Cantos: A New Directions Blog

Archive for October 2009

How to tell a ghost story

with one comment

1. Find a haunted ravine or mystical evil eye.. Investigate.

In Gustaw Herling’s collection, The Noonday Cemetery, the narrators stumble upon unexplainable phenomena. In “Don Ildebrando,” the iettatura–the evil charm or eye–haunts a retired surgeon determined to master its power and discover its history. The story is gothic and abandoned, and involves a painting come-to-life. In the title story, the narrator stumbles upon a neglected cemetery with a haunted ravine and boarded-up cemetery keeper’s home. He’s determined to discover the story behind this, as well as the events from years before, but the townspeople, afraid of retribution, refuse to discuss it.

“The Noonday Cemetery” is available to read in its entirety below.

2. Start hanging out with ghosts

In Ghosts by César Aira, a slim gray book, an immigrant worker’s family shares an unfinished apartment building with a group of ghosts. At first, the ghosts slip in and out of the narration as they slip in and out of their lives – barely noticeable, nearly transparent, hanging out in the background.

The ghosts are catalysts. They promise something more, an existence beyond and better than the one lived out on the roof of the building, at the edge of an unfilled pool.

The more daughter Patrí lingers around the ghosts, the less interest she feels in her family, their drinking, and their toasts.

3. Die at the hand of a friend or lover…

…and then “live” to tell the tale. The narrator of “When I was Mortal,” the title story in Javier Marias’ collection, returns as a ghost with a renewed consciousness: “I not only remember what I saw and heard and knew when I was mortal, but I remember it in its entirety, that is, including what I did not see or know or hear, even things that were beyond my grasp, but which affected me or those who were important to me, and which possibly had a hand in shaping me.” The life he thought he knew and understood is broken when he is able to see the details in full relief.

Another murdered ghost returns in Muriel Spark’s “The Portobello Road,” the final story in her collection, Ghost Stories.

“I did not altogether depart this world. There are those odd things still to be done which one’s executors can never do properly. Papers to be looked over, even after the executors have torn them up. Lots of business.”

Even in the afterlife, the ghost is just as spry and witty and noncommittal as she was alive. She doesn’t much care about the man who killed her…but she still enjoys bothering him.

“The Portobello Road” and “When I Was Mortal” are available to read in their entirety below.

The Noonday Cemetery by Gustaw Herling

The Portobello Road by Muriel Spark

When I Was Mortal by Javier Marias

–posted by Kelsey Ford

Advertisements

Written by New Directions

October 23, 2009 at 5:51 pm

In-house interview with Horacio Castellanos Moya

with one comment

Moya author photo

The hair-raising novels of El Salvadoran writer Horacio Castellanos Moya (Senselessness and The She-Devil in the Mirror) can leave one clutching for their throat and yet laughing wildly out loud. He has recently moved from his residency at City of Asylum/Pittsburgh to Tokyo, and has just completed a trip to Sweden where he celebrated the publication of the Swedish edition of Senselessness. New Directions intern Kelsey Ford interviewed the notoriously peripatetic author to find out more about how his own writing affects him and what it is like to be on the move so often.

Kelsey Ford: Do you have a guiding idea as you write your novels? If so, is it different with each new book? If someone were to look at your published works, what overall idea would you like them to see?

Horacio Castellanos Moya: I have a guiding idea as I write most of my novels. But in a couple of them there was no guide, just a kind of explosion. The process is different in each book, of course. Firstly, this process depends on the material conditions I’m living in: it is not the same when you are writing in a hurry, not knowing where you are going to sleep next month and from where you are going to get money for surviving, than when you have a place for staying and working with economic certainty for the future to come. The planning and the writing are affected by these material conditions. Secondly, it depends on the nature of the novel: there are plots that allow a lot of improvisation, but there are others that require very precise planning. And regarding the overall idea, I don’t know what to say: I don’t like to pontificate on my own work.

KF: In “Notes about the Political in the Latin American Novel,” you called your subjects of political and social rife a “genetic burden.” To what extent does this haunt your writing?

HCM: It haunts me a lot. Sometimes I try to get rid of it, but the more I try the more it haunts my writing. So I better get quiet and accept the situation, that is to say, the fact that the Political is going to be the landscape of my stories. Even now that I’m in Tokyo, far away from Latin American and Salvadoran politics, this curse follows me and I’m trying to write a novel that still takes place during the Salvadoran civil war.

KF: Do the stories you choose come from recent experiences, or do they build up over time until finally you sit down to write them?

HCM: I think they build up over time until finally I sit down to write them. The experiences must be distilled in order to become fiction. Of course there are some exceptions, when something that recently happened suddenly implodes inside me and I sit down to write it. That was the case with Revulsion.

KF: What compelled you to write The She-Devil in the Mirror?

HCM: The voice of that lady started to sound in my mind and I couldn’t shut her up. I didn’t do any research or planning to build that voice, it just came to my mind and started to bother me a lot, insistently. I think that’s what compelled me to write the story, to get rid of her.

KF: How was your experience writing The She-Devil different from your experience writing Senselessness?

HCM: I started to write The She-Devil in Mexico City in December 1995, but I wrote most of the book in San Salvador in 1996 and the last part in Madrid in 1997. I wrote the first half of Senselessness in Mexico City at the end of 2002 and the first weeks of 2003; I finished it in Guatemala in 2004. When I wrote both books I was living in similar conditions, close to the edge, on the border line, not knowing how I was going to survive next month or where I had to move.

KF: There are strong similarities between the narrators of The She-Devil in the Mirror and Senselessness; neither seems “complete in the mind.” As a writer, how do you embody the voices of your narrators?

HCM: Octavio Paz wrote that the writer emerges from an interior fracture. I like that. It seems that I deepen that fracture in my characters. But you want to dig in the mystery of creation. That’s not good for a writer. I don’t know why some voices come to me and others don’t. I don’t think on that: it happens. I just write what I need to write. In this kind of book, if I do a lot of thinking I get blocked. There is a hidden friction, then a spark in a very dry prairie, and I just have to dance with the fire.

KF: You’ve lived abroad so much: recently in Germany, and Pittsburgh, and, right now, in Japan: how do you experience these sojourns? Are they dislocating in both negative (disruptive or lonely or making you feel deracinated) and positive (fresh insights and perspectives and beneficial, creativity-inducing change) ways?

HCM: That is a nice word, “deracinated.” I like it. I’m uprooted. I’m not a plant, I’m not a tree. I have a mind and feet. I belong to the planet, to this tiny little piece of nothing in the universe. And of course the fact of dislocating affects me. Everytime it is more difficult for me to write the stories that are kept in my wounded memory. But that is good too, because it means that I’m also getting rid of my wounded memory. Roque Dalton, a great poet, wrote: “Oblivion is the only source of perfection.”

Written by New Directions

October 6, 2009 at 9:03 pm

Interview with New Directions translator Susan Bernofsky

with 5 comments

Susan B

From Robert Walser (The Assistant, The Tanners) , to Yoko Tawada (Where Europe Begins, The Naked Eye) to Jenny Erpenbeck (The Old Child, The Book of Words), Susan Bernofsky’s translations from the German have been met with great acclaim and praise. New Directions intern Georgie Devereux interviewed Ms. Bernofsky on her various projects and her approach to translation.

Georgie Devereux: As a reader, I have found the experience of first opening one of your many translations not unlike landing in a foreign city. This is in part because of the language of your authors—beautiful and unsettling at once––and in part because the characters themselves are often experiencing a sense of displacement (the heroine of The Naked Eye by Yoko Tawada, or Joseph in Robert Walser’s The Assistant, for example). In reading translation, notions of displacement become somehow more poignant.

Susan Bernofsky: I’m so glad you have that impression! I think all books are like that to a certain extent—creating new landscapes we can wander around in—and it’s especially true of books that were written in other languages, since the structures and sounds of each language influence what gets written in them, so that adding foreign literature to our reading diet just increases the range of different sorts of literary environments available to us.

GD: How might a work initially written for a German audience impact an American one? How does our own cultural background inevitably enrich and/or hinder our reading of a text?

SB: Sometimes it’s quite unpredictable what books from one country will capture the imagination of readers in another one. Hesse’s novel Siddhartha has had such a major impact on generations of young people in the United States, and in Germany the book was never nearly as popular. The theme of searching for one’s own life path really struck a chord with young Americans in the 1960s, 40 years after the book was written. On the other hand, there are so many great works of literature written in German that are largely inaccessible to Americans because appreciating or even just enjoying them depends on local references. I recently loved a short novel called Folgendes (The Following) by a youngish German author named Thomas Weiss, a darkly comic account of the problems devastating an extended family in southern Germany, all of which, as gradually becomes clear, can be traced back to the family’s WWII heritage. The book features such jolly topics as displaced persons and incest, and its gallows humor—which is often roll-on-the-floor-funny in German—is completely dependent on the use of passing references to slogans, situations and figures only the German reader would recognize. One character pronounces the word “Krieg” (war) as “Kriech” every time she says it, which is often, and this dialect pronunciation has connotations of crawling on the ground and sycophantism. We have plenty of books like this in English too. Sometimes you can figure out how to translate them in a way that works. Jenny Erpenbeck’s The Book of Words is full of lines taken from German nursery rhymes that are crucial for the book, and I think it works in English nonetheless.

GD: I am intrigued by a quote highlighted on your website from your article “Disorienting Language”: “It is not simply that our perceptions change when we travel abroad; those who never leave their familiar surroundings condemn themselves to blindness.” I was wondering if you could describe your own experience of living abroad. How has it influenced your vision as a translator?

SB: Particularly when I was a young student living abroad for the first time—in Münster, Germany at age 19, and then Zurich at age 21—I felt as though the experience was noticeably changing who I was as a person. Even just experiencing different social conventions, such as learning to navigate the distinction between the informal and formal forms of address, “du” and “Sie,” not just on paper but in real life, forced me to think in a completely different way about the sorts of social hierarchies we establish and respond to here in at home often without even thinking about it. At first I had so little grasp of the German system that I asked my host professor, a kind and welcoming person, to call me “du” and was surprised to see how shocked he was.
It also made quite an impression on me to see how physically present the legacy of WWII was in Germany and how much more strongly this legacy made itself felt in everyday life than I was expecting. The last war fought on American soil was a century and a half ago, and so the way we think about war is very different.
In general, experiencing how people in other countries live their lives—what they eat, how they socialize, the role politics plays in everyday interactions, how minority groups are incorporated into or excluded from society as a whole, the different sorts of rituals surrounding shopping, eating and drinking and the pace of it all—is a good way to stop taking our own lifestyles and attitudes for granted and thinking about them as choices. As a translator you mediate more than just linguistic expression.

GD: This spring, New Directions will publish Robert Walser’s Microscripts, a collection of writing on scraps of paper and written in a miniature German script. Could you describe this project? How did it come to be translated? Can you read Robert Walser’s original handwriting?

SB: This project came about as a co-production with Christine Burgin Gallery after Burgin fell in love with Walser’s miniature manuscripts (both the sheets of paper and the handwriting that covers them are unbelievably small) and decided to put together an exhibition of them in New York, due to open in the spring of 2010. The volume Microscripts will serve as a catalogue for the exhibition—it will contain a number of high-resolution facsimiles of Walser’s beautiful manuscripts—and at the same time is a collection of stories from his late work. These stories remind me of Beethoven’s late string quartets: by the time Walser writes them, he’s become such a master storyteller that he starts playing drastically with narrative form and convention, producing truly wacky texts that are both startling in their proto-postmodernism and deeply moving in their reflection of the difficult circumstances under which they were written. Leaving aside the difficulty of the stories as texts, the handwriting they were written in was so tiny that when these manuscripts were first discovered after Walser’s death in 1956 they were thought to have been written in secret code. In fact they were written in a now-antiquated form of German handwriting shrunken down to a height of between one and two millimeters. What’s more, Walser wrote them in pencil, and his pencil was not always sharp. Two scholars in Zurich devoted 12 years to deciphering six volumes’ worth of these texts, and for one of those years (1987-88) I had the privilege of working in the next room on what would become my first book of Walser translations (Masquerade and Other Stories).

GD: In your translator’s note to The Naked Eye, you write how Yoko Tawada ended up composing two separate manuscripts––one in German and one in Japanese––simultaneously as parts of the novel came to her in either one or the other language. How do you think the two texts work together? What were some of the translation issues that arose from such a unique project?

SB: I would love to know which passages were originally written in which language, but the version I read was all in German, and the transitions are pretty seamless. This is interesting because in Tawada’s earlier work it sometimes has seemed to me that her Japanese-language prose is more dense and more densely punning than in German (though she loves German-language puns as well). I suspect that she developed her own transitional style to negotiate between the two languages in the course of preparing the twin manuscripts (fraternal twins!). I hear that a Japanese doctoral student is working on a dissertation on the difference between the Japanese and German-language manuscripts of the novel—that should be interesting!

GD: What is the difference between working with texts by living authors, as with Tawada and Erpenbeck, and working with Walser, for example?

SB: It’s so helpful to work with living authors who take an interest in the work of their translators, particularly in the case of Tawada and Erpenbeck, both of whom play a lot of with language in ways that don’t always translate well. The Tawada story “Where Europe Begins,” for example, ends with a catalogue of elements from the story whose names spell out the word “Moscow.” I had to find images that began with the right letters. And in Erpenbeck’s novel The Book of Words there’s an entire passage based on the fact that a German dialect word for carnations means “little nails.” In this case too I had to find a suitable image. In both cases (as in many others), the authors were enthusiastic about my desire to write equivalent passages that could be knitted into their stories without disrupting the reading experience in the way that would had happened if I had stuck to a literal translation and added footnotes, for example. This has made me bolder about taking similar liberties when I translate Walser. It’s always a very serious judgment call as to which sorts of changes are permissible or even desirable. Walser’s story “New Year’s Page,” for example, begins with a rhyme in German, “Wende reimt sich auf Hände, Wände.” Literally that would read “Turn [as in “turn of the century,” but here referring to the “turn” of the new year] rhymes with hands, walls.” All three nouns rhyme in German, and the next sentence goes on to relate how a visitor arrives and knocks on the door. I decided that my highest priority would be translating the “rhymedness” of the sentence and the sense that the rhyme was serving as a launching pad for the next sentence, so my translation reads: “Year rhymes with near, appear.” I would have liked to ask Walser’s permission to transform his sentence in this way, but he doesn’t respond to e-mails.

GD: Would you be able to narrate how you came to be a translator?

SB: I started translating at a very young age—I was still a high-school student—because I was already planning to be a novelist when I grew up, and a teacher recommended translation as a writing exercise, even though my grasp of the German language at that point was pretty sketchy. Translation turned out to be so much fun that I kept doing it on the side over years in which I was doing lots of other things (writing fiction, pursuing a doctorate, teaching). I still think it’s fun, even though it’s much harder than I thought it was when I was just starting out.

GD: Could you tell us about your upcoming projects?

I’m just finishing up a new Jenny Erpenbeck novel for New Directions, Visitation, a book whose main character is a house. It’s a fascinating story, a sort of concise chronicle or saga that takes us through all the various upheavals of twentieth-century German history—but rather than being different generations of a single family, the characters in the book come from various families that overlap with and replace one another—sometimes peacefully, sometimes not. It’s a compelling, mysterious book, and I’m stunned by how skillfully Erpenbeck weaves the strands of the various stories together. There’s one passage in which she writes about children playing in a garden, and after a certain point you realize that some of these children are literally in the garden of the house while others are many thousands of miles away, in exile after their families were forced to flee—in the storytelling she turns the narration of a historical moment into a sort of outward explosion in space.

I’ve also been working on writing two quite different books, one a biography of Walser (we really need one in English!) and a novel that is in large part a response to the destruction of New Orleans, the city where I first tried my hand at translating.

Written by New Directions

October 1, 2009 at 8:23 pm