tender with him and this causes him to eagerly anticipate his next visit with her. Ernesto’s mother is stern with him and shows him little affection although affection is something he craves more than anything. Like many young people inexperienced with matters of intimacy and sex he mistakenly equates physical attention with emotional connection and love.

Some of Ernesto’s sadness, alienation and even shame is relieved by the unlikeliest of characters, his dour mother, who is the third point in the novella’s triangular structure—the man, the prostitute and Ernesto’s mother. His mother is a presence that lingers throughout the entire story and even when the man is trying to seduce him, Ernesto mentions his mother and the guilt he feels over keeping a secret from her. The woman, who was abandoned by Ernesto’s father before the boy was born, is overbearing and overprotective of her only child. Yet, she believes that she must be harsh in her rearing of the boy and must not show him very much affection. When Ernesto no longer wants sex with the man, he gets himself fired from the factory so he never has to see him again. The loss of his job devastates Ernesto’s mother and he feels compelled to confess his true reasons for not wanting to return to the factory. When Ernesto tells his mother in great detail about the whole affair with the man, the full force of the emotional connection between mother and son is fully revealed. Saba writes a touching scene that is sympathetic to both the character of Ernesto and his mother:

With his mother’s kiss and the sense that he would be forgiven, Ernesto felt himself reborn. It was one of the few kisses she had ever given him. (The poor woman wanted so much to be, and even more to be seen as, a “Spartan mother.”)

We can’t help but wonder if Saba’s own sense of shame and loneliness haunted him for the rest of his life and was the reason, at least partially, for his many depressive and nervous episodes for which he was hospitalized. He was married for many years, and although they remained married, the couple’s relationship was troubled and they spent quite a bit of time living apart. It is fitting that Saba writes Ernesto in the last few years in his life as part of his therapy in the sanatorium. But it appears that so many years of shame and hiding who he truly was became too exhausting for the author because he can’t gather enough strength to finish writing Ernesto. Saba writes about his decision to leave his novella unfinished: “Add to those pages Ernesto’s breakthrough to his true calling, and you would, in fact, have the complete story of his adolescence. Unfortunately, the author is too old, too weary and embittered to summon the strength to write all that.”

Even though Saba’s text is incomplete, he gives us enough of a glimpse into pivotal events in the life of Ernesto to make his novella an important, historical piece of gay and bisexual literature. It also helps us better understand Saba’s poetry which writing is equally as personal and intense as Ernesto. To this end, I include a particularly apt final poem of Saba’s called “To the Reader” filled with all the conflict and terror that Saba perhaps felt in composing Ernesto:

This book, Good Reader, though a balm to you,
shames its creator and should go unread.
Although he spoke as a living man, he was
(or should have been, for decency’s sake) dead.

— Melissa Beck

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Melissa Beck has a B.A. and an M.A. in Classics. She also completed most of a Ph.D. in Classics for which her specialty was Seneca, Stoicism and Roman Tragedy. But she stopped writing her dissertation after the first chapter so she could live the life of wealth and prestige by teaching Latin and Ancient Greek to students at Woodstock Academy in Northeastern Connecticut. She now uses the copious amounts of money that she has earned as a teacher over the course of the past eighteen years to buy books for which she writes reviews on her website The Book Binder’s Daughter. Her reviews have also appeared in World Literature Today and The Portland Book Review. She has an essay on the nature of the soul forthcoming in the 2017 Seagull Books catalog and has contributed an essay about Epicureanism to the anthology Rush and Philosophy.

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Jun 162017
 

Photo by César Cid

Rodrigo Fresán’s The Invented Part is a wild ride of a novel that takes on many different forms. The following excerpt comes from early in the book, and concerns two young documentary filmmakers who are working to put together a project on the novel’s nameless protagonist, a writer who recently threw himself into the Hadron Collider and merged with the God Particle.

As they piece together footage at the writer’s home, they also gather quotes and passages said by the writer in various interviews throughout his career. These are frequently hilarious and insightful, and they stretch over many pages. Presented here are just a few of the quotes collected by the filmmakers, which give the reader a sense of author Fresán’s playful approach to storytelling. Note: all bracketed ellipses are part of the novel’s text.

The Invented Part is translated from the Spanish by Will Vanderhyden.

— Benjamin Woodard

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*A recommendation of Pink Floyd’s Wish You Were Here and Bach’s Goldberg Variations by Glen Gould (his second version, almost a farewell) as “an ideal soundtrack for sitting down and remaining seated and writing. [. . .] Perfect music for trying to attain that thing Fitzgerald said, that thing about how ‘all good writing is like swimming under water and holding your breath.’” And “Big Sky” by The Kinks as “the best way to kick-start every workday. [. . .] A kind of supplication. An Our Father who is, indeed, in heaven because he is the heavens. And also a way to remember that, while a good part of the writers of my generation wanted to be U2, it’s not bad at all, better in fact, to want to be The Kinks. True, the tours would be more uncomfortable and less spectacular. And the loneliness of the backstage hallway before the instant glory of those hundred meters. But better to be like Harry Nilsson than like Bono. Do any of you have even the slightest idea who Harry Nilsson was or is? Or Warren Zevon? And, just to be clear, I’m not talking about their dissonant and clever self-destructive epics but about their constructive intimacy in the moment of composing subtle and perfect songs. The exquisite way they assemble and disassemble verses and choruses and bridges so their poetry can cross over to the other side where you’re waiting for it. So, that’s how I think about the writing of stories and novels. A particular balance of feelings and sound and phrasings and word games. And the Greek Choir holding hands and singing ‘He goes around saying he’d rather be a rocker than writer, doo do doo, doo do doo, doo do, do doo do doo, doo do, doo do . . .’ In the end . . . Where was I? Ah, yes, I’ll find an easy example: better to be like Ray Davies than like Bono, I think. And I’m repeating myself. I insist. The Kinks. The ones of ‘You Really Got Me,’ Right? But I think more about a song like ‘Big Sky.’ In ‘Big Sky’—like Harry Nilsson in ‘Good Old Desk’ singing to his divine desk; or Warren Zevon in ‘Desperados Under the Eaves,’ feeling down and listening to the sound of the air conditioner, which suddenly inspires a final and majestic crescendo—Ray Davies invokes, without getting too anxious, a sort of unknown deity who doesn’t care much about us. Bono, on the other hand, time and again desperately kneels down in intense prayer to someone he knows well—to himself [. . .]. Staying on topic—and band—I can’t think of a better song than ‘Days,’ also by The Kinks, as background music for lowering the blinds at the end of a workday. But it might be better to listen to Elvis Costello’s crepuscular version and not The Kinks’ original . . . Ray Davies. Thank you . . . All of a sudden I remember that once, a long time ago, Ray Davies rescued me from a University lost among the Iowa cornfields and made it possible for me to go to New York, to hear him sing ‘Days.’ I was there, as a sort of guest writer in an academic B-movie. And I couldn’t leave that place. I was held captive by the bureaucratic spell of a special visa that didn’t allow you to travel around the United States unless someone took responsibility for you. So I found out that Ray Davies was going to play in Manhattan. And I’d never heard or seen him live and in person. And I needed to see him and to hear him. So I tracked down the number of the hotel where he was staying, I was able to get them to put me through to his room and he answered and I explained the situation. He had to talk to the Dean so they would let me leave, so I could go to his concert. Of course at first Ray Davies thought it was a prank being played by some malicious friend, and then, to verify that I was an authentic fan, he made me sing several of his songs over the telephone. Not the easiest ones. No hits. Songs like ‘Polly’ or ‘Too Much on My Mind’ (one of my all-time favorites) or ‘People Take Pictures of Each Other’ or ‘Art Lover’ or ‘Scattered.’ And I knew all of them. But pretty soon he got tired and hung up. A few days later, thanks to a message he sent to the Dean, I left heading east. Ray Davies invited me to have tea with him; he gave me a ticket, and said, ‘This is as far as we go and we’re never going to see each other again, right?’ A true gentleman, yes. An artist who merely raised an eyebrow above the Darjeeling-perfumed steam that rose from his cup and smiled somewhere between amused and sad when I mentioned, indignant, the gall with which, at that time, Blur and Oasis and Pulp stole and falsified his style and songs, reveling in money and fame and barely acknowledging his genius and tutelage and mastery. There are no writers, no writers of books like that. And if there are, I’m not aware of them. There are no fans of writers like that either. Fans of musicians are happy to know their songs and to howl them at concerts or inside rooms with doors shut tight. Fans of writers, on the other hand, are more dangerous: fans of writers want to write, to write something of their own and, with their own writing, to rewrite the other and what the other has written.”

* Something that John Banville said to him once, as they walked around the outside of Martello Tower in Sandycove, about how “style goes on ahead giving triumphal leaps while the plot follows along behind dragging its feet.” Later he wondered whether it might not be possible for the style to go back a few steps and lovingly lift the plot up in its arms, as if it were a brilliant and complicated child, and turn it into something new, different: into a stylized plot, into the most well-plotted of styles. It was Nabokov, and he almost always agreed with Nabokov, who postulated that the best part of a writer’s biography didn’t pass through the record of his adventures, but through the history of his style. Style as an adventure and adventure as style, yes.

* Something he once told someone, while they walked around the outside of who knows where: “The gods of one religion frequently become the devils of the religion that follows it. Something similar happens with writers, with the writers of a prior generation when they are evaluated by the writers of the generation that follows them.”

* Answer: “What would I like as an epitaph on my gravestone? Easy: my name, the word ‘Reader,’ and the years 1963-1,000,000,000 and increasing. And it’s not that I want to live that long; but, warning, the code for the impossible second number passes through the word ‘Reader.’ Which is to say: more time, all time, to be able not to continue writing but to continue reading . . . When I was very young and still concerned with things like my photo on the jacket flap of my books, I once posed wearing a black T-shirt where, written in white letters, it read ‘So many books . . . so little time!’ . . . I bought it in a New York bookstore that no longer exists. The T-shirt no longer exists in my closet either. It disappeared along with those other T-shirts: one with the legend ‘Likes Like/Like Likes’ and another with a reproduction of the cover of Sgt. Pepper’s Lonely Hearts Club Band, where a friend who designed album covers had inserted my face next to that of William S. Burroughs. But the thing from the first T-shirt—I still think that. It’s extremely unfair that, clearly, neither I, nor anyone else, has the time, all-the-time-in-the-world, to read everything you need to read first in order to write later. To write the best that anyone can write . . . Faulkner, without going any further. I have him here, all the Library of America tomes, waiting. I read him a little and poorly in my adolescence, in deficient translations (which, also, might bring me to all the time I lack to reread, which is like a glorified version of reading) and there he remains, waiting for me. To read? Or not to read? Now? In summer or winter? Is it better that the climate and temperature of the external landscape correspond to Faulkner’s South? Or just the opposite? Next year? Is my writer DNA ready to receive such an explosion and, maybe, find itself changed forever? Who knows? Faulkner is there and there Faulkner stays, howling, like one of those dangerous wolves with one foot tied to a chain whose exact length is unknown. So how close can you safely get without him jumping on you and eating your face? Or, unbeknownst to you, chewing through his own foot and lying there, waiting for you? A lone wolf. Never forget how Faulkner responded to Hemingway suggesting that writers unite and make themselves strong, like doctors and lawyers and wolves. Faulkner mistrusted writers who came together and formed groups and generations, saying they were doomed to disappear, like wolves who are only wolves in packs, but are nothing but docile and harmless dogs on their own, dogs that are all bark and no bite.”

— Rodrigo Fresán, Translated from the Spanish by Will Vanderhyden

Published with permission from Open Letter Books

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Rodrigo Fresán is the author of nine novels, including Kensington GardensMantra, and The Bottom of the Sky. His works incorporate many elements from science-fiction (Philip K. Dick in particular) alongside pop culture and literary references.

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Will Vanderhyden received an MA in Literary Translation from the University of Rochester. He has translated fiction from Carlos Labbé, Edgardo Cozarinsky, Alfredo Bryce Echenique, Juan Marsé, Rafael Sánchez Ferlosio, Rodrigo Fresán, and Elvio Gandolfo.

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Jun 162017
 

Rodrigo Fresán elegantly balances the strange with the common.
— Benjamin Woodard

The Invented Part
Rodrigo Fresán
Translated from the Spanish by Will Vanderhyden
Open Letter, 2017
$18.95, 552 pages

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The opening of Rodrigo Fresán’s ingenious, postmodern page-turner, The Invented Part, feels something like a soft focused cinematic dream that gradually sharpens. Movie buffs, of which Fresán is a longstanding ally, may conjure an early scene from Frank Capra’s It’s A Wonderful Life here: Joseph tells fellow guardian angel Clarence to examine the town of Bedford Falls, but because Clarence hasn’t received his angel’s wings, everything he sees is a blur. It’s only after Joseph assists (“Oh, I forgot. You haven’t got your wings yet”) that shapes emerge, lines taper. Now, imagine that same visual, only textually: a haze of words, a series of threads—on the ideas of beginnings, punctuation marks, and novel construction—that feel unconnected, but which slowly tie together with extraordinary verbal dexterity, seducing the reader into Fresán’s world. Passages like:

To breathe like this: the way they breathed back then, opening and stepping inside one of those books that have the scent of book and not, as noted, the scent of machine and electric engine, of speed and lightness and short sentences, not for the wise power of synthesis but on the crass basis of abbreviation. To breathe differently, slowly and deep down inside. To breathe in books that readers, with any luck if they’re lucky, will come to enjoy like the pure oxygen of a green forest after a long time lost in the black depths of a carbon mine.

create not only a bewitching rhythm via word repetition, but also relay narrative intention: Fresán is interested in stepping both in and out of what we consider linear fiction, of jostling expectations while tunneling deep within scientific and emotional philosophies. And as these intentions comingle, Fresán reveals a scene on a beach, where a young boy (referred to as The Boy) frolics in the water while his parents bicker and read separate copies of Fitzgerald’s Tender Is the Night. This boy, “a restless child,” who nearly drowns at that beach, is Fresán’s protagonist, and he grows up to become a respected author—in addition to being The Boy, he is also credited as The Writer, The Lonely Man, and X in various chapters—who, now in his fifties, decides to throw his body into the Hadron Collider in Geneva, Switzerland, and become one with the God particle, existing in everything, throughout history, at all time, space, and place.

Why does The Writer/The Boy/X/The Lonely Man decide to do this? He’s depressed. Specifically, he’s fed up with the technological world, of 140 character missives, of seeking answers online rather than asking questions:

“But everything I’m telling you, if you’re so intrigued, you could’ve found out in a matter of seconds via Google…Why didn’t you just do that?”

And the Lonely Man doesn’t have the strength to tell him that, if that’d been the case, they’d never have had that conversation.

He does not feel at home in the world, and so he figures that becoming omnipresent may allow him to adjust history to his liking. Not that The Invented Part doles this information out in a remotely traditionally narrative style. Broken into three sections and seven chapters, the novel spends as much time with its protagonist as it does without, leaping—like a being at one with the universe, perhaps—throughout time and from characters to explain itself in a piecemeal fashion. For example, after the long setup and scene on the beach, Fresán shifts to the present, introducing two young filmmakers (credited as The Young Man and The Young Woman, naturally) constructing a documentary on The Writer, who has recently gone missing. From here, Fresán transitions into a nearly unbroken 100-plus-page block of text that recounts the story of The Writer’s sister’s strange marriage to a man from a clandestine secret society, before again returning to The Young Man and The Young Woman. Such fractures continue until the novel’s final page, and it’s enough to make one think that, due to its pell-mell construction, the book can be consumed in any order. After all, for another chunk of the book, Fresán’s hero discusses Chinese bijis, a genre of literature that roughly translates to “notebook.” Filled with lists, anecdotes, and other curiosities:

… it’s possible to read them not according to any order, opening a path for ourselves, starting at any point and jumping back and forth or up and down or side to side. Beginning at the end and ending at the beginning. The idea is that, one way or another, each reader ends up discovering a story as unique as her reading.

Yet as The Invented Part continues, Fresán’s seemingly scattershot unveiling of detail, while often fulfilling a biji’s requirement of inventories and anecdotes, reveals itself to be extremely controlled, filled with image patterns and references that make the novel impossible to read in any other configuration. This arrangement also lends itself to hours of flipping back through the text, hunting for scenes that overlap, or objects that provide key emotional transformations further down the road, like the wind-up tin toy first found by The Young Man in The Writer’s home, which reappears later (and, in the timeline, earlier) in the hands of a boy at a hospital. The tin man shows up a third time when it is spied in a shop window by a friend of The Writer, Tom, who is told by his young son that the toy should be placed on the cover of his next novel. When Tom reminds his son he’s not a writer, but a musician, his son replies, “That’s here, Papi; but in another of the many space-time wrinkles, you’re a writer.” (It should be noted that both the English and the original Spanish edition of the novel do, in fact, feature renditions of the tin man on their covers.) The toy returns even later, too, but to reveal its significance in these final scenes would be like explaining the prestige of a magic trick. Mentioning that the toy carries a suitcase, however, may be enough of a hint.

In addition to the wind-up traveler, multiple appearances from William S. Burroughs, 2001: A Space Odyssey, The Kinks’ Ray Davies, Bob Dylan, The Beatles’ “A Day in the Life,” Pink Floyd’s Wish You Were Here, and F. Scott Fitzgerald and his novel, Tender Is the Night, pockmark the text. This last object not only serves as the favorite book of The Writer’s parents, but also is subject to a lengthy dissection, linking the novel to the parents—famous models who die in a politically-charged hostage situation—through the story of Gerald and Sara Murphy, Fitzgerald’s real-life inspirations, while simultaneously provoking potential critics of Fresán’s novel-in-progress by noting that initial reviews of Tender Is the Night “question[ed] its structure with the long central flashback. And they consider[ed] the decadence and fall of Dick Diver as excessively melodramatic and implausible.” Coincidentally, by this point in the novel, The Invented Part has featured several long diversions (including the analysis of Tender Is the Night), and has done little to explain the “fall” of The Writer. Though these similarities are hardly faults (I’d argue that they make for a more compelling read), Fresán’s self-awareness in these passages is witty and daring, practically taunting potential criticism of his style by beating it to the punch.

This kind of self-awareness materializes many times in The Invented Part, but it never feels precious or hokey. If anything, it merges reader and author, and Fresán’s metacommentary keeps everyone moving toward the same goal. Perhaps this is best achieved when The Writer speaks about his definition of “irrealism,” saying, “If magical realism is realism with irreal retails, then logical irrealism is its twin opposite: irreality with realistic details…And yet, is there anything as irreal as so-called realism?” This idea ties into what the protagonist also sees as “the invented part” of life, described as:

…the part that actually makes something that merely happened into something that should have happened. Something (everything to come, the rest of his life, will spring from that there and then, from that exact moment) more authentic and valuable and pure than the simple and banal and often unsubtle and sloppy truth.

The Invented Part thrives on its ability to construct something out of nothing, making a day at the beach a life-changing event, or placing The Writer/Lonely Man in a hospital, waiting to hear lab results, and letting his mind wander to construct a series of story sketches for a new collection. Rodrigo Fresán elegantly balances the strange with the common, the experimental with the traditional, and the result is one of the most satisfying postmodern novels in recent memory.

— Benjamin Woodard

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Woodard

Benjamin Woodard lives in Connecticut. His recent fiction has appeared in HobartNew South, and Cog. In addition to Numéro Cinq, his criticism and nonfiction has been featured in The Kenyon Review OnlineGeorgia ReviewElectric Literature, and other fine publications. He also helps run Atlas and Alice Literary Magazine. You can find him at benjaminjwoodard.com and on Twitter.

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Jun 142017
 

Photo credit: Javier Oliaga

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“Caps” (originally “Chavales con gorra” or “Boys with Caps”) by Fernando Aramburu, evokes the unease and uncertainty still present, sometimes prevalent, in Spanish society more than 40 years after the transition to democracy. Despite massive tourism, new infrastructure, the allure of Madrid and Seville, the prosperity of Barcelona, and the fame of Basque gastronomy, there is an undercurrent of malaise, not only from deep economic depression in rural Spain, especially Andalucia, but from the fact that political tensions both intraregional, and more obviously between left and right, are never far from the surface. Spain is restive in part because of the tacit agreement in recent decades that in order to move forward the past must be silenced; but other voices, other people, some who survived the Civil War (now mostly their descendants) and the hard subsequent years, demand that those times not be buried, and call for a literal exhumation of what’s been covered over—bodies, records, archives, and the need to confront the grim truths of political tragedy. “Caps” dramatizes the shadowy tension of a supremely capable nation at odds with its national identity, and the quiet menace one can sometimes feel in the poor back streets and quiet plazas of Spanish, Basque, and Catalan cities, the old stones pocked and pitted from bullets and bombs.

— Brendan Riley

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The morning light comes flooding into the room where he’s just thrown back the curtain. Motionless in the bed, the woman doesn’t notice a thing because, according to her habit, she’s sleeping with a mask over her eyes. They arrived last night, late. The town (eighteen thousand inhabitants, according to the pamphlet on the night table) is not such a popular tourist destination as the other cities scattered along the same coastline. That’s exactly why they picked it out on the map when they decided to get out of Malaga as fast as possible.

“If we can’t hide out here, Josemari,” the woman said as they rode up in the elevator, “then tell me some better place, unless you want to leave the country.”

The view from the hotel window embraces a landscape of white facades, rooftop terraces, television antennas, and the occasional silhouette of a palm tree. Save for a thin sliver of the sea glimmering in the distance, the houses block any view of the beach. Directly across the street is a funeral home. Two hearses sit outside, parked alongside a row of oleander bushes.

An hour earlier, he’d gone downstairs by himself to have breakfast. As he was giving his room number to the girl in the business suit in charge of writing down the guests who arrived to eat, he’d heard young voices and laughter coming from the dining room. With poorly disguised uneasiness he’d suddenly told her that he had to make an urgent telephone call and that he’d be right back, but he didn’t return.

He sits for a long time waiting for his wife’s sleeping pill to wear off. Among other things, the room’s minibar contains two small tablets of chocolate and a bag of salted almonds. These suffice for breakfast, and he washes them down with a few gulps of mineral water, not chilled quite enough by the little refrigerator. Then he drinks an airplane bottle of brandy, taking little sips; he usually doesn’t touch alcohol in the morning.

The bottle empty, he writes in the small Moleskine notebook that his son once brought back as a gift from London: My father, may he rest in peace, would be spinning in his grave if he knew that Im planning to sell the family machine shop. Its the end of an era, but I know full and well that at sixty-three Im far too young to be dead and buried. But I also want someone to know all this just in case those people find me.

The day they left Alicante to try their luck in Malaga, she’d suddenly had a different idea, that they move to London for a while instead.

“Until they forget about us.”

“Those guys? Forget? I really doubt it. Besides, I don’t think our daughter-in-law would be too thrilled to have to put us up again.”

“Put us up, that’s ridiculous, Josemari. We’ve helped them out so much. They’ve had no shortage of financial benefits. And we don’t have to move in with them if they could just help us find a flat to rent.”

“Alright. But let’s first have a look at Malaga while we’re at it. It’s a big city. We might have some luck there.”

The funeral home abuts a small plaza whose surface, from the fifth floor window, seems to be hard-packed sand. In the plaza he sees an old brown-skinned man seated on a bench. Across him stretches the shadow of a palm tree whose crown is thick with bunches of dates. Near the old man, three little girls jump rope. On another bench two young women are talking, each one with her baby stroller.

He jots down in the Moleskine: Peace and quiet, for the moment.

A few minutes later, the woman wakes up. As she claws off her sleeping mask, she becomes aware of her husband sitting by the window. Smiling, she asks him:

“What do you see, another boy in a cap?”

“This place is alright. It’s got plenty of light. The seaside and palm trees. I was thinking about maybe opening some little luxury hotel like you were talking about the other day. That would keep us busy. Just twenty beds, no more. And to hell with everything else. We could put it in your name just in case. And then about half a dozen employees to look after it, only from Andalucia, and we’ll just keep out of sight, all right?”

The woman slips out of her bedclothes before stepping into the bathroom. She has a scar where she once had a breast. The worst part of her treatment is over. During her last consultation Doctor Arbulu assured her that save for some unlikely new complication she was, essentially, cured. Her husband suspects that they must have spotted her on the way home from the clinic; and that made it easy to follow them to Alicante.

Even though it’s Sunday, white smoke drifts up from the funeral home chimney.

He writes: Well have to do what Maite suggests. If theres no way to settle down here then well go abroad.

A boy with gypsy features comes walking along in front of the funeral home. His long hair hangs down to his shoulders, and his hands are sunk deep in his trouser pockets. He walks with long rapid steps, and never turns his gaze towards the hotel. A good sign. Also, he’s wearing leather boots. Only the locals would wear boots like that in such hot weather. The kid waves to the old man on the bench without stopping. The old man replies by gently shaking his cane.

He hears the shower running in the bathroom. He writes: All this would make Dad so very sad. Youve got to hang on, son. Youve got to hold on, like I did during the war and the hard years after that. Its what he always said. But the old man lived through different times. I cant keep the business going from six hundred miles away. If youre not right there keeping an eye on things theyll just ruin you. The trucks, well, Ill sell those, and if I have to get back into shipping then Ill buy some more and reopen the company in Seville. With a new name, of course. Well maybe its because of Dad that Ive still not gone abroad. I have to write this down so someone at least will know.

An hour later they go downstairs, out into the street. She wears a special bra, with a foam rubber insert that allows her to disguise the fact she’s missing a breast. They both hide their eyes behind new sunglasses.

“Whenever we see a church,” she says, “let’s stop to see if there’s a schedule of masses.”

No sooner do they step out onto the street than he thrusts his chin towards the funeral home.

“They burn them on Sundays.”

“How do you know?”

“Shit, don’t you see the smoke?”

“Fine, Josemari, let’s change the subject. Left or right? Which way are we going?”

“The water has to be that way.”

They cross the street arm in arm. It’s a habit from when they first started going out, many years ago. Lately, they don’t do it so much anymore, not since that evening when they had to abandon their house and leave everything behind. Maybe they’re doing it now from the need to feel united in a new place filled with strange faces.

At first, Maite was convinced that her husband’s fear caused him to see a ghost on every corner. They’d be walking down the street in Alicante or Malaga, and suddenly he’d say to her:

“Turn but pretend you’re not looking. You’ll see two boys next to the stoplight. See them?”

“I see a lot of people, Josemari.”

“The ones wearing caps. I don’t know about you but they’re giving me a bad vibe.”

Maite didn’t really pay much attention to her husband’s jitters until that day in the rented flat in Alicante, when the telephone rang at three-thirty in the morning and a garbled, half-whispering voice mumbled some weird things about a dog and some shotgun shells and something about going hunting. Maite had arrived by train that afternoon. She’d showed up in a good mood because of everything that Doctor Arbulu had told her, but they must have been following her. Who else, if not one of them, would call at that time of the night with the excuse of asking about a dog?

He didn’t have the slightest doubt.

“They’ve found us.”

“C’mon, Josemari! How could they know we’re here?”

“What do you mean how could they know? I’ve got no idea. But obviously the way they pronounce their s’s is not the way people from Alicante talk. That guy on the phone was one of them. First thing tomorrow I’m saying that I’m not signing the lease. I’ll think of some excuse. We’re getting out of town as soon as possible.”

They make their way through a neighborhood of narrow streets, low houses with white walls, windows with wrought iron bars and balconies flush with geraniums. Here and there, locals sit just outside their front doors gossiping, lowering their voices as the couple strolls past. Also the children stop playing to stare at the strange pair. As they turn a corner, Josemari whispers to Maite that all these brown-skinned people must take them for aliens from outer space. Walking by, they nod their heads timidly, because they feel peculiar to be the object of so much curiosity. After all, they’ve got to do something because they surely don’t want to make anyone suspicious. Some people respond to them with customary greetings that sound strange to their ears:

Vayan ustedes con Dios, and other such expressions.

Fifteen minutes later, after following a steep, narrow street thick with the smell of frying calamari, they reach the avenue along the bay. From the open window of a high-ceilinged flat comes a woman’s musical voice. They see a grungy cat perched in a window gnawing on a fish head.

Coming in sight of the sea, Josemari suddenly feels his spirit sink again, like in Alicante, like in Malaga.

“It’s just not the same.”

“Water and waves, Josemari.”

“I don’t want to argue, but the Mediterranean is not what I call a sea. The Cantabrian has its different seasons, enormous tides and cliffs, now that’s a proper sea. Our sea. There’s no comparison.”

“So, then, what do you call this?”

“I don’t know. It’s something different. A big lake.”

And while Maite heads off to the bathrooms in the café where they’ve stopped for a drink, he writes in his Moleskine: I can get used to anything, but Ill always miss the sea from my native land. The sea, my sea where I grew up, is fundamental in my life. I realize this now.

He chews another olive stuffed with anchovies and adds: What matters is that I dont think like a fish.

Then he starts to carefully, slowly observe the passersby strolling past the café terrace, feeling a stab of apprehension each time some young man enters his field of vision. He thinks about how a few days ago, in Malaga, he was followed by a young couple, a boy and a girl, both of them wearing caps with visors. It might have just been a coincidence, given that when he turned up a street and slipped into a pharmacy to hide, they just walked by without a glance. Afterwards he followed them from a distance. And he really didn’t find anything strange. The next day, going for a stroll with Maite along the harbor, turning back after buying the newspaper at a kiosk, he recognized them. Or he thought that he recognized them.

“Josemari, are you sure it’s the same ones?”

“I’m not exactly sure of their faces, but it’s the same hats and I’m sure they were a boy and a girl like those two there. Maybe they work in shifts, because these kinds of people, if there’s one thing they know how to do, apart from fucking up your life, is to be organized.”

The waitress who’s served them their snacks now explains, in a strong Andalusian accent, the simplest way to get to a church situated just a few blocks away. When she understands Maite’s plan, the girl is kind enough to call her mother on her cell phone.

“No, really, it’s no trouble at all.”

So, it seems they celebrate Mass in the church at one o’clock. Now it’s just past twelve-thirty. Maite and Josemari express their thanks by leaving the girl a generous tip. Then, arm in arm again, they walk unhurriedly to the church. Five minutes later, they glimpse the church tower rising above the roofline. The bells are already ringing.

Josemari sits on a bench in the street, under a spreading lemon tree that gives him plenty of shade. Maite tries to persuade him to accompany her to Mass, saying how it will be nice and cool inside the church.

“You’ll roast out here.”

“I’ll be fine.”

Mass lasts about forty-five minutes. A little more than two dozen worshippers sit scattered throughout the pews. Maite sits down in the last row, occasionally glancing towards the door, hoping to see Josemari come inside. The priest is an old man with a raspy voice who speaks in a halting monotone. The church’s poor acoustics make it hard for her to hear his sermon. But, finally, the Mass is ended and Maite has fulfilled her obligation, which is what matters to her.

Coming out of the church she’s startled half to death to find her husband nowhere in sight. The bench where Josemari had promised to wait for her is empty. She looks all around but sees no one whom she can ask about a man in a white shirt, almost bald, who was sitting here just a short while before. In the center of her chest she feels a painful knot that makes it hard for her to breathe and makes her think about her past sufferings from her illness. The faithful who attended Mass walk off, disappearing in different directions. Soon the street is deserted. At this moment, Maite discovers Josemari’s notebook lying on the ground. She opens it and reads the last words her husband has written, and a terrible presentiment fills her with anguish: The same caps as in Malaga. She feels like she’s about to start screaming. Maite walks towards the nearest door hoping they’ll help her call the police. Then she sees Josemari come walking around the corner. Shaking with fright she runs to him and demands:

“Do you mind telling me where the hell you went?”

— Fernando Aramburu, Translated from the Spanish by Brendan Riley

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Fernando Aramburu was born in San Sebastián in 1959. He has a degree in Spanish Language, Literature and Linguistics from Zaragoza University. He currently lives in Germany, where he has worked as a Spanish teacher since 1985. His work has been granted, among others, the Ramón Gómez de la Serna Prize 1997, the Euskadi Prize 2001, and for his short stories Lospeces de la amargura (The Fish of Sorrow), the XI Mario Vargas Llosa NH Prize, the Dulce Chacón Prize, and the Prize of the Spanish Language Academy. The movie Bajo las estrellas (Under the Stars) based on Aramburu’s novel El trompetista del utopía (The trumpet player of the Utopia) was awarded a Goya Prize in 2008 for best adapted screenplay by the Spanish Cinematographic Academy.

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Brendan Riley

Brendan Riley has worked for many years as a teacher and translator. He holds degrees in English from Santa Clara University and Rutgers University. In addition to being an ATA Certified Translator of Spanish to English, Riley has also earned certificates in Translation Studies and Applied Literary Translation from U.C. Berkeley and the University of Illinois, respectively. His translation of Eloy Tizón’s story “The Mercury in the Thermometers” was included in Best European Fiction 2013. Other translations in print include Massacre of the Dreamers by Juan Velasco, and Hypothermia by Álvaro Enrigue. Forthcoming translations include Caterva by Juan Filloy, and The Great Latin American Novel by Carlos Fuentes.

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May 162017
 

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The following is a story of desire and memory. It comes to us from Franci Novak, a poet and story writer from Slovenia. Novak’s debut story collection, Podnebne spremembe (Climatic Changes), was originally published in Slovene by LUD Literatura. This English translation is by Olivia Hellewell. Hellewell has previously translated short stories and poems, and her first book-length translation, None Like Her by Jela Krečič, was published by Istros Books and Peter Owen Publishers in 2016.

— Benjamin Woodard

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The first thing I remember is the first bonfire and that drunk guy who came staggering out of the woods with a big log on his head, grinned, and then threw the piece of wood into the flames. It flickered fiercely, it was as if a storm was brewing over the fire, it was beautiful and magical. It was then that I summoned up the courage to go up to him, he was sat on the other side of the bonfire, on a bench, with friends, I asked him if he wanted to come and dance with me, his friends smirked and cracked jokes, the way boys usually do. I watched him all evening, I knew that it was him, that he was the right one that I had to have for myself. He was meant for me. I felt awkward, I was trembling inside myself, not that I let it show from the outside, but I knew that I had to do it. I led him away from the bonfire, away from his friends, and then the two of us danced; it wasn’t easy at first, then he yielded to me entirely, even starting to lead me over the pebbles which ground beneath our feet. We went back towards the bonfire where we talked and made jokes and stared into the flames, some girl was dancing around right in front of us, she was swaying back and forth as if making love to someone.

Whenever someone threw something onto the fire, thin red veins pulsed into the dark air, a fountain of sparks erupted again. The two of us were drinking a sweet spirit from a glass and our breath smelt strongly and intensely, but neither of us was bothered as we kissed; we had our eyes closed, as did the girl who was swaying with a glass in her hands and laughing and bending her knees.

A few of us stayed right up until morning, I remember the large warm rocks around the smouldering bonfire and the tiny lizards that darted over them.

But then I also remember those things before, even further back; it’s crazy how I return to the past so easily, how like lightning I dart back and forth, like lizards over warm rocks: I remember how I had longed for a boyfriend months before. I’d had guys, just like all girls my age, but I no longer wanted to search for anyone else, I wanted a boyfriend to just—materialise. So I took a piece of paper and described him: tall, dark-haired, slender, friendly and so on, I filled the entire piece of paper with beautiful handwriting—the best I could manage—and more, I imagined him in every detail. I pictured him vividly, how he moved, how he smiled and spoke, I really did imagine everything about him, then I jotted that image down, with all the details, on the piece of paper, even though I couldn’t jot all of it. But the image was complete, the pen and paper didn’t know how, but it would know how to see the image, how to create it out of the components I’d noted down, I thought to myself at the time. I pinned the paper to the wall, there above the table, and just beneath it made a mini altar. I wasn’t religious, not in the way others wanted me to be, but in my own way; I’d got a figurine of Mary and baby Jesus from somewhere, but any god would have been fine, it could have also been Buddha or some other god, as long as my image found a way, a passage. I stood the figurine in a corner of the table and surrounded it with flowers, and then I placed a whole armful of tea lights around and lit them, making my room quiver and prance in the flames. Then I put my hands together and prayed for my wish to come true.

If you truly wish for something, your wish comes true, for your wish affixes itself to strings of energy, that’s what’s written in books, that’s what I’ve read, a wish is like a plectrum which glides along the strings of a guitar and compels them to release a certain sound: the sound of your wish coming true. And what is written in those books is true, that is just how it happened, there I am once again, sat with my boyfriend, the drunk guy carrying a big log on his head, the dancing girl bending her knees, a fierce flickering, as if a storm is brewing above the fire, beautiful and magical. The two of us are sitting and dancing, sitting and dancing, his breath smells of strong, sweet spirits, my breath smells too, I look at him and quiver, he is here, my wish come true, we drink and we kiss and we chat long into the night, right up until morning.

And then there’s one other day I remember too, the one when the two of us went for a walk together: it was around a month after our first bonfire, it was an unusual day, the wind was blowing, storks were hovering high above in the sky and the white track that we were walking along was sunken in tall, wavy grass, like a long white tongue with small birds hopping along it. Our hair was tangled, I felt the wind on my body like a third body, we held each other’s hand and walked. A thick smoke swirled in the air, we heard the crackling of branches and leaves and noticed how smoke was coming from a bush beside the path and thought that the bush must have burnt down spontaneously like in those biblical tales; then we caught sight of people who were stood behind and setting fire to the abundant undergrowth. We laughed at their stupidity. I stroked the long, slender grass. We passed a woodpile, I placed my palms on the planks, on their skins which were warm from the afternoon sun.

“Why don’t we light a fire too,” I said. I took out a lighter and tried to light one of the planks with it. He pulled an amusingly serious face and looked around worriedly. I wanted us to play, but he was too serious for games, it seemed like he didn’t understand. I burnt my fingers from holding on to the lighter for a long time.

“I’d need petrol to light that,” I said to him with an entirely serious look on my face. “Shall we go and look for a can?”

He looked at me in astonishment, almost frightened.

“Just kidding,” I smiled, then we lit a joint behind the woodpile, it was getting dark, the clouds were piling up in the pure red sky, the wind blew and the tall grass rustled. For a moment it seemed as if he wasn’t beside me at all, so I had to take hold of his hand in order to feel him.

Then for a few months we lived together, the two of us went to lectures and worked, we never went out anywhere, only for walks nearby, or to the cinema or nearby town. He had his own flat, we cooked together and talked together and loved each other. It was nice.

But one day the fires came back, what had to happen, happened.

Tea lights were burning on the tables of the bar, in the half-light the DJ was dropping some crazy good house, we drank sweet, intoxicating drinks and danced, me and my friends, he and his friends. Before we set off to the party he said that he didn’t want to go, that he’d rather just be with me, that he was fed up of these so-called friends and useless parties and that he was already past all this. But I said that we had to go out, because people had to get together and re-establish contacts and build networks, like ants, colliding with each other all the time with those flickering, quivering feelers. So we just went, it was great, we all danced. When it came to the time that we’d all been waiting for, we ran out with glasses in hand and watched the fireworks. Shadowy figures ran across the car park in front of the bar and placed trembling rockets on the floor until blinding flames spurted out of them; the rockets shot into the sky, sparks hissed through the cold winter air and explosions rattled the window panes; the floor was illustrated with glorious patterns of light and a translucent smoke was carried away across the car park; it was like the start of some insane, new war. Light and shadows, the whistle of rockets and the smell of gunpowder settled into our bodies whilst fires bloomed in the sky.

Some guy wearing tattered gloves and a hat that was too big for him was stood in the car park, looking gloomy with a starting pistol in his hand, whilst the reflection of the fires slid along the metal of the cars like flowing magma; I felt sorry for him, but I knew that not everyone could be a wish come true and that’s the way it had to be. I looked into his eyes as I walked past, all the others looked away.

Then we returned and everyone sat around the table together, we ate, drank and talked, it was happy and noisy. Sometimes I looked at him, at my boyfriend, I saw that he couldn’t wait for the two of us to leave, but I didn’t want to go yet. The waitress came over to us and lit some sort of strong spirits with a lighter, we were drinking cold blue fire, we were drinking fire, the drink extended warmly in my body, I stood up to go and dance. I was wearing insanely good shoes, really tight light-brown boots, then I went to the bar and drank more blue fire; when I went back to the group and sat on a stool, I wanted to dance with him but he didn’t want to, as if his body was numb, he just sat and watched as if he were half-dead.

That guy with the tattered gloves and the hat that was too big came inside, he just came inside with his starting pistol in his hand; a throng of people gathered, everyone looked at him askew, because he was not anybody’s wish come true. The guy fell to the floor, the gloves came off his hands and the hat skidded across the floor. When he got back on his feet, I slipped a glove back on his hand and popped the hat back on his head, as if I were putting a new man together, while the others were laughing; then I stroked his face, his sad, angry eyes shining like tiny fires.

I went back to sit next to my boyfriend, people were still laughing at the guy, who’d left the bar with the starting pistol in his hand. Then it happened, I don’t remember too well, it was like a dream: I was gently embraced by a veil of smoke, it wrapped itself around my legs like a playful cat and crept up and tickled my skin and my shins from the inside. I felt a warmth in my boots, on my heels, burning me, it seemed as if I were burning from all the fire that I had drank; something in me was kindling, the fire was glowing, I jumped on the table and danced with burning boots, like in some film, but I only remember fragments, only still images come to mind: someone brought some water and poured it on my feet, someone else took one of my boots off, we were all laughing a lot, I remember fingers stroking my bare foot and the smell of burning, thick and intoxicating like the trains that once used to pass through my village. I cried out: “Find me the one who threw his fag end at my boots, find him, kill him”, but my voice was like the voice of another, separate and outside of my body. A glass smashed on the floor, from it slowly grew a damp star, blue flames shot out from the glass.

I took off my second boot and walked around barefoot for a while. I went back to him, my wish come true. He’d been sat at the table the whole time and he didn’t budge, he was just watching; I sat on his knee and asked him if something was wrong, he stroked me and said that nothing was wrong. He asked me if it stung at all and if everything was ok, without looking me in the eye. Then I asked him if he was ashamed, and he said he wasn’t ashamed, but I knew and I got angry, I sat on his friend’s knee and said to him that if he was ashamed of me I’d go with someone else who wasn’t ashamed of me. I then drank a whole load of other drinks and sat on his friend’s knee and danced barefoot on the tables.

He came up to me, drew me in towards him and said that I wasn’t capable of love. I stared at his talking mouth, his face turned into fire, went up like a piece of paper thrown into the flames; I didn’t tell him how big, how enormous the love inside me was, how in a moment of complete clarity, complete focus I cautiously look around, how I slowly, tenderly, lovingly let go of the burnt-out cigarette onto my boot, how I feel a slight sting, a slight ignition, a warmth down there, how I then dance, I light and extinguish my own fires, how I am my own fire myself.

When I stepped outside, everything was insanely open, winter was vast and free and thousands of fires trembled above, and a shot fired from a starting pistol burst into a single white flame in the sky.

— Franci Novak, translated from the Slovene by Olivia Hellewell

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Franci Novak is a poet, who after leaving secondary education took classes in theory and practice at Ljubljana’s School of Art. His first poetry collection, Otroštvo neba (Sky’s Childhood), was published by Mladinska knjiga in 2011. In 2010, Novak was awarded the title of Knight of Poetry for Pivec Publishing House’s Poetry Tournament, marking the best unpublished Slovene poem of the year. His first collection of short stories, Podnebne spremembe (Climatic Changes) was published by LUD Literatura in 2014.

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Olivia Hellewell is a literary translator from Slovene and is currently writing her PhD thesis on ‘Translation and Cultural Capital in a Small Nation: The Case of Slovenia’ at the University of Nottingham, UK. In 2013 she was awarded the Rado L. Lenček prize by the Society for Slovene Studies for her essay on translating the poetry of Dane Zajc. Olivia has previously translated short stories and poems, and her first book-length translation, None Like Her by Jela Krečič, was published by Istros Books and Peter Owen Publishers in 2016.

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May 102017
 

As this section opens, the unnamed narrator is leaving the hotel in Rio de Janeiro where he has spent the night. He is anxiously embarking on some sort of necessary journey. But he is travelling without luggage and, it would seem, without a clearly defined purpose, or destination.

Atlantic Hotel is translated from the Portuguese by Adam Morris.

—  Joseph Schreiber

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I went down the hotel steps half stooped, my legs and back were killing me. When I got to the door I put one of my hands against the wall to hold myself up, and with the other I pressed against the pain in my lower back. Maybe I should go back to my room? I wondered. Maybe I should stay, give up? Maybe I should marry the flapper from reception? Maybe I’ll be content with the company of a woman?

I’m old, I thought. Old at barely forty. Traipsing around would be madness. Legs, weak. Irregular heartbeat, I know. And my rheumatoid posture…

There, stopped in the hotel doorway, I felt vertigo. Foggy vision, out of breath…

But I needed to get going. I stepped down from the stoop and leaned against the wall of the building. Lots of people were passing along Nossa Senhora de Copacabana, just like every morning, some brushed against me, touched me inadvertently, coughed.

I felt on the verge of fainting but avoided the idea of asking for help. Resorting to another person’s assistance would be the same as staying, and I needed to go.

Then I thought about getting a taxi. So I went looking for one. I walked by moving one leg at a time, steadying myself on other people like a drunk. Until my feet stepped into the dark puddle in the gutter. I hailed a cab and it stopped.

I told the cabbie I was going to the bus station. I got in the back, curled up, lying down on the seat. The driver asked if I was sick. With what remained of my voice I said I was only tired. Bus station, I repeated. The cabbie kept talking, but I couldn’t follow.

At one point I understood he was talking about the cold. I said: Oh, the cold, as cold as the Russian steppes. He told me: The Russian steppes are cold as death. This I heard quite clearly.

I returned to my senses. The traffic. The cabbie commenting on the smog in the Rebouças tunnel. I leveraged my hands against the seat back and managed to bring myself upright. The car was emerging from the tunnel.

I was almost better, just a tremble in my hands.

“How come you’re so tired?” the cabbie asked.

“I was partying all night,” I replied.

He laughed. I showed him my hand and said, “Look how I’m trembling, it’s alcohol tremors.”

“You’re an alcoholic?” he asked.

“Yeah, but I’m going to a treatment center in Minas,” I replied.

He shook his head, gave a little snort of assent, and said, “I have a brother-in-law who drinks. He was in rehab three times.”

Suddenly, the cabbie said we’d arrived at the bus station.

“You all right?” he asked.

“Great,” I replied, almost startled.

I watched the commotion at the bus station and saw the hour of my departure had arrived, the way someone going under for surgery witnesses the anesthesiologist’s first procedure.

I took a wad of money from my pocket, opened my hand, and gave it to the cabbie. He asked if I wanted change. I inquired if he knew where to find the ticket counters for the buses to Minas. He smiled, gave me a look, and said he had no idea.

“I’m sorry.” I said it full of a sudden shame.

“Sorry for what, man?” he asked.

“Sorry for being who I am,” I replied, closing the car door softly.

I got on the escalator going up. The one coming down was jammed with people. Between the up and down escalators there was a long concrete staircase. People in a hurry were going up and down, skipping steps.

On the escalators everyone seemed totally immersed in what they were doing. Noticing this relaxed me. I too would manage: travel, take the bus, arrive somewhere else.

There were long lines at the ticket windows. A lot of people were milling around. Many others sat on benches. A man and a woman kissed shamelessly at a lunch counter. A man left the pharmacy looking at his watch.

I sat on a bench, way at the end. The rest of the bench was full. I stretched out one of my legs a bit, without letting my heel come off the floor. My leg looked a bit pitiful. Maybe it was the crumpled up unwashed sock, the fleck of mud on my shoe. A pitiful state I’d done everything I could to disguise. I brought the leg back over beside the other.

Now I was looking at nothing except the dirty floor on the upper deck of the bus station. Gazing at that dirty floor, I had nothing else to think about. Maybe a vague yearning for a child’s intimacy with the floor.

It struck me that my journey might bring me back to that intimacy. A voice inside me said, between excitement and apprehension, Who knows, maybe I’ll end up sleeping on the ground.

I took out the ball cap I always carried in the pocket of my blazer. I put it on my head in the position I liked, a little to the right side. I no longer needed a mirror to be sure the cap was placed in exactly that position.

The cap obeyed, loyal. My hands had memorized the way to execute their task. As always, when the task was completed, I gave a little tap on the cap’s brim to see if it was really on right.

I ran my hands down my body as though searching for something and felt a bulk in the blazer’s other pocket. It was a thick piece of paper folded several times—a map of Brazil I’d bought two days earlier.

I looked around, making sure there was room to open the map all the way. I put my legs over the armrest of the bench. Now, with nobody on either side, I could extend my arms.

As I opened the map I remembered what I’d said to the cabbie. That I’d be going to alcohol rehab in the Minas countryside.

On the map, the Minas countryside looked like a swarm of little towns. My gaze descended a little, crossing into São Paulo State and stopping on Paraná.

I was thirsty. I thought about getting a mineral water. I folded the map, discreetly tucked it under my butt. Then I got up and walked away.

I didn’t even make it five steps. A woman seated on the bench facing mine called out, “Hey, sir, sir, I think you forgot something there.”

I looked back, toward the spot where I’d been sitting, saw the paper folded on the bench seat, turned to the woman, and shook my head, saying, “It’s not mine.”

— João Gilberto Noll, Translated from Portuguese by Adam Morris

Excerpt courtesy of Two Lines Press; translation copyright 2017 Adam Morris

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João Gilberto Noll (1946–2017) is the author of nearly twenty books. His work appeared in Brazil’s leading periodicals, and he was a guest of the Rockefeller Foundation, King’s College London, and the University of California at Berkeley, as well as a Guggenheim Fellow. A five-time recipient of the Prêmio Jabuti, and the recipient of more than ten awards in all, he died in Porto Alegre, Brazil, at the age of 70.

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Adam Morris has a PhD in Latin American Literature from Stanford University and is the recipient of the 2012 Susan Sontag Foundation Prize in literary translation. He is the translator of João Gilberto Noll’s Atlantic Hotel (Two Lines Press, 2017) and Quiet Creature on the Corner (Two Lines Press, 2016), and Hilda Hilst’s With My Dog-Eyes (Melville House Books, 2014). His writing and translations have been published widely, including in BOMB magazine, the Los Angeles Review of Books, and many others. He lives in San Francisco.

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Apr 142017
 

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Marina Tsvetaeva (1892-1941) was a Russian and Soviet poet who is often considered one of the greatest contributors to 20th century Russian literature. “Well, if you are talking about the twentieth century, I’ll give you a list of poets,” Russian Nobel Prize winner Joseph Brodsky once said. “Akhmatova, Mandelstam, Tsvetaeva—and she is the greatest one, in my view. The greatest poet in the twentieth century was a woman.”

The following new translations, by Mary Jane White, are from Marina Tsvetaeva’s final published collection, AFTER RUSSIA (Paris 1926). The poems are witty and lush, and are part of White’s long project of Tsvetaeva translations. White has recently compiled her translations into a 288-page manuscript, which is awaiting publication. White’s previous Tsvetaeva translations include the collections Starry Sky to Starry Sky (1988) and New Year’s, an elegy for Rilke (2007).

— Benjamin Woodard

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A WINDOW

On a pleasing Atlantic
Breath of spring —
Like a stupendous butterfly
My curtain — and — I

Like a Hindu widow
Enter the gold-lipped crater,
Like a listless Naiad
Enter the sea beyond a window . . .

5 May 1923

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TO HONOR TIME

                                 for Vera Arenskaya

On the refugee-road!
It whooped — and bolted
Headlong on its wheels.
Time! I don’t have time.

Caught up in chronicles
And kisses . . . like sands
In rustling streams . . .
Time, you let me down!

Of clock-hands and wrinkles’
Furrows — of American
Innovations . . . — Empty jar! —
Time, you give me short measure!

Time, you hand me over!
Like a debauched wife — a “new toy”
You drop . . . — “One hour, but it’s ours!”

— Your train leaves on a different
Track! . . —

Since I was born past
Time! To no purpose and in vain
You resist! Caliph of an hour:
Time! I will pass you by!

10 May 1923

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HIS SISTER

Hell’s too small, heaven too small to contain you:
Everyone’s already at the point of dying for you.

But to follow your brother, sadly, into the fire —
Really, is that customary? It’s not a sister’s
Place, to radiate passion!
Really, is it customary to lie in his barrow . . .
With your brother? . . .
………………………………— “He was and is mine! Even if he’s rotten!”

— And that’s the order of precedence with graves!!!

11 May 1923

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NIGHT

Time the upper reaches are laid bare,
Time you gaze into our souls — as into our eyes.
These — open sluices of blood!
These — open sluices of night!

Our blood surged, like the night
Our blood surged, — like our blood
The night surged! (Upper regions of the ear
Time: a world poured into our ears — as into our eyes!)

The screen of the visible pulled back!
On time’s distinct calm!
Time of the ear opening, like an eyelid,
No longer do we have weight, or breathe: we hear.

A world channeled into our endless ear’s
Helix: sucking down sounds,
Helix, — our endless soul! . .
(Time, you enter our souls — as you would our arms!)

12 May 1923

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TO STEAL . . .

And perhaps, the finest victory
Over time and gravity —
Is to pass, without leaving a trace,
Is to pass, without leaving a shadow

On the walls . . .
…………………….Finer perhaps — to exact
By refusal? To erase myself from mirrors?
Like: Lermontov moving through the Caucuses
To steal, without disturbing the rock-faces.

And perhaps — the finest amusement
Given the finger of Sebastian Bach
Would be not to trouble the organ’s echo?
To collapse, leaving no dust

For the urn . . .
…………………….Finer perhaps — to exact
By fraud? To write myself out of the latitudes?
Like: Time moving through an ocean
To steal, without disturbing the waters . . .

14 May 1923

— Marina Tsvetaeva, translated from the Russian by Mary Jane White

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Marina Tsvetaeva is considered by many to be one of the greatest contributors to 20th century Russian literature. Born in 1892, she published many volumes of poetry during her lifetime and was greatly admired by the likes of Boris Pasternak, Rainer Maria Rilke, and Anna Akhmatova. She committed suicide in 1941, and since then, her poetry has been widely translated.

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Mary Jane White is a poet and translator who earned an MFA from The University of Iowa Writers’ Workshop. She is the recipient of NEA Fellowships in both poetry and translation. She has published numerous books of her own poetry, as well as Tsvetaeva translations, which include Starry Sky to Starry Sky (1988) and New Year’s, an elegy for Rilke (2007).

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Apr 092017
 

The following excerpt, the opening passage of Frontier, introduces the central character, Liujin. Note the the crisp, unadorned quality of Can Xue’s prose and the fine membrane between the ordinary and the surreal. 

Frontier is translated from the Chinese by Karen Gernant and Chen Zeping.

—  Joseph Schreiber

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LIUJIN

IT WAS LATE. Liujin stood there, leaning against the wooden door. The ripe grapes hanging on the arbors flickered with a slight fluorescence in the moonlight. Blowing in the wind, the leaves of the old poplar tree sounded lovely. The voice of someone talking blended with the rustling of the poplar leaves. Liujin couldn’t hear what he was saying. She knew it was the man who had recently been coming here late every night and sitting on the stone bench near the courtyard gate. At first, this had frightened Liujin and she hadn’t dared to go outside. Time after time, she had peeped out the window. Later on, realizing that this bear-like old man was harmless, she worked up the courage to approach him. He had good eyesight: even in the dim light, his eyes were as penetrating as sharp glass. He was busying his hands twisting hemp. He didn’t like to talk with people; his answers to Liujin’s questions were always vague: “I’m not sure . . .” He wasn’t one of her neighbors; where did he come from? Although he didn’t talk with her, he seemed to enjoy talking to himself. His words kept time with the sound of the wind and the leaves. When the wind stopped, he stopped. This was really strange. Tonight, his voice was louder, and pricking up her ears, Liujin made out a few words: “At noon, in the market . . .” Liujin tried hard to imagine the scene in this indoor market: piece goods, gold and silver jewelry, raisins, tambourines, foreigners, and so on. But she had no clue what the old man meant. Even though it was late, a woman was actually singing piteously and plaintively on the other side of the street; the woman seemed to be young. Could she be singing for the old man? But he apparently wasn’t listening; he was talking to himself. These days, Liujin had grown accustomed to his voice. She thought the old man looked a little like the poplar tree in the courtyard. The poplar was old, and so this man must be old, too. Liujin asked: Are you twisting the hemp to sell it? He didn’t answer. Sleepy, Liujin went off to bed. Before she fell asleep, she heard the young woman’s song turn sad and shrill. When she arose in the morning, she saw that the old man had left without a trace—not even a bit of hemp had been dropped on the ground. He really was a strange person. When she inquired of the neighbors, they said they didn’t know of such a person. No one had seen him. This made sense, for people generally didn’t go out so late. Liujin knew that she went to bed later than anyone else in the little town: she had formed this habit a long time ago. Still, what about the young woman singing? Judging by the direction the voice came from, she seemed to be from Meng Yu’s family. That family bought sheep from the pastures, slaughtered them in the market, and sold the fresh meat. With the strange old man showing up in her yard, Liujin no longer felt desolate and lonely in the autumn nights. She felt a vague affection for him, but she preferred not to explore the nature of this emotion.

She had lived by herself in this small enclosed area for five years. Before she was born, her parents had moved here from a large industrial city in the interior. Five years ago, her elderly parents went back to their hometown with many others, but she didn’t. Why had she stayed? Why hadn’t she wanted to go to the big city? She had some impressions of the city from her father’s descriptions of it. These impressions were mostly misty, not very reliable; she had tried hard to synthesize them, but without success. And so when her parents packed their bags and prepared to leave this small frontier town to go back to their old home, she began to feel dizzy. She was even unsteady when she walked. Late at night, for several days before they left, she heard the cracking sound at the riverside: with her bizarre sense of hearing, she knew the sound came from the poplars. These explosions came at intervals until the wee hours. In response to this inauspicious sound, a vague notion gradually occurred to Liujin. When she suggested that she stay behind, her father merely raised his right eyebrow. This was the way he expressed himself whenever something confirmed what he thought. “You’re an adult. It’s your choice.” All of a sudden, Liujin realized that he and Mama had been waiting for her to suggest this: she really was an idiot. So she unpacked her suitcase and put everything back where it belonged. True, she was thirty years old: why did she have to live with her parents? When the train started, her parents didn’t lean out the window. She didn’t know what they were thinking about. But when the last car was about to vanish from view, she suddenly saw clearly the big city in the distance. To be precise, it wasn’t a city, but a large white cloud floating in midair, with mirages in the mist. She even saw the apartment in the tall building where her parents lived. She didn’t know why their window was so dark in the strong light. How had she recognized it? Because her mother’s old-style pleated skirt was hanging in front of the window. On her way back, she walked steadily. She was returning to the home that now belonged to her alone. She trembled a little in excitement.

At first, Liujin wasn’t used to living alone. She sold cloth at the market. Every day when she left the noisy market and returned to the isolated little house, it was dark. For several days in a row, a tiny white wagtail strode hurriedly into her house; the little thing cried out briefly and sharply, as if looking for its companion. After quickly patrolling around inside, it left with a despondent cry. Liujin heard it fly to a tree, where it continued chirping. Had it experienced some tragedy in its life? Sitting under the lamp, she thought about the man who had recently been coming often to the market. He wore glasses, and when he picked up the cloth to look at it, his glasses almost touched the material. Liujin found this amusing. He seemed out of place in the market. He wasn’t like the other shoppers, and he didn’t bring any shopping bags, either. He was dressed like a farmer from the frontier. Of course he wasn’t a farmer; one could see that from the expression in his eyes. He always looked at cloth, but never bought any. Nor did he glance at Liujin. The way he touched the homemade cloth brought about an almost physiological response in Liujin. What kind of person was he? “I’m just looking,” he said, as if imploring Liujin. “Go ahead and look as long as you like,” she replied stiffly. All of a sudden—she didn’t know why—she felt empty inside.

One day, although it was late, the white wagtail hadn’t returned to its nest. It was circling beside a thorny rose bush, singing sadly. Acting on a hunch that something had happened, Liujin walked into the courtyard. She saw the bespectacled man from the market talking with a young woman under the streetlight. Suddenly, the woman screamed and ran away. Looking dizzy, the man leaned against a power pole, closed his eyes, and rested. The wagtail sang even more sadly, as if it were a mother who had lost her daughter. Approaching the man, Liujin said softly, “Tomorrow, I’ll take out a few more bolts of new cloth with a snow lotus pattern. It’s like . . . snow lotus, and yet it isn’t.” When the man heard her talking to him, he relaxed a little and said “Hello.” He turned and looked at her courtyard. Just then, she noticed that the wagtail had disappeared. Without saying anything else, the man left. The way he walked was funny—a little like a horse. Liujin had heard others call him “Mr. Sherman.” Maybe her encounters with him at the market weren’t accidental. Otherwise, why had he appeared in front of her house today? She also remembered the way the young woman had stamped her feet impatiently; at that time, the wagtail was chirping non-stop. Later, Liujin ran into this man in front of her house several times and greeted him properly, calling him “Mr. Sherman.” He always stood there—a little as if he were waiting for someone, for he kept looking at his watch. Liujin wondered if he was waiting for the young woman. Why had he chosen this place? How strange.

With Mr. Sherman showing up, Liujin had more energy. She worked hard tending her garden. Whenever she had a day off, she went into full swing. She planted many chrysanthemums and salvia along the wall—near the thorny rose bushes that were already there. There were still two poplars, one in the front and one in the back of the courtyard. Now she planted a few sandthorn trees: she liked plain trees like this. She also fertilized the grapes. On one of her days off, Mr. Sherman entered her courtyard. Liujin invited him to sit under the grape arbor. She brought out a tea table and placed a tea set on it. Just as they were about to drink tea, the wagtail appeared. It walked quickly back and forth, its tail jumping with each step. It kept chirping. Mr. Sherman paled and craned his neck like a horse and looked out. Finally, without drinking his tea, he apologized and took his leave. Liujin was very puzzled. It was this bird—perhaps it was two or three birds, all of them alike—that particularly puzzled her. Liujin realized she hadn’t seen the young woman again. What was going on between her and Mr. Sherman? Just now as he was sitting here, she had noticed that his right index finger was hurt and was wrapped in a thick bandage. He was dexterous in picking up his teacup with his left hand. Maybe he was left-handed.

By and large, Liujin’s life consisted of going from her home to the market and from the market to her home. On an impulse one night, she walked out and took the street to the riverside. The water level was low, and the small river would soon dry up. The sky was high. She walked along the river in the moonlight. There, she saw the corpses of poplars. She didn’t know if the four or five poplars had died of old age or if they had died unexpectedly. Their tall, straight trunks were ghostly. At first sight, her heart beat quickly. It was hard to muster the nerve to walk over to them. She startled a few willow warblers: their sharp cries made her legs quiver. She turned around and left, walking until she was sweating all over; then finally she looked back. How could the dead poplar trees still be right before her? A shadow emerged from the poplar grove and said, “Ah, are you here, too?” The sound startled her and almost made her faint. Luckily, she recognized her neighbor’s voice. The neighbor wasn’t alone. Behind him was another shadow. It was Mr. Sherman, and he was laughing. As he approached, Mr. Sherman said to Liujin, “When one sees dead trees like this, one shouldn’t run away. If you do, they’ll chase right after you.” The neighbor chimed in, “Mr. Sherman’s telling the truth, Liujin. You haven’t experienced this before, have you?” Even though she was standing in the shadows, Liujin felt her face turn fiery red. Had these two been hiding here long? How had she happened to come here just now? She recalled sitting at the table earlier writing her mother a letter, and being unable to go on writing because her mother’s words kept reverberating in her ears: “. . . Liujin, Liujin. There’s no way for you to come back to us. You’d better take good care of yourself.” Did Mama want her back after so long? She stood up and listened closely for a while to the wagtail’s lonely singing in the courtyard. When she had rushed out the gate, she forgot to close it. Perhaps these two men came here often to study these dead trees, but it was the first time she had ever come here.

“Look, the others are flourishing. It’s only these few trees: Did they commit collective suicide?”

When Mr. Sherman spoke again, his glasses were flashing with light. Liujin looked over at the trees and saw the moon brighten. The other poplars were so beautiful and vivacious that they seemed on the verge of speaking. Only the few dead ones were spooky. Her neighbor, old Song Feiyuan, rammed a shovel against a dead poplar trunk. Liujin noticed that the tree trunk remained absolutely still. Old Song chucked the shovel away and stood dazed in front of the trunk. Mr. Sherman laughed a little drily. Liujin suddenly recalled how wild this neighbor was when he was home. That autumn, this old man had gone crazy and dismantled the rear wall of his house. Luckily, the roof was covered with light couch grass, so the house didn’t collapse. In the winter, he warded off the cold north wind with oilcloth.

“Brother Feiyuan, what are you doing? These trees are dead,” Liujin tried to calm him down. A sound came from the river, as if a large fish had jumped up out of the water.

Liujin was three meters away from the men as she spoke to them. She wanted to get a little closer, but whenever she took a step, they backed up. When she straightened again after bending down to free a grain of sand from her shoe, they had disappeared into the woods. A gust of wind blew over her, and Liujin felt afraid. She turned around to leave, but bumped into a dead tree. After taking a few steps around the dead tree, she bumped into another one. She saw stars and shouted “Ouch!” She looked up and saw that the dead tree trunks, standing close together, were like a wall bending around her and enclosing her. Apart from the sky above, she could see only the dark wall of trees. Frustrated, she sat down on the ground, feeling that the end of the world was approaching. It was really absurd: How had she come here? Fish were still jumping in the little river, but the sound of the water was far away. She buried her head in her hands. She didn’t want to see the tree trunks. She thought it might be her neighbor Song Feiyuan playing tricks. This had to be an illusion, yet how had he and Mr. Sherman caused her to produce such an illusion? She strained to consider this question, but she was too anxious and couldn’t reach a conclusion. Suddenly aware of a strong light, she moved her hands and saw lightning—one bolt after another lit up her surroundings until they shone snow-bright. The dead trees that had closed up around her had now retreated far into the distance. The branches danced solemnly and wildly in the lightning. She stood up and ran home without stopping.

Recalling these events, Liujin felt it was quite natural that the old man had come to her small courtyard. Perhaps it was time for—for what? She wasn’t sure; she only felt vaguely that it had something to do with her parents who were far away. She remembered that the year before he left, her father had also twisted hemp. In the winter, he had sat on the bare courtyard wall: he had watched the activity on the street while twisting hemp. Not many people were on the road then, and there were even fewer vehicles. Father twisted the hemp unhurriedly, and—a hint of a smile floating on his face—gazed at the people passing by. “Dad, do you see someone you know?” Liujin asked. “Ah, no one is a stranger. This is a small town.” Liujin thought to herself, Since every person was familiar, then Father must be taking note of something. What was it? Liujin walked into the courtyard and went over to the wall where her father had often sat. Just then, she heard the sorrowful singing of a bird. The bird was in a nearby nest; perhaps it had lost its children, or perhaps it was hurt, or perhaps nothing had happened. Or was it a pessimist by nature? From its voice, she could tell that the bird was no longer young. Maybe, back then, Father had sat here in order to listen to it. This seemed to be the only spot where one could hear it. What kind of bird was it? She guessed that the nest was built in the poplar tree in back, but when she walked a few steps away, she couldn’t hear the bird. When she returned to her original spot, she could hear it again. If Father had made a companion of it in the winter, it must be a local bird. Could it be an injured goose? If a wild goose had been injured, how could it build a nest in a poplar tree? It did sound a little like a goose. Geese flying south sometimes sounded like this. Whenever Liujin heard geese at night, she couldn’t hold back her tears. It was clearly a cry of freedom, but it sounded to her like the dread that precedes execution. “The sound is directional. You can’t hear it unless you’re in just the right place,” the old man addressed her suddenly and quite distinctly. The hemp in his hands gave off soft silver-white light. “Where did you come from?” Liujin walked over to him. He lowered his head and mumbled, “I can’t remember . . . Look, I am . . .” He broke off. Liujin thought, What kind of person has no memory? Is there a category of people like this? He is . . . who is he? She wanted to move closer to him, but she felt something pull at her right foot and nearly fell down. She was greatly surprised. After regaining her balance, she thought she would try once more—but this time with her left foot. She staggered and ended up sitting on the ground. The old man sat there twisting hemp, as if he hadn’t noticed. Liujin heard herself shout at him angrily, “Who are you?!”

Though it was late at night, a column of horse-drawn carts ran past. This hadn’t happened for years. Liujin had heard that the city was growing, but she’d had no interest in looking at those places. She heard it was expanding toward the east, but the snow mountain was to the east. How could the city expand there? Had a corner of the snow mountain been chopped off? Or were houses being built halfway up the mountain? Liujin had seen snow leopards squatting on a large rock halfway up the mountain: they were graceful and mighty—like the god of the snow mountain. Later, she had dreamed several times of the snow leopards roaring, and at the time, rumbling thunder had echoed from the earth. But even now, she wasn’t sure what snow leopards sounded like. Because it was the weekend, she resolved to watch the old man all night, and find out when he left and where he went. After the sound of the horse-carts disappeared, he stood up. From behind, he looked like a brown bear. He crossed the street and headed for Meng Yu’s home. Meng Yu’s window was lit up. After the old man went in, the young woman, who was singing again, began to wail sadly and shrilly. Liujin heard loud noises coming from the house: Was something going to happen? But after a while it grew quiet and the lamp was also extinguished. After standing there a little longer, she went back to her house and fell asleep. She didn’t know when daylight came. The night seemed long, very long.

— Can Xue, Translated from the Chinese by Karen Gernant & Chen Zeping

Published with permission from Open Letter Books

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Can Xue is a pseudonym meaning “dirty snow, leftover snow.” She learned English on her own and has written books on Borges, Shakespeare, and Dante. Her publications in English include, The Embroidered ShoesFive Spice StreetVertical Motion, and The Last Lover, which won the 2015 Best Translated Book Award for Fiction.

Karen Gernant is a professor emerita of Chinese history at Southern Oregon University. She translates in collaboration with Chen Zeping.

Chen Zeping is a professor of Chinese linguistics at Fujian Teachers’ University, and has collaborated with Karen Gernant on more than ten translations.

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Apr 092017
 

Can Xue’s fiction is exceptional and notably difficult. Conventional narrative expectations are rarely met. It requires a surrender of the norms expected, even in dream-logic, if there is such a thing. Scenes have a disjointed quality. The most mundane moment can, without notice, take on magical elements. —Joseph Schreiber

Frontier
Can Xue
Translated by Karen Gernant and Chen Zeping
Open Letter Books, 2017
$16.95, 361 pages

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It can be said that Chinese experimental writer, Can Xue, inhabits a strange and elusive territory in contemporary literature. With an idiosyncratic approach to writing, she has created an impressive body of work that effectively explores a geography of the spirit—mapping, if you like, the space where the real and the surreal, the personal and the political, and the magical and the mundane meet. Her 2008 novel Frontier, newly released from Open Letter Books in a crystal clear translation by Karen Gernant and Chen Zeping, has been eagerly anticipated by her admirers. Yet, for intrigued newcomers, it may well offer an excellent introduction the dazzling, and baffling, world of Can Xue.

Born in 1953, in Changsha City, Hunan Province, South China; Can Xue is the pseudonym of Deng Xiaohua, who took her intentionally gender-neutral penname from a Chinese expression that refers to both the dirty snow that refuses to melt and the pure snow remaining at the top of a high mountain. This inherent duality is very fitting. In the years leading up to the Cultural Revolution, both of her parents came under suspicion for their journalistic activities and were sentenced to hard labour. Consequently, their daughter was unable to continue her education beyond elementary school. Despite the brutal hardships her family experienced and her own ill health, Can Xue showed great resilience. With her schooling cut short, she turned to reading. Largely self-taught, she read fiction, poetry, and discovered the joys of classical Western and Russian literature, eventually going on to study and read in English. At the same time, she married, started a family, and worked as a tailor before publishing her first work in the mid-1980s.

She has since published collections of short fiction, novels, essays and literary criticism, including works of commentary on Kafka, Borges, Shakespeare, Dante, Goethe, Italo Calvino, and Bruno Schulz. While echoes of these writers can be heard in the distance, her own writing defies direct comparison to any other, and, as a woman writing avant-garde literature in China, she breaks all conventions. Many male Chinese writers have been especially hostile to her work, and to the irrational style of her self-described “soul literature.”

Can Xue’s fiction is exceptional and notably difficult. Conventional narrative expectations are rarely met. It requires a surrender of the norms expected, even in dream-logic, if there is such a thing. Scenes have a disjointed quality. The most mundane moment can, without notice, take on magical elements. Characters may respond with fear, complacency, curiosity—or some shifting mixture of emotion. Reactions can fluctuate without notice, leaving the reader—and frequently the protagonists—questioning what has happened. The multiple storylines are rarely fully resolved, while some disappear altogether without further comment.

In an essay for Music & Literature, Nell Pach presents a critical key to accessing Can Xue’s literary world:

Like the narrating beastie of the title story in her 2011 collection Vertical Motion, she has found not just a new direction but a new dimension to move in, a realm where conscious beings experience space, time, and each other unbound from the old rules. Can Xue moves through this new world as guide; she offers it to the reader as an aesthetic event. Properly received, she says, her work opens readers up to affect and intuition. With this otherwise dormant aesthetic logic “activate[d],” each reader can “find the structure inside himself and facilitate the structure to be in an agreement with the work—gradually.”

This approach, to look for structure within oneself, rather than expecting to trace it out in the text on the page, is especially critical for the reading of her longer works. When I first attempted to navigate Can Xue’s 2015 BTBA-winning The Last Lover, I filled pages and pages with notes, determined to follow the apparent logic as if losing the scent would leave me hopelessly stranded. Letting go and allowing the scenes to unfold before me was a revelation, leading to an exhilarating experience unlike any other. I fell under Can Xue’s spell. I became a convert.

Can Xue is not interested in ordinary reality, her domain lies in the dream world of the soul. As such, Frontier, is not a novel that lends itself to a concise, or even sensible synopsis. That is not to say that there is not a story of sorts, but it appears with abrupt shifts in perspective, in time and place, in remembering and forgetting. There are over a dozen primary characters, with a handful more who play secondary roles. Identity is sometimes amorphous. Nothing is ever exactly what it seems, least of all the isolated city in which it is set.

Pebble Town, is an enigmatic place, it draws people to it, but even the residents are unable to firmly grasp the town in its entirety. They muse about its nature, marvel at its fresh air, wonder what kind of magical place it is. Situated somewhere in northern China, next to the magnificent Snow Mountain, the location is necessarily ambiguous. The town stands on the frontier—but, the frontier of what? It is described as a border town; venturing beyond its boundaries may lead to farmland, or wasteland, to the foothills of the mountain, or at a greater distance, to the edge of the Gobi Desert. One thing that is clear is that it is a relatively new community, a town that has been conceived and constructed in this once desolate and remote location, a town dreamed into being. And the boundary between reality and the world of illusion is shaky and unstable. Wolves, bears, snow leopards and a wide variety of birds and other creatures appear and disappear, an elusive tropical garden is suspended in the air, rooms expand and contract, objects exhibit changing qualities, and the ground emits sounds and energies.

If Pebble Town and its immediate environs form the connecting tissue of Frontier, coming to an understanding of its essence feels like something akin to piecing together the reports of an elephant offered by the fabled group of blind men. Those who potentially would know the most—the director of the Design Institute, her African assistant Ying, and the ancient mysterious gardener—share little or nothing of their roles or experiences in the creation or maintenance of this place. Even the work of the Institute itself is murky. The town has already been designed and constructed, but people still busy themselves within its bleak confines.

The central character is Liujin. We first meet her as a thirty-five-year-old woman, living alone and working for a textile merchant in the market. She was born on the frontier and, as such, is innately sensitive to the flora and fauna, and to many of the odd sensations and occurrences in her home and garden. But she can be seemingly blind to presences others can sense. Deeply introspective, she frequently focuses on her own confused attractions to those she encounters, especially Sherman, a man who frequents her market stall. (Many of the names have been changed, with the author’s permission, from the Chinese originals—typically to a Western name with similar sound or meaning.)

Liujin’s parents, José and Nancy, were drawn to Pebble Town from distant Smoke City, to work at the Design Institute. Nancy settles in quickly, but José has more difficulty. However, the arrival of their daughter, an intense, bright, colicky baby, drives Nancy to take refuge at the Institute, while childcare responsibilities fall to José and Qiming, the middle-aged janitor at the staff guesthouse who is smitten with the child. Father and daughter share a close bond and a curious sensitivity that continues to mature as Liujin grows older. Late one night, after they have moved into their own home, she calls out to her mother:

“Where’s Dad?”

“In the kitchen. There’s a hole at the base of the wall there. Maybe a fox made it.”

Liujin felt her way to the kitchen. No light was on there, either. Her father was sitting on a small recliner.

“I couldn’t sleep, anyhow, so I’m keeping watch here. I want to see if anything sneaks out through this hole.”

“Dad, you must mean comes in.”

“No, I meant what I said—sneaks out. There are some weird creatures in this house. I’m not sure what they are.”

Liujin sat down on a stool. She and her father were worried. The wind poured in from that hole. They shifted their position in order to shelter from the wind.

“On a windy night like this, they probably won’t go out,” Father said.

José glanced absentmindedly at his daughter, who was sitting beside him. He noticed that his little girl was growing quieter over the years. Too quiet for her age. Sometimes he wondered if her previous impetuosity now had truly disappeared. As he watched, his daughter’s shadow began wobbling and separating into a few parts. When he looked hard, the parts took the form of a person again. Liujin’s body could break up in the dark (perhaps he was only hallucinating). He’d seen this happen several times, and each time it surprised him. Why had she cried all night long when she was a baby? Was she scared? José’s insomnia gradually worsened. Somehow Liujin became aware of her father’s nighttime activity and began keeping him company. José sighed: a daughter was close to one’s heart. A boy could never be the same.

Years later, long after her parents have returned to their hometown, Smoke City, Liujin continues to be haunted by thoughts of her father, though it is now her mother with whom she maintains written correspondence. She often thinks of her parents in the faraway smog bound city she has never seen. There is a searching, a longing for completeness that seems to drive her, but she does not appear to know what she is looking for and it is likely that an answer, if any, will be found by following spiritual intuition rather than reason. One could say that Can Xue’s characters exist in her fiction the way her readers are invited to approach it.

There are many others inhabiting this dreamlike world who cross paths directly or indirectly. They include the ailing Lee and his pessimistic wife, Grace, a couple who arrived at the Institute a year before Luijin’s parents, and Sherman’s daughter, Little Leaf and her Holland-obsessed boyfriend, Marco. Enchanted personalities also appear in Pebble Town, like Roy, the ageless boy few people can see, and the alluring shepherdess, Amy, who comes from a village on the slopes of Snow Mountain. Early in the novel, the third person narrative perspective changes with each chapter, but as time goes on, the focus will shift between two or more characters, per chapter. Occasionally, a fleeting glimpse is offered into the thoughts of those who are otherwise known only through their engagement with others, while some will remain obtuse, mysterious, even mythical in nature.

To consider Liujin as the main character is primarily to say that it is her perspective that dominates, we spend more time with her and know her better—in so far as she knows herself—but it would be misleading to assume that her story is the backbone of a directed narrative path. The real question that surfaces through the actions and interactions that shape this novel is: What is the nature of existence at the frontier? What is distinct and disorienting about the world Can Xue creates is the absence of an overriding philosophical, or literary mandate. Her allegorical, fantastic creation seems to come from another, more intuitive, organic space that invites open meditation and speculation. Thus, reading her becomes a viscous experience that seems to expand as time passes, rather than becoming more focused and conclusive. In the end, one is left with a lingering sense of potentiality, as ideas continue to percolate and stir the imagination.

It is reasonable to suggest that it is Can Xue’s singular temperament that gives her work its necessary cohesion. She sees herself as a performer, an experimenter, a manipulator of creative forces. During the writing process, she holds to a rigid discipline, attending to her physical well-being and sitting down to write for one hour a day. She does not reread or edit her work. She is admittedly improvising rather than writing to a pre-determined end, allowing the “meaning” to reveal itself—typically after the work is complete. Granted this approach permits the occurrence of odd inconsistencies and explains the unresolved storylines, but taken as a whole, the result is a piece of fiction that more naturally and organically captures the strange, shifting, fantastic atmosphere of dreams.

In her enthusiastic and informed introduction, Iranian-American writer, Porochista Khakpour, suggests that her friend and mentor (who often refers to herself in the third person) is:

. . . almost more medium than artist, a vessel rather than a generator, creation being relegated to its perhaps most logical state: the mystical. “In my mind, my ideal readers are these: those who have read some works by the modernist writers, and who love metaphysical thinking and material thinking—both capabilities are needed for the reading of Can Xue.”

She has, then, channeled her self-directed education in the Western canon, through an original physical and mental routine, to produce a literature that is truly her own. As an accomplished and mature work with a truly engaging cast of characters, set in a community perched on the borders of everyday reality and whatever lies beyond, Frontier contains a world well worth exploring. However strangely disconcerting it can feel to surrender to the psychic geography of Can Xue’s fictional landscape, if you remember that your own dream-logic may well your best guide, the journey can be endlessly rewarding and entertaining.

—Joseph Schreiber

N5

Joseph Schreiber is a writer and photographer living in Calgary. He maintains a book blog called Rough Ghosts. He is an editor at The Scofield. His writing has also been published at 3:AM, Minor Literature[s], The Quarterly Conversation, and Literary Hub. He tweets @roughghosts
Jan 132017
 

Marjan StrojanMarjan Strojan

x

Not in Noah’s Flood

They say, we write to remember and we read
to forget. Ignorant of either, I wished I could
write to grow up, especially the letter Y.
I’ve been practicing Y since I first saw it printed

on the covers of American picture books
arriving in U.N.R.A. parcels, safely tucked away
up in the attic. Y never failed to impress me,
looking both like girls’ legs pressed together

and the forked sprigs we broke off from the alder
trees to place our fishing rods onto when we were
going after the dace; and in my dizzier moments,
like the throats, slit open by broken bottlenecks,

of long coated dark men in cheery hats, who,
a few pages on, turned into corpses, floating in
booze or drowning in some other disastrous liquid,
but not, for all I could see, in Noah’s flood.

x
On Returning a Book to a Public Library

I’ll make this short. Days always surprise me.
So when I’m returning a book to a library
it doesn’t mean I’ve finished it or had no
intention of reading on. It only means that
despite its renewal the library’s lease has
expired and that the times and places and
extravagant fortunes of men, with the traditions
of various schools and institutions of knowledge,
secret societies and writings of all ages,
collected and arranged into chapters

or classified according to their alphabetical
order, have found themselves locked behind
the doors of inscrutable hallways, keys flung
away as carelessly as if they were dandelion
seeds. No doubt they will go on along
the corridors of some cerebral Hades weaving
their lives quite independent of those that
time and again I capture in my glimpses
scattered or overheard in chunks of
fragmented conversation, however inadequate.

So, in the cobwebs of Saint Petersburg’s
Railway Station (in snow) Madame Karenina
still waits to throw herself under a train.
And I’ll probably never find out what Vronsky
could have done at the time, if anything.
Tatiana never finished her letter, though I presume
she had turned down the poet, who ages ago,
in his small neat hand, had been scribbling
in his notebook the names of his lovers.
And Doctor Rieux, even he – what did he,

after the danger had passed, say to a writer
whose fast traveling ladies clattered around
Bois de Boulogne in their carriages – if, indeed,
he survived the ordeal? Is this important?
I don’t know; take the book I was bringing
back this afternoon. I can’t for the sake of me
remember who wrote it; even his middle name,
a common and well-known one, evades me
completely. A tiny collection of verse, like
scenes of renaissance architecture and its triangles

and elegant stairways in precise, condensed
light, the color of salt. It was a book of
poems which now, when forgotten, seem even
better, compact in the language of vague,
unruly translation, opening new and unexpected
prospects on each of its metaphors – sharp and
twofold – like ‘pillars’ and ‘horse.’ There was an air
of something conquering, victorious in far away
places about them, like a clang of a sword drawn
from a scabbard: Vincente Cortázar Paladio.

x
Remembering Hopkins

In our local Clinic stands a Tree of Health,
the branches of its richly grown crown
decorated by various inscriptions like Happiness,
Love, Good Personal Relations,
Friendship etc. Up the tree trunk
lines of multi-coloured twinkling fairy lights
lead on to them, which – in a circuit
as on big Christmas trees – then run down again
to the Tree’s mighty roots, bearing labels like
Recreation, Sleep, Nutrition and Relaxation,
Giving up Bad Habits, Healthy Sexuality, Hygiene.
Lord, send the roots rain.

x
Zinnias in Bloom

Zinnias in bloom; a train
moving on, departing: maids’
work on the balcony.
An electric pole – a hedgehog
trying to climb it: a palm tree
by night. The branch of an elder
bush dressing itself up in black:
the scent of its inflorescence
quietly glowing. Among the wild
rose petals a spider hiding from
the rain. Had it not gone into
hiding it would have stayed hidden.
Night gathers; the starlings flock
onto a sign-board: in the sky
a child from the long gone past
is happily singing. Rain descends from
the heavens; fire licks the star
by the edges. One me coming down
to lie on the earth.

x
Where are you?

I am sitting in the doorway
under the light; the grass is darkening,
the stream below the house
sounds clearer. I’ve been waiting
for I don’t know what, for you
to call me, for weeks. And now –
not in the house, here outside,
from over the hill, from the stream,
from the wind through the branches,
your voice sounds, soft and clear –
Where are you, what are you doing?
Moths are settling on my head.
They are drawn to what’s in there
and want to get to you.

—Marjan Strojan translated by Alasdair MacKinnon

x

Marjan Strojan (1949) was raised on a small farm in Slovenia. He studied philosophy and comparative literature, and he has worked at one time or another as a baggage carrier and load-sheet-man at an airport, a film critic in Ljubljana, and a journalist in London. He lives in Slovenia.

Strojan has published seven books of poetry and many translations, including Beowulf (1992); James Joyce, a selection of his poetry (2000); Lavinia Greenlaw, a selection of her poetry (2000); Robert Frost, a selection of his poetry (2001); John Milton, Paradise Lost (Izgubljeni raj, 2003, 2011); Sydney Lea, a selection of his poetry (Na votlem ledu, 2006), and Geoffrey Chaucer, Canterbury Tales (Canterburyjske povesti , 2012). In 1997 he published his Anthology of English Poetry (Antologija angleške poezije). His latest books are William Shakespeare, Songs from Plays (Pesmi iz iger, CZ, 2016) and Marjan Strojan, Dells and Hollows, Autumn Hill Books, 2016.

x
x

Dec 112016
 

nepveu-pic

.

The prose poems brought together in this selection are infused with the landscape along the shore of the Saint Lawrence River in the south-west part of Montreal, adjoining the neighborhoods of Verdun, Lasalle, and Lachine. The section “Lachine Stations” makes a more explicit reference to the area of Montreal in the south-west, upstream from the rapids bearing the name “Sault Saint-Louis” at the time of New France. Until the opening of the canal in 1825, enabling one to bypass the rapids, Lachine was the departure point for the “voyageur” canoes, hired by the great companies engaged in the fur trade in the north-west. Those pages of “Lachine Stations” devoted to the fictional character, Jean Mongeau, sketch the portrait of one of those singular men who became voyageurs. They were inspired by Carolyn Podruchny’s book, Making the Voyageur World: Travelers and Traders in the North American Fur Trade (University of Nebraska Press and University of Toronto Press, 2006), translated into French by Anne-Hélène Kerbiriou, as Les voyageurs et leur monde. Voyageurs et traiteurs de fourrure en Amérique du Nord (Presses de l’Universitè Laval, 2009) – as well as the book illustrated by Gilles Bédard, Les voyageurs d’Amérique (Éditions GID, 2012). I extend my thanks to both authors, to whom I am greatly in debt.

—Pierre Nepveu

.

Notebooks of Jean Mongeau,
…….summer-autumn 1803

I walked by the edge of the wood,
torn between the grain’s fervour
and the chill exhalation of ferns.

I had either to stay or to leave.

In me, life sickened
each day a bit more

and my soul was heavy with loss
God-divested and imploring
life’s grace be restored to me.

I loved you, Marie, but it was
a music unmastered, a lame plod,
my hands grasping at the void,

while voices on high called to me, fraught,
nameless, faceless voices,
and I gave heed to them in the forest, wanting
to cede them my moorings, my lodgings,
while our dog, who yapped far off
in the hay at high tide
somehow knew
he was no longer my vassal
and that he’d lost me..

*

Sometimes I see again the road leading to Lachine,
I hear the cart squeal
that carried us out of the city
weighed down with horses and tipsy sailors,
and all along the port we saw
large-skirted women whose beauty
tore at us suddenly like a farewell,
I remember having hailed one of them
with my hand, and having blushed
at the smile she tossed me,
then it was a rough forest trail
along the Sault Saint-Louis
where you felt the presence, both hidden and near,
of the humid river that would bear us,
its water luminous as a deliverance..

*

The eve of our departure we’d danced and drunk long into the night. Something held us to the land, drunk as we were and near to madness, like those sailors who in the end repudiate the sea, too wide, that renders alien, to the soul’s peril, the nearness of bodies and things. Then we left in the direction of Nipissing, the Big Water, and we were greeted by Algonquin women, all comely, save an old toothless one who smiled like the others but seemed the very embodiment of death.

***

(Inventory for loading):
– twenty rifles.
– thirty boxes of gunpowder.
– thirty boxes of lead shot and balls.
– twenty wool blankets.
– two big rolls, blue cloth, red cloth.
– knives, scissors, hatchets, awls, sewing needles, lighters.
– flour, sugar, salt, dried meat.
– two boxes of jewels: necklaces, earrings, bracelets.
– a bag of red powder to color the skin.
– mirrors, magnifying glasses, decorative porcelain, glass pearls, brass and steel wire.
– Thirty shirts, thirty ceintures fléchées.
– tobacco, brandy..

*

I kneeled a moment
in the last church
then I feared the wind
and I shivered..

*

On leaving: a baptism of peace
and light to bless two lakes.

I thought myself a new man
armoured with hope and prayers
and a providence of rocks and cascades
and fierce rains to freeze the soul,

but I found prairies first,
a great sweetness of grasses
and the night with its shrillness of crickets,
the distant pounding of a drum
rising from a village beyond the fields

I miss Maskinongé already,
but I sense a fire within me
never before felt, a strength that defies
its trials as the days pass and I reach
that breaking point where my body
must sing if it’s not to sleep,

I think of you, Marie, alone under the quilt
naked and warm in the lunar room
entering a long languorous summer
a deep fever of silence and idleness,

while far up I voyage within myself,
seeking valor in exhaustion
and knowing no more the reasons for my flight.

*

For days La Grande River
was our only home
along with the obsessive lapping of the paddles
counting the seconds and in the process
undoing all hope of reaching shore and sleeping there,
until the sudden squawk of a bluejay
entered my ear and in a trice
I stopped feeling my arms
and my hardened backside and my bent legs
and it was like a clearing inside
as if the landscape
had at last found in me
a place to lodge its light.

*

After La Grande River and the hard law of rocks
that seemed to assert on earth
God’s dominion over human failings,
we encountered the ghastly La Vase Portage,
all the world’s hardness abruptly undone
all matter molten and the ground stripped away
under our boots and it seemed to me suddenly
that evil was rampant in this place
seeking to cow our courage,
as if we’d broken faith with our own desire
for a combat on equal terms,
and against all expectations tainted the assurance
of a rugged land and pure water
that would christen us one more time.

*

(Letter from Marie Saint-Arnaud to Jean Mongeau, October 1803)

The house is empty of you but I often pass
your shadow in the dark, I feel
your breath rush upon me,
your handsome charmer’s mouth
bite my breast,
but I’d love as much
for your voice to wrap me round and shelter me
from the hardness of the world
for you said things with wisdom
and swore love with that gentle tremble
that makes men’s voices falter
when desire undoes them,
I’d like tomorrow to be filled
with your body and your hands,
and your peaceable step when at the window
I saw you going by the fields
towards the dark edge of the wood
when all the day’s power
seemed yours
as if your heavy gait
enjoined it to yield,
tell me on what river do you paddle,
on what lake and if the time is long
crossing over hills with a heavy burden
and if the black water sometimes brings you fear
and if it bears off comrades
who have not kept their footing.

*

Early morning, scarred fire, noble bones, woodland song, men’s and women’s voices among the trees. I am the dust of ages, whirlwind of the deeps, escapee from the first caves. I tremble at being what I am, do you hear me, woman of the woods, of wool woven under the lampshade and the trellis of blood that shivers in the window? Do you know the calendar of wounds and joys that appear, at times, when night and day conspire to undo order and reason, when limbs are harnessed to other limbs to shift the weight of dread? Who are you? I founder in another river that becomes another lake that becomes a new river. Sometimes the running water no longer suffices for the needs of man and sometimes supplies must be shouldered, without horses or donkeys, to sidestep death. This business destroys us, yes, but to live is something else again, and the nightly feasts, and the dried bison and the bear fat that smears our fingers. We are beset with hunger before the rock that quakes. We are mad not to bow low before this god.

*

Despite the splendor of these paddler’s arms,
it’s the soul’s indigence
and human weakness
that have brought me here
to this harsh land and load-bearing water,
the treacherousness of roots
and the astonishment of animals,
me chilled to the bone,
unnerved by rains and frothings,
loving kin to whispering grasses
and thrown full force onto stoical rocks
against which at times I lean my ear
towards the far-off realm when time
laboured sedately and in darkness.

*

Spare me this rise to climb, these slimy stones beneath my soles, this fatigue of bodies that know only steepness and stumbling. There is anguish too great for just one man, and regrets that smother the soul, when prayer’s succor is all for naught. Give me back the ardour of forests and the burning pine needle carpet, give me back cold springs and the gentle drift in the carefree bends of rivers sheltered by the sky and the brows of rocks. I see far off the great prairie open wide, riddled with mosquitoes, and the banks of the Red River where, they say, the peoples of this land grow grain. And on the lakes at night the Northern Lights cast a spell and set even the stars to dancing. You arrive wearied at the trading posts, you gorge yourself with oily corn and draughts of rum, and unknown languages rip at your heart. You never come home, and you hear in the distance a great rush of dust and sand rise up which, out of the south, foists thirst on man and beast and makes drought a primal verity, underpinning all gifts and the glories of love. Restore to me, Lord, the blessing of this desert, spare me the hard road back.

*

Rock me, rock me, take
my broken body, my routed heart
for I lost my footing,
slid on a solid stone
while seeking support,

saw the water darker
than the deeps of our souls
and the time of man
shrunk to nothing,
rock me for what remains of beauty
when the foundering sun
shuts the book of wonders,
the sweet legend of a peopled world,
while the rapids far off, their froth abated,
roar on through the night
like beasts that stalk their prey.

Rock me, woman who douses the lamp,
go to sleep now alone so as to feel no pain,
I journey on under a heavy weight
and eternity is for me a deep chill,
my solitude counts for less than your own,
it vexes even the dusk
where I seek forgiveness in vain.

— Pierre Nepveu, Translated from the French by Donald Winkler

.

Pierre Nepveu is a poet, essayist, novelist and professor emeritus at the University of Montreal. Since 1971 he has published several collections of poetry, primarily with the Éditions du Noroît, including Romans-fleuves, Lignes aèriennes, Les verbes majeurs, and most recently, La dureté des matières et de l’eau, which appeared in 2015. In addition to his essay collections dealing with Quebec literature and the literatures of the Americas, including L’écologie du reel and Intérieurs du Nouveau Monde, his is the co-author with Laurent Mailhot of the anthology La poésie québécoise des origins à nos jours, which has appeared in several editions. He published the biography, Gaston Miron. La vie d’un homme, in 2011. Several times a winner or finalist for the Governor General’s award, he is also a member of the Royal Society and the Order of Canada.

§

wiinkler-pic

Donald Winkler is a Montreal based documentary filmmaker, and a translator of fiction, non-fiction, and poetry. He is a three-time winner of the Governor General’s Award for French to English translation, most recently, in 2013, for his rendering of Pierre Nepveu’s collection of poetry, The Major Verbs (Les verbes majeurs). His translation of Nepveu’s most recent collection, The Hardness of Matter and Water (La dureté des matières et de l’eau), will be published by Signal Editions in 2018.

.

Nov 112016
 

author-photovia UnionHidalgo

 Pho

.

Regardless of the common wisdom that, as Willa Cather said, “Most of the basic material a writer works with is acquired before the age of fifteen,” writers cannot escape being influenced by their environment, at any age. Just so with the Mexican writer Agustín Cadena, Mexican born, raised and educated, who has been living for years in Hungary, returning to México only for the three months of summer. In his recent collection of stories, Las tentaciones de la dicha, (The Temptations of Happiness) 2010, the permeating influence of Eastern Europe can be felt in at least four of the eleven stories. “Maracuyá” is one of these, set in a Black Sea resort town at the height of the season, in a vast club by that passionflower name, where one drinks Becherovka and meets people of a dozen nationalities, including an old Russian with a mysterious briefcase. What makes the story Mexican is its Spanish, the use of words like “cornudo” which fit smoothly in Spanish but seem so awkward when we write “cuckold” in English, and in this story, there’s a different twist on that characterization.  

— Translator Patricia Dubrava

.

WE WENT TO that Black Sea resort because Dasha wanted so much to go back there. She had been once, six years ago, and said it was incredible: every summer, in August, the little fishing town transformed into the biggest tourist attraction of the Crimea. For a week, clubs, bars and restaurants stayed open 24 hours, hosting hundreds of tourists from all the Slavic countries and more distant places. Dasha fondly remembered dawns dancing on the beach among drunks singing in incomprehensible languages and couples who slept in each other’s arms on the sand after making love.

I agreed to go out of curiosity, but also because I wanted Dasha to have a rest. She was sick of working at the Peep Show, exploiting the beauty of her no longer so adolescent body and performing fellatio on fat tourists for twenty Euros.

So we pooled what money we had and, a day later, were on the train crossing the pine forests of the Carpathians, toward the Ukraine lowlands. To save money, we hadn’t wanted to pay for a sleeper, so made the whole trip in a coach compartment; during the day we talked, read, looked at the countryside, had brief conversations with passengers who accompanied us for an hour or two, on their way to some intermediate town. And at night we took turns: one watched so no one stole our backpacks while the other tried to get some sleep in spite of the cold, with our shoes on and wearing all our clothes. If we wanted something to eat, we had crackers.

We arrived tired and hungry, with barely enough energy to put up the tent in a more or less quiet section of the beach. But there was the sea, at last. The sea: a longing to live intensely and forever, escape to a timeless space where one could be eternally young, where love was imperishable. We sat contemplating it a long time, without talking.

We left stuff in the tent and went to town to look for something to eat. It was much as Dasha had described it: an idyllic place full of light, as if from a book of ancient poems. One high, winding street of old houses and shops full of shadows climbed a hill at whose peak stood a church, its twin towers topped with golden onion domes. The glow of polished metal, the sounds, the smells…it seemed as if we were seeing everything through the glass pane that separates reality from dreams.

We were starving, but didn’t want to go to a restaurant; we’d agreed that alcohol and entertainment were top priorities for our money, and we’d keep the minimum for secondary things. We bought four slices of bread, a quarter pound of bologna, another quarter of cheese, some pickles, and ate on a bench from which, in the distance below, the sea was visible.

We drank sweet wine in a small tavern, then went down to the beach to wade in the surf, watch the sunset and as it was getting dark, bathed in a public bathroom. An hour later, we arrived at the biggest nightclub: Maracuyá. They sold admissions for a day, for three days or for the whole week. Dasha wanted to buy the last even though it would take half our money.

“It’s cheaper that way,” she said. “And besides, I don’t intend to miss even one evening.”

The place was decorated as if it were on the Caribbean instead of the Black Sea: hammocks, fishnets, barrels half buried in the sand and live palm trees growing beneath large crystal domes.

We worked our way through the crowd, found a free table and looked over the menu: there was an incredible quantity of liquors, beers and wines from exotic places.

“What is this?” I asked Dasha, almost shouting because of the loud music. At the end of the wine list there was a question mark with a price; below that, two question marks, also with a price; then three, then four, five…

“Those are drugs,” she responded, also shouting. “One question mark is marijuana, two is hashish, three is cocaine; the others, I don’t know. Do you want something?”

“No,” I told her. “Pretty pricey. And you?”

“Get me a Becherovka.”

I went to the bar for the drinks. The place was a zoo. There were strange people of all ages, races and nationalities: old lechers, nymphs, aging women in search of adventure, young men with bare torsos covered in tattoos, Japanese, Scandinavians, Arabs…In the walk from our table to the bar, I overheard random words in unrecognizable languages; my sense of smell was saturated with a mix of sweaty skin, salt water, expensive perfumes, common deodorants…there was a line at the bar; I had to wait until the bartender took care of a six-foot blond and then a gay guy in a pink suit who didn’t know how to ask for silk stockings.

Finally, I returned to my table.

“Thanks, baby,” Dasha said, dancing in her seat to the music.

She took a sip of her drink, smiled at a guy who was giving her the eye from a nearby table and went to dance with him. I thought dancing a primitive display, so we had an understanding: she was free to dance with whomever. And “dance” meant whatever else also. It didn’t bother me. On the contrary: poor Dasha, it was only right that at least once in a while she could sleep with someone she liked. And in reality, she almost never exercised that option.

She didn’t exercise it with that guy. She danced with him a while, then changed partners, then sat to drank a glass with me, danced some more, sat some more…Near dawn, already a little drunk, I left her enjoying herself and went to walk on the beach. With each stride I took, the music of the various discos faded and mixed with the hiss of the waves that came in to break near my feet. Like weary fireflies, the lights of the little town floated in the distance.

We went to sleep in the tent at seven, woke around noon and after polishing off another package of crackers, swam in the sea. Dasha seemed happy: she smiled and hummed a song. She asked me every little while if this wasn’t a marvelous place, if I wasn’t enchanted, if I wouldn’t remember these days forever when we were no longer together.

In town we ate at McDonald’s, the cheapest alternative after bologna sandwiches, and walked through the streets, visited the Orthodox church. In the souvenir booth at its exit we stole a small fake icon. Then we returned to the tent to sleep at least a few hours before the new round of drinking and dancing in Maracuyá.

That night was very like the previous one, with the difference that a gang of 30 or 40 bikers dressed all in leather arrived, and set about making more noise than there already was. Before dawn I saw them on the beach, doing acrobatics with their motorcycles, the moon casting glints of light on the chrome of those enormous machines.

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Leo appeared the third night. Dasha and I were sitting in the disco drinking Becherovka.

“Look at that!” she suddenly exclaimed. Near our table a man in his sixties, dressed in white, wearing sunglasses and a Panama hat, danced alone. But what was even more odd was that he was dancing without letting go of his briefcase; he had it hugged to his chest as if he was afraid someone would steal it.

“Perhaps it’s full of money?” I asked Dasha.

“Or drugs?” She speculated, amused.

We continued watching him. He didn’t tire of dancing nor of having his arms in that uncomfortable position, because no matter how little the briefcase weighed, anyone would be tired. But he, on the contrary, seemed to be enjoying himself enormously; he danced clumsily and it didn’t matter to him; nor did it bother him not to have a partner. A smile of satisfaction, of an old man realizing a long cherished dream, illuminated his face.

“What a marvel of a man,” Dasha declared. She downed in one swallow what was left in her glass and got up to dance with him.

After a few minutes she came back to the table. “Either he’s dancing with his eyes closed or he’s blind,” she told me, taking a drink from my glass. “He didn’t even notice me.”

“Why don’t you talk to him?”

And that’s exactly what she did, when she saw that he was going to the bar to get a drink. She approached him in English. The man answered her amiably, and by his accent, Dasha understood that he was Russian. She then changed to that language, which was also her mother tongue, and that’s how everything started: his name was Leonid and he was from Novosibirsk. Dasha brought him over and introduced me. The three of us had a drink together and then they went to dance. All this happened without Leo letting go of his briefcase.

At some point he disappeared. He didn’t say goodbye to us; we simply didn’t see him anymore. Dasha was upset.

“Do you think he thought I was an idiot and got bored?” She had that complex; it surfaced every once in a while.

“No. I think he liked you.”

“Why do you think that?”

“Didn’t you see how he looked at you? He even stopped dancing with his eyes closed.”

 “You think so?”

“Yes. Why don’t you have a fling with him? He seems like an interesting person. It would make you feel better.”

Dasha stared at me.

“But he’s gone,” and she twisted her mouth into that bad girl look the Peep Show clients liked so much.

“He’ll be back tomorrow.”

And in fact, the next night, Leo returned to Maracuyá. With his briefcase. Dasha avoided looking at him. If he’d left without saying goodbye, she said, he ought to make the first move now and apologize. “Men always scorn what’s easy,” she explained. That night she was especially seductive, with a black sleeveless dress—the best that she’d put in her backpack—that contrasted in a harmonious way with her tanned skin; a black choker around her long neck and a gold-plated chain on her left ankle.

Confirming the correctness of her theory, Leo came to sit at our table as soon as he saw us and apologized for having left like he did.

“The strange food,” he explained in English out of courtesy to me, without for a moment letting go of his briefcase. “It set off a revolution in my stomach. I was barely able to reach the hotel.”

More relaxed than at our first encounter, he mopped the sweat from his forehead with his handkerchief, bought us a drink and began chatting about how difficult it was to prepare well an apparently simple dish from his country: Shuba, potato salad, carrots and peas with mayonnaise, anchovies and beets.

“Of course, it doesn’t go all mixed together,” he said. “The salad goes inside, like a filling. The beets and the anchovies smother it. That’s why it’s called shuba, which in Russian means “overcoat,” and he continued talking about that and a pasta dish with mushroom sauce that didn’t matter much to us. What we wanted was to ask him about the briefcase, but we didn’t find the right opportunity. Finally he took Dasha out to dance.

It soon became obvious that he wanted to seduce her. And she began plying him with all the tactics learned in her not very long life. “Old men like you to make them believe you’re innocent,” her philosophy went. “Only young men are capable of valuing experience.” But Leonid didn’t look like an idiot: he couldn’t really believe that an inexperienced young woman would be vacationing with her boyfriend at an amoral beach resort, drinking Becherovka in a disco where anything and everything was for sale. Regardless, he seemed to enjoy Dasha’s company.

The night passed, along with her plan and desires. At three a.m. when Leo seemed more lively than ever, the young innocent said goodnight. She wasn’t used to staying up so late, she said, and was already very sleepy.

The next day we spent resting on the beach, walking around town and speculating about the mysterious briefcase.

“I tell you, it has to be money. It has to be the lump sum of his retirement, or pension, or liquidation of his assets or whatever, and he came to spend it here.”

“What if he’s a terrorist? From Chechnya? He doesn’t look like it, but he could be. He could be carrying a bomb, one of those that you make explode with a cell phone.”

Dasha was disposed to uncover the mystery and with that objective, employed the rest of her many charms that evening, with the result that she disappeared with Leo and I didn’t see her until the following morning. About eight, she appeared in the tent. She lay down by me without saying anything and also without saying anything, began to make love to me. It was her custom when she’d had an adventure. She said that was how she rid herself of the other skin.

We woke after eleven.

“O.K.,” I said. “What’s in the briefcase?”

“A book,” she told me, without the slightest sign of disappointment.

“A book?”

“Yes, a manuscript. He wrote it. It took him twenty years to finish it.”

“But, why did he bring it here?”

“Because he came here to throw it into the sea,” Dasha explained with a surprising naturalness, as if she were talking about the most normal thing in the world. “Only before doing it he wants to have a good time. It’s his double farewell.”

“Why double?”

“Leo’s saying goodbye to his book and to his literary career.”

“But, why?”

Dasha shrugged her shoulders.

“I didn’t understand his reasons at first either. But after he told me the whole story I began to get it. He spent twenty years working on that mountain of papers. And you know what for? For nothing. He’s taken it to more publishers than he can remember and all of them told him to go to hell with his book. Some—the least stupid—simply told him no. The others suggested that he change things, cut this or that. But Leo doesn’t want to change anything and I understand that. Why let a bookseller tell him how he ought to write? He got sick of it. If his book is trash, he told me, well then it will go to the trash.”

I didn’t ask her anything else and didn’t want to keep thinking about Leonid and his story. I was hungry. “Let’s get something to eat.”

“Leo invited us to dine at his hotel. He asked me if you would want to and I told him yes.”

“Good,” I said, “but let’s go. I guess we don’t have to take the backpacks?”

“No, leave them here. Only let me get my wallet and cell.”

The lunch was very pleasant. When he wasn’t talking about food, the old Russian was an excellent conversationalist. And the whole time he comported himself with Dasha in a respectfully paternal manner, as if there’d been nothing between them nor would there be. He told us that the next day he was going home.

“Would you read me something from your book before throwing it into the sea?” Dasha asked.

“Are you really interested?” Leo seemed incredulous.

“Of course I am. And I would love to hear it in your voice. That way I’d remember it forever.”

“Well, if you want…” He responded in the tone of a grandfather resigned to complying with the whim of a favorite granddaughter. “We can read something this afternoon.”

After a few minutes, he clarified, looking at me. “The book is in Russian.”

“No problem,” I told him. “Anyway, I can’t join you. I have a date with a friend at Maracuyá.”

It wasn’t true, but I wanted to leave them alone. The role of complicit cuckold isn’t comfortable. But a cuckold who knows himself cuckolded, accepts it and still makes a nuisance of himself is the most pathetic of all.

I spent the remainder of the day on the beach and when I got bored, went to play soccer with the bikers who had arrived two days ago. I made friends with one of the girls—a platinum blonde, thin as a stick—and that night accompanied her to Maracuyá. After a while we went to walk on the beach. We arrived at the end of the jetty, where the music from the discos could barely be heard and sat to look at the moon. Although it wasn’t full, it still looked enormous and orange, hanging quietly over the sea.

In the morning, Dasha arrived to wake us at the tent. She couldn’t even wait until I introduced my friend. “Come on, “ she said. “I want to show you something.” She looked very happy.

“What?” I asked, opening one eye, groggy with sleep.

“I’m going,” said the blonde, who perhaps didn’t want to be an inconvenient presence. And in fact, she dressed rapidly, gave me a kiss and left.

It was very early and somewhat chilly. The tide was still high and the last stars appeared and disappeared as if winking. From somewhere came a scent of roses and gladiolas.

Seeing that the territory had been vacated, Dasha crawled into the tent. “Look,” she was carrying Leonid’s briefcase. “He gave it to me. He gave me his book!”

I’d never seen her so happy, so satisfied.

“Did you read it? Is it a good book?” I asked.

“What does that matter? It took him twenty years to write it, do you realize that? As long as I’ve been alive he’s spent working on it. Something like this is a treasure regardless of what some critic or editor might say.”

She took out the manuscript, bound together with cardboard covers and put it in my hands with great respect.

“He’s gone,” she sighed. His train has to leaving right now.”

Dasha had never been sentimental, but at that moment she seemed on the point of tears. She turned to put the book back in its briefcase, took off her clothes and squeezed herself into the sleeping bag with me.

“What nasty perfume that woman left here,” was all the comment she made before embracing me and falling asleep.

At noon we went to eat in town. Bologna and pickle sandwiches. We told each other everything we’d done. We hugged. We promised that, come what may, we’d always be together.

We walked along the beach holding hands, talking again about Leo. We were happy—even more—we were deliriously happy. Stupidly happy.

When we reached the tent, our joy vanished: someone had robbed us. The backpacks were there, but the briefcase had disappeared. “Money or drugs,” the thief must have thought, who surely had seen it when it was still in Leo’s hands.

—  Agustín Cadena, translated from the Spanish by Patricia Dubrava.

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Agustín Cadena was born in the desert region of Valle del Mezquital, México, 1963 and currently teaches at the University of Debrecen, Hungary. Essayist, fiction writer, reviewer, poet and translator, he has published over 20 books. His awards include the University of Veracruz Prize for short fiction and essays, in 1992; the National Prize for Children’s Literature, in 1998; the San Luis Potosi National Prize for Short Fiction, in 2004; and the José Agustín National Prize for Short Fiction, in 2005. His works have been translated into English, Italian, and Hungarian, and adapted for radio and TV broadcasting. Cadena blogs at elvinoylahiel.blogspot.com.

§

Patricia

Patricia Dubrava was born in New York and chaired the creative writing program at Denver School of the Arts. She has published two books of poems and one of stories translated from the Spanish. She is an essayist, poet and translator whose recent translation publications include a dozen Cadena stories, most recently in Fiction Attic, Exchanges and Mexico City Lit. A Cadena story was included in NewBorder: An Anthology, in 2013. Dubrava blogs and has more information on her publications at www.patriciadubrava.com.

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Nov 042016
 

dusan-sarotar

The magic of a novel like Panorama is, in the end, independent from any need to determine absolute truth. —Joseph Schreiber

panorama-cover[larger image requested]

Panorama
Dušan Šarotar
Translated by Rawley Grau
Peter Owen World Series,  2016
208 pages, £9.99

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Some literature defies simple description. Case in point, Panorama, by Slovenian poet and writer Dušan Šarotar. One might be inclined to define it as a meditation within a travelogue within a novel. Or perhaps you would prefer to rearrange those terms, it probably wouldn’t matter, because in spite of its subtitle: A Narrative about the Course of Events, Panorama stands at a curious angle to space and time. It is a novel of remembering, of telling and retelling, narratives within narratives, bound together by a coarse thread of repeating themes that are at once timeless and timely.

One of three Slovenian novels to be released this fall as part of the Peter Owen World Series, a new collaboration between Peter Owen Publishing and Istros Books, Panorama is Sarotar’s fourth novel, and his first to be translated into English. Born in Murska Sobota in northeastern Slovenia in 1968, he studied sociology and philosophy at the University of Ljubljana. In addition to his novels, he has published collections of short stories, poetry, and essays; and has written numerous screenplays. His prose, as exemplified in Panorama, has a poetic and richly cinematic feel.

So, maybe we could start with a short piece of film. This novel is narrated by an unnamed man who resembles Šarotar—a Slovene writer, of approximately the same age, who travels to various locales, either to work on a manuscript or give a reading. Here then, is a glimpse of the author himself. The setting is the Ljubljana Railway Station. A light snow is falling, and the trains come and go. This video is part of an online documentary project entitled Gathered: The Secret Side of Things We Share in which a number of prominent Slovenian writers, artists, philosophers and other academics were invited to offer their reflections—to muse out loud—about the state of modern society and the impact of technology on our relationships with nature and each other. It dates from 2013, the year before Panorama was originally published and presents, perhaps, a broad context for some of ideas he was exploring at the time.

Šarotar admits that when he sits at the railway station (an activity that will ground several important encounters in the latter part of his novel) he always thinks about time and space: “We are basically determined by time,” he says, “and by the fact that we are mortal, that we come from silence and we are returning to silence.” He goes on to consider that although we have very efficient modern means of transporting people, information and money; the most basic and fragile things, those that capture the essence of our humanity, are always the most difficult to transport through space:

A change in human society always followed a radical change in transport. At first, humans were conquering the steppes, then came the next generation braving the oceans and now we live in a time when mankind has conquered the entire globe and reached the limit. There are no ships, trains or aeroplanes that can take us beyond. We have reached what I call the limit of the universe. Today’s man is ready to head for the universe. It’s an imaginary limit of space and time. Poets, however, would say that the universe is a space within us. So I think it is no longer a question about communication or logistics, it is more about correspondences between the visible and invisible, between what’s the deepest inside us and everything that is furthest outside.

Panorama opens in Galway. The narrator has come to this Irish county, set at the very edge of Europe, to find a quiet place to work on an unfinished manuscript. Upon his arrival, he meets Gjini, an Albanian immigrant who will serve as his occasional driver and tour guide during his stay. Much of his time will be spent exploring the windswept mountainous landscapes and rugged coastline of the Connemara region. Here, and back in Galway City, he is haunted by thoughts of the thousands of starving refugees who set sail from these shores to face a dangerous and uncertain journey across the Atlantic during the years of the Great Famine. The crumbling abandoned houses and the solemn monuments stand as silent testament to these desperate souls. Migrants and refugees will be a recurring motif throughout the book, as will the related connections between landscape, memory, language, and loss.

As Gjini, who is also a writer, accompanies the narrator on sight-seeing adventures—hikes though the hills, a rough trip out to an outlying island by hydrofoil, a visit Kylemore Abbey—he shares his experiences as a newcomer, arriving eleven years earlier without a word of English, his wife left waiting behind until he can find his footing. Woven into his story, is an account of his friendship with Jane, a woman who had come from North America, to make sense of her own roots and identity. Her father was born in Connemara area. After the Second World War, some good-hearted nuns had put him on a ship bound for Canada, along with other war orphans and immigrants. Her research and journeys had taken her, he said, to Belgium and France and on into Central Europe as far as Sarajevo. As two outsiders, with a connection, however loose, to an area of the world close to the home he was missing, he was happy to have her company and offer his services as a driver. Gjini, and through him Jane’s story, become part of a key thread that will be picked up again, as the narrative progresses.

Shortly after his Irish visit, the narrator travels by train from his home in Slovenia to Brussels. This time, the main purpose of his visit is to give a reading in Ghent. The landscapes that attract his eye here, are urban—gothic structures played against inner-city decay and ruin. While in Belgium he will meet or re-connect with colleagues who have some tie with the states of the former Yugoslavia; individuals who articulate, in their own ways, the complex interrelationship between language and identity, and how it becomes distorted through time. And he will meet up again with Gjini who now, in his role as a freelance journalist, is intent on tracing yet another line of Irish-related migration, that of the Benedictine nuns who abandoned their destroyed convent in Ypres and made their way to Connemara after the First World War. Finally, chronologically speaking at least, the peace the narrator has been seeking for his work on his manuscript is found in Sarajevo where he stays with some friends.

On a superficial level, given this rather rough outline, Panorama might sound like a travel diary. The grainy black-and-white photographs that illustrate the text reinforce this impression. However, the narrator’s travels do not delineate the narrative, as much as they offer a framework against which the voices of his characters can be woven into a larger multi-layered meditation. He allows those he meets and spends time with a space to articulate the tensions they feel between their inner experiences and their relationships to the borders they have crossed in the course of their lives—whether those are lines marking identity, nationality, or even the policed barriers of a city under siege. The disorientation caused by the loss of one’s language, or the lack of contact with others who share one’s native tongue, is a persistent theme. Gjini describes it well on one of their early outings:

When you are far from your language, you are also far from your home, more and more each day, and the distance increases and deepens with every new word; the lost word is usurped, seemingly replaced, by the other, more convincing, better word, which everyone can understand but which is still foreign; the immigrant, this eternal guardian but also suppresser of his own language, knows that the loss, the void, the dissolved malt of forgetting within it, which he tenaciously envelops and fills with learning, which is the only vaccine against loneliness, despair and madness, is nevertheless irreplaceable, painful and incurable, like love, Gjini said and noticeably slowed the speed at which we were driving.

While in Brussels, he reconnects with Caroline, a fellow writer whom he had met on his first trip to Belgium a few months earlier. At that time, she had told him, “I don’t have my own landscape, I search for and invent the spaces of my language,” explaining that although she was born in Belgium she lost her mother tongue growing up in Spain before she went on to study Romance languages and work in Paris and Nigeria.

…I think, Caroline had said, that the idea of some inner bond between language and place is still alive for most people, it’s still a given, something eternal and immutable; I would say that it was their only tangible identity, but for many this bond has been broken, or lost, or seemingly transcended – many people, painfully and sometimes tragically, are forced, or for pragmatic reasons desire and are able, to transcend and break this bond; consider, she had said, people who are immigrants, refugees, the various diasporas, and so I ask myself what is still left to the writer’s experience.

The act of writing, the nature of tangible memory, and the complex relationship between language and landscape are the questions that ground this richly textured novel. Šarotar’s long, winding sentences evoke the meandering flow of reminisces while his narrative effectively compresses time—the encounters the narrator describes are not locked in the moment, they are broken and retrieved, guided by his remembrances of previous meetings, the memories recounted by these friends and colleagues, or even the tale of a complete stranger who buttonholes him after a reading in Ghent, to share—or perhaps confess—a family secret. The absence of chronological consistency creates an ebb and flow of recollections—some directly experienced, some reported and some imagined. In the beginning, the absence of quotation marks within paragraphs that extend for pages on end, can make it difficult to tell exactly who is speaking. Yet, with surrender to the movement between speakers and accounts, the reader will find the confusion falls away as the narrative repeatedly returns to pick up earlier threads and move forward.

The influence of W. G. Sebald is unmistakable, witnessed in the unnamed narrator with a curious similarity to the author, the long sentences, and even longer paragraphs, and by the employment of imbedded photographs. Šarotar has read and been inspired by Sebald’s work. Toward the end of Panorama, he even offers a direct allusion to Austerlitz as the narrator waits to meet a friend at the iconic Antwerp Station. However, Šarotar’s style is not strictly imitative. If Sebald acquired some of his narrative energies from Thomas Bernhard (seen, for example, in the repetitive occurrences of “Austerlitz said” in the secondhand accounts that form the basis that eponymous novel), Šarotar’s work maintains an even stronger Bernhardian sensibility at times, especially in the nesting of Jane’s story within Gjini’s accounts:

… a few times I remember when, after we’d been driving around all day in the car or just walking in the countryside, usually by the sea – she loved the bluffs, the high cliffs with the waves crashing far below; yes, that’s something you still have to see, he said, I’ll definitely try and organize it – yes, so, late at night, when we got back and had already said our goodbyes, he said, Jane would say, I’m going for a swim. I was surprised, of course, and tried to talk her out of it – not now, Jane, it’s late, it’s raining and the waves are rough, I’d tell her, and it’s night, there’s nothing you can see now, Gjini said; the lighthouse, Mutton Light, is shining there in the distance, Jane said; I can see its beam in the darkness, so you go on now, I’m going to have a swim; I’ll meet you here in the morning – good night, Gjini, Jane said; good night, Jane, Gjini said.

As well, with respect to the use of photographs, Šarotar, himself a photographer, is—or at least appears to be—using his images more intentionally. Sebald was a great collector of flea market finds around which he crafted his narratives. The portraits included in this text seem to stand in for characters who may or may not actually exist, but another significant influence on Šarotar’s photography is the work of German photographer and painter, Gerhard Richter. In fact, it is Richter’s retrospective show, “Panorama,” that gives this novel its name. The dramatic stormy cloudscapes that feature in so many photos are especially reminiscent of Richter’s well-known images of clouds.

cloudGerhard Richter, “Cloud Study”

In tone, Šarotar’s prose maintains a distinctly rhythmic poetic feel, captured beautifully in the translation by Rawley Grau. His narrator, a writer, imagines himself in line with the traditions of other Balkan literary heroes, especially Slovenian poet and songwriter, Gregor Strniša, and Bosnian writer, Ivo Andrić. The latter’s poignant short story “Letter from 1920” figures toward the end of this novel, as yet another echo of the endless trend of leaving one’s homeland when a viable future can no longer be imagined. This piece is one of a number of Andrić’s stories that could be said to be of questionable autobiographical authenticity, as if truth and imagination are somehow incompatible. Panorama raises the same questions about where the line between fiction and nonfiction lies. But why is that an issue at all?

For Šarotar, it comes down to the way that literature is understood in Central Europe. If asked to draw a distinction between literature and journalism, he says that, for him, literature deals with the soul, that is, it begins with memory; journalism, by contrast, starts with “facts.” He claims to be writing from memories—writing about what it was, not how it was.[1] To enhance that sense of memory, small intentionally misremembered facts are left uncorrected in the text. As a more specific example, he offers an interview with Amos Oz from the Paris Review. When asked about the very serious way Hebrew writers seem to be taken in Israel, in contrast to the way they are seen in the west, Oz responds:

We have a somewhat different tradition. In the West, at least in English-speaking countries, writers, even great writers and poets, are usually regarded primarily as entertainers. They can be fine, subtle, deep, but still they are entertainers. Even Shakespeare is regarded as a magnificent, perhaps the greatest, entertainer. By contrast, in the Judeo-Slavic tradition, writers are regarded as prophets. This can be a terrible burden, for unlike the prophets I don’t hear voices from above, and I don’t think I’m any more equipped to be a prophet—to foresee the future or serve as the people’s conscience—than an American or a British writer. Yet there is a huge expectation here, and so it is also in Russia or Poland.

The magic of a novel like Panorama is, in the end, independent from any need to determine absolute truth. Whether any of the characters, even the narrator, bear more than superficial resemblance to “real” people does not matter. This is a work that gets at the heart of important truths that couldn’t, at this moment, be more relevant. As the human flood pouring into Europe reaches crisis proportions it is more important than ever to remember that this is not a new phenomenon. The forces driving the desperate movement of men, women and children—conflict, violence and poverty—have similarly forced individuals, families, and communities to cross waters and borders for millennia. This meditation on memory, time, identity, language and loss circles continually back to the price that migrants and refugees pay and the wounds that never completely heal.

—Joseph Schreiber

 

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jschreiber

Joseph Schreiber is a writer and photographer living in Calgary. He maintains a book blog called Rough Ghosts. He is an editor at The Scofield. His writing has also been published at 3:AM, Minor Literature[s], The Quarterly Conversation, and Literary Hub. He tweets @roughghosts

 

Footnotes    (↵ returns to text)

  1. D. Šarotar, (personal communication, Sept. 28, 2016)
Oct 122016
 

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THE SIGHT OF you in the bustle of the late winter street paralyses me. I had better turn tail and flee, I think: my words squeeze me out of my apathy, seeing you I am embarrassed as though I had inadvertently opened the bathroom door and found you standing naked in front of the mirror, I am startled and would like to back out. What strangers would settle with one phrase I embellish with a lengthy explanation and over-emphatic apologies until my patience runs out and I turn on you because you don’t answer. But how come this imaginary bathroom scene occurs to me? We met on the street by accident, mother and daughter. I recognize myself in you, I find this intrusive and despair at once: how dare I appropriate what is yours, your beauty, as if it were my merit in the least, how dare I presuppose that you inherited it from me, that you resemble me. You fear my love as I do yours, I ratiocinate to myself, and despair at once. If you are weary and the premature, erroneous shadow of age shows on your young face, my heart shrinks, for I cannot help thinking that if one morning you should see yourself as I have just seen you, you will be hurt. Still, I don’t want to rush time: may you stay young yet, I wish, a cruel teenager; I have already burrowed myself in my hole, but please don’t demand explanations from me.

You were around eleven; through the window the light of the full moon illuminated our home: the stage. I tidied up your room while you two were fast asleep; I picked up your scattered things from the floor: a book, one sock, paper tissue, a ballpoint pen and lastly, the half-gnawed apple fallen on the rug, and went out into the bathroom to wash your white blouse for the school festivity the next day. I spotted my careworn face in the misted-over mirror. I was washing your blouse as romantic heroines wash their child’s linen shirt in the rippling creek. Self-commiseration brought tears to my eyes, they flew over, into the water foaming with the washing powder, into the world, into the thick steam, I don’t know why I consumed so much water to wash one single blouse. I tried to cool my swollen eyelids in the cave-like bathroom but my tears continued flowing, I kept wiping my eyes, that is, I was lacerating myself in the usual way. How do you see me, I asked myself and answered my own question: A shadow, a body no longer living, a black contour chased by the routine activities. I jotted down my words on an envelope at hand—for what we write down we manage to distance from ourselves: a mute slave, an hour hand—so I phrased my complaint—that unprotestingly walks the clock face of days, nights and years for you. I hung up your blouse above the bathtub to dry, then sat on your bed and watched you sleeping, taking in your beauty, relishing your free-flowing tresses, my lovely terrorist: as if you were permanently running away from your hunters. A few years later—you were no longer living with us—you showed up on the street all of a sudden, with your cascading gold-chestnut hair: a strange girl in a black shawl, a strange woman was walking uphill on the other side of Török Street. At her sight my heart jumped, but she pretended she didn’t recognize me, she didn’t even greet me. Had you really not noticed me, or did you merely not want to see me? I haven’t dared to ask you ever since, for you always tell the truth and would say, Yes, I had seen you and avoided you.

Quite understandably this time I am overcome by the desire to flee, to disappear in the opposite direction before you see or don’t see me, to be spared the disappointment: you are not happy to see me. I immediately recall that the year before, during the first term you were coming to my university to attend English classes—by that time you had been living apart from us for seven years—we finished at the same hour, we could at least have walked together to the subway station, but you chose to walk with your girlfriend instead, only sparing the time to say hello. So I get off the bus like one drawn on a string, I hasten my steps towards you. I often feel as though I were pulled on a string by a foreign will, for I wouldn’t otherwise stir an inch by myself. I will not put on it the label: on such occasions I get a whiff of the cellar breath of depression. You are approaching with arms wide open, quickening your pace. We wear identical jackets. I had bought you, your little sister and myself identical jackets in America—for financial reasons, it had been a rational decision. They were available in one colour only, this fashionable off green, I risked wearing the same jacket as yours. I rejoiced at the thought of us wearing identical clothes and I thought you wouldn’t mind. On that despondent winter, far from each other on the overcrowded city’s streets, three women would go on their shadowy errands, unaware of one another’s itineraries. But why should winter be despondent? From now on we would embrace each other when we met, for from now on you would come towards me with arms wide open, and I hardly dare believe my eyes.

I would have liked so much to finally tell you—we have always liked to discuss men—that not long ago, on an empty Sunday when your little sister was baby-sitting in England and I, slowly recovering from an unreal love, was going to the swimming pool on a tight schedule, on one of my swimming sessions I suddenly halted in the middle of the pool as if an engine had stopped in me. (The engine had tired of the tight schedule, strength ebbed from it, the water reached up to its mouth.) I made my way to the lane rope and gripped it. I had known the man who was swimming on the next lane for years, our paths often crossed at noon when the others would be eating their lunch, napping or whatever, when there were few people in the pool. He swam to the lane rope in his strange, funny swimming cap (I had anticipated this) and said hello. What a pretty cap you have, I smiled at him (I often smile in self-defence). He took advantage of the situation and proposed that we walk together for the length of a few bus stops after swimming. I said yes. I had indeed wanted to walk, bored by the emptiness of the Sunday afternoon (as if I were kicking an empty barrel upwards on a ramp), I longed to hear a man’s voice next to me. I was of course not a bit embarrassed because of the ambiguity of the situation, for I had no plans with him, I merely wanted him to talk to me in his deep voice—as though social mores did not apply to me (and they did not, indeed). He was well-proportioned, a bit younger than me. At that time I, too, was still considered beautiful or, more precisely, one that’s got the look. On the same summer a short, pig-faced professor who was to become the rector of the Technical University shortly, and whose twin daughters had been your groupmates in kindergarten about twenty years ago if I’m not wrong, came up puffing after me on the roof terrace, stopped above my chaise-longue and renewed his boorish proposal, familiar from the years before, but, as he pointed out, for the last time. My refusal had been unequivocal, but it seems he hadn’t learnt his lesson (neither have I ever learnt how to shame those who make loutish proposals. In addition, the pig-faced man happened to be my colleague.) Next year you won’t be so attractive any more, he warned me, huffing. He stayed some more by my bedside, expecting his sincerity to make me think twice. Even if his offer fell on deaf ears, his prophesy proved to be astute.

I could hardly recognize the man with the swimming cap who was waiting for me at the entrance according to our agreement. He wore a check shirt, jeans and worn trainers. Dressed like that, he looked penniless, which made me feel embarrassed and moved at the same time. We walked in the heavy smog along Mártírok Street (or was it already Margit Körút?), we could hardly hear each other in the traffic noise. The ambiguous situation irritated me and I was sorry for wasting the day. He stopped in front of a restaurant whose name sounded familiar, I couldn’t recall from where. I invoked some non-existent appointment for family lunch to get rid of him; at this he asked if I would like to have a glass of wine with him. I felt ashamed for my fib that he must have seen through, for up to that moment I hadn’t appeared to be in a hurry. Against my better will I ended up saying yes, for the second time already. We entered the dining hall redolent of kitchen smell, sat down at a table with soiled table cloth; with princely nonchalance he ordered a bottle of white wine. The restaurant and the bad wine made him more self-assured. I asked about his profession but, lest he might take my question for a cross-examination, I added that I taught literature at the Faculty of Arts. This was another lie (of course I wanted to cover up the traces beforehand). He asked me if I knew Shakespeare. Well, I’ve heard his name in conversation, I laughed. Do you also know Richard III?, he inquired further. “My life would be incomplete without him”—and this was even true. But he made a remark that suggested strong skills of observation. “You tend to exaggerate. Or are you just doing it for my sake?”

Ever since I bought these three olive-green jackets in America I have often toyed with the idea that if somebody observed us from high above and placed us next to one another on account of the identity of our outfit, then we three do belong together. You look at me with tenderness, it is perhaps the first time you notice that the lines around my eyes show not only when I’m laughing: they stand at attention, ready to grow deeper, even when I’m watching something with my face going stiff. “What’s up with the two of you,” you ask, “how’s life?” Well-behaved, I answer your question as though it were a stranger’s, quickly going over the tissue of my days and weeks, but can’t find anything worth mentioning, anything your eyes should linger on, or in which your palpating fingers should get caught. Still, I cannot whole-heartedly say I feel this way because of my forsakenness. I myself cannot tell what was first, the thousand small signs of your love withdrawn from me, or this even more unbearable, even more telling feeling of forsakenness in me. (I feel that everybody is happy with their grown-up children, except for me with you.) So I bravely drag forth some promising topic, academic success, travel, I don’t remember what. I can obviously not speak about what preoccupies me most, what I phrase to myself, alluding to its unbearableness, as “I live wounded to death,” and that “I ought to see a doctor before it’s too late.” Not only because of you but also because of the fresh break-up that put an end to our seven-year affair with K. “Nothing worth mentioning,” I answer, but immediately start wavering, perhaps you will find me indifferent and would say good-bye rightaway and then the magic will dissipate. My sharp-eyed swimming-pool acquaintance might be right in the smelly, smoky restaurant: I exaggerate when I talk about myself. Although I might bring up an excuse: it is not only my words but also my feelings that are so passionate. Throughout my teens I was convinced that everybody was like me. I couldn’t understand where the indifference on the faces of others came from, their sheepish patience in front of injustice, I couldn’t comprehend why they didn’t rebel. Later, in my arrogance, I arrived at the conclusion that the others saw halfway and dimly, while I saw far and clearly. I was already a grown-up, the two of you were born, when I realized that the ability of too sharp phrasing was at once my strength and my weakness.

“Now is the winter of our discontent / Made glorious summer by this sun of York; / And all the clouds that loured upon our house / In the deep bosom of the ocean buried. / Now are our brows bound with victorious wreaths, / Our bruised arms hung up for monuments, / Our stern alarums changed to merry meetings, / Our dreadful marches to delightful measures.” My acquaintance in a poor man’s apparel halted for a moment in the middle of his recitation, I thought his number was over but I was wrong. He gave me a searching look to see if I was with him. I could see the unuttered question in his eyes, so I named the play. Like an award-winning student I added: first act, opening scene, but it seems I misunderstood his question, for he waved his raised finger at me to be patient and continued quoting Gloucester, the future Richard III: “I am determined to prove a villain / And hate the idle pleasure of these days. / Plots have I laid, inductions dangerous, / By drunken prophecies, libels and dreams / To set my brother Clarence and the King / In deadly hate the one against the other. / And if King Edward be as true and just / As I am subtle false and treacherous…” At this verse he halted and gave a laugh with a mysterious expression. My face was all amazement. “So you are an actor?” I didn’t quite believe it, I was trying to acknowledge his stunt rather. “You missed it narrowly,” he said in a mystifying tone, but I could see on his face that my guess flattered him. “Then let me ask something else, do you have a regular day job or are you a freelance?” “I am unemployed.” I tried to avoid the dangerous high waters. “And where did you get your swimming cap?” His answer was no less surprising than his performance: “I had sewn it myself,” he said. “So you are the one with the sewing, while your wife goes to work,” I was trying to joke, although I would have liked to steer clear of discussing our family situation by all means. I felt like biting my tongue, but fortunately he didn’t take up the issue, he merely answered that he was not married and lived with his mother. In the meantime he was diligently pouring himself one glass after another, his eyes were shining already, while I barely touched the sour wine and, although thirsty, didn’t dare to order water for fear I’d offend him, as a short while ago I warded off his invitation saying I was not drinking of the wine because I was not thirsty. So I returned to the play: “Do you really love Shakespeare so much?” “I needed him. I can quote whole acts by heart.” I liked the past tense, and the arbitrary, lordly “I needed him” suggested an adventurous life or else, serious professional dedication.

You will of course have your own stories of me, memories that I perhaps don’t remember at all, or at the very least remember differently, out of self-defence. Not for absolving myself but rather, in order to be able to lull myself into the conviction: basically everything was all right between us. For I love you, and the birth of the two of you has been the best decision of my life. And you love me too, it is only our temperaments that are not suited. The realization that one’s treatment of one’s children can be tackled as a methodological issue, and that the books on parenting give outstanding recipes for coping with conflicts with teenage children, came like a cold shower—to stick to the imagery of the bathroom memory. I found the awareness that we ourselves could be characters in a case study, and that the positive or negative outcome of our conflict depends on my skillfulness, humiliating. I refused to believe that the first child, if a daughter, is a rival of her mother and if a son, a rival of his father. My shelves were laden with psychology handbooks, I fooled around with ha’penny horoscopes you could pick up everywhere on the street, with cheap booklets about famous people born in different zodiac signs, I bought everything to persuade myself that it was not my fault and perhaps not yours either, to doom our lives was maybe the unfavourable constellation only. It was chance that helped me learn the lesson “at the dawn of our love” with K. (to use his phrase). His presence changed our relationship. I simply had no courage to burden this relationship with my despair over the latest evidence of your inability to love me. At fourteen for instance, one Friday afternoon you announced that on Tuesday you would move out. K., as my sympathetic witness, said that I should be glad, for this way the situation would be solved in the most peaceful manner possible, and that I shouldn’t be brooding over the fact that you told me in the last moment. It was the last possible moment anyway, it would have been too late to fight for you, something that I would never have done to your detriment or against your will, by the way. We were invited for a dinner that evening, so there was no time to get engrossed in my failure or inquire about the practicalities. (I knew so much that instead of your mother’s, from then on you would be under a father’s supervision.) I can remember well the moment when you chose to communicate your decision, I was just putting on my thinnest coffee-coloured tights. “I have already arranged about moving my things out on Tuesday,” you said. I answered only that I was sorry I would not be at home and therefore unable to help with carrying your things, because I had classes that afternoon. You were so taken aback by my calm that on the day after your moving out you unexpectedly came over for a visit. We were just celebrating K’s birthday—alone for the first time. Perhaps you felt that you were losing me, that day you stayed with us late. Your little sister was away on a school trip.

“Do you need the Shakespeare quotes for your work?” I inquired. I would have been glad to hear that my interlocutor sought an outlet for his intellectual energies, or that he had learnt lengthy scenes for emotional reasons, but he said nothing of the kind, just continued to play mysterious. “Indeed. And not just in general but in the most concrete way possible.” I suspected that he wanted to test my inventiveness and that it would please him if I guessed sooner or later, even if slowly and with some help, what he did for a living before becoming unemployed. But nothing came to my mind apart from the theatrical professions, because the thought that he was getting drunk and I couldn’t get rid of him paralyzed me. Much help it will be to me, I joked to myself, if he turns out to be a prompter who is a dipsomaniac. I also remembered why the restaurant’s name rang familiar: the waitress living in our house worked here, where I was sitting at a table decked with a soiled tablecloth, in an intimate tete-a-tete with the stranger of doubtful circumstances. If she spots me, she would spread rumours in the house that I led a double life, I panicked. I hastily removed my elbow from the table, knocking over the wrought iron ashtray. At the loud clatter that startled everybody on the premises the waiter came to our table; I apologized but he didn’t grace me with an answer. With a commandeering gesture he replaced it, as if I had pushed it off the table deliberately. “Are you a theatre prompter?” I risked the question I came up with a moment ago. “You’re getting closer and closer,” he laughed complacently, with satisfaction, as if he had hidden an object from me that I was supposed to find. “I give up!” I answered impatiently, at which he said: “There is a time for everything.” And added that he wanted to see me open up entirely, whereas I was very reserved. As though I had been at a police interrogation, his unmasking observations uttered in a tone of superiority rained down on me. On top of it, every time the waiter passed through the swing-door, the light of a naked electric bulb pierced my eyeballs. “I loathe it when they analyze my soul,” I answered, closing my eyes. “How typical!” he commented without apparent rancour. “But allow me, how do you know that there is such a thing as a soul?” “I feel I have one.” I immediately realized the stupidity of my reaction. How can I be debating this issue, with this wretch? So I suggested that we talk about him rather. “Ask me, and I will answer,” he offered. “What do you live on if you have no job?” “I hold a few shares.” Once again I was surprised. “I had always imagined shareholders differently.” “You don’t live in this world, do you?” He fixed his velvety eyes on me.

I don’t even know for how long I’ve been living not in this world. I would have liked to tell you this when to your question, what was up with us, I answered, nothing special, I was just busying myself with my dream of the Last Judgement. It must have been about ten years after the death of my mother, your grandmother. In my dream we were all together in the garden expanding into an infinite square, of our last common home: not only the family, but all the living and the dead. The people came stepping on one another’s heels, in a controlled vortex. Trams pulled in with passengers hanging in clusters around the open doors; taxis came; crowds of pedestrians. The air filled with the excitement of apprehension. People were walking to and fro on the road, on the pavement, along the garden paths strewn with pebbles, their mouths moving mutely as if they were memorizing something, or trying to remember some important event by reciting their story. I heard the flutter of angels’ wings approaching and, now and then, a clash imitating the striking of a clock. All through, a dull, repetitive popping, as in the houses, through the wide open larder windows the souls of preserves tore open the cellophane and broke free from their jars and, crossing the airspace above the square, the erstwhile fruits flew back on the branches of surrounding trees. In my dream I felt the beatific state of belonging together; the boundaries separating me from the others dissolved, my senses were sharpened as if I had taken drugs. But I knew that if I started relating my unrelatable dream I would phrase it wrongly and you would correct me at once, saying: rather than beatific, my vision seemed downright terrifying.

Do you remember the Christmas Eve we spent with your grandmother, when she was no longer let out of the hospital? We brought in the plates, the cutlery, the Christmas dinner. We laid the table on the corridor, dressed the Christmas tree—it would be undressed in an hour and a half—and started eating. Unexpectedly the doctor on night duty stopped by our table—he bore a serious grudge about the fact that every Monday mother’s one-week pension would go to the ward doctor, never to him. “Are you at least aware that you have become a drug addict from taking so many painkillers?” he unleashed himself on mother. Never has the worn-out cliché sounded more truthful: “food turned bitter in my mouth.” We were eating the dessert, the Gerbeaud cake, its taste instantly turned to gall; I spat it out into my napkin and mother, too, pushed the plate with the cakes away from herself, we all put our forks down and started packing. I don’t even know why you came home with us after dinner at all? Probably for the books you got as present, in order not to offend me by leaving them there, or for your lovely leather gloves that you left in a taxi that very night. When you said good-bye I was arranging your shawl; you pulled out violently and shouted at me: Take your hands off me! At this I smashed a cracked Meissen plate on the floor. I can’t even say I grabbed it up in an irate moment: I knew exactly that I had placed it on the edge of a library shelf because I decided it was ready to be thrown out. So I dashed it on the floor and it broke to pieces. I have often heard that the best way of releasing built-up tension is to smash plates. I followed the advice like a half-hearted reveler, and it brought little relief. But my clownish role hurt me to the quick. As though the stage-prop wooden rifle had gone off, shooting the one who was brandishing it. I gasped for air, my heart stopped, I collapsed into an armchair. From that time I stopped sharing my dreams with you. Just as I don’t tell you that at Christmas time the Child is not born for me. Even though not from that day—for there had been signs before that I was on the doorstep of peril. I even phrased it for myself: “I don’t want to live in this world anymore.” I had believed myself to be strong enough to drink the bitter cup and stand without a scratch, for I had sufficient routine in unhappiness. At most I would sleep more, or sit listlessly in the armchair mentioned above. But, however concise my phrasing, later it proved to be too self-indulgent. I had smashed a cracked plate. I had not denied the world but merely the circumstances I lived in. I chose another place for my home: music. For weeks I would listen to the same pieces of chamber music. But instead of sounding ever clearer, the trios or quintets repeated to the point of madness became increasingly fragmented; the possibility of continuous reading between the lines was lost, the weighty beats were punctuated by overlong pauses, the musical phrases rapped like so many clots of earth on an (imagined) coffin lid. My workplace, too, became a stage, although it was at exactly that time that I was appointed chair and so could travel all over Europe. I couldn’t have imagined earlier how many things you can do by being half present, without anyone taking notice of my half-absence. I was overcome by a strange feeling: it was as if I were invisible and anybody could stick their hands or walk right through me. At times, riding tram 4 or 6 to work, I fell out of time; at the sight of a Gypsy girl’s beautiful, bare shoulders my eyes filled with tears and I forgot I was going to the exams. In short, the ever thinning sentence, “I don’t want to live in this world anymore,” losing its complements (or concessions), was soon reduced to five words, not reducible any further, and my wish—which by that time appeared far too compromising—became “I don’t want to live.” As soon as I found this brief negation I felt relieved. Soon I resigned from my position at the university, thereby losing the severance pay, the condition of which would have been common assent, but I wasn’t sorry. I didn’t want to profit from my behaviour. My dream of the Last Judgement seemed to justify, retroactively, my rash decision.

So for the moment my swimming pool acquaintance observed that I was not living in this world, although his observation was meant to refer to the world of shares and dividends. “I remember a poster of a fat capitalist with a top hat and cigar,” I answered lightly, “with a gold signet ring on his sausage-like fingers. And you forgot to put on your signet ring!” I joked, gazing at his shapely hand and suddenly a clever idea about his profession struck me. “Are you a psychologist by chance?” “As you could have seen, I have studied psychology,” he answered, placing his fingers on the bottom of his glass. And—” He stopped suddenly. I looked at him: “And?” “And I have known lots of people like you.” “You have no idea how consoling it is to know that there are many people like me,” I continued joking, “so I’m not such a strikingly pathological case after all.” “At least not among my former acquaintances,” he nodded approvingly at his own words, “there are many similar ones.” He leaned back in his chair. The light of the naked lightbulb glared in my eye, I saw our waiter, holding the swinging door open with his foot, exchanging a few words with the receptionist. After your births I would have loved to have a third child, but had to realize that our marriage would not last another trial. Then I kept daydreaming about adopting an abandoned newborn from the nearby orphanage, before it became “manageable,” that is, before it got used to the lack of love. As a result, our walks took a turn towards the home on Lóczi Street, perhaps you remember the terrace, sunny even in winter. According to the strict rules, the nurses weren’t allowed to form closer bonds with the babies, for it would have made it even more difficult for these to cope with the fact that at one year old, then at three, and then at regular intervals throughout their school years, they were taken out of the community imitating a family where they may have taken roots. With my hopes connected to you and then with their repeated dissolution, I myself became distorted into your easily manageable, abandoned child. Don’t worry for me, but don’t try to love me either, I wished for later, for my eyes got used to the dark and your love would blind me.

“When the Company was dissolved,” my swimming-pool acquaintance revealed his cards suddenly, pulling the ashtray in front of him while his dark brown eyes pastured on my face, “they gave us a few shares.” It was the first time I heard the code name Company, but I knew at once what he was talking about. Perhaps I had already solved the riddle when I phrased my experience, inwardly, it is as though I were at an interrogation. So, I was having a conversation with a member of the dissolved Legion in the third-rate restaurant. I knew exactly what kind of shares he was talking about, because on one of our organized trips the driver informed the passengers about them when he stopped at a certain gas station. I must have become stand-offish. “Does this rule out our meetings from now on?”, my acquaintance asked. “Does the truth disturb you?” “It does.” I couldn’t tell anything else. Slowly we got up, he fished an one-thousand banknote, the only one, from his seedy purse, I protested in vain to share the bill at least, he insisted to pay.

The third yes. She was lying on the fresh bedsheet bleached from overwashing, covered with a blanket. She was numb, she remembered her negation, “I don’t want to live!” She was surprised that she had believed it to be irreducible any further, but now she knew one sentence that was shorter even. “I don’t live”: this was her conclusion. The ticking of an alarm clock was chasing the dust on the shelves decked with lace coverlets. The lace hung over the edge of the shelves. She could never understand why someone who is not good with plants would keep greenery in pots, if not for wanting to test the endurance of agonizing with leaves turned yellowish-brown. “Since my mother was taken to hospital”, the man apologized when they entered the flat, “everything’s been untidy.” She took a good look at the room. In fact everything was tidy. Tidy and dusty. She started dressing before becoming herself a stage prop, she rushed through the mechanical gestures, wanting them to be over the soonest possible, just as she wanted the ones to which she had lent herself a short while ago in the bed to be over. She picked up her blouse from the chair, disturbing the daytime sleep of a moth. She remembered her first love, the overwhelming bliss of thirty years ago, that barely let her sleep at night. Back then the flutter of a moth’s wings would wake her up at night, or at least she would have liked to believe so, as her senses got so sharpened that even noises inaudible to the human ear could startle her. In those days she was sorry for the time spent sleeping. Probably it was not the moth but the sense of her happiness that shook sleep from her eyes. She had read somewhere that in the empty hours, while waiting for a bus, queuing in a shop or bank, the thoughts of ninety percent of grown-ups revolve around love. It is curious, although perhaps understandable, that in this very situation she should remember this word, so out of place. She glanced at the door: the key which the man had turned at the moment of their entrance, probably mechanically, was no longer there. She tried to open the door but couldn’t. “How will I escape from here?” she asked, aghast. In the meantime they must have been talking about some thing or other with the man, because she could remember his pleasant voice coming in from the kitchen now and then, but had no inkling what the subject was. Did he want to hold her captive? Or was he merely warning her that she had walked into a trap?

To this day I can’t understand how it could happen. For a month my parents took care of you while I was in Madrid with a research scholarship—almost fifteen years ago now. I worked from the morning into the afternoon in the Cervantes Library. I lived in a depressing hostel where a lone 40-Watt lightbulb spread its sickly light in the windowless room, in utter solitude, without friends or company, dividing up the two-week grant to last a month. I lived like a hermit, even if not on berries and roots but on the two-course menus of cheap restaurants; rising early and going to bed early in the narrow iron bed; forever warding off the insistencies of the postman who would knock on my door on his free Sunday afternoons, put his foot in the gap when I opened the door, and whom I had to push out into the corridor. I toyed with the idea that I was all alone in the world, I didn’t even have you. I was always hungry, eating or carnal desire was forever on my mind. Often I dreamt of my father who had been dead for six years already. He had had a beautiful death, as they say, a heart attack took him away very quickly. It often occurred to me that, had he been alive, I could have asked him for advice. I didn’t see him die; perhaps he was still alive in some intermediary state, I codded myself. I would have liked to tell him that in my dreams I got letters from him, as thin as gossamer, they were handed to me by our dipsomaniac postwoman from back home. Leaning over the railings of the stairs I could barely reach her held-out hand, I would have complained; the sheets of the letter, sticking to one another, became unreadable and were torn in my hands. But, to return to my story: I had agreed with you that when I saw the light at the end of the tunnel I would call you. I had reckoned that it would happen halfway through my stay, so I had asked you to be at home on the 17th, on a Thursday afternoon at 6 o’clock. Back then it took twelve days for a letter to reach me from Budapest, and ten for one from me to travel home, so I didn’t have any fresh news from you, or you of me. From your little sister’s doodles I gathered that she missed me very much. In my happier days there I recognized her in all the black-haired little girls in long skirts. Once a little girl of about seven even greeted me: “¡Buenos días, seňora!” and I answered happily, to be ashamed in the next instant when she corrected me with the self-confidence of a proper young lady: “It wasn’t you I greeted, Madam!” Howeer absurd it sounds, her rejection made me very despondent. Her greeting was answered by the woman walking behind me. Your plump, trusting letters I interpreted now as a promise of the return of our lost happiness, now as its refutation. When I imagined how good it would feel to hear your voices, I immediately became insecure: you might be dismissive. I conjured up the possibility that they organize a school-wide ping-pong championship on that day, or that you would want to enroll in an orienteering competition but either have to drop out or leave earlier because of me. I feared that my mother might over-emphasize my importance and this would fuel your resentment. I tried to ward off my depressing thoughts with diligent note-taking and museum visits at luxury entrance fees. Then one morning on my way to the library I saw a poster announcing the screening of Bardem’s film, Calle Mayor, at a reasonably priced downtown cinema.

I had a season ticket for ten single journeys, I had to be tight with money, so I only took a bus or trolley-bus for long distances. That afternoon, too, I started out on foot on the Princesa to the cinema, leaving myself sufficient time. I had already bought the ticket and still had about half an hour to spend, so I walked on for a few streets’ length when I noticed a large glass office building or emporium on the corner; according to the billboard, a “Sala de Conferencias”, a “Conference Hall”. There were rather many people waiting inside, I thought I would take a look around the hall flooded in light, to see with whom you could have a conversation in there, and on what. I would like to ask my father, I toyed with the idea, if I was allowed to have cheap adventures. I craved the velvety skin of men and the touch of their long fingers, exactly as he used to crave women. As if my yearning had no further aim beyond aesthetic pleasure, and as if one step did not engender the next one, my desires appeared in lamb skins. As if I could stop this side of the instant of complete abandon and could be satisfied by running my fingers along the line of their mouths, or rest my head on their naked chests. Can I keep my name secret from them, and—as soon as I step out the door—become a stranger to them, just as they would remain strangers to me? I would have liked to hear his approval to such questions. But he kept silent until the night of our return from America. He only spoke to me in the mist of the night separating All Souls Day from All Saints Day, when I said good-bye to K. with whom I met for the first time after my long absence in an acquaintance’s flat. When I was groping in my handbag for my key to open the gate, at that moment he addressed me: “You live rightly.” But perhaps you have already guessed what the glass office building or emporium was in reality? The post office headquarters for long-distance telephone calls. The day of my cinema outing fell on April 17th, the Thursday of our agreement, and the hexagonal clock on the wall showed exactly a quarter to six. So I called you exactly at the time when you expected it. Your sister picked up the receiver, then my mother followed, and in the end you arrived (you had a ping-pong championship at school). There must be a rational explanation, to do with the working of the unconscious, for the fact that I didn’t forget about the call, although I had well-nigh forgotten about you. I was filled with gratitude towards providence that you were not disappointed in me, that I could keep my word.

The secret police agent soon reappeared in the shabby room with a flowery majolica plate full of sandwiches. On the one hand she was hungry, on the other hand she thought she couldn’t offend her one-time partner, provided he would let her out at all, so she took a bite. The bread with pork grease and Lajta cheese wrinkled up around her teeth. The grease reminded her of the most tortuous period of her childhood, the months she spent on a farmhouse without her parents; fortunately she couldn’t detect in the taste that smell of the pigsty, the swill and of the boar, which always made her stomach turn; it was its consistency rather that disgusted her. She watched the man’s boyish upper body, familiar from the pool. She didn’t even feel a passing tenderness towards him, her head would not rest on his smooth chest, although she had believed that in her dejection she was ready for this betrayal even.

Thus we started out together with my swimming-pool acquaintance from the restaurant to the bus stop. I wore his company like a thistle sticking to my coat after a walk through the thicket, all the way to Moszkva Square and from there on tram 59 for a few more stops, until the thistle finally detached itself from my coat and got off, for, as he said a short while ago, he lived around there. I imagined his apartment (his mother had been in hospital for some time). Perhaps women go up to his place and help with the cleaning up, perhaps they even cook for him, I mused. Provided he kills his time with women. His neighbours hardly knew anything about him, he told me when we were still in the restaurant, because his apartment opens on a closed corridor, so they can’t check. He must have a secret cabinet with drawers from which he takes out his documents, starts a strategy game, lays out photographs. With me too he proved to be a sharp observer, so at home he would open a new file and put down accurate notes on my behavior. “She has two grown-up daughters. Teaches literature at the Faculty of Arts. She is easy-going and open by temperament but is cautious and backs out before the decisive step. Has a bit of intellectual arrogance. Makes hostile statements on the past regime, doesn’t like to talk about herself, her behavior is tense. The one surveiling her should expect her to lose her nerve at any moment, or to simply turn round and leave. She has her weak spots through which she can be easily approached, these are to be specified, provided the relationship with her continues.” I had already got used to the fact that you would ridicule me. That my feeling of isolation would culminate this evening and I would drown in its high waters, but tomorrow morning, eternal survivor, I would surface again. It is not entirely bad to be a stranger—even to our own child—if we dive into the depths. By giving a shape to my story I tried to gain your sympathy, but I am not trying to get anything, for I’m afraid of change. That you should send me into exile among the happy, and be born to me again? It caught me unprepared that you embrace me, that two identical jackets embrace each other—this makes me lose my bearings. Once the daughter of a well-off family left off her university studies and went to work in the Renault factory: from that time whenever somebody spoke to her kindly she thought their kindness was merely an effect of a misunderstanding. For a long time to come I will live with the faith that you are mistaken, and that your error will shortly become obvious to you, too. Yet out of weakness, for a moment I rest my head on your shoulder.

— translated from the Hungarian by Erika Mihálycsa

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Zsuzsa Takács is the doyenne of Hungarian poetry. She started publishing in the early 1970s, gradually developing a consciously understated, slightly elegiac lyric voice coupled with profoundly personal themes, addressing both private and historical traumas. A former professor of Romance literatures, she has translated St. John of the Cross, Pessoa, Borges and others into Hungarian. Her story “Conference Hall” originally appeared in her 2007 volume A megtévesztő külsejű vendég. Önéletrajzaim [The Deceptive-looking Guest. My Autobiographies]. Her work is widely anthologized, and has been translated into English by George Szirtes, Laura Schiff, and Ottilie Mulzet, among others. Her poems and stories have appeared recently in World Literature Today, The Missing Slate, and Locomotive Magazine. Reviews of her work and an interview can be read on Hungarian Literature OnlineShe lives in Budapest.

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Erika

Erika Mihálycsa is a lecturer in 20th-century British literature at Babes-Bolyai University Cluj, Romania, a Joyce and Beckett scholar. She has translated works by Beckett, Flann O’Brien, Patrick McCabe, William Carlos Williams, Anne Carson, Julian Barnes and others into Hungarian. Her translations of contemporary Hungarian prose and poetry have appeared to date, or are forthcoming, in World Literature TodayThe Missing SlateTrafika Europe, and B O D Y Magazine. A regular collaborator to various Hungarian reviews, she is editor, together with Rainer J. Hanshe, of Hyperion, issued by Contra Mundum Press.

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Sep 132016
 

MLbuganvilias1 (1)

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Happiness

IT WASN’T LIKE they’d been invited, but when they saw that house in the distance, they left the highway and took the dirt road that led to it. Nor were they accustomed to dropping in at strangers’ homes, but the fact was the long trek from Belize to Guatemala, the hours it’d taken to cross the border—as if the young couple traveling in a camper with the young man’s father were suspicious—had left them hungry and thirsty. If they drove up to the house it was to ask where they could eat. As they neared the structure of amber wood, evidence of the occupants’ life comforted them: a bicycle tossed on the grass, a tire swing hanging from the branch of a tree, sheets hung on a line. The sound of their motor attracted the attention of the inhabitants. First the children, then two small blond women and then a man with a long beard came onto the porch and smiled as if they had been expecting the visit. The couple and the boy’s father got out of the cab and the latter took the lead, greeted them in a mix of English and Spanish and quickly discovered English was the language to communicate with that friendly family. Rose, Wendy and Bob introduced themselves and gestured at the children, indicating that they were Wayne and Stephanie. The man and the young people also introduced themselves and then explained that they were looking for a place to eat, if they could give them directions, but Rose, Wendy and Bob immediately insisted that they were their guests, they were making lunch and would be delighted to share it with them. They emphasized the words “share it” and among the three exchanged glances as when a husband and wife consent to a decision taken on the fly, without consultation. Rose, who was wearing an overall which exposed her shoulders crossed by the turquoise straps of a bikini, directed the children, by way of giving them the news: we have guests, set three more places at the table. The children, without copying the welcoming smiles of their parents, said, yes, Mamá, and with looks of annoyance went into the house. Wash your hands, Wendy ordered, lost within a shimmering red dress. Yes, Mamá, the children answered without enthusiasm. The young couple exchanged a fleeting look, trying to disguise their discovery without being able to say a word; only confirming their suspicions by squeezing each other’s hands. They’d heard about communes, different ways of living together, thought they knew all about it, thought they owned the word “freedom” (maybe this trip derived from such a conviction) but now they were witnessing a lifestyle that embodied that word. When they were seated at the table, a bowl of salad was passed around, accompanied by rice with carrots, squash, sprouts, beans and eggs, the main course. They were vegetarians, they said, smiling; they were sorry not to be able to offer anything else, but the eggs supplied protein, Wendy said, and the legumes, the lentils and beans they mixed with the rice. The boy’s father, who traveled with a plethora of vitamins and minerals lined up each morning like beads on a string, endorsed Wendy’s nutritional knowledge and said that in addition these were foods rich in lecithin and nobody took lecithin into account.

During the meal, while Wayne and Stephanie opened their mouths and showed the guests their chewed balls of vegetable protein when their three parents weren’t looking, the young pair and the boy’s father learned their hosts had moved to Orange, Belize five years ago. Before the children were born, the three took a trip to Tikal and were convinced that Central America was the place to start a new life, far from the conventions of capitalism and hypocrisy, with the mystic force of the native cultures. They found a bit of land they rented from a British relative of Rose’s stepmother, and as it was very complicated to explain that, they summed it all up. Here they were, they had chickens, they made soy cheese, ground wheat and corn to make bread, grew fruit trees because vegetables were difficult; the climate didn’t permit tomatoes, for example. They said it rained a lot. We have beehives, Rose informed them when she served the dessert, and it was she who took care of the bees; the guests had to try the mango blossom honey. And she passed the pot with its dense aroma so the guests could pour the divine product over the mangos of their orchard.

The young couple kept exchanging glances; they had arrived in a place as sweet and yellow as the flesh of the mango that they lifted to their mouths in juicy bites. They were eighteen and on the point of deciding what to do with their lives. In the light of that golden well-being, their world seemed made of asphalt and motor noise, too much clothing and too many school exams: insipid routine. The boy’s father talked enthusiastically, asking about methods of cultivation, how they made compost, collected water. He’d just sold his automobile wheel factory and had bought the camper to explore his new life. He’d invited the couple to come along on this journey of recovered freedom, if indeed he ever had freedom, he told them when he spoke of his plans. Wanting to be together and on the road, they readily joined the father’s curiosity and imagination, felt an astonished and joyful complicity with that man twenty-five years their senior. They supposed it was his attitude about the trip and adventure that excited them. They didn’t realize that they shared the same question—what was happiness?

When Rose, Wendy and Bob invited them to see the water reservoir which supplied the house, and which they drank after boiling, the three were elated by the goodness of the paradise their hosts had built. One could live isolated, eat well, laugh and love each other, create a home. The young couple walked slowly in the tropical heat, seeking refuge in the shade of trees on the path. The children got on their bikes and sped by, splattering them with mud from the puddles. But all that was fine. Much more than taking the camper through the middle of the city, much more than the parties where they danced and drank, much more even than going to La Marquesa and climbing to Cruz Blanca at nearly 13,000 feet. Here they were more together. The boy said his friend Aldo would be happy to go with them. She understood his meaning: the three of them could be hand in hand and sleep curled up in the same bed of the camper if need be.

As if to demonstrate he was versed in engineering issues, Bob explained how the water drained down the sides of the pond and how it was fed into another lower reservoir from which it was piped into the house. The gradual slope and quantity of rain were ideal. If the reservoir overflowed, the canals they’d designed carried the water as far as the orchard and then the river below. Under that high sun, the children took off their rubber boots and stripped rapidly to throw themselves into the pond. Bob watched them with satisfaction: the water’s fresh and irresistible, he informed the guests as if he were the narrator of an ad. And he also sat on a stone to take off his shoes. Wendy and Rose joined forces to advise the guests to swim: they had to refresh themselves before getting back on the road. The young couple looked at each other again because they’d left bathing suits in the camper, but their hostesses had already taken off the red dress, the overall and blue bikini, and Bob his pants and t-shirt. He didn’t wear boxers. How annoying they are, he said, when he saw that the boy’s father lingered in his briefs before exposing himself completely. The girl looked at her boyfriend, hesitating. They were still protected in their pants and tee shirts, and even worse, lacked the skill to undress quickly and fling themselves into the coolness with the naturalness of their hosts. The boy began: took off his tennies and shirt, and she, without looking at the boy’s father out of modesty, rushed to take off her playera, bra and finally her pants and socks. When she saw the boy going ahead to jump into the water, she tossed her clothing carelessly on the grass. Alone and naked on the shore she felt destitute. Running after him more as a chore than for pleasure, she submerged herself in the water that revealed their bodies. She looked for the boy because she needed his protection, but it was Bob and Wendy who swam to her side and bragged about the benefits of bathing in their crystalline water. Rose emerged naked and round on the shore, the sparse down of her sex dripping, her breasts pink and large, while the boy and the girl, separated, avoided looking at each other. The women shouted to Wayne not to urinate, which he was doing in a sumptuous arc, on the water where everyone was swimming. And Wayne took off running after his sister.

The young couple began to feel comfortable in the water, in front of the others. As Wendy went over to Bob and embraced him sweetly, as Rose hugged Wendy, as Bob kissed them each tenderly, and then gave them a pat on the butt when they moved away, kicking toward the boy’s father, the shame of nudity seemed to abandon them. It was a thing of the past, of the shore minutes earlier. Submerged near the shore the boy’s father needed a little push, Wendy and Rose said, challenging him to a race. Then he, without saying a word, left his reserve and set out swimming, leaving them far behind while the young people looked at his white rear emerging from time to time. The two women revenged his triumph by splashing him, and then warmly embracing him. Rose kissed him on the lips and swam across to Bob, who laughed while Wendy boldly kissed the guest. The young couple got closer together, there in that water, whose muddy bottom they dipped toes in. They didn’t go near the others, although Bob called them to where he and Rose were playing. He cupped water in his hands and let it fall over her breasts. The young couple weren’t prepared to share their nudity with others; it was enough to feel their submerged bodies beating with a pulse that hadn’t ever manifested like this before: in the midst of a liberty without restrictions, a naturalness like mango flesh. They kissed their wet mouths and his erection brushed her thighs. They’d made love before the trip and during it had dared to while the boy’s father slept in the upper bunk, and also when she stretched out in the back bed, because the tight curves had made her carsick.

This time, with the laughter and nearness of the others, they discovered secret, prohibited sex. There was something public and private in that rubbing under the water; their nakedness, no different than that of the others, excited them. They didn’t talk to each other nor let Bob coax them over; there was enough mystery between them to add something new. The children came back asking that one of the parents peel them a green mango and fix it with lime and salt. Rose moved away from Bob, Wendy from the boy’s father, and Bob stopped calling the young couple and started getting out of the water to take care of the kids. No help for it, he said, and invited the others to eat green mango. He’d wait for them on the porch. He walked his naked, hairy body in front of them all and only the girl looked at it openly. The nakedness of men was something recently added to her experience, and she compared the sex of the boy with that of Bob, who had not been circumcised. The pubes of Wendy and Rose, whose rosy bodies passed near them to get dressed and help with the green mango ritual, didn’t provoke the same curiosity in her.

They didn’t notice when the boy’s father got out to get dressed. Now that only they remained, they wanted to stay, oppose themselves to the rest and the children, kiss each other rabidly because they had participated in a definition of happiness they hadn’t known before. They didn’t know if they wanted it for themselves or if the boy’s father would adopt it.

They said goodbye to Bob, Wendy and Rose, and the children Wayne and Stephanie, who ran next to the camper along the dusty stretch of road, throwing dried mango pits, irritated by that world of smiles and living in harmony, of rice with vegetables and pond water, of nakedness and shared bodies, of Papá and Mamá and Mamá and we love you very much, of that way of being happy. The couple looked at the approaching highway. They paid no attention to the sound of pits striking metal, had their hands interlaced as if to protect them from the need to find answers. When they reached the asphalt and the camper slid along smoothly, the boy’s father broke the silence: good people those Dutch. They didn’t respond, only abandoned themselves to the serpentine road in the midst of the luminous green of the countryside.

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The Textbook Case
……..
for Emilia

HAVE YOU EVER dialed a wrong number? I’m talking about when you’re stressed because you’re not going to get to an appointment on time and then in the car, at a red light, trying to keep the traffic cop from seeing you, you open your day minder, quickly punch in the number of the person you’re going to meet? Since he doesn’t answer, she leaves a message on his cell: “I’ll be there in fifteen minutes, wait for me.” Relieved, she drives to the meeting and there he is with the documents that have to be reviewed so that her paper can be considered for the conference, the first in her anthropology career: “Single mothers in middle class neighborhoods of the city.”

Has it happened that you don’t even realize you’d left a message on a wrong number because the person you had the appointment with doesn’t mention the call and has simply waited the fifteen minutes imposed by familiarity with city traffic? She parks and apologizes before sitting down, but he has no complaints because after all, he’s been comfortably waiting in a café while she’s been the one driving and dodging through traffic, her mind racing like the motor of the car. They begin immediately to review the objectives she had posed for the research: he’s a member of the committee that selects presenters and had been her professor besides. He knows she’s brilliant. During the discussion, her cell vibrates within her jacket pocket; she feels it because she didn’t take the jacket off. She wouldn’t have answered it anyway, because she doesn’t like to be interrupted. She knows when she should take a call and when not to. This isn’t the time. Warming up by her second coffee, she sheds the jacket, so doesn’t feel the insistent vibration–like a dentist’s drill—demanding an answer.

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She’s back home before she realizes that she has five calls from the same number. The number hasn’t been registered under a name—it would have shown on her screen. There’s a message. “What do you want? Stop bothering me.” The number appears to be similar to her professor’s, which she’d called when she was going to be late. She checks the call and confirms it. But it isn’t her professor’s voice. It’s someone else who answered her call while she was in the café. The voice is unpleasant; she listens to it again. The “what do you want” is loaded with irritation. While she searches for the professor’s number to see what the error was, someone leaves another message. She listens to it: “I told you not to call me.” It’s the same irritated male voice. The insistence angers her and she thinks how absurd it is that an attempted apology set off this series of calls. When she gets a call from someone she doesn’t know, she simply doesn’t bother to answer it. To do this, someone must be very lonely. At best, it’s a message in a bottle washed up from the sea, like in the story she read by some Bernardo Ruiz, where a girl calls numbers at random from prison to see if someone sometime will answer from the outside. And someone does.

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She fixes dinner: a sincronizada, grilled tortilla sandwich with lots of salsa and beans. She’s happy with the professor’s comments: it’s likely that she’ll be chosen to read her paper at the conference. She feels good, like when she made paper boats with her father and blew on them so they’d sail in the fountain at the park and the boat didn’t fall on its side, but kept going straight. As she sits to eat, the cell phone buzzes. She’d put it on vibrate, and on the table the sound resembles a compulsive cicada. That’s what her mother says: “Answer your compulsive cicada already.” She’d never seen a cicada. Her mother said they were big, ugly, nocturnal insects. That their looks match the disagreeable sound they make. She answers without thinking, and the voice at the other end scolds her: “I told you to never leave me messages.” She thinks about the cicada’s appearance; suspects this man has a wart on his big nose. “Look, mister, I don’t know who you are. I called a wrong number,” she says, liberated and looking at the sincronizada on her plate. “I made a mistake,” she mutters in an exasperated tone after a silence. The cicada seems to have realized he doesn’t know her voice. Another silence; she’s on the point of hanging up but he finishes with: “Then don’t go around making mistakes, stupid,” and hangs up. She returns to her lukewarm dinner. Now on top of feeling guilty for arriving late to her appointment, she’s supposed to feel bad for having dialed a wrong number. She has the urge to call the imbecile back and tell him that surely he’s never made a mistake. He’s never confused a two with a seven, which is what happened to her.

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Has it ever happened that the mistake you made kept coming back? That once you’ve sighed the relief of confusion clarified and begun to forget the voice of the bothersome, disconcerting cicada, and are in bed reading the novel that lulls you to sleep, the phone rings again and you find that at such an hour (when normally only family or your partying friends would dare to call) the wrong number is calling again? She doesn’t even consider answering. If it wasn’t clear enough and he can’t stand getting an erroneous message, then he should see a shrink, give that a shot, just stop bothering her. She mutes the phone and sleeps. The next morning its red blinking makes her realize there’s a message. She sighs, reluctant to listen to this intrusion. She thinks the word and it seems curious to qualify someone who calls that way, because actually she was the one who inserted herself into a stranger’s life, by bungling a simple courtesy call.

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While drinking her coffee on the edge of the bed she listens to the message. “Slutty woman, leave my husband alone. Damned whore.” The strange voice is fraught with aggression. It’s astonishing that her misdialing has resulted in all this. She supposes that it’s the old, where there’s smoke…or she fit like a glove in the wrong place at the right time, someone’s tail has been stepped on…She’s upset, making explanations in proverbs like her grandmother. She wants to call the woman and shout at her that she’s done nothing, that they need to leave her alone, that their fights are their problems and if her husband is despicable, they have to deal with it themselves. She clears herself with those words with which she would like to pierce the idiot’s ear. Then she starts thinking about how absurd the situation is and how laughable. What if she calls and says to the man: Look, I already told you I called your number by mistake, straighten things out with your wife but don’t put me in the middle of it? She imagines him explaining: “Sweetheart, honestly, the girl called by mistake. She can tell you herself.” He hands over the phone. She says: “I’m Elsa, an anthropology student, you’ve mistaken me, ma’am, and I’m neither a whore nor do I get mixed up with repulsive cicadas, and even less married ones. If you are not disgusted by your husband I am.” And the wife replying: “Ah, you know him? Don’t think that I’m going to believe you, dead mosquito. It doesn’t matter to me whether you study seals or whistles, don’t students fuck? Or do books inhibit sex?” She wasn’t going to bare her breast for the other woman to unload on. She didn’t want to begin her day that way, fed up to here, or better yet, up to her ass, in the middle of the bed of Mr. & Mrs. X.

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Haven’t you done the same out of sheer exhaustion? On the tenth message from the wife infuriated by the infidelity of her husband, by her jealousy justified or not, after receiving insult after insult each time more obscene, more grotesque, wouldn’t you opt to put an end to the situation? Of course, she could have shut off the cell, asked for a change of number. But she thought she shouldn’t have to be made the victim of the game and suffer the consequences: having to advise everyone that her number’s changed, especially the professor who should call her in the next few hours. And no way he ought to get that “the number you called is no longer in service” routine. The messages have intensified so drastically that she thinks only confronting the gross, obscene woman will resolve things. So she answers the tenth call in the afternoon and tells the woman they can meet in the Vips on Revolution. Sufficiently far from her house. She will explain who she is and why the woman should leave her in peace. Perhaps the two of them can get a load off their minds.

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She sits at the table nearest the entrance, as they’d agreed, and orders a coffee. She doesn’t like the coffee in that place but only wants to pass the time and calm her nerves. She doesn’t know how she’ll react when she sees the enemy: what’s the woman like, with her shrieky voice and beside herself? Short? Curly hair? Does she have a big nose? Doesn’t wax her moustache? Dresses in loud colors? By the jealousy, she supposes the wife’s neither very young nor very old. Forty-something, she thinks. Typical case of the husband who betrays her with young women because her fading looks and domestic preoccupations have killed his appetite. Typical case. She, young, nice-looking, tall, a bit plump but acceptable, fell into the middle of a textbook case (so says the professor). If the jealous wife sees her, she won’t doubt that her husband has been having an affair. The thought floors her. She looks at her watch: the fifteen minutes have lapsed. The woman ought to be there already. She looks around: tables with couples, groups of women, two men, a family, various young people. She realizes that she’s the only woman by herself in the place. The cell rings. She recognizes the number and answers cautiously. Nobody speaks on the other end. She looks around thinking that a cell at the ear would allow her to discover the accuser. She feels afraid. Better to go.

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Wouldn’t you have done the same? Now she doesn’t want to face the person who has not appeared. She’s been naive. The textbook case doesn’t end like this. Go. She leaves quickly after paying and stamping the parking ticket, looking around as if she were guilty of something. Not wanting to run into the woman who was perhaps just calling to say she was late. But the voice didn’t speak. Would she repeat the situation that started this distasteful appointment in the first place? She gets in her car and goes down Revolution, takes Rio Mixcoac to her house: she’ll get home and throw the cell in the trash. She’ll send her professor an email, trying to make sure he doesn’t think it’s just a way of trying to find out the committee’s decision; she’ll say her cell’s not working, that she missed anything if he called or texted her. If there was anything, of course; and then she’d tell him what happened as a result of her appointment, the textbook case…

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The last two blocks seem interminable; she turns, parks in front of the house and when she starts to get out of the car it hits her. Noticing a car parking behind her, she’s struck by an urgent need for safety. Instead of walking away, she runs to the front door of the house. She goes in and, without lighting the lights, closes herself in her room. Then the cell rings again. She knows that if she looks out the window, a woman will be standing on the sidewalk with a phone to her ear. She moves the curtain and peeks out. The woman’s a tall redhead. And determined. The cell continues to ring. She has no reason to get rid of it now.

— Mónica Lavín, translated from the Spanish by Patricia Dubrava

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Mónica Lavín is the prolific author of short stories and story collections, including Manual para enamorarse, 2012. Her novels include Yo, la peor, about Sor Juana Inés de la Cruz, which won the Elena Poniatowska Prize, 2010. Lavín has also won the Gilberto Owen National Prize for Literature among other awards. www.monicalavin.com.

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Patricia

Patricia Dubrava is a writer and translator whose translations from Spanish include stories by Mónica Lavín in Metamorphoses, Reunion: The Dallas Review, K1N, Lunch Ticket, and Norton’s Flash Fiction International, 2015. Most recently, in 2016, Lavín stories have appeared in Aldus Journal of Translation and Mexico City Lit. Dubrava blogs at www.patriciadubrava.com

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Sep 112016
 

Black-Bread

teixidor

The setting is rural Catalonia in the early years following the Spanish Civil War, and the young narrator of Black Bread has been sent to stay with relatives on his paternal grandmother’s farm. His father has been jailed and his mother is too busy to care for him. In this excerpt, Andreu and his cousins, Quinze and “Cry-Baby,” enjoy that last days before school resumes playing in the orchard and spying on the TB patients in the monastery garden. They have, however, the clear sense that the adults in their lives are not entirely truthful about what is really going on during this troubled time.

Black Bread was originally published at Pa negre in 2003, and is translated from the Catalan by the great Peter Bush.

— Joseph Schreiber

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WE LIVED UP the plum tree until autumn came.

When the days began to shorten, nighttime sometimes caught us in the tree and Ció had to shout to us to climb down.

“Blessed kids!” she’d gripe after she’d stopped bawling, when we were standing in front of her. “You spend too much time playing for the age you are. One of these days a branch will break and you’ll crack your skulls open.”

“They’re all up to no good, they run riot,” said Grandmother, keeping her eyes glued to the knitting needles her fingers moved over her ample bosom, while she kept her arms still.

The Novíssima didn’t start until early October, and for the early weeks of school when we three chased back to the farmhouse, the first thing we did was put our cardboard satchels on the stone bench in the entrance, go into the kitchen and grab the slices of bread spread with oil and sugar or wine and sugar Ció or Grandmother had prepared for us on a dish in the middle of the table, then we’d run with our snacks to the plum tree so we could climb up and eat them lounging back on our branches.

Now and then, when a colder breeze blew and the reddish sun didn’t linger as it did in summer, when evenings were like the inside walls of a bread oven that retained the heat from the flames of logs burnt moments before, we took blankets up the tree to wrap around us and fought off as best we could the cold and early nighttime damp coming out of the woods. The damp, stifling heat, treacherous cold or gusting wind all emerged from the forest that was like an immense belly or huge pantry full of small compartments that hoarded all the good and bad luck that existed in the world. Up in our plum tree we often thought we’d be able to catch the moment when the leaves changed colour, but the change in the leaves, like moulting feathers, always happened from one day to the next; overnight an area of wood turned a dazzling saffron yellow, and a few days later the beech trees had turned wine-red, soon to be followed by the silvery white of the poplars, the dark brown of the chestnut trees, the humid greens… We looked at each other in dismay, as if someone was making fun of our wait and one year Cry-Baby suggested we stay there the whole night to catch the precise moment of change.

“You’re such an idiot!” laughed Quirze. “How would we ever see anything? It’s pitch black at night and we won’t see the new colours until the following morning, when it will all be over and done with!”

However, Cry-Baby was stubborn and ignored him. She’d say nothing and I could tell from her determination, from her staring eyes, firm lips and jutting chin that she wouldn’t give up until she got a proper answer.

From the tree we used to gaze at the mysterious little lights in the cells in the Saint Camillus monastery as they lit up one after another, indicating that the friars, brothers and novices were getting ready to go out to care for the moribund souls in the neighbouring farmhouses or village.

Until someone howled from the gallery: “Where have those little blighters got to?”

“I want to see them here breaking up the sweetcorn. Or fetching buckets of water for the troughs or the sink.”

Cry-Baby was such a ninny nobody ever included her in their summons.

“They’re back up the plum tree!” shouted an astonished Dad Quirze or a farmhand, usually Jan, the oldest hand, who was like a piece of the furniture.

“Where did you get those blankets?” raged Ció, as she watched us walking towards her, shamefaced, with our blankets. “No corner of this house is safe with you drones buzzing around. I’ve told you a thousand times not to touch the things I keep in the two big baskets in the doorway, whatever they might be. These blankets don’t belong to us! Put them back where you found them right away.”

And when we were just about to return them to the big basket, before removing the lid, Ció snatched them from us, looking alarmed: “Leave them on the floor! Don’t ever touch them again. Nobody must touch them. They are all infected. Go and wash your hands at once, you naughty devils! You’re disgusting!”

We three didn’t know what to do next. We knew Ció was contradicting herself and we put that down to her being so upset by our mischief-making. We didn’t understand why the easygoing Ció was getting worked up by what we thought was a worthless pile of cloth no doubt destined to be used by the livestock, the mule, the mares, the horses or the colt, that was small and frisky like a toy and the one we liked best.

“They are the blankets the Saint Camillus friars threw out because they stank to high heaven. Ugh! They used them to cover their ill patients until they breathed their last. Most were draped over the ones with TB who sun themselves in the heartsease garden. Ugh! I wasn’t very keen to take them, and I only did so as a favour, and I didn’t touch a single one with my hands, I stuffed them in the big basket using tongs and a pitchfork.”

However, whenever we spied on the heartsease garden from the top of the plum tree, or, especially when we’d stood by the wall separating the land around the farmhouse near the pond and hazelnut spinney from the monastery gardens and orchards, we were horrified to see a row of naked, skeletal bodies stretched out, all young men, sunning themselves in a meadow full of yellow daisies, pale pink carnations, bright red poppies and purple, almost lilac or mauve heartsease, the colour of the habits the Saint Camillus order reserved for Holy Week. All those boys, or rather, young men, lay on the whitest of sheets, some clutching a corner to cover their nether parts, the area that most drew our attention, the bit that fascinated us infinitely more than their emaciated faces, sunken eyes, the small beads of sweat on their temples, their chests striped by protruding ribs, bellies, collapsed in some cases, swollen in others, and their off-white or yellow rancid butter skin…, those blackened, shrunken genitals and a crop of lank hair like an obscene black bloodstain…, monsters in our eyes, phantoms from a forbidden world, sickly, worn down and consumed by a horrible microbe, victims of a contagious, suppurating disease like the rabies dogs spread or sheep’s foot-and-mouth, that can be caught simply by breathing the air or drinking from the same glass a TB sufferer has used, an accursed disease, contracted as a result of an errant life of vice, sick men condemned in life, proof of the deity’s pitiless punishment of sin, swaddled in white sheets like premature cadavers in dazzling white shrouds… Yet we’d never seen one under a blanket.

A black umbrella was planted next to the sheets of just three or four TB sufferers, so the shade protected their heads. The presence of those faceless bodies, some shamelessly displaying their sexes, were shocking in our eyes and beyond words. A mystery and a secret no one could fathom. And a friar sat next to the little gate from the vegetable plots to the monastery garden, reading his breviary and never looking up, as if to have sight of the infirm was to behold evil, physical evil, a palpable sign of invisible spiritual evil, a repugnant manifestation of sin.

We didn’t touch another blanket that autumn. But the two baskets, especially the big one, were inexplicably marked out as things only adults could handle. Why did they keep those dangerous blankets in that place of transit, within everyone’s reach and what should the movers and shakers in the house—Dad Quirze and Aunt Ció—the delegates of our invisible masters, do about them? Why didn’t the friars destroy them in the monastery if they were worthless? What deal had they done over those ignominious bits of cloth?

“They should be washed back and front, boiled, scrubbed, scraped, dusted and dried and then we’ll see if they are any use,” said Ció on that occasion, after she’d calmed down. “On Saturday when we go to the market in Vic, we’ll leave them with the wenches who launder the lovely linen from the Poor Hospital, and let’s see what they can do. The Town Hall allows those nuns to use the communal wash-house all night, when nobody else washes and the water is filthy from all the daytime washing. On Sunday, when the sisters have finished, they change the water. And even then the wretched Saint Camillus folk won’t make anything from them.”

However, one day, surely another autumn, when we were looking for clothes to keep us warm, when the weather drove us from our tree, when we’d all forgotten her little rant, Aunt Ció mentioned those blankets again.

“Don’t touch the blankets!” she said this time. “God knows where those damned friars found them! I expect they collected them up after the war, when they returned to the monastery the lice-ridden militia had occupied like a barracks, and the church was full of shit, with hens running round the altar and sheep penned up in the Chapel of the Most Holy Spirit as if it were a stable… I bet they found them on the floor abandoned by the Republican soldiers who’d had to beat it hell-for-leather when the fascist troops, led by the Moors, entered Vic. And now they don’t know what to do with them, they can’t use them, not even to wrap up the sick, and they want us to sell them in the market: I wonder what we’ll get for rags that are so old and filthy not even the novices in the monastery want them, ugh, and so full of bugs they need washing at least ten times.”

We never saw anyone take the blankets to Vic market on that Saturday or any other.

Adults think children have the same poor powers of recall they have. They forget we children have no memories of anything, that words and acts are all new to us and every little detail remains automatically etched on our brains.

— Emili Teixidor, translated from the Catalan by Peter Bush

Excerpt from the novel Black Bread, translated into English by Peter Bush, and published by Biblioasis.

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Born in 1933, Emili Teixidor‘s first novel, Retrato de un asesino de pájaros, was published to tremendous acclaim in 1988, followed by several more which established him as one of Spain’s greatest contemporary authors. Teixidor died in 2012.

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Bush_Peter-289x300

Peter Bush is a prize-winning English literary translator. He has translated works from Catalan, French, Spanish and Portuguese to English, including the work of Josep Pla, Joan Sales and Merce Rodoreda.

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Sep 042016
 

Naked1

toussaint

Throughout the first three novels in Jean-Philippe Toussaint’s tetralogy, the unnamed narrator and his love interest Marie have been on the verge of break-up and broken up. Yet, in some ways, they’ve never really been apart. In this passage from the fourth and final novel Naked, after returning from a trip where the couple rekindled their love, the narrator sits alone in his apartment thinking of Marie, waiting for a sign that she’s thinking of him too.

Naked was originally published in 2013, and is translated from the French by Edward Gauvin.

— Jason Lucarelli

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IDIDN’T DARE admit it to myself outright, but what I was waiting for now at the window was—already—a phone call from Marie. I even hoped to get her call before stepping away from the window, before I had time to do anything in the apartment, go through my mail or unpack my bags, so that when I picked up I could say, the amused modesty in my voice perhaps tinged with a zest of triumph, “Already?” and the endless half-hour I spent in front of the window waiting in vain for Marie’s call was like an abridged version of the two expectant months I was about to spend waiting for any sign from her at all. In the first few moments, fervor and impatience still held sway, feelings of love the days spent together on Elba had rekindled, the intact desire to hear her voice on the phone—perhaps intimidated, tender, light-hearted, suggesting we see each other that very night—and then, as the minutes, the hours, the days, the weeks, and soon even the whole month of September went by without so much as a word from Marie, my initial impatience gradually gave way to fatalism and resignation. My feelings toward Marie went progressively from the impatient affection of those first few moments to a kind of annoyance I was still trying to get under control. After a while, I no longer held anything back and gave free rein to my resentment. Marie’s final act of fickleness, inviting me to spend two weeks with her on Elba just to ignore me and not make so much as a peep afterward, was but the ultimate demonstration of her radical nonchalance.

But now a new element, perhaps, since our return from Elba, was that Marie managed the feat of annoying me even when she wasn’t around. For up till now, whenever Marie hadn’t been around, I’d missed her immediately, nothing whetted my love for her more than distance—what to say, then, about her absence? This new annoyance, this more deeply ingrained irritation, taking shape right there at the window as I waited for her call, was perhaps the sign that I was readying myself for our separation and imperceptibly beginning to resign myself to it—except that, and here the nuance is vital, it might very well be the case that if Marie annoyed me so much when she wasn’t around, it was perhaps quite simply because she wasn’t around. There was also an odd, abiding element in my love for Marie, which was that as soon as anyone, even me, took it in mind to criticize her, and quite justifiably, with the best intentions in the world, I couldn’t keep myself from dashing to her rescue straightaway, as in certain couples where the one defending his or her partner tooth and nail is in the best position to know the extent of that partner’s shortcomings. In fact, I needed no outside detractors to come up with all the ill that could be said of Marie, I quite sufficed. I knew very well that Marie was exasperating. I knew perfectly well indeed, along with her detractors, who didn’t even know the quarter of it, that she was superficial, fickle, frivolous, and careless (and that she never shut drawers), but no sooner did I alight on this litany of deprecating qualifiers than I saw the other side to these complaints, their secret underside, concealed from view, like the precious hidden lining of too-flashy finery. For though glittering sequins sometimes kept one from seeing Marie clearly at first, to reduce her to the frothy society gossip abubble in her wake would be to underestimate her. A more substantial wave, timeless, ineluctable, carried her through life. What characterized Marie above all else was her way of being in tune with the world, those moments when she felt flooded by a feeling of pure joy: then tears would start rolling uncontrollably down her cheeks, as if she were melting with rapture. I don’t know if Marie was aware she contained, deep within, this unusual kind of exaltation, but everything in her bearing bore witness to her capacity for intimate harmony with the world. For just as there exists such a thing as oceanic feeling, so we may speak, where Marie is concerned, of oceanic affinities. Marie had a gift, that singular ability, that miraculous faculty, for being at one with the world in the moment, of knowing harmony between herself and the universe, in an utter dissolving of her own consciousness. Everything else about her personality—Marie the businesswoman and Marie the CEO, who signed contracts and closed real estate deals in Paris and China, who knew the dollar’s daily exchange rate and followed the latest market fluctuations, Marie the fashion designer who worked with dozens of assistants and collaborators the world over, Marie the woman of her time, active, overworked, and urbane, who lived in luxury hotels and dashed through airports in cream-colored trench coats, belt trailing on the floor, pushing two or three carts over owing with luggage, suitcases, clutches, portfolios, poster tubes, not to mention—dear God, I can picture it still—parakeet cages (fortunately empty, for she rarely transported living animals, apart from a thoroughbred—a trifle—as it happens, on her last trip back from Tokyo)—also characterized her, but only superficially, including her without defining her, encircling her without grasping her, nothing in the end but mist and spray beside the fundamental affinity that alone characterized her completely, the oceanic affinity. Intuitively, Marie always knew how to be in spontaneous tune with natural elements: with the sea, into which she melted with delight, naked in the salt water surrounding her body, with the earth, whose touch she loved, primitive and crude, dry or slightly slimy in her palms. Marie instinctively attained a cosmic dimension of existence, even if she sometimes seemed to spurn its social dimension entirely, and treated her every acquaintance with the same natural simplicity, ignoring age and formalities, seniority and etiquette, showing each the same considerate kindness, the same graces of sensitivity and benevolence, the charms of her smile and her figure, whether it was an ambassador having her over to dinner at his residence during a show, the cleaning lady she’d befriended, or the latest intern at the fashion house Let’s Go Daddy-O, seeing only the human being in each of them without a care in the world for rank, as if, beneath all the finery of the adult she’d become and her standing as a world-renowned artist, it was the child in her that had survived, with that child’s bottomless well of innocent generosity. There was something in her like a radical abstraction, an abrasion, a stripping-away of the social reality of things, such that she always seemed to be wandering around naked on the surface of the world, the “seemed” even being redundant with her, so often did she actually walk around naked in real life, at home or in the yard of the house on Elba, to the astonishment of creatures that watched her rapturously, a butterfly coming upon its alter ego in nature or the tiny, exhilarated fish quivering behind her in the sea, when I myself wasn’t the privileged witness to her innocent fancy for walking around nude at the drop of a hat, which was almost like her signature, her soul number, the proof of her integral harmony with the world, with what has been most permanent and essential about it for hundreds of thousands of years.

As we had just come back from Elba, these were the sunlit images of Marie that now came to mind as I stood before the window: Marie half naked under an old blue shirt of her father’s in the yard on Elba. I stared at the gray, rainy Paris street before me, and it was Marie who raced irresistibly through my mind without the slightest conscious effort on my part. I don’t know if Marie knew just how alive she was in my thoughts at that moment, as if, beside the real Marie who must have reached her apartment on Rue de La Vrillière by now, where the taxi had dropped her off, was another Marie, free, autonomous, separate from herself, existing only in my mind, where I let her come to life and move about my thoughts as she went swimming naked in my memories or took shape in the yard of her father’s house. I saw her again, then, in the little yard on Elba, that double, my personal Marie, wearing a basic swimsuit she’d pulled down and rolled around her waist because it was too hot (or even with no swimsuit at all, I kid you not). Cautiously, I drew closer to her in my mind, and through the tree branches in the little yard shivering in a light breeze made out her bare silhouette, the skin on her shoulder dappled with sun-shimmer, crouching by an earthenware jar, kneading the potting soil with both hands and tamping it down, evening out the earth around young shoots she’d just replanted and watered, watching the meager trickle from the hose intently, with a kind of meditative steadiness that seemed to wholly absorb her. I skimmed her shoulder as I joined her in the yard and told her in passing that for lack of a swimsuit, she could maybe put on a hat—people do that when they’re naked, you know (and she shrugged, didn’t dignify that with a reply). Marie, who always managed to surprise me, throw me for a loop, unpredictable Marie who, a few weeks earlier on Elba, had filched an apricot from the display at a fruit stand in Portoferraio’s old town, and kept the pit in her mouth for a long time, sucking on it dreamily in the sun, before suddenly pinning me to the wall in a shady alley near the port to press her lips abruptly against mine and dispose of the pit in my mouth.

And then I realized that I was chewing over these same happy visions time and again, the same summer images of Marie kept coming back to me, as if filtered by my mind, purified of any unpleasant elements and made more endearing still as they began to grow distant in time with my return. But since, I told myself, any true love and, more broadly speaking, any project, any undertaking, from the flowering of a bud to the growth of a tree to the realization of a work of art, has but one aim and intent, to persevere in being, doesn’t it always, inevitably, come down to chewing the same thing over? And a few weeks later, taking up this idea again of love as rumination or continual reprise, I would further refine my phrasing, asking Marie if the secret to lasting love was never to swallow.

I don’t know how much time had passed since I got back, but day was beginning to wane in Rue des Filles-Saint-Thomas, and I still hadn’t budged from the window. The street had gotten a bit livelier, a few signs were now lighted near the Bourse. One of the houses across from me was being renovated. On the fourth floor, an apartment had been laid utterly bare, the façade gone, leaving the entrails of the building exposed, as if after a hurricane or an earthquake. Under the arc lights, a few workers in helmets passed to and fro over plastic tarps covering the floorboards of what must once have been the living room. The scene had something, if not hallucinatory, then at least not very Parisian about it (or I’m no Parisian), and seemed instead to be taking place in a major Asian metropolis, by neon light and the glare of welding torches. I contemplated the building under construction across from me, and thought back to the trip Marie and I had made to Japan at the beginning of the year. That was where everything had started, or rather everything had ended for us, for that was where we’d broken up, that was where we’d made love for the last time, in the room of a luxury hotel in Shinjuku. We’d left for Japan together, and come home separately two weeks later, each to our own lives, no longer speaking, no longer bothering to stay in touch. When I got back to Paris, I finalized our breakup, in a way, by moving to Rue des Filles-Saint-Thomas, and we had barely seen each other at all till late summer, when she’d suggested I join her on Elba. But what Marie didn’t know—and still doesn’t—is that I, too, was there the night her show opened at the Contemporary Art Space in Shinagawa.

— Jean-Philippe Toussaint, translated from the French by Edward Gauvin

Excerpt from Naked appears by permission of Dalkey Archive Press.

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Jean-Philippe Toussaint is the author of nine novels and the winner of numerous literary prizes, including the Prix Décembre for The Truth about Marie, which is available from Dalkey Archive Press. His writing has been compared to the works of Samuel Beckett, Jacques Tati, Jim Jarmusch, and even Charlie Chaplin.

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A graduate of the Iowa Writers’ Workshop, Edward Gauvin was a 2007 fellow at the American Literary Translators Association conference and received a residency from the Ban International Literary Translation Centre. His translation of Jean-Philippe Toussaint’s Urgency and Patience was published by Dalkey Archive Press in 2015.

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Aug 122016
 

Revulsion

Photo by Nina Subin

The following excerpt appears about a third of the way into Moya’s wonderful novel, where we find Vega, Revulsion‘s narrator, describing his relationship with his brother, Ivo, to the author. Vega has spent fifteen days living at his brother’s home while trying to sell their dead mother’s house, and he has had enough of the noise made by Ivo’s family.

This passage works as an excellent example of Moya’s commitment to writing in the style of Thomas Bernhard. You’ll notice many of the Austrian writer’s techniques on display, from long, run-on sentences to a fantastic sequence of repetition when Vega describes soccer players as “undernourished.”

Revulsion: Thomas Bernhard in San Salvador was originally published in 1997 in Spanish as El asco, Thomas Bernhard en El Salvador, and has been translated into English by Lee Klein. 

— Benjamin Woodard

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MY BROTHER Ivo and I are the most different people you can imagine, Moya, we don’t resemble each other in any way, we have not a single thing in common, no one would believe we’re from the same mother, we’re so different we never even became friends, only a few acquaintances know we share the same parents, the same last name, the same house, said Vega. We haven’t seen each other for eighteen years. We never write each other. The half dozen times my mother would call me and he’d be with her, Moya, we’d hardly exchange hellos or commonplaces; we never called each other because we didn’t have anything to say, each of us lived without having to think about the other, because we’re complete strangers, we’re total opposites, living proof that blood doesn’t mean a thing, it’s random, something perfectly worthless, said Vega. I just turned thirty-eight years old, Moya, same as you, I am four years older than my brother, and if my mother hadn’t died I would have been able to live my entire life without returning to see my brother Ivo; that said, Moya, we don’t hate each other, we’re simply two planets on distinct orbits, without anything to say, with nothing to share, no similar tastes, the only thing that brought us together is the task of having inherited my mother’s house in Miramonte, nothing more, said Vega. I have nothing in common with a guy who dedicates his life to making keys, a guy who has dedicated his life to making copies of keys, whose only concern is that his business produces more and more copies of keys, Moya, someone whose life revolves around a business called “Millions of Keys.” His friends gave him the inevitable nickname “Key Ring,” his total universe, his most vital worries, fail to exceed the dimensions of a key, said Vega. My brother is possessed, Moya, it causes me true sorrow that someone could live a life like that, it causes me profound sadness to think about someone dedicating his life to making the most possible copies of keys, said Vega. My brother is worse than someone possessed, Moya, he’s the typical middle-class businessman who trains to accumulate the money he needs to buy more cars, houses, and women than he needs; for my brother, the ideal world would be an immense locksmith operation, and he would be the only owner, an immense locksmith operation where they would only talk about keys, locks, doorknobs, latchkeys. And it’s not going badly for him, Moya, on the contrary, it’s going very well for my brother, every day he sells more keys, every day he opens another branch of “Millions of Keys,” every day he accumulates more money thanks to his key business, my brother is a true success, Moya, he’s found his goldmine, I doubt there exists another country where people have the same obsession for keys and locks, I don’t think there exists another country where people so obsessively lock themselves in, which is why my brother is a success, because people need tons of keys and locks for the walled houses they live in, said Vega. For fifteen days I haven’t had a conversation that’s been worth it, Moya, for fifteen days these two have talked to me only about keys, locks, and doorknobs, and about the papers I should sign to make the sale of my mother’s house possible, it’s horrible, Moya, I have absolutely nothing to say to my brother, there isn’t a single minimally decent topic we could address with intelligence, said Vega. The principal intellectual preoccupation of my brother is soccer, Moya, he can talk for hours and hours about teams and players, especially about his favorite team, called the Alliance, for my brother the Alliance is the finest manifestation of humanity, he doesn’t miss a single game, he’d commit the most heinous sin if it meant the Alliance would win all its matches, said Vega. My brother’s fanaticism for the Alliance is so high, after a few days it actually occurred to him to invite me to the stadium, can you imagine, Moya, he invited me to the stadium to support the Alliance in a difficult match against their long-time rivals, that’s how he proposed it to me, as if he didn’t know that I detest huge crowds, that concentrations of humanity produce in me an indescribable affliction. There’s nothing more detestable to me than sports, Moya, nothing seems more boring and stupid than sports, most of all the National Soccer League, I don’t understand how my brother could give a damn about twenty-two undernourished morons running after a ball, only someone like my brother could almost have a heart attack about the stumbling of twenty-two undernourished men running after a ball and making a show of their mental deficiency, only someone like my brother could have passionate ideas about locksmithing and a team of undernourished morons that calls itself the Alliance, said Vega. At first my brother thought he would be able to convince me that we shouldn’t sell my mother’s house, that it was best to rent it instead, according to him the real estate market improves every day, my brother said he had no desire to sell my mother’s house, but I was emphatic from the start, I had no doubt that the best decision was to sell her house, it’s what suits me best, so I never have to return to this country, so I can break all ties with this place, with the past, with my brother and his family, so I don’t have to hear anything more about them, which, to be blunt, is why I was emphatic from the start, I didn’t even let my brother make his case against the sale of the house, I said I only wanted my half, if he could pay me the forty- five thousand dollars right then, he could keep the house, that’s what I told him, Moya, because I saw his intention to blackmail me with idiotic sentimentalities, with ideas natural to a guy whose life is limited to keys and locks, idiotic sentimentalities like saying my mother’s house represents the family heritage, like saying we were raised there and similarly the house is associated with the best moments of our youth, I didn’t let him continue with that nonsense, Moya, I told him that for me the family was coincidental, without any importance, proof of this was that the two of us had been able to pass eighteen years without a single conversation, proof was that if this house hadn’t existed we surely wouldn’t have decided to meet again, that’s what I told him, Moya, and I explained that I wanted to forget everything that has to do with my youth spent in this country, my youth lived in this walled house that now I must sell, there is nothing so abominable as the years I spent here, nothing more repulsive than the first twenty years of my life, said Vega, they were years committed only to idiocies, Moya, horrible years, associated with the Marist Brothers, with anxiety about getting away from here, the uneasiness caused by the inevitability of having to live my life in the middle of this rottenness.

—  Horacio Castellanos Moya, translated from the Spanish by Lee Klein

Excerpt from the novel Revulsion: Thomas Bernhard in San Salvador, translated into English by Lee Klein, and published by New Directions, on July 26, 2016.

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moya_nina_subin

Horacio Castellanos Moya was born in 1957 in Honduras and grew up in El Salvador. The author of eleven novels (including SenselessnessThe She-Devil in the MirrorTyrant Memory, and The Dream of My Return), he is now living in the U.S.

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Klein

Lee Klein‘s fiction, essays, reviews, and translations have appeared in Harper’sThe Best American Nonrequired Reading 2007, and many other sites, journals, and anthologies. A graduate of the Iowa Writers’ Workshop, he is also the author of The Shimmering Go-BetweenThanks and Sorry and Good Luck: Rejection Letters from the Eyeshot Outbox, and Incidents of Egotourism in the Temporary World. He lives in South Philadelphia.

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Aug 122016
 

moya_nina_subinAuthor Photo: Nina Subin

A blistering novella that satisfies the darkness clouding
the cynical side of our souls. — Benjamin Woodard

Revulsion

Revulsion: Thomas Bernhard in San Salvador
Horacio Castellanos Moya, translated from the Spanish by Lee Klein
New Directions
88 pages ($14.95)
ISBN: 978-0-8112-2539-7

 

Originally staged in 1995, multimedia artist Bill Viola’s “The Greeting” plays over a tall, vertical video screen, and functions like a painting come to life. From the left side of the frame, a visibly pregnant woman in a flowing orange dress approaches a pair of similarly dressed women chatting on a stylized city street, and as their conversation is interrupted, the group acknowledges each other and the woman in orange pulls the woman closest to the viewer in for a hug. The natural flow of the trio’s movements, in real time, takes less than thirty seconds to transpire. But in his installation, Viola slows his footage so that it spreads over ten minutes. Under these specifications, the figures crawl toward each other, and subtleties lost at normal speeds become amplified. The simple gesture of a hug opens itself up to endless nuanced observations. For example, during this embrace, the woman in orange whispers something—it’s impossible to know what—into her friend’s ear, while the woman outside of the caress peers toward the viewer, her face stressing disappointment as a slight breeze wafts her loose clothing. It is a hypnotizing display, and by the end of the sequence, Viola implies to the viewer a narrative much larger than the small moment depicted.

“The Greeting” was inspired by Jacopo Pontormo’s painting, The Visitation, yet literature enthusiasts may see a bit of writer Thomas Bernhard floating on the screen, too, for like Viola’s installation, Bernhard’s novels often cover very little present time, instead dwelling on the thoughts and memories of characters as they experience brief physical exchanges: sitting idly at a table, or walking into a remote inn. Regular readers of Numéro Cinq are no doubt familiar with the work of Bernhard (in fact, we recently ran a review of some of his short stories), yet I offer Viola’s artwork as a visual equivalent for those yet to experience one of the late Austrian’s narratives.

Bernhard, through his darkly funny, rambling, oddly italicized, tense shifting, comma splicing, yet verbally thrilling storylines (typically published as one long paragraph), cemented himself as one of the most respected and original literary figures of the 20th century, and his popularity among readers has only risen since his death in 1989. Such celebrity often lends itself to imitation, and Horacio Castellanos Moya’s Revulsion: Thomas Bernhard in San Salvador is a brilliant parody of Bernhard’s stylistic tics, a slim novella that winks with fans of Bernhard while also recounting the hilarious tale of perhaps the least cheerful man in El Salvador. When originally released in 1997, though he had already published several books and worked as a professional journalist throughout Central America, Moya’s rambling story earned him death threats. Prideful residents of El Salvador, the author’s homeland, failed to find his bitter cultural critique funny and Moya avoided the country for two years. Now nearly twenty years later, Moya’s Revulsion (or, as he refers to it in an included author’s note, “the little imitation”) is seen as his signature work, and for the first time, it is available to the English-speaking world, thanks to a superb translation by author Lee Klein and publisher New Directions.

The entirety of Revulsion takes place at a bar in San Salvador between the evening hours of five and seven. The only speaker is Edgardo Vega, who has returned to El Salvador for the first time in eighteen years to bury his mother, and who has coaxed his friend Horacio Castellanos Moya to meet him for a few drinks. Over about 90 pages, Moya sits and listens to Vega’s monologue dedicated to what he really thinks about El Salvador.

As the story opens, Vega greets the fictional version of Moya with a sentence that immediately brings to mind Bernhard’s style:

Glad you could come, Moya, I had my doubts that you would come, so many people in this city don’t like this place, so many people don’t like this place at all, Moya, which is why I wasn’t sure you’d come, said Vega.

Here, Moya exaggerates Bernhard’s penchant for repetition for comedic effect, employing variations on “come” three times, the name Moya twice, and the phrase “don’t like this place” twice. Vega cannot speak with economy. He must find multiple ways to express each thought. This repetition continues as Vega tells Moya that he is the only one he feels comfortable around, and that he must vent his frustrations about El Salvador before they consume him. He says, “I have to chat with you before I leave, I have to tell you what I think about all this nastiness, there’s no one else I can relate my impressions to, the horrible thoughts I’ve had here.” Again, we see Vega rattle off variations of the same statement, and once more, Moya the author lets these repetitions string themselves together without inserting an expected period, splicing commas instead. The result is a barreling sensation, similar to that of Bernhard’s work, yet one swelling to the point of ludicrousness.

The reader learns that Moya was the only of Vega’s childhood friends to show up at the funeral. “What luck I didn’t run into any of them, except for you, of course, we have nothing in common with them, there isn’t a thing that unites me with one of them,” Vega proclaims. “We’re the exception.” From here, Vega, now a Canadian citizen, begins a verbal assault on El Salvador, which essentially consumes the rest of the text. He complains of the country’s beer (“it’s only good for inducing diarrhea”), its residents (“a putrid race”), its politicians (“so ignorant, so savagely ignorant, so obviously illiterate”) and its cities (“truly vomitous…where only truly sinister people can live”). After spending the previous two weeks living with his brother and his family, waiting to finalize paperwork for his mother, Vega has moved out and checked into a local hotel to escape the household noise:

…I want to make it clear that my brother has three televisions in his house, you wouldn’t believe it, three televisions they often turn on at the same time to different channels, a true hell this place is, Moya, I’m thankful to have left that house of lunatics this morning, they only spend their time watching television…

In condemning everything he has encountered while back in his birthplace, Vega shouts in a hyperbolic manner that, like his heavy use of repetition, mimics the diction of a Thomas Bernhard protagonist to an extreme. Take, as illustration, the narrator of Bernhard’s The Loser, who readily complains about both Austria and Switzerland about a third of the way through the novel. He calls the sights “nothing but utter tastelessness,” and claims that Switzerland is “where cretinism reigns supreme.” Recalling the city of Chur, Bernhard’s narrator notes, “the taverns…served the worst wine and the most tasteless sausage,” and “the Churians struck me as despicable in their Alpine cretinism.” When placed side by side with Moya’s Vega, these complaints feel comfortably at home, yet the major difference between a Bernhard narrator and Vega is that Bernhard’s narrators drift in and out of hyperbolic rants, whereas Vega’s entire monologue builds itself on a foundation of hyperbole. There is never a time in Revulsion where Moya lets his character slip from this mindset, for even when he shifts to rare moments of offering compliment, he speaks in an exaggerated register. Early, while acknowledging Moya’s various achievements, Vega can’t help but temper his kindness with the query, “how could it occur to you to return to live here in this shithole, to settle in a city that sucks you down more and more into its pit of filth.” Then later, after a long diatribe against local politicians (“they dedicate themselves now to a feast, an orgy, of plundering”), Vega attempts to shift gears again, only to fall back into a hyperbolic rage:

But we should hope, Moya, we don’t want to spoil our reunion thanks to these castrated politicians that each day ruin my meals, appearing on the television that my brother and his wife turn on the minute they sit down at the dining table.

Very deliberately, Moya constructs Vega to be a Bernhard character to the nth degree, and the result is a comical curmudgeon with certainly less intelligence than Bernhard’s fictional counterparts, but one who contains an overabundance of the verbal flair that lovers of Bernhard cherish in his writing.

Moya slips other nods to Bernhard in throughout Revulsion, most prominently Vega’s insistence of listening to various concertos while he and Moya sit at the bar, but perhaps the greatest tribute in the novella comes when Bernhard’s name is actually uttered by Vega himself. This occurs at the end of the story, and though divulging too much here would ruin the conclusion of Moya’s narrative, it’s safe to reveal that, after mentioning Bernhard’s name, Vega claims him as a writer nobody in San Salvador would recognize. It’s one final act of hyperbole on Vega’s part, and yet the real life controversy that surrounded Revulsion in El Salvador upon its first publication seemed to prove Vega right. Where Moya produced a biting parody, albeit one with the intention of challenging San Salvador’s culture and politics, readers saw it simply as an attack on their homeland. With death threats came the idea that Bernhard’s legacy in El Salvador was exactly as Vega claimed. Yet, knowledge of Bernhard only enhances the pleasure that is reading Moya’s Revulsion. Operating as both a parody and a darkly funny, explosive rant of a man who detests his homeland, it’s a blistering novella that satisfies the darkness clouding the cynical side of our souls.

— Benjamin Woodard

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Woodard

Benjamin Woodard lives in Connecticut. His recent fiction has appeared in StorychordCorium Magazine, and Maudlin House. In addition to Numéro Cinq, his criticism and nonfiction has been featured in The Kenyon Review OnlineGeorgia ReviewVol. 1 Brooklyn, and other fine publications. He also helps run Atlas and Alice Literary Magazine. You can find him at benjaminjwoodard.com and on Twitter..

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Jul 122016
 

Capture

ericdupont~614

The following excerpt opens as the narrator and his sister arrive on the Gaspé Peninsula. Eric’s father and step-mother, otherwise known as Henry VIII and Anne Boleyn, are expecting a child together and have decided to uproot the family from Rivière-du-Loup, mobile home and all, to relocate 300 kilometres to the east. The move to the town of Matane will effectively put an abrupt end to the children’s weekly visits with their beloved mother whom they refer to as either Catherine of Aragon or “Micheline Raymond, professional cook.” The year is 1977 and separatist sentiments are rising in Québéc. The king and queen are staunch Sovereigntists and want to solidify their influence by introducing a series of rules to define the protocols of “court life” in their new setting.

Life in the Court of Matane was originally published in 2008 in French as Bestiaire. The English translation is by Peter McCambridge.

—Joseph Schreiber

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EVEN TODAY, every time I drive along Route 132 east of Rivière-du-Loup, I fall into a kind of trance. Something about it upsets me. Despite the picture-postcard scenery, despite the lovely people and the smell of the sea, something presses down on my lungs, reminding me that I’m moving away from where I belong. I watch in the rear-view mirror as Rivière-du-Loup slowly recedes into the distance. It’s usually at times like this that I feel my little earthquakes.

At Sainte-Flavie, they told us we had arrived in Gaspésie. The invisible line separating the Lower Saint Lawrence and the Gaspé Peninsula is much more than an arbitrary border drawn up by geographers with nothing better to do. People live quite differently to the east and west of the dividing line: The people of the Lower Saint Lawrence expect things will pick up, while those on the Gaspé Peninsula know they’ll only get worse. Both sides are sometimes disappointed. When Henry VIII and Anne Boleyn told us with a smile that we had just entered the Gaspé Peninsula and the north shore of the St. Lawrence was nothing more than a thin strip of blue land, I became a Gaspé man once and for all.

At the end of that day, I stood before Matane like Attila before Rome. Looking toward the town, I wished it would just disappear. When I awoke after my first night there, I waited in vain for the TV people to come pack up the miserable set. Truth be told, the main problem with Matane was that it wasn’t Rivière-du-Loup. Ironically enough, my father seemed to like Matane for the very same reason. And yet of all Quebecers, the good people of Matane are probably among the friendliest of the lot. Their cheeks have turned rosy from the wind that blows over the town three hundred and sixty-two days of the year. There, the supports below our trailer drew back, and on a cliff overlooking the sea the house fell down in a puff of smoke. We didn’t stay there very long. A year or two, I think. I was seven when we moved to Matane. I had already had six addresses. In the decade I was to spend in my new town, I would have six others. Henry VIII wasn’t the type to sit still. In Matane the rules of censorship were repeated even more firmly than the first time. We were given a helpful list of ins and outs:

In:………..Quebec (and all its symbols)
…………….Anne Boleyn
…………….Jacques Brel
…………….Cod in all its forms

Out:………Canada (and all its symbols)
…………….Catherine of Aragon
…………….Elvis Presley
…………….Drives in the Renault 5

They couldn’t have been clearer with us. In the same tone used to shout “Die, you pig, I’m gonna come spit on your grave!” the new rules of memory were presented to us. Over the years, a series of inexorable royal edicts were added. Edict 101: It is strictly forbidden to pronounce the name of Micheline Raymond, professional cook. Edict 102: The eating of Cadbury products is forbidden. Edict 103: The telephone is not a toy. It is strictly prohibited to call anyone without permission. All conversations shall be supervised by the queen. Get used to it. Edict 104: The word of the Lord is outlawed in the royal court. The king and queen shall hear no talk of catechisms, nuns, the new or old testaments, or resurrection. The dead shall not rise again. Edict 105: It is forbidden to make any allusions to the past in front of the soon-to-be-born little brother. He will have to work out how we got here by himself. Edict 106: You shall lend your unfailing support to the sovereignty movement, on pain of being disowned. The fleur-de-lys is your emblem, and Quebec is your country. Edict 107: This home is no place for halfwits. It is therefore forbidden to watch television for more than one hour per day. All programs must be approved by the queen. All TVA programs are outlawed. Since we will have no truck with cable, you shall have to make do with Radio-Québec and Radio-Canada. You will thank us later. Edict 108: You shall do the dishes thrice daily, after each meal. Even when visiting. The queen shall inspect the plates. Edict 109: Saturdays are devoted to cleaning. The girl shall scour the palace bathrooms, and the boy shall ensure the floors are spotless. Everyone shall do his or her bit in the kingdom of Anne Boleyn. And even then, the queen shall not let you out of her sight as you go about your work. Edict 110: You shall respect and obey your queen, whom you shall address by her first name. The queen’s jurisdiction extends to justice, stewardship of the palace, financial management, culture, and telecommunications. You no longer have a mother. The king shall from time to time take it upon himself to remind you where you come from. For all questions about the matter, see Edict 101.

Oppression breeds revolution. The crushers will be crushed. Or at least that’s what we like to believe. Anne Boleyn was a boycotter. Her strategy was a means of survival. She forbade. Castrated. First came the boycott of our mother. There then followed a series of lesser bans that made everyday life tough. One of them involved Cadbury, the chocolate makers. In 1976, after the Parti québécois had been elected in Quebec, a number of English companies had seized the occasion to move their head offices to Toronto, preferring the comfort of boredom to the tribulations of Quebec politics. Outraged separatists launched a boycott of Cadbury (and Sun Life Insurance, among others). Chanting “Let’s bar Cadbury” as their slogan, they waged war against the English manufacturer of the sweet candy. Their movement would have left me completely indifferent at the age of seven had Anne Boleyn and the king not decided to buy into it. It was thereafter forbidden to purchase or consume any Cadbury products in the presence of the king or Anne Boleyn. The same glacial tones reserved for my mother were used to proclaim the banning of Cadbury.

There was just one problem: Cadbury was—and still is—the maker of the Caramilk bar, a chocolate bar with a soft caramel centre that at the time was high on my list of favourite things to eat. My mother would pass them to me in her Renault 5 as I sang Gérard Lenorman to her. “Caramilk” had become a hammer word. Whenever I managed to scrape together thirty cents, I would slip off to a store where no one knew me to buy a Caramilk. I had to bike for kilometres to make sure word didn’t get out. Anything not to get caught. Once we were in the depths of the countryside, beyond the village of Saint-Ulric near Matane, I settled on an old general store run by two senile biddies. It belonged to a different era, an old-fashioned general store that smelled of before the war. In the deserted store, you had to wait for one of the old witches to limp her way out of the storeroom. Children in the village used to say that they had both been dead for years and we were being served by ghosts. Their memory was so shaky that I could walk into the store four times in the same day without them remembering a thing about my earlier visits. Alzheimer’s guaranteed my anonymity. Even under the harshest interrogation, at best they would have been able to confirm I had been to the store. They would never have been able to betray the nature of my purchases.

The first time I did it, I remember I was wracked by guilt and high on the sweet smell of dissidence. I stood before one of the two old crones and asked for a Caramilk bar. A few seconds went by in silence. A clock struck three. Slowly, she asked me to repeat my order, tapping away at a small device lodged in her ear. “A Caramilk! I want a Caramilk!” I repeated, pointing at the coveted candy. She turned around. I heard her bones protest. Three short steps toward a counter in disarray. From there, she looked at me to make sure she had understood, pointing to a bottle of bleach. Patience was paramount. My finger tried to guide her shaking hand toward the Caramilk. Sometimes, she would break off to ask me if I was Armand’s son, a man who had probably been dead and buried for over seventy years. Then, a glimmer of reason flashed across her eyes, and her hand at last grasped the Caramilk. Her memory had also forgotten inflation. Thinking she was still in 1970, she asked me for twenty cents. Not that I was going to contradict her. I fled so that she wouldn’t have to denounce me if ever the king raided the store. Then I went to the beach, the place of all outlawed activities, where Anne Boleyn never set foot because it was too windy. Hiding behind a rock, I devoured my Caramilk while looking out to sea. I had to be careful not to leave the orange and brown wrapper at the bottom of my pocket. It would have been giving myself away too cheaply. I dug a hole half a metre wide and buried it there. Today I sometimes still buy a Caramilk, eat it in secret, and burn the wrapper to destroy the evidence. I am the only Montrealer for whom eating a Caramilk is a subversive, revolutionary act.

Back home, some first-rate lying covered my tracks. Always have an alibi. In the court of Anne Boleyn and Henry VIII, the sovereignty-association debate had plumbed the depths of the most commonplace candies. Some of their most memorable mini-boycotts included religious education, the TVA television network, my sister wearing makeup, anything made by non-unionized workers, and visits to relatives Anne Boleyn didn’t like. Boycotts invariably lead to other boycotts, until everybody ends up boycotting everything. After boycotting the Moscow Olympic Games in 1980, the tables were turned on the Americans when the Soviets boycotted the Los Angeles Games in 1984. What goes up must come down, apart from Cadbury, that is. Since 1976, the company has more than doubled in size, in spite of the separatist boycott. It just goes to show that sugar always wins in the end.

— Eric Dupont, Translated from the French by Peter McCambridge

Reproduced with permission from QC Fiction, a new imprint featuring the very best of a new generation of Quebec storytellers. qcfiction.com

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Eric-Dupont-Photo-Credit-Sarah-Scott

Born in 1970, Eric Dupont lives and works in Montreal. He has published 4 novels with Marchand de feuilles and in France with Éditions du Toucan and Éditions J’ai lu (Flammarion). He is a past winner of Radio-Canada’s “Combat des livres” (the equivalent of the CBC’s Canada Reads contest), a finalist for the Prix littéraire France-Québec and the Prix des cinq continents, and a winner of the Prix des libraires and the Prix littéraire des collégiens. His fourth novel, La fiancée américaine, has sold over 60,000 copies in Quebec alone.

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Photo_Peter-McCambridge

Originally from Ireland, Peter McCambridge holds a BA in modern languages from Cambridge University, England, and has lived in Quebec City since 2003. He runs Québec Reads and now QC Fiction. Life in the Court of Matane was the first novel he chose for this collection and the book that made him want to become a literary translator in the first place. His translation of the first chapter won the 2012 John Dryden Translation Prize.

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Dec 042014
 

139056374STranslator David Need

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When poet and translator David Need began translating Rainer Maria Rilke’s French poetry in 2001, it was in part an attempt to get closer to one of his favorite writers, to fashion a “close workshop with someone” of remarkable ability. Rilke’s often-overlooked second-language work presented a convenient inroad for Need, whose proficiency in French at the time exceeded his knowledge of German, the poet’s first language. This practicality proved fortuitous as he began to focus his attention on a discreet series of short “rose poems,” written by Rilke in 1924. Need felt the rose poems constituted a unique arm of Rilke’s oeuvre, one that if considered on its own terms can be found to contain the generous whole of the poet’s vision in miniature. As he continued to translate Rilke, completing work on the rose poems and moving on to the German material, he began to incorporate his ideas on Rilke’s aesthetic into a book that would present a variety of the poet’s German and French pieces along with an essay and commissioned ink drawings, all serving to support a thesis embodied by the heart of collection: the rose series.

Roses: The Late French Poetry of Rainer Maria Rilke is first and foremost a set of fine translations. Each two-or-three-stanza poem in the rose series is given its own page opposite the French original, which encourages the reader to proceed slowly and attentively. If one wants to stop there, satisfied with Need’s fresh take on these under-read poems, the book is a worthwhile read, an enlivening encounter with one of modernity’s greatest poets. But a patient reader eventually realizes that Roses, like the flower that inspired Rilke’s meditations, is constantly seeking to open up for us toward a more potent aesthetic revelation. This is because Need has invested the book with a varied and generative infrastructure that forwards a larger argument through a series of dialogues. Most conspicuous in this regard are the 27 sketches by artist Clare Johnson that react to each brief rose poem with an image that engages the text, but does not attempt to “portray” its content in an overtly literal or didactic way. The images, which range from atmospheric depictions of silhouettes on a city street, to rain-streaked windows, to abstract patterns, act out of Johnson’s response to widen the confines of the multi-media dialogue. The sketches echo the poems and in so doing help us to reconstrue their meaning. Another important interlocutor in Roses is Need’s essay, “The Room Next Door: The Impossible Affordance of the Rose.” The essay is a convincing distillation of the translator’s ethos that considers the influence of Aestheticism and figures like Rodin and Cezanne on Rilke’s vision and situates the poet’s artistic response within a millennia-old incantatory tradition in poetry that goes back to the Rgveda, India’s pre-Hindu epic written around 1400 BCE. Need argues that Rilke uses the rose motif to take a firm stand against the reduction of the material to a kind of impenetrable surface, urging us to consider the ways in which nature creates room, or “affordances,” for the various—at times contradictory—facets of our being. The combined effect of the essay, sketches, and poems is one that collaborators across genre and medium strive for: a ringing of distinct yet concordant tonalities that elevate the piece to something more than the sum of its parts.

David Need teaches in the Department of Religious Studies at Duke University. A specialist in Indo-Tibetan Buddhism and Hinduism, he sees confluence in philosophies of religion and art and often speaks of them in overlapping terms. It’s a point of view I found instructive when I was his student at North Carolina State University in 2003. We’ve kept in touch over the years and, upon learning of the publication of Roses, I was eager to set up an interview. He invited me to his home in Durham, North Carolina, where we talked at length about Rilke, translation, and the implications of an existence that might somehow be, in the poet’s words, “Infinitely restrained and infinitely lavished.”

—Dan Holmes

 

Dan Holmes (Holmes): What brought about this turn toward translating in earnest? How is this situated in your creative development?

David Need (Need): There are two parts to that. One is that I think it’s always good for an artist to be working in two modalities. It’s important to think about your medium in a couple of different ways, or to think about a problem in a couple of different ways. I’ve noticed that when I spend time doing a lot of singing, I start to have ideas about writing that are new and fresh. There’s something about the singing that presents a set of problems to me, like problems of rhythm or problems of shape, but it presents them in this other form. Then when I come back to write, the music of the writing is being informed by what I’m doing with the other thing. For me it doesn’t happen just by listening, I have to be involved in some kind of making. Same thing with translating. Translating gives you this really close workshop with a particular writer’s language. When you translate really good writers you’re getting a close workshop with someone whose ambitions or skills in poetry is extraordinary. In translation, you get what’s going on completely, but you have to make some decisions about it. And in some ways those are the same problems you have with respect to your own gestures and skills. When working on my poetry, I can pull out an image and put it down, but I learn something from working with Rilke about how heavily to weight that image. And I learn other things, like, reading him I’ve learned he leaves messy things in his poems sometimes deliberately. He just leaves little thumbprints and you know he’s clearly got an ability to be smoother and it hasn’t happened there. That was an important lesson for me: that I didn’t always have to smooth and that I could mix diction at times if that was the way the poem was emerging.

The other thing is that I think any art is basically translation. Talking now, I’m translating. When I’m teaching I’m constantly translating—that’s all I’m doing. I’m standing in front of a class, I’ve got this body of information I’ve been interpreting, then I’m putting it into forms for the students, and their ability to understand this stuff is related to the reading they’ve done, and what they bring to the class, how old they are, the ideas they already have about spirituality. I have to see those and figure those out and translate to them. Also when I’m working with different religious traditions I’m constantly needing to translate, from talking within a Christian context to talking within a Buddhist context to talking within our context here—it is a lot like translating. “Now I’m in this field. Now I’m in this location. And this is the way you think inside this situation.” I have a sense of the world, or music in the world, and I’m trying to get that vision or image to happen for you. There’s a translation or a telepathy there that happens in the reading. I know as a reader and writer that’s what I’m looking for—to make other people see things that aren’t visible commonly but might be common in our imaginations.

Holmes: I can imagine two approaches to translation: one is to render as clearly and accurately as possible what you’re seeing within the context that you understand the writer wrote it, and one is to draw out the germ of it and further express it.

Need: I’m a really more the first kind of translator. A lot of times when I’m looking at other people’s translations, I’m impatient if I see they’re getting away from the word count, the words that are there in the original. If there is any “thing” that the poem is, I don’t think it’s the ideas, or only the ideas—I think it’s the words. The words are these little material edges that are the latticework of the poem that the reader catches on. Some people that have their own lyric sensibility take a poem and say, “I see the image and I’m going to render that image in my own lyric terms.” I’m not comfortable with that. I think it brings too much of your own reading to the material and doesn’t leave the material open enough in something like its original form.

The people that I’ve translated so far are good for the kind of translation I do. I have a lyric sensibility, so when I’m faced with choosing some words, I go for a quiet music that will work as a poetics for the reader, so it will read lyrically. But the word count and the grammar I’ve almost always just transformed it into an English word count, and grammar and line count, and things like that. Rilke is not a poet where there’s a lot of punning. He tends to use words directly and simply so he’s easier to translate. I can establish a word without worrying about the fifteen meanings the word Rilke chose in German has that a reader might pick up. Celan has been more challenging for me because there’s a lot more play going on and what’s worse, or better, is that Celan is a translator, so the puns aren’t even just in German. He’s constantly making these really wicked puns with English and English phonemes that are buried in German and French. So sometimes I find that I actually leave the third language or fourth language that he’ll use, and I don’t translate it. I’ll run into objections with readers who don’t want to put the time in. But if that person is interested and curious then that little thing—which is like a little smear that Celan has left there because he shifted into the other language—will look like a smear instead of being fixed out of being a smear. There is a way in which that multilingual capacity can grow in a reading and still be connected to the writing that he does.

551-12.jpgRainer Maria Rilke

Holmes: Rilke wrote these poems in French, which was a second language for him. Is that different for you than translating a German Rilke poem?

Need: Not in the end. When I first sat down and did it I didn’t have German yet. I had the sense that the French was a little strange, but I didn’t try to do anything to make the strangeness apparent. I just translated the weight of the language. My approach is the same with German. I’m not as comfortable in German so I have to do more dictionary work and I have to go, “Okay, that’s a dative” and work out what all the grammar is, but my approach isn’t that different. He’s not a completely different person in French.

Holmes: Like Beckett’s French. It feels to me like a second language.

Need: Yeah. And there’s been some great second language writers like Conrad, who are just unbelievable, but there’s a little bit of the haunt of it, that fact that it’s a second language. Or Kerouac. People are starting to focus on that, that he is actually a second language writer.

Holmes: What drew you to the rose poems? Have they been neglected? Are they emblematic of your aesthetic in some way?

Need: I did work with them because they were in French, and they were a discreet set, and because I like flowers and they haven’t been translated that much. So French because back then I didn’t have German and I wanted to work with some Rilke. Roses because it’s a discreet set and kind of simple. And I have a bit of a disposition to the pastoral. So the rose works for me at the level of motif. I’m similar enough for finding floral or seasonal things as the beginnings for certain kinds of meditations. There was a rapport there.

I translated them back in 2001 and even then I was beginning to develop an argument about Rilke in relation to contemporary poetics. So there is actually an aesthetic argument that I’m using Rilke to make. I think when it comes down to it it’s the idea that post-60’s and 70’s there was this turn to the surface in poetry. To lots of attention to the surface and a distrust of any kind of depth at all… a criticism of depth as always referring to the romantic subject that we were supposed to dispel as good progressives, because somehow the romantic subject was this feudal encrustation that could only create bad things in our relationships with other people. So I already knew that in Rilke I had somebody that I could use to argue for interiority—for the aesthetics of interiority. In the writing itself, right from the first one he says, “Rose you’re this thing that’s infinitely unfolded and absolutely withdrawn at the same time.” That really fit with ideas that I was having at the time about the human situation, that the human is a being who has this exteriority that continues to unfold; there continues to be this play on the surface, but there is also this interiority that never gets completely seen by anyone else or even by the person, or gets completely exhausted. That seemed to be really important in terms of arguing for a place of freedom despite the way people were thinking about language and culture, because so many people felt that we were in this hegemonic era with commercial culture dominating all production and value and I felt: no, that’s not quite true. We’re buying into and shutting off access to something within ourselves that we shouldn’t cut off access to, that actually is freer that we imagine, but also at stake. And what people who want freedom can never quite understand is—and obviously this reflects a kind of commitment but—we don’t have some kind of “drive your car in all directions without ever having to be accountable to anything” kind of freedom. We have life, but we’re in relation to others and we’re always at stake in those relationships.

Rilke just seemed to be another person coming out of modernity—early on in modernity—who seemed to be really caring about the world, and arguing that the lyrical and what we feel as beauty and desire are not to be shut off, or cut apart, or dismantled because of the harm we do each other. We have to work hard to make the choice not to harm each other. And I felt like a lot of peoples’ construction of interiority and the unconscious has been wrong, so I felt that the rose poems were a good small vehicle, a simple study, that were themselves making an argument that was consistent overall with the way Rilke used the trope of the rose in his work. The idea I’m arguing I think is an idea that was Rilke’s, actually rooted in what he was doing with the rose.

cover

Holmes: Do you see the Rose poems as a culmination in miniature of Rilke’s vision? Or an anamoly?

Need: I think it’s a miniature. He finishes the Duino Elegies and writes the Sonnets to Orpheus in 1922 and he spends a lot of the rest of the year finishing a translation from French of Paul Valery. There are two things that are going on: he’s already starting to work on ongoing lyric projects in German. One of the things I translated (for the book) was actually a suite. Most of the poems are from ’23 and ’24 in German and he put it together at the end of his life and gave it to his publisher as something to bring out for the estate. And there are about 80 poems there. He was working in German but I also think he got the idea from working with Valery to do some studies in French. And he had started doing the Valais Quatrains within about a two-week period. They were studies. I think he was a good enough artist to apply himself to a material. But not just any material; it was one of his leitmotifs, something he’d brought up at different times to try and make a certain kind of argument. And that argument is there again in miniature. It’s almost like somebody who had been painting larger scale paintings of roses decided to do a series of line drawings. That’s not because he doesn’t want to do the big project. It’s because he’s decided to do a setting that’s a line drawing setting. So I see this as yet another setting.

A lot of them are what I call—and I think this is important regarding surface and depth—a lot of them are half-sonnets. Not “half,” but what you can call broken sonnets. He wrote often in the Italian sonnet throughout his life, and once he found the Italian sonnet it appears in all the published books. Not all of the Rose poems are broken sonnets, but many of them are just two quatrains, which means for the Italian sonnet he didn’t add the two tercets at the end. But I feel like he was still thinking “sonnet”. He just drew the sonnet that far and then left it blank, so it feels to me like he drew in the visible part of the sonnet and left the turn part not visible. They weren’t casual at all. He was still working and thinking on a project that was related to the ideas he was working on in his life.

Holmes: Rilke describes the rose in #3 as “Infinitely restrained and infinitely lavished.” He’s always showing us the rose as paradox, as something interior that is inseparable from its surroundings. He considers the relational nature of “features” and forms in order to glean something of their essence. Can you talk about what you think he’s doing by setting up and undermining these dualities?

Need: Thinking in terms of antimonies is characteristic of human thought. Certainly in Europe post-Hegel, thinking in terms of antithesis tended to be a mode of thought that people thought was a real structure. Any kind of opposition you found, its resolution would be in this dialectical process. That’s how you worked with problems like the tension between mind and body, or spirit and body, or life and death—any thing that you could think of in those terms. I think lyric poetry in general, and post-Romantic poetry, was trying to argue for a different status. To actually argue for “both/and” rather than a conflict. Even though Hegel’s model—thesis, antithesis, synthesis—moves towards a “both/and,” the synthesis actually erases the difference. I think Rilke was really interested in the fact that another way of thinking would say that impossibly we were “both/and.” So his problem is how to get us to break the Hegelian way of reading, or to recognize that there’s another way to resolve that kind of antithesis.

Hegel’s model is a very combative model. It’s a model of unresolvable antagonisms. It can’t imagine the resolution. Rilke is trying to say “I want to have a relationship to the world that doesn’t erase it. I want to have a relationship to other people where I’m not taking away the space or being taken over. I want to somehow be in a situation where impossibly this difference can exist, together.” So I think he’s presenting us over and over again with a problem, but also trying to get us through contradictions to consider impossible things, such as the possibility of being “infinitely restrained and infinitely lavished.” We’re encouraged to think of both of those at the same time. And we could be like that. We are fundamentally limited by being incarnate at the same time we have openness in us. It’s not that one or the other wins, but that we’re impossibly both of those things.

Holmes: Had he read into Eastern religions at all? That cutting away of dichotomies is an insight that I associate with that kind of thinking and it’s interesting if he had that insight on his own. Had he read any of that?

Need: No. The stuff he writes about the Buddha is not…it doesn’t look to me like he read the material about Buddhism. I take Buddhism as arguing for both/and but a lot of people take Buddhism as arguing for just one. Just this. I think Buddhism is saying that impossibly there is both form and emptiness at the same time. And that it isn’t possible to work it out, but you can bear or realize that, impossibly, appearing forms are what they are without any grounding and it doesn’t hurt.

pic1Illustration by Clare Johnson

Holmes: These poems feel linked to me, almost like a single poem of many stanzas. Some of the most gratifying reading I had was when I would read it for a long time and feel the perspective shift just enough; it starts to mount and become a larger aesthetic experience.

Need: He’s a suite poet. He composes suites. All of his books are set up—this one feels musical to me—but other ones are set up as picture galleries, where you’re supposed to walk through and see this image and then that image and then that image. Each poem has a setting in relation to the other ones. He thought a lot about that. And it is really gratifying. There is an intelligence about theme and variation that I’ve been moved by in my own life. I can’t imagine trying to write any longer except in that way. He recognizes that any poem is a version, and therefore what links the poems is the project of starting out. The series of poems don’t have to be about a particular argument. They’re essays, and they can be linked essays by which you don’t just tell people there is a series of infinitely repeating moves. The one freedom we have is that when we’re crossing the street, and we’re doing the street-crossing routine, we can shape through “crossing the street” in different kinds of ways. In the same way, when you’re working with “the motif” you can show an interesting aesthetic freedom by showing there are a number of different aesthetically valid ways through this space. Like when you go through a well-hung show at a museum, you feel instructed by it. It’s an experience that has informed you beyond what any one poem could do.

Holmes: There seems to be a larger ontological inquiry happening here, something beyond the Rilke poems (or perhaps a continuance of their gesture) that is uniquely yours. Are you conscious of employing the poems, the drawings and the essays toward the end of a personal aesthetic statement?

Need: Yes. I think it would be hard not to. I’m pursuing a line and Rilke is a co-conspirator. I don’t feel I’m being unfaithful to him. It is part of a larger aesthetic related to looking for beauty or care, and an argument about beauty and care in the face of other arguments about freedom or power that other people have.

Holmes: And if you just read the poems themselves, that’s one thing, but if you read the whole book there is a kind of collaboration. You mention in “The Room Next Door” that Rilke thought of the poems as sketches or “brief drawings.” Did this provide the impetus to commission the sketches? How did your collaboration with Clare Johnson come about?

Need: Right from the beginning the poems seemed like little line drawings—very careful line drawings that I saw right from the beginning. I wanted to bring that plastic quality out by having a series of images commissioned. I wanted someone who would create a set of images that weren’t illustrations of the poems; I wanted them to have their own integrity as a suite and yet somehow have a relationship to the poems, and Clare got that. She thought it was an interesting project and wanted to try her hand to it. I was grateful and Clare’s been doing other kinds of projects in this post-it note series, working in a small space, and also doing black and whites on a larger field.

When you work with somebody you’re looking for a kind of intelligence. You could, I guess, be looking for someone that had precisely your sensibility of the beautiful. I had a sense of Clare’s commitment and her effort. She had serious standards about beauty; she has graphic problems that she’s working on. The actual images might or might not be the first thing that would come out of my mind, but when you’re working collaboratively, what’s more important is that there has to be a common agreement about that workshop practice side of it. That the person is actually thinking about the work, and has a project going on in which they are thinking again and again about certain kinds of problems. She seemed to connect with the project.

One thing to add to that is that Rilke was planning to bring out another one of his French suites that would have drawings that were commissioned in exactly that kind of “Not an illustration, but alongside.” His partner who was an artist was going to do that. So I felt like this wasn’t far from what Rilke was thinking at that time anyway.

Holmes: The multimedia approach feels apt here, because the poems themselves are dialogical. One way to look at this book is as a framing of dialogues: of the rose with its surroundings, of Rilke with the rose, of you with Rilke, of Clare with Rilke, and of you with Clare. Even the way the print interacts with white space. To what extent was it a conscious structural decision to embed a series of dialogues within the book?

Need: One of my fundamental principles—and I don’t know if it’s one of Rilke’s fundamental principles, but I think we might agree—starts from this idea of “impossible doubledness.” One correlate of that for me has been the idea that things acquire resonance and open up for the reader in ways that are hard for us to talk about, like a dream that we have that somehow has an affordance for us. So I have some kind of—I don’t know if it’s metaphysics—some sort of desire in general in my work to try to create things that have the possibility of opening up these affordances for others. Right now my guiding thought has been that you do that by establishing dialogue and difference, and what happens because of that isn’t that you just keep bouncing, but that actual resonance happens. And if resonance happens then the imagination can come alive.

It’s deliberate about keeping the difference there, especially in America where there’s so much pressure all the time to make everything common, or to erase difference, or to act as if difference doesn’t exist. And I feel like, “No.” We actually deprive ourselves of some of our dignity and some of our real worth by doing that. We don’t actually become common with each other and we lose the ability to talk about our differences. Our whole economy is based on a zero-sum game. So how do you make money that’s not there? How do you make energy that’s not there? What I’m curious about is, if you’re rigorous about doing this, is it possible to create this thing-that-isn’t-there for other people? So that they actually have energy they didn’t have before, because of paying attention to the dialogical structure. I don’t know if that’s for real or not.

Holmes: I think it is. I’ve read multi-genre books before but this one really popped for me and I think it’s because it’s so well thought out and holistic.

Need: And you know that thing when people get together and they want to go a multimedia thing, so they get some musicians and they throw some images on the wall and they do a couple of other things. But nobody is actually thinking about those things as being different, the idea is that they’re just kind of letting them loose in there. I think that’s a dead end. It doesn’t produce what people would hope a multigenre or multimedia thing would do.

It was hard at times. Dave (Wofford of Horse & Buggy Press), Clare, and I have really different ideas at times and I had to make some decisions. For the image weight and the image layout, Clare’s the boss. It just doesn’t matter if I like it. In terms of finally being the person that was paying for it, there was some level at which I got to make decisions like that—some of the decisions were actually not to make decisions, which ended up sometimes being frustrating for me and for the other people too.

Holmes: When you ran into those difficulties, what was your guiding light? Was it always back in the poems or in your larger aesthetic project?

Need: My aesthetic. I keep talking. This is the kind of directorial move that is consistent with the overall project. We did talk about that and just sort of set that out intellectually at the beginning. But when it got down into it, with actual material things…it’s easy to have an idea, but it’s harder when you’re deciding “is the book going to be blue? Red? What’re your color choices?” I’m not very good at those decisions. You could show me a blue one and a beige one and a yellow one and a red one and I’d find ways to like each one. So I’m not great at that. I had to make decisions at times with what that person has generated. But I also felt that was consistent with my overall practice there. If you thought about it as a bandleader, I really did have to let this person bring this kind of music out. I couldn’t get in the way of that because they couldn’t be a part of it unless they could do what they do. I had to go with their notes.

Holmes: That’s the only way to make it strong I think.

Need: I think so. I got that from Miles Davis actually. I was listening to a lot of Miles Davis when I was working out these principles. I was listening to the Columbia session recordings.

Holmes: That’s how he put those great bands together. He was a nurturer of talent, not just the bandleader.

Need: Right. And that’s consistent. My goal is to bring out the possibility of each person’s capacity but in a structured way, not just “here is the thing, now run.”

https://www.youtube.com/watch?v=r4jdau4XqCo

Holmes: Translation is perhaps often misunderstood in its creative potential. Can you say something about what happens in this dialogue between poet and translator?

Need: When people think about artists, they tend to like the idea of “out of nowhere” creation, but I don’t think that’s how creativity works. I think we’re playing along with the reading that we’re already doing. We’re already reading in the world and we’re reading the options that people are presenting to us, whether it’s music, or reading a lot of books, or looking at paintings. We have seen options. Some people have this idea, kind of a Platonic idea, that the real poem is there somewhere. I might say that the real painting is there in a way that the real poem isn’t ever there. And I feel like maybe the real song isn’t ever there. We have these different ways that we mark the song; we write down music, we make “a” record of the song. But even when we write down music there’s a gap that exists between the piece and the various performances of the piece. Even for the author of the music itself.

If we’re talking about a piece where the author sits down and writes a piece of music out and then plays it, I bet that something happens that’s not recorded in the writing down of the music. And I know as a writer, one of the things that happened for me was, in the beginning, I was more of an oral poet than a written poet; I would write and I would hear it when I wrote, so it wasn’t that I wasn’t having the performance when I was writing. When I would read it out loud, it would come alive, but I was trying to perform again that thing that I was hearing, and sometimes that meant that I would do things that we’re not that reproducible on the page. A page only has a line break. It’s hard to create a word that somehow gets suspended. Type doesn’t give you the ability to create that sense of suspension easily. But suspension can be done in music. You can create these kinds of suspended turns. So I would look at that and see there’s a suspension happening there, but how do I mark that? So from the very beginning I never was bothered by the idea that my translation of the poem wasn’t the real poem, because I’ve always felt that the poem exists in reading anyway, and I’m in a sense creating a translation of some kind, or I’m doing a reading of it that heads toward being a translation. And I have my own sense of music and a sense of the music that I see some echoes of in Rilke’s work but I never try to go beyond, or ambitiously try to get some fine move he made if it didn’t come simply in my own language. I never got hung up on those.

Holmes: Like you were saying with the Celan, “that’s a fourth language, I’m not going to be able to tackle that.”

Need: Right. So I’ll just leave it. Because I want to create a text that does something of what the original text does in some way. Or not the original, but the one that we have. Because they are all how people set them as printed texts. So to some degree I have decided to commit to printed settings.

The other things I’ve felt—and this is probably just my own romantic imagination—I really felt with Rilke that his poetry had interceded in my life; it had given me a possibility that didn’t exist before I read it, when I really read it in grad school. I sat down and it was just “Oh my God, there’s more. And there’s somebody with me.” And I was stunned by the sense of “This is somebody who knows some of the things that I experience that are so hard to talk about to other people.” He’s made a place where we are laughing across the surface of the poem together in the way that people that are chronically sick nevertheless have joy. When I did the translations I felt, “I’m being allowed into the room where I’m getting to sit down with this poet and his intelligence is still present in the poems, even though he’s dead. This isn’t just somebody who’s teaching me how to think, but is somehow making a place for me.” So you can make art that isn’t just an artifact, but actually has energy and can come to life years after you’re dead. The translations are a way of trying to do that, of trying to make settings or versions. It’s not going to work for everybody but there is some of that, “Wow, this medicine really worked for me; I hope it works for you.” It was about the pleasure of being taught by this profoundly caring intelligence whose instincts I wanted to get something from.

Holmes: Was it in part the encounter with that intelligence and the intimacy of it that made you feel the existing translations were not quite adequate?

Need: Sure. The existing French translation, it wasn’t quite…I felt that there was only one and I wanted to try my hand at it. It wasn’t that I wanted to cancel it or erase it, but I felt like I could try my hand at it and not be too influenced by all the other translations and the whole process. It was still simple enough for me to take a swing at it. (Translator A. Poulin) had made some choices that seemed less musical than the French. I thought I might have slightly better instincts at the level of music in some cases. There’s only so far the translation can go. I didn’t struggle to not use words that he used and things like that. I made decisions so that I could feel it was my own, but I didn’t try to force that either.

Since I’ve been translating the German, I’ve been trying to place the German within the larger project of me ventriloquising Rilke. At this point, I feel like I’ve developed a voice that is my voice-language in which Rilke is translated. So when I now turn to things like A Sonnet to Orpheus, or things that have been translated a lot, what I’m doing is my Sonnets to Orpheus based on the voice and practice that I’ve already established. I’m hoping that the passion I feel in the voice produces a poem that has more of that passion in English.

I really want to see if I can bring out these two unpublished German sequences that Rilke put down (before Orpheus). They haven’t been worked over that much, so they’re like Rilke exhibits that people haven’t been taken through yet. I remember a couple of years ago I was thinking, “God I wish there was just one more thing by Rilke that I’ve never read.” Then somebody brought something out that I hadn’t read and that was exciting. But I can’t be the only person who’s read Rilke enough that it would be cool to see one more film by him.

rilke baby

Holmes: Can you tell me about your work translating the Rgveda and how that informed this work?

Need: I learned translation working on the Rgveda and Buddhist texts, and early Sanskrit material. There is some connectivity there. It was one body of literature that I worked closely with, that I thought was actually still relevant, looking at the way poetry and art are working now. I don’t think our relationship to the world or language is in certain important ways that different. It’s not clear to me that we’ve solved the problem they were working on. A lot of that has to with the imagination, with understanding the relationship of the imagination to the world. I think that we have this radical capacity to amplify the world for ourselves through weaving our imagination into physical forms and the kind of amplification that occurs through doing that—I think human beings have been using and then refining a whole range of media for staging their imaginations and that it’s always been important.

Holmes: Like what you said earlier about the reaction toward poetry that is more surface… Rilke seems to be unapologetic about what he thinks poetry can do, and there’s that link to the Rgveda, or other religious scriptures, where there’s a willingness to go further with it.

Need: Yeah. I know some people feel that they can’t go there but I don’t know what else we can do. We have not solved it by just becoming secular creatures or by killing the romantic subject in ourselves. We’re just as hostage to the violence that we do each other. I think that in doing that we rob ourselves of a great deal of possibilities that we might bring to bear in our relation to each other.

I think World War II and everything since then indicated that we do tremendous violence to each other and certainly one response to that would be to want to have a huge revolution to change that, or to become deeply suspicious of any desire that you have. You can almost see that as a coherent trauma reaction if you were dealing with things on a smaller scale. But I think we would get a lot more if we really understood that it’s not just what we’ve done but that we continue to be at stake in our relationships now. And we still desperately need to finds ways to nurture, to create affordances for each other, to create impossible economy and space for each other. And we can’t do that just through strict rational means. The 20th century has pretty much proven that just getting grain someplace is not what makes culture happen or nurtures people. Not that art necessarily does it, but at least art is making the argument that it should be our goal.

—David Need & Dan Holmes

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David Need is an Ohio/Massachusetts boy who has lived in Durham, North Carolina since 1994. David’s academic background is in Asian Religions; he has taught at Duke University in the Department of Religion and the Slavic and Eurasian Studies Department since 1997. His poetry and essays on poetry have appeared in Hambone, Talisman, Golden Handcuffs Review, Spoke, and Oyster Boy. Since 2009, he has curated an occasional long-poem reading series “Arcade Taberna.” David’s chapbook, Offshore St. Mark, is scheduled to be published by Three Count Pour in 2014.

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DanHolmes

Dan Holmes lives in Atlanta, Georgia. His writing has appeared or is forthcoming in Litro, Numéro Cinq, Paste, and Digital Americana.

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Dec 032014
 

551-12.jpg

The following selections from David Need’s Roses: The Late French Poetry of Rainer Maria Rilke provide an illuminating glimpse into the ways Rilke uses the rose as motif. The poems seek to elucidate how time’s ceaseless transformations do not rectify or allay the contradictions they invoke. The living rose is “fully awake” but discreet, possessing “many pages / of detailed happiness / we will never read.” Rilke is fascinated by these irreducible relationships: the flower’s vitality belies its eventual death; its blooming won’t diminish the impenetrable density of its petals. Clare Johnson’s attending illustrations reinforce Rilke’s assertion that the rose of these poems is “a supple spoken word / framed by the text of things” and that this “framing” constitutes a relationship binding our transitory hopes to “the tender moments / in the continual departure.”

—Dan Holmes

cover

Roses
Rainer Maria Rilke
Translation by David Need
Illustrations by Clare Johnson
Horse & Buggy Press, 2014
224 pages, $27.34

 

I

Si ta fraîcheur parfois nous étonne tant,
heureuse rose,
c’est qu’en toi-même, en dedans,
pétale contre pétale, tu te reposes.
 
Ensemble tout éveillé, dont le milieu
dort, pendant qu’innombrables se touchent
les tendresses de ce coeur silencieux
qui aboutissent à l’extrême bouche.

 

I

If your blooming sometimes so astonishes us,
happy rose,
it’s that, petal against petal, you rest
within yourself, inside.

Fully awake, your petals, whose surroundings
sleep, though numberless, meet
this silent heart’s tendernesses
which end in these urgent lips.

Untitled1

II

Je te vois, rose, livre entrebaîllé,
qui contient tant de pages
de bonheur détaillé
qu’on ne lira jamais. Livre-mage,
 
qui s’ouvre au vent et qui peut être lu
les yeux fermés…,
dont les papillons sortent confus
d’avoir eu les mêmes idées.

 

II

I see you, rose, book half-opened,
having so many pages
of detailed happiness
we will never read. Mage-Book,

which is opened by the wind and can be read,
eyes shut …
from which butterflies scatter, confused
to have had the same ideas.

Untitled2

VI

Une rose seule, c’est toutes les rose
et celle-ci: l’irremplaçable,
le parfait, le souple vocable
encadré par le texte des choses.
 
Comment jamais dire sans elle
ce que furent nos espérances,
et les tendres intermittences
dans la partance continuelle.

 

VI

A single rose, it’s every rose
and this one—the irreplaceable one,
the perfect one—a supple spoken word
framed by the text of things.

How could we ever speak without her
of what our hopes were,
and of the tender moments
in the continual departure.

Untitled3

XIV

Été: être pour quelques jours
le contemporain des roses;
respirer ce qui flotte autour
de leurs âmes écloses.
 
Faire de chacune qui se meurt
une confidente,
et survivre à cette soeur
en d’autres roses absente.

 

XIV

Summer: to be for a few days
the contemporary of roses;
to breath what drifts about
their blooming spirits.

To make of each who dies,
a confidant,
and to outlive this sister
among the other, wandering roses.

pic1

XVIII

Tout ce qui nous émeut, tu le partages.
Mais ce qui t’arrive, nous l’ignorons.
Il faudrait être cent papillons
pour lire toutes tes pages.
 
Il y en d’entre vous qui sont comme des dictionnaires;
ceux qui les cueillent
ont envie de faire relier toutes ces feuilles.
Moi, j’aime les roses épistolaires.

 

XVIII

All that we feel, you share,
yet we ignore what happens to you.
There would have to be a hundred butterflies
to read all your pages.

There are ones among you like dictionaries;
those who gather these
are tempted to bind all the pages.
Me? I like the roses which are letters.

Untitled4

.
David Need (translator) is an Ohio/Massachusetts boy who has lived in Durham, North Carolina since 1994. David’s academic background is in Asian Religions; he has taught at Duke University in the Department of Religion and the Slavic and Eurasian Studies Department since 1997. His poetry and essays on poetry have appeared in Hambone, Talisman, Golden Handcuffs Review, Spoke, and Oyster Boy. Since 2009, he has curated an occasional long-poem reading series “Arcade Taberna.” David’s chapbook, Offshore St. Mark, is scheduled to be published by Three Count Pour in 2014.

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May 092014
 

AskildsenPhoto

 Where would I have gone? one character asks. Is this question meant to illustrate his entrapment? Where would I have gone: there’s nowhere else I can go. Or is it an expression of preference? We walk a line, always, between obligation and isolation. Can you make peace with what you owe to your partner? What do you mean when you tell her, where else would I have gone? — Adam Segal

Selected Stories Cover

Selected Stories
Kjell Askildsen
Translated by Seán Kinsella
Dalkey Archive Press, May 2014
Paperback, 100 Pages, $11.95.

 

When Ameir discovered that I was a nonbeliever, he was incensed. We worked in a kitchen in downtown Iowa City; it was mid July and sweat was plentiful. What began as a jocular conversation about the benefits of certain religious dietary rules had become an expression of more radical thought: the most just society, argued Ameir, would be a total theocracy populated only by faithful adherents. He was a master provocateur, somehow believing this sincerely while simultaneously saying it simply to goad me. What about atheists, I said. They don’t belong in any society, he said. So I began to make my case.

The ensuing debate was lengthy and passionate but likely unremarkable, having been played out by young students for centuries. But one of Ameir’s more compelling barbs connected, and has stayed with me for years. If you’re so certain there’s no God to judge you, he says, and no afterlife to reward or punish you for your deeds, then why are you still here? Here, in Iowa City, in the July heat, in a restaurant kitchen. The mundane Here and not the seductive Elsewhere. His challenge presupposed questionably that the forces holding me in this Midwestern college town (close friends, need for financial stability, general contentment, crippling postgraduate uncertainty, etc.) were moral obligations as opposed to practical ones. But the challenge stung, and the challenge lingered, because in truth I’d been contemplating escape. In truth I’d been wondering just what ties were holding me in place.

This May, Dalkey Archive Press is publishing a taut little collection of fictions by the Norwegian author Kjell Askildsen.  Askildsen has been writing consistently since the 1950s, though these Selected Stories have been gathered from four collections published in the ‘80s and ‘90s. Askildsen is currently in his eighties. His writing has not yet been widely translated into English.

I think of this encounter with Ameir when I think of Askildsen. Selected Stories is a meditation on individual freedom, a book fraught with the day-to-day pressures of human life.

The nine brief stories collected within can all be described in terms of absences. The absence, for example, of experimental or ornate, “flowery,” prose. The absence of unnecessary characters. The absence of exotic or alien locales, or of complicated plot arcs. The emotional landscape is barren, bleak. The stories, on first glance, exhibit such stark similarity that it’s almost alarming. The first four take place prominently in suburban gardens and on the overlooking verandas. Very few of the protagonists mention work, none of them are seen working, and only one, in the three-page “The Nail in the Cherry Tree,” has a named profession. He is a poet. Only in the opening story, “Martin Hansen’s Outing,” is a young child involved or even mentioned. Parents are aging, ailing, or freshly dead. One senses that Askildsen is delicately, deliberately seeking answers to a particular set of nagging questions, and is never quite satisfied with what he uncovers.

Askildsen’s stories are thus constrained, quiet, and at times they even feel polite. But they are not simple.

It does at first seem odd, the overwhelming lack of employment. Where, after all, is this idle world in which one’s primary concerns consist of caring for guests and tending to the vegetable patch, a world in which several stories can begin with some variation of, “We drank morning coffee in the garden”? But it is precisely in this idleness that Askildsen is able to pursue his obsessions. He is fascinated by human pettiness. His characters lie in hundreds of small ways, grow unfairly annoyed with one another, expect much and offer little. They refuse to forgive, and never apologize.

“Martin Hansen’s Outing” sees the titular protagonist lie to his wife about having to meet his brother, just so he will be able to spend his evening drinking alone on the town. Elsewhere characters pretend not to hear their wives, berate grieving relatives for not having enough ashtrays, empty bottles of wine down the drain to create the illusion they got drunker than they did, and stand around in the middle of an upstairs room, simply to “let time pass.”

These antics are variously sad, cruel, and uncomfortably relatable. But Selected Stories is not just a comedy of minor indiscretions. Martin Hansen’s lie about his brother, for example, hints at further lies, and deeper infidelity. Martin comes clean and is asked by his wife “what’s the point of all this sudden honesty?” a question that keeps him up all night, wondering, “what does she know about me that I don’t know that she knows?” Askildsen convincingly plays out the multifaceted tensions and aggressions that arise between siblings and lovers alike. These stories, with very few words, evoke whole years or even decades of family history.

The peaceful, almost pastoral setting in which these stories take place does very little to abate the characters’ strife. Askildsen avoids lingering in his descriptions of nature. In “The Dogs of Thessaloniki,” the protagonist casually takes stock of what is perhaps the collection’s most vivid depiction of Norway’s natural splendor: “I had the fjord and the distant, wooded hillsides in front of me. The murmur of hushed conversation and the gentle gurgle of the water by the shore put me in a drowsy, absentminded state.” Otherwise one gardens in order to ignore one’s family, walks in the woods as a means of hiding from one’s spouse, discusses the weather to cover up all the things one ought to say but refuses to, or can’t. “A Lovely Spot,” a story about a married couple visiting the family summer home, repeatedly employs the title phrase as a sickening joke to illustrate just how incapable the couple is of genuine communication.

—Isn’t this a lovely spot, she said.

—Certainly is, he said.

One of Askildsen’s more acute concerns in these stories is the nature of adult male sexuality, which to him contains subtle underlying elements of violence, rapaciousness, and exploitation. Martin Hansen stares out the window at his daughter’s 15-year-old friend and finds that “it wasn’t difficult” to close his eyes and picture himself “taking her.” Another character reads a “rape-like scene” in a novel, and “felt [himself] aroused.” He develops an intense sexual interest in his new sister-in-law, commenting several times on “how easy it would be to lift her up.” None of the male characters act on these darker urges. But the urges are there, contributing to the sense that the thoughts and actions bubbling up to the surface in Askildsen’s stories–the lies, evasions, and little betrayals–are just superficial manifestations of the forces really at play.

In fact the depictions of male desire reminded me often of the work of J.M. Coetzee, whose aging, overeducated protagonists are often disgusted by and at odds with the power their lust still holds over them. But where Coetzee’s protagonist philosophizes and self-interrogates, reining in the influence of his phallus as if it were an excitable beast on a chain, Martin Hansen and his compatriots are much less interested in self-study. There is very little guilt or shame to be found within these pages. Defending his curious, evasive behavior while home for his father’s funeral, Bernhard, the protagonist of “The Unseen” declares, “I can’t help the way that I am. If I were to kill a person, for instance, I couldn’t help it, but I’m not about to kill anyone, that’s not how I am. Everything that I do, I do because that’s how I am, and it’s not my fault that I’m the way that I am.” Only in “The Unseen” is this idea so explicit, but a soft fatalism envelops every one of Askildsen’s stories.

I have, on several occasions, attempted to comfort myself and close friends in the wake of a breakup with the observation that, individual human desires being as they are so fleeting and disparate, it’s really something of a miracle that any romantic relationship manages to last at all. I acknowledge that the verity of this observation, as well as its usefulness as a soothing agent, are open to debate. But it strikes me now that if youthful romance is “miraculous,” then a lifelong committed marriage must be an exercise in impossibility. Two unlike and unlikely lives, welded together by tradition, eros, child-rearing, desire for fiscal responsibility.

At very least, this might be the thought of many of Askildsen’s characters, who view marriage as a form of oppression in direct opposition to their freedom. Martin Hansen (who, it seems, makes for the perfect prototypical Askilsenian protagonist) wonders for some time just why it is he lies to his wife, and eventually lights upon the realization that “my non-disclosure and falsehoods were prerequisites for my freedom.” Another character lies about visiting his sick father in order to get away from his wife for a few hours. He, too, is attempting to reassert control over his life: “Later on, as he was driving out of town in the direction of R, he felt almost cocky, and he thought: I do as I please.”

“Do you remember the dogs of Thessaloniki,” asks the protagonist’s wife Beate in the story of the same name, “that got stuck together after they mated… All the old men outside the café shouting and screaming… and the dogs howling and struggling to get free from one another.” This unsubtle little allegory makes it clear that all parties feel equally choked by the marital bond, and also brilliantly depicts the overwhelming agitation – the howling and the struggling – hiding beneath all this small talk over coffee in the garden. But how to break free? Beate’s husband, out for a walk earlier in the story, confides: “I noticed I was reluctant to go home, and suddenly I thought, and it was a distinct thought: if only she were dead.”

What, exactly, is this sort of freedom that manifests itself in such childish, petty ways? Why is it so important to establish one’s autonomy through minor deceptions, just so that one can go smoke cigarettes down by the fjord? It turns out that marriage isn’t the real culprit. What these characters want, more than anything, is to be free of all obligations, to be owed nothing and owe nothing in return.

It’s no coincidence that friendship is almost completely missing from these stories. The closest thing any protagonist has to a friend is described as “a man my own age who lives in the area, with whom I have a somewhat forced relationship, because he once saved my life.” This same character explains to his sister that he has no girlfriend because “I prefer women who don’t make any demands of me, but who give, take, and go.” In “The Unseen,” Bernhard is shown contentedly allowing his sister and her fiancé to carry on a conversation without him: “It had grown darker, their faces weren’t completely distinct, he felt almost unseen. Almost free.”

So it’s appropriate that so many of these stories are about family visits and homecomings: the homecoming is the time when one’s current self is weighed against old expectations and aspirations, when weddings and funerals shake up or reify the accepted family dynamics. Longtime conflicts, neglected or forgotten, seethe and push against expectations of civility. In an environment of increased pressure, it’s hard not to dream of escape.

But Askildsen’s stories don’t ever build to a level of tragic, operatic family collapse. The conclusions are anticlimactic, the conflict is rarely resolved. There is generally a return, or a resignation. There is an uneasy acceptance of the fact that one is trapped in the same situation as before. “The Grasshopper,” a story of admirable subtlety and palpable sadness, ends with the husband finding his wife–with whom he has of course had some quarrel–alone and afraid in their bedroom. “I thought you had gone, she said. Where would I have gone, he said.”

Where would I have gone?

Is this question meant to illustrate his entrapment? Where would I have gone: there’s nowhere else I can go. Or is it an expression of preference?

Askildsen’s Selected Stories present a world in which one can never truly escape from one’s obligations. There is one character who gets close. His wife is dead and he is ambivalent; he speaks with her father and feels “something approaching satisfaction thinking about how, now that Helen was dead, he was no longer my father-in-law, and Helen’s sisters were no longer my in-laws either.” In all this loss of ties he seems to lose his humanity as well. Contemplating life alone on a large, empty estate, he closes his eyes and sees “that great deserted landscape, that’s painful to see, it’s far too big, and far too desolate, and in a way it’s both within me and around me.” There’s only one place we’re certain to be freed from our debt: the grave.

We walk a line, always, between obligation and isolation. Can you make peace with what you owe to your partner? What do you mean when you tell her, where else would I have gone?

— Adam Segal

.

Adam Segal

Adam Segal is a writer and culinary professional in Portland, Oregon. He graduated from the University of Iowa some time ago, and has since interned for Graywolf Press and contributed extensively to Whole Beast Rag magazine, among myriad other adventures.

 

Read “A Great Deserted Landscape” on Electric Literature

May 082014
 

A. AnupamaA. Anupama

A. Anupama, one of our regular contributors, dusts off her translating skills, bringing us hilariously sexy, curiously modern couplets from the classic Tirikkural, a vast book of over a thousand rhyming couplets written in ancient Tamil and dating from about 2,000 years ago. They run the gamut from agricultural advice to law to flirting couples (the most charming).

I thought about you, I said. Then sometimes, you forgot, she reminded,
keeping out of my arms, pretending to be peeved.

A. Anupama gives us a rare glimpse into this ancient world, also providing us with a brief gloss on the difficulties of translation and her modus operandi, plus, joy of joys, some sound files with the original Tamil verse (beautiful liquid sounds) and the English translation.

This is not her first translation effort. See also her “Poems from Kuruntokai” and “Sweet to my heart | Translations of Tamil Love Poems.”

dg

A

 

Tirukkural is a collection of 1,330 rhyming couplets (called kural) written by the Tamil poet-saint Tiruvalluvar perhaps around 30 BC (dating is vague). The verses were meant as a comprehensive portrait of Tamil culture, a description but also an epigrammatic guidebook in verse to the formulas of this south Indian civilization. The poems cover every aspect of society and right living from the conduct of kings to the sowing of fields, from aspects of ascetic virtue to the intricacies of lovers’ quarrels, and from the art of friendship to dire warnings against vice.

I gaze at her, admiring her every line, while she scowls
with whom do you compare me, staring like that?

The couplets are organized into chapters of ten each, and the entire work is divided into three sections, Virtue, Wealth, and Love. Tirukkural differs from other classical Indian philosophical literature (e.g., the Yoga Sutras of Patanjali) by not including the fourth section of traditional teaching on spiritual release. Tirukkural emphasizes domestic life over ascetic or religious practice.

Tiruvalluvar_statue_LIC

The colossal statue of Tiruvalluvar built on a small islet at the meeting of the Indian Ocean, Bay of Bengal, and Arabian Sea, just offshore from the town of Kanyakumari at the southern tip of India, represents the poet’s legendary status. Designed by sculptor V. Ganapati Sthapati, this granite monument stands 133 feet high, representing the 133 chapters of Tirukkural. The height of the statue’s base, at 38 feet, represents the 38 chapters of the first section, Virtue, symbolically setting the foundation of the other two sections, Wealth and Love. The poet is depicted holding up three fingers, a stylized and definitive gesture of Tirukkural’s three sections.

According to tradition, Tiruvalluvar lived in about the first century BCE (though estimates vary by a few hundred years) and was a weaver from Mylapore, near present-day Chennai in the state of Tamil Nadu. The Tamil culture and language are the oldest of Dravidian heritage, originating in the southern tip of India.

Tamil Nadu

Tamil is the oldest living language in the world, with a rich classical literary history. Tiruvalluvar’s work dates from the period of the classical Cankam, a famous gathering of poets, scholars, and sages in the ancient city of Madurai. His poetic couplets are the shortest verse form in Tamil literature, and his work was known and referred to by the writers of classical Tamil epics like Cilappatikaram and Manimekhalai.

If you search YouTube for “kural recitation,” you’ll find videos of young schoolchildren reciting memorized couplets, sometimes with a little prompting, but mostly with ease and confidence. The boy in this video recited chapter 40 from Tirukkural, a set of ten couplets on learning.

On the other hand, centuries of erudite commentary on Tirukkural have revealed its subtlety, and its influence on modern thinkers and writers has been significant. Leo Tolstoy quoted several couplets from it in a letter to an editor at Free Hindustan, a letter that was later translated into Gujarati and published by M.K. Gandhi. Albert Schweitzer said about Tirukkural, “There hardly exists in the literature of the world a collection of maxims in which we find so much of lofty wisdom.”

I couldn’t find a tougher or more rewarding translation challenge than this. Arthur Schopenhauer in his essay “On Language and Words” remarked, “Take translations of authors from antiquity: they are as obvious a surrogate as chicory for coffee. Poems cannot be translated; they can only be transposed, and that is always awkward.”[1] W.S. Merwin in the prologue to his collection Selected Translations, cites advice he received from Ezra Pound: “He spoke of the value of translation as a means of continually sharpening a writer’s awareness of the possibilities of his own language… Pound also urged—at that point and to me, at least—the greatest possible fidelity to the original, including its sounds.”[2] Tirukkural is a particular gift to the translator because in addition to offering fresh mental vistas, it invites one to stricter attention through the voice and the ear.

The couplets, like most proverbs, are designed to be easy to remember and repeat: the alliterative and assonant strength of the compositions aids memory, and tight line-length keeps each verse within a single breath. These same qualities make the couplets difficult to translate, requiring the translator to create equivalencies in sound and sense in a very tight space. Kural 12 showed me quickly how impossible it might be to honor the sound of the original. “Living” sounds nothing like “thupakith,” and yet, the poem in English requires the repetitive transformation of the single word for the purpose of the poem’s sense. The Tamil “Thupaarkuth thupaaya thupaakith thupaarkuth thupaaya” turns into “living,” “live,” “life-giving,” and “life” in my translation.

Still, I found that evoking the original’s sound was possible in many places, with some effort and luck. For example in Kural 18, the “s” sounds in the first line and the “v” sounds in the second line were reproducible, though they lack the alliterative effect of the original. In Kural 20, I added the words “nearness” and “farthest” at the beginnings of the lines to mimic the sounds of the Tamil words “neerindru” and “vaanindru,” which altered the sense only slightly by emphasizing the nuance of distance in the poem’s imagery.

Nearness of rain—without which all worldly work ends, whomever you are.
Farthest skies—without which all natures end.

Word order and integrity of the poetic line are another challenge, because Tamil syntax runs in the opposite direction from English. Subject-verb-object in English often translates to object-verb-subject in Tamil, and even prepositions become postpositions. Sometimes, I could maintain word order, as in Kural 19: “Charity and penance, twins, make their exit from our world, / sky unyielding.” In Kural 20, however, I had to flip word order for sense, translating the two phrases “all worldly work ends” and “all natures end” exactly inverted. The rest of the word order, as well as the couplet’s line integrity, I carefully maintained.

I learned my method of line-by-line translation in Richard Jackson’s translation workshop at Vermont College of Fine Arts in the summer of 2011 when Patty Crane showed us her work translating poems by Tomas Tranströmer. For each line of poetry, I add directly underneath it a literal translation, maintaining the syntax of the original. Alternative word choices are included in this step. Then, directly under that is a first draft of my literary translation of the line. I continue in this way, adding lines for each line of the original poem. I keep everything, every attempt to translate stays in the document. If the lines of poetry get too far away from each other in the process to look at on the computer screen, I copy and paste what I want to work with on a new page in the same document.

Kural 11 in Tamil
Capture

Kural 12 in Tamil

Capture2

In this work with Tirukkural and in my previous translations from Kuruntokai, I relied on my co-translator B. Jeyaganesh for literal translations and recorded readings of the original poems. B. Jeyaganesh is a native speaker of Tamil, the son of a scholar with a Tamil PhD, and a fellow self-described non-expert in this classical literature. For this selection from Tirukkural, we spent over three hours coming up with alternative word choices in English and discussing the relative emphasis of words in the couplets. I listened to the recording over and over to gain a familiarity with the poems’ sounds. I used the recordings again to check my work, often reading my drafts aloud for comparison. Another helpful tool was an English transliteration of the full text online along with the original Tamil and the classic translation by Rev. Dr. G.U. Pope from 1886.

Palm-leaf manuscript

I chose this particular set of couplets to translate (the second chapter and the penultimate chapter) from Tirukkural partly to keep this first try easy for me and easy for a reader unfamiliar with this work. The poet intended these very specific moral edicts and proverb-like statements for people living in a certain cultural and philosophical context, making translation for a contemporary reader in English difficult. The universality of the need for rain and of quarrels between lovers is obvious, and I found this a generous place to begin. My idea was to bracket the work as a whole, but also to bring its didactic verse and its elegant love poetry close together in this small set. The couplets in the third section on love are beautiful, witty, and very different from those in the preceding chapters. In words, sounds, and imagery, however, the thread of the work from beginning to end is wonderfully consistent. The recent drought in South India, and its continuing effects in the region, also inspired me to bring this poetry off my shelf and to translate the chapter on rain.

Tiruvalluvar statue and Vivekananda memorialPhoto by Bennet Anand

In two instances in these couplets, I departed slightly from the literal meaning in order to evoke the sense of the whole work. In couplet 17, my eco-poetic commentary in the addition of “those who don’t give from within” reflects Tirukkural’s moral standard of generosity and right action, as in Kural 211: “Duty expects not anything in return / just as rain expects none.”[3] The literal translation of the line is roughly “gives not, if that’s the state of things.” The state of things today is marked by the urgency of eco-conscious moral imperatives. I found in this a beautiful opportunity to investigate how Tirukkural in translation might evolve in order to retain its original function, which was to describe the cultural, ethical ideal. My initial idea for the change in this line, however, came from the poem’s sound: the end-word “vitin” sounds like my “within.”

My second departure from the literal translation is in Kural 1323, the couplet taken from the last chapter of Tirukkural. My version ends “with earth and water inseparable as in a clay vessel: the water drum of the heart,” while the literal includes no mention of a clay water vessel. My addition of the object attempts to bridge the distance between that specific culture and universal understanding. While this image would hover in the subconscious mind of a Tamil reader 2000 years ago and offer another level of mystery to the poem, a contemporary reader from another culture might miss it.

These departures from the literal in my translation are experiments based on an essay by David Damrosch, titled “Translation and World Literature.”[4] In writing about the problem of translating one of the oldest known lyric poems—an Egyptian poem inscribed in 1160 BCE—he observes, “Some literary works, indeed, may be so closely dependent on detailed culture-specific knowledge that they can only be meaningful to members of the originating culture or to specialists in that culture; these are works that remain within the sphere of a national literature and never achieve an effective life in world literature.” In regard to the Egyptian word mss in that poem, which has been variously translated as tunic, dress, loincloth, and clothing, he writes,

…however mss may be translated, most readers will be unable to visualize the ancient garment in all its authentic particularity. Yet as long as the translation doesn’t impose a wholesale modernization, we won’t assimilate the mss directly to our modern experience, as we remain aware that we’re reading an ancient poem: whatever we think a mss is, we won’t envision it as a Gore-Tex windbreaker, though this might be a modern equivalent of the original item. All the same, we can never hold the poem entirely away from our own experience, nor should we. As we read, we triangulate not only between ancient and modern worlds but also between general and personal meanings: however the mss is translated, different readers will visualize it very differently, and this variability helps the poem to resonate with memories from the reader’s own life. (Italics mine.)

In my translation, adding the material object of a water vessel creates a specific resonance and aids the reader’s associations within the ancient world of the poem. Adding the phrase “or if by those who don’t give from within” aids the reader’s associations in the modern world, simultaneously awakening moral consciousness, which is the original objective of Tirukkural. Though I initially felt awkward treating translation as a sort of geometry problem, I felt that the result brought me closer to the text. The availability of many complete translations of Tirukkural also lessened my concern over maintaining literal exactitude in every line. I hope that my work inspires more readers to take a close look at this ancient literary treasure.

—A. Anupama

 

Translations from Tirukkural

 

Chapter 2: On the excellence of rain

The sky, so distant, gives to our living world
rain, its own self, living essence.

The living live by the life-giving gift of the seed of life itself:
nourishment spraying down, this rain.

The sky, yielding no rain in spite of these steep surrounding seas,
will bite you from inside your hunger.
.

.

The plow won’t plow if the farmer’s awaited downpours, which sow
and grow their wealth, ebb.

Drought’s devastation crushes lives and brings ruin, while its reverse is
restoration in rain.

The sky’s quell of falling raindrops upsets
the lush grass, whose heads will then hide from sight.
.

.

The enormous sea, voluminous and teeming, will diminish if not diminished by clouds,
or if by those who don’t give from within.
.

.

Grand rituals and extravagant offerings will end if the sky is
rain void, serving the little gods no festivals.

Charity and penance, twins, make their exit from our world,
sky unyielding.

Nearness of rain—without which all worldly work ends, whomever you are.
Farthest skies—without which all natures end.
.

.

Chapter 132: On pretending to sulk

I—She

Women’s eyes savor your every line,
but mine won’t embrace your broad chest.

Our silent spat dragged on, so he sneezed on purpose, so that I would say
“bless you.” So he thought.

II—He

A whole branch of blossoms for a garland, and you accuse me of wearing it to catch another woman’s glance,
showing off how I’m dressed.

I love you more than anyone, I said. She sulked,
demanding more than whom, whom!
.

.

In this life, we will never be apart, I said.
Eyefuls of tears, she replied.

I thought about you, I said. Then sometimes, you forgot, she reminded,
keeping out of my arms, pretending to be peeved.

She blessed me when I sneezed, then altered, asking
Who thought about you to make you sneeze?

My next sneeze I quelled, but she cried, someone is thinking of you,
I know, you’re hiding it from me.

She spurned all my assurances, imagining the other women for whom
I’ve offered the same.

I gaze at her, admiring her every line, while she scowls
with whom do you compare me, staring like that?

 

from Chapter 133: On the pleasures of lovers’ quarrels

Inside this lyric sulk, a heaven nears, with earth and
water inseparable as in a clay vessel: the water drum of the heart.
.

—A. Anupama

.

A. Anupama is a U.S.-born, Indian-American poet and translator whose work has appeared in several literary publications, including The Bitter Oleander, Monkeybicycle, Fourteen Hills, and decomP magazinE. She received her MFA in writing from Vermont College of Fine Arts in 2012. She currently lives and writes in the Hudson River valley of New York, where she blogs about poetic inspiration at seranam.com.

 

 

Footnotes    (↵ returns to text)

  1. Schopenhauer, Arthur. Peter Mollenhauer, transl. “On Language and Words,” in Theories of Translation: An Anthology of Essays from Dryden to Derrida. Rainer Schulte and John Biguenet, eds. Chicago: University of Chicago Press, 1992.
  2. Merwin, W.S. Selected Translations. Port Townsend, WA: Copper Canyon Press, 2013.
  3. Rajaram, M., transl. Thirukkural, Pearls of Wisdom. New Delhi: Rupa Publications, 2009.
  4. Damrosch, David. Translation and World Literature: Love in the Necropolis,” in The Translation Studies Reader, third edition, Lawrence Venuti, ed. New York: Routledge, 2012.
Apr 112014
 

john lee portrait

In poetry, the local is the universal. As William Blake wrote:  “To see a World in a Grain of Sand / And a Heaven in a Wild Flower, / Hold Infinity in the palm of your hand / And Eternity in an hour.” John B. Lee is an old friend, published many times in Numéro Cinq, who lives in Port Dover, Ontario, just down the road from the farm where I grew up. We both have a special affection for Norfolk County, to me, always both local and an epic ground, filtered with blood of ancestors (see my anthology of Norfolk County history “A Geography of the Soul“). And in these poems, he remembers a relative of his, Ida Wright, born in Waterford, the farming town, where I went to high school. Ida went to China as a missionary — the rest I will let John tell. But notice, yes, how these poems rise by degrees to compass all life (and beyond), from a southwestern Ontario schoolroom to eternity.

we all share our nature with the dead
one name carved deep in the cave
of every empty desk is yours
and one name there is mine

We have also translations of the poems into Spanish (we’ve done this before as well), courtesy of John B. Lee’s Cuban friend and colleague Manuel de Jesus Velázquez Léon.

dg

The poems in this document are taken from a manuscript in progress called Into a Land of Strangers. The central figure in the poems is my great-aunt Ida Wight née Emerick, born in Waterford, Ontario, and raised by her father and mother in Bothwell, Ontario. After a brief stint as an elementary school teacher in Highgate, she joined the Mission to China and she became a missionary in China in the late 1800’s where she married a fellow missionary. Widowed during the Boxer Rebellion, she and her baby daughter fled on foot along with other westerners, surviving by eating boiled cotton and shoe leather. She spent two years in Canada before returning to China where she became superintendent of missionary schools. During the Second World War, she fled  to Hong Kong where she was eventually placed in an internment camp by the Japanese. Liberated by the Americans in late 1944, she traveled to Durban, South Africa, where she remained until her death on January 1, 1952. Her grandchildren were also interned in a camp for the duration of the war. The book Into a Land of Strangers tells the story of three generations of the Emerick family beginning with the German-American late-come Loyalist Francis Emerick who served on the Canadian side in the Lincoln militia during the War of 1812 after which he farmed a farm in what is now Middlesex County in southern Ontario. 

—John B. Lee

.

A Person on Business from Porlock

There is an imam
mosqued in the empire of the west
who preaches
that the greatest sin
in the land of the golden mountain
is the American lawn
even the burning earth
of south Texas, even there
on the torpid border of old Spain
that stolen-water-green thing thrives
with a great thickening
of wide-bladed
low-growth St. Augustine grass
even there
in the blue boil
of the unusable summer pools
of suburbia
in that necessary evaporate cool
all along the arroyos
the dry brown rivers
of parched clay
thirsty mud cracking open
like oil on old canvas
in the brilliant mirror of an unreflecting sky
the monolithic malady of modern paradise
insists itself
between the dream houses
of every middleclass mind

if one thinks of Cathay
and the Khan’s palace
in the city of Chandu
where mare’s milk spills
like moonlight on marble
and light falls in chords through cracks
like strands of silk that brace the bamboo palace
where leopards slip the saddle
in let-loose leaps
and the jessed hawks fly
over the claw shade of a shadow-measured wall

as I think now
of my own neighbour
mowing his yard for
the fourth time today

or as it was
with the woman next door
who plucked cut blades
one by one
from the sweet fragrance
of her wet-sock work with a similar care
one might use to pull stray thread
from a new garment

and I also recall
the mad lady nursing lost leaves
at midnight
in the candle-glow under star-dark heaven
when the world is otherwise laudanum black

and behind the forehead
like stones in a deep stream
something sleeps
turning green

.

Una persona de Porlock en negocios

Hay un imam
en una mezquita del imperio del oeste
que predica
que el pecado más grande
en la tierra de la montaña áurea
es el césped estadounidense
incluso la tierra ardiente
del sur de Texas, incluso allí
en la frontera letárgica de la vieja España
esa cosa verde del agua robada prospera
con un gran espesamiento
yerba de San Agustín
de anchas hojas
incluso allí
en el corral azul
de inservibles piscinas de verano
de los suburbios
en ese fresco necesario que se evapora
a lo largo de los arroyos
los secos ríos pardos
de árido barro
fango sediento que se resquebraja
como el óleo en el lienzo viejo
en el espejo brillante de un cielo sin reflejos
el mal monolítico del paraíso moderno
insiste
entre las casas de sueños
de cada mente de clase media

si uno piensa en Catay
y el palacio del Kan
en la ciudad de Chandu
donde la leche de yegua chorrea
como luz de luna sobre el mármol
y la luz cae en acordes a través de las grietas
como hebras de seda que apuntalan el palacio de bambú
donde los leopardos se deslizan de la montura
en saltos sueltos
y los halcones encorreados vuelan
sobre la penumbra desgarrada de una pared medida por su sombra

mientras pienso ahora
en mi propio vecino
cortando el césped de su patio por
cuarta vez hoy

o como fue
con la mujer de la casa de al lado
que recogió las briznas cortadas
una a una
desde la fragancia dulce
de su trabajo de medias mojadas con cuidado similar
al que pondríamos para sacar hilos extraviados
de una nueva prenda de vestir

y también recuerdo
la señora loca cuidando hojas perdidas
a medianoche
al fulgor de una vela bajo un cielo oscuro de estrellas
cuando el mundo está por otra parte negro como el láudano

y detrás de la frente
como piedras en una corriente profunda
algo duerme
tornándose verde

.

The Superintendent

looking at the comfortable room
in the luxurious home
she had built for herself
in the orient
my cousin said
of our late aunt
posing like widowed gentry
lolling amongst her precious things
“I thought missionaries
were supposed to be poor …”
her silk pillows
embroideries
gilt upholsteries, silver
tea service, fine cloth
painted vase, and
exotic 
high-buttoned
tight-bodice
dress, the tats
and flounces—doyen
of the wealthy classes
mistress of a private school
privy to
the Sino-Victoriana
of a distant land that changed the mind
like the slow conversion of green
in slanting shade
where everything greys
in the lonesome lamentation of a solitary light
growing older
in a homeland no longer home
in the piano parlour silence
with that deep-toned quiet
of untouched ivory, each key
yellow as a smoker’s tooth

who does not fear
or loathe to hear
the superintendent of schools
with her disapproving
and ultra-grammatical
crepitation, clearing her throat
with a phlegmy “ahem”
from the back of the room
her spine as stiff as a pointer
she strides
her heels cracking the floor
as she seizes the chalk of the day
and with white streak
screeching

is it a sin or is it a dream of sin
to see through the third eye
how the children tremble
shading their work
for a smudge of errors
the grand failures
we feel
in the pedagogical squint
of the once-a-term stranger
in a classroom smelling of spilled ink
and the bass notes of old plasticine
fragrant in bent fingers
and multi-coloured snakes of clay
rolled flat on the modeling board
one name carved deep
in the cave of every desk

for we are the bullied, the shy
the wild, the plump
the brilliant, the lost
the bratty, the eager-to-please
the quiet, the pimpled
the unclean, the poor
the criminal, the crippled, the maimed
the doomed-to-die young
the bad seed, the sniffling, sniveling
easy-to-hate tattle tale
the pampered
the beaten, the bewildered
the too-stupid-for words
learning one lesson in a tall cone-shaped hat
under tousled hair

and one in the tasseled
mortarboard

we all share our nature with the dead
one name carved deep in the cave
of every empty desk is yours
and one name there is mine

.

La superintendente

mirando el aposento confortable
en la casa lujosa
que ella construyó para sí
en el oriente
mi primo dijo
de nuestra tía difunta
posando como viuda aristocrática
reclinada entre sus objetos preciosos

“creía que los misioneros
se suponía que fueran pobres…”

sus almohadas de seda
bordados
dorada tapicerías acolchadas, servicio de
té de plata, finas ropas
jarrones pintados, y
exótico
vestido abotonado hasta arriba
con corpiño
ajustado, los encajes
y cenefas—decana
de clases acaudaladas
maestra de una escuela privada
consejera en
la Sino-Victoriana
de una tierra distante que cambió la mente
como una lenta conversión del verde
en matices sesgados
en los que todo se torna gris
en la triste lamentación de la luz solitaria

envejeciendo
en una patria que ya no es hogar
en el silencio del salón del piano
con ese silencioso tono profundo
de marfil intacto, cada tecla
amarilla como los dientes de un fumador

que no teme
o detesta escuchar
la superintendente de escuelas
con su traqueteo reprobador
y ultra-gramatical,
aclarándose la garganta
con flema “ejem”
desde el fondo del cuarto
su espalda tan tiesa como un puntero
camina a grandes pasos
sus talones golpeteando el suelo
mientras toma la tiza del día
y con un trazo blanco
chirreando

es este un pecado o el sueño de un pecado
ver a través del tercer ojo
como los niños tiemblan
sombreando sus trabajos
por un borrón de errores
los grandes fallos
que sentimos 
en la bizquera pedagógica
del extraño de una vez un trimestre
en un aula que huele a tinta derramada
y las notas bajas de la plastilina vieja
fragante en los dedos doblados
y las serpientes de barro multicolores
enrolladas y aplastadas en la tabla de modelar
un nombre gravado profundamente
en la caverna de cada pupitre

porque somos los intimidados, los tímidos
los salvajes, los regordetes
los brillantes, los extraviados
los niños malos, difíciles de complacer
los callados, los espinillosos
los sucios, los pobres
los criminales, los lisiados, los mutilados
los condenados a morir jóvenes
la mala semilla, los que se sorben los mocos, los llorones
fáciles de odiar parloteadores
los consentidos
los golpeados, los atolondrados
los demasiado estúpidos para las palabras

aprendiendo una lección en un sombrero de alta copa
bajo el pelo desgreñado

y uno en el birrete
adornado con borlitas

todos compartimos nuestra naturaleza con los muertos
un nombre gravado hondo en la caverna
de los pupitres vacíos es tuyo
y un nombre allí es mío

.

The Impossible Black Tulip

“The men of old see not the moon
of today; yet the moon of today
is the moon that shone on them.”
……………………—Chinese proverb

I wonder, Ida
when you joined the mission bound for China
did you know the name
Matteo Ricci, the Jesuit priest
from Italy
the man the Chinese still call
“the scholar from the west”
a sixteenth century Catholic polymath
wearing the robes of a Buddhist monk
impressing the mandarins
of the Ming
mastering the culture and
language of the middle kingdom
and then, mapping the world beyond the world
tracing coastlines on the impossible black tulip
of cartography wherever Magellan sailed
and Columbus lost his way
where the Portuguese, the Spanish, the French
the English, the Dutch
went warring for land
and the madness of gold
and the minds
of the savage
and the bodies of slaves
the rivalries of red-haired kings
and red-robed churches
barbarians and buccaneers uncouth humans
in the era of inquisition
after Copernicus spun the globe
and Galileo gave heaven away for fear of burning alive
and there the new lands were named
even the home of your birth Jiānádá
first named and thereby known
by the learned classes
who opened their eyes to the west
and the faith of the west
inscribed with the allegory of the Holy Land
and he, the first westerner
to enter into
the Forbidden City
died a failure to evangelize
though he built a cathedral
in the capital
and still, long after
the gunboats have fallen silent
and the opium wars
have burned away
and the Boxers razed
your home and murdered your kind, and the Japanese
imprisoned you and your children
for the sins of empire—his name
lives on
in reverence—
like Li Po’s drowning moon
held loose
and glowing in the drunkard’s palm
of a midnight pond
the one we might see
if we dare to dream
of a darkness yet to come

.

El tulipán negro imposible

“Los hombres de la antigüedad no ven la luna
de hoy; sin embargo la luna de hoy
es la luna que brilló sobre ellos.”
…………………………………….—Proverbio chino

Me pregunto, Ida
cuando te uniste a la misión destinada a China
si sabías el nombre
Matteo Ricci, el sacerdote jesuita
de Italia
el hombre que los chinos aún llaman
“el sabio del oeste”
un erudito católico del siglo dieciséis
que usaba la túnica de un monje budista
impresionando a los mandarines
de los Ming
que dominaba la cultura y
la lengua del reino medio
y luego, trazaba mapas del mundo más allá del mundo
dibujando la línea de las costas sobre el tulipán negro imposible
de la cartografía dondequiera que navegara Magallanes
y Colón perdiera su ruta
donde los portugueses, los españoles y los franceses
los ingleses, los holandeses
se fueron peleando por tierra
y la locura del oro
por las mentes
de los salvajes
y los cuerpos de los esclavos
las rivalidades de los reyes pelirrojos
y de las iglesias de mantos rojos
bárbaros y bucaneros humanos groseros
en la era de la inquisición
luego de que Copérnico hiciera girar el globo
y Galileo entregara al cielo por temor a que lo quemaran vivo
y entonces se nombraron las nuevas tierras
incluso el hogar de tu nacimiento Jiānádá
primero nombrado y por tanto conocido
por las clases ilustradas
que abrieron sus ojos al oeste
y la fe del oeste
inscrito con la alegoría de la Tierra Santa

y él, el primer occidental
que entrara en
la Ciudad Prohibida
murió en el fracaso de evangelizar
aunque construyó una catedral
en la capital
y aun, mucho más tarde de que
las cañoneras se han callado
y las guerras del opio
han consumido en llamas
y los Bóxer arrasaran
tu hogar y asesinaron a tu gente, y los japoneses
te hicieron prisionera con tus hijos
por los pecados del imperio—su nombre
perdura
en reverencia—
como la luna inundada de Li Po
suelta
y luciendo en la palma del borracho
de una laguna a medianoche
la que veríamos
si nos atrevemos a soñar
en una oscuridad aún por venir

.

Considering Ancient Chinese Erotica

in the spring palace
behind high walls
of the Forbidden City
the perfumed concubine
lolled with her bound-as-a-child body
lamed by beauty
the crimson water lily of the royal house
playing bring on the clouds and the rain
with the wealthy lords
of the Ming
in the court of songs
otherwise dishabille women
their misshapen bones
broken in slippers
crippled by pain her feet made small as a deer
for the visual delight of men
well-born girls
wearing bow shoes embroidered in silk
walking with the lotus gait
the short-step sway of pampered ladies
even in time the eldest daughter of the poor
wanting to marry highborn
achieved the crescent moon
of the cramped arch
with its erotic allure
an intimate and chaste concealment
lasting a thousand years
until the corseted Christians
came at the time of the heavenly foot
their own vital organs cramped
in whalebone
their tight breasts swaddled
in winding-cloth white wear
sending home souvenirs
amazing the congregation
amusing the minister
tantalizing all future museums
where horrified visitors troupe past
in clicking stilettos and blushing tattoos

.

Considerando la antigua erótica china

en el palacio de invierno
detrás de las altas murallas
de la Ciudad Prohibida
la concubina perfumada
se arrellanaba con el cuerpo envuelto como el de un bebé
lisiada por la belleza
el agua de lilas carmesí de la casa real
jugando a llevar al emperador al éxtasis del placer
con los señores acaudalados
de los Ming
en la corte de las canciones
por otra parte mujeres en traje de casa
sus huesos mal formados
rotos en las sandalias
lisiadas por el dolor en sus pies hechos pequeños como los de un venado
para el deleite visual de los hombres
muchachas bien nacidas
usando zapatos de arco bordados en seda
caminando con el modo del loto
el bamboleo de paso corto de las señoras consentidas
incluso con el tiempo las hijas mayores de los pobres
que querían casarse con los de alta cuna
alcanzaban la luna nueva
del arco agarrotado
con su encanto erótico
un casto disimulo íntimo
que dura mil años
hasta las cristianas encorsetadas
llegaron en la época de los pies celestiales
sus órganos vitales agarrotados
entre barbas de ballena
sus apretados pechos envueltos
en blanca ropa enrollada
enviando a casa suvenires
que sorprendían la congregación
divertían al pastor
tentando a todos los museos futuros
donde los visitantes horrorizados pasaban en grupo
en chasqueantes estiletes y tatuajes ruborizados

.

Into a Land of Strangers

the muddy root
of the lotus, also
desires the sky

………………..*

tropical lotus
blooms in the night
white flesh a white moon dreams

………………..*

black water, blue sky
two minds
consider one light

………………..*

undulating cutwater
darkens beneath
the white of a single cloud

………………..*

the lotus open
in the moon-wane of morning
how young a fading white

………………..*

how might the lotus thirst
in the ever-evaporate black
of a deep pool

………………..*

into a land of strangers
she comes
a stranger to herself

………………..*

in the seed pearl
of her beloved moon
the sand grain of her soul

………………..*

celestial stranger
your secret revealed
to a secret concealed

………………..*

an unpainted lotus
imagines the mind
wet brush dampens dry water

………………..*

here in the seam of true silk
the chrysalis clings
to the force of an unborn wing

.

A tierra extranjera

en la raíz lodosa
del loto, también
desea el cielo

………………..*

loto tropical
florece en la noche
blanca carne que una luna blanca sueña

………………..*

agua negra, cielo azul
dos mentes
consideran una luz

………………..*

ondulante rompeolas
se oscurece bajo
el blancor de una nube solitaria

………………..*

se abren los lotos
en el cuarto menguante de la mañana
qué lozano el blanco mortecino

………………..*

como puede el loto languidecer de sed
en el negro en evaporación
de una laguna profunda

………………..*

a tierra extranjera
ella llega
una extranjera para ella misma

………………..*

en la perla seminal
de su amada luna
el grano de arena de su alma

………………..*

extranjera celestial
tu secreto revelado
a un secreto guardado

………………..*

un loto no pintado
imagina la mente
el pincel mojado humedece el agua seca

………………..*

aquí en la sutura de la verdadera seda
cuelga la crisálida
ante la fuerza de un ala por nacer

—John B. Lee & Manuel de Jesus Velázquez Léon

.

John and I (1)Manuel Leon, translator, and John B. Lee

John B. Lee is the author of over sixty published books and  the recipient of over seventy awards for his writing. Inducted as Poet Laureate of the city of Brantford in perpetuity, he now lives in Port Dover, a fishing town located on the north coast of Lake Erie. He and Manuel have collaborated on translations on several occasions, the most substantial project being Sweet Cuba: The Building of a Poetic Tradition: 1608-1958 (Hidden Brook Press, 2010), a bilingual anthology of Cuban poetry in original Spanish with English translations.

Manuel de Jesus Velázquez Léon is a professor at University of Hoguin. A co-founder of the Canada Cuba Literary Alliance, he is editor-in-chief of the bilingual literary journal, The Ambassador. He and John B. Lee collaborated on the 360-page bilingual anthology Sweet Cuba: The Building of a Poetic Tradition: 1608-1958, (Hidden Brook Press, 2010). Sweet Cuba has been called “the most significant book of translated Cuban poetry ever published.”  He lives in Holguin, Cuba, with his wife and their young son and is the publisher of Sand Crab books which recently printed a bilingual editon of Saskatchewan Poet Laureate Glen Sorestad’s book, A Thief of Impeccable Taste.

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