Tag Archives: WITMonth

“The Ball” by Irène Némirovsky

10 Aug

Golder

I read Irène Némirovsky’s Suite Française in French to prepare for my language exam at UW. Among the three works I inched through, it was the only one I managed to finish that summer. (The others were Swann’s Way, which I hope to tackle again one day, though it will probably have to be in English with some kind of Proust support group, and a vintage collection of short stories in a volume designed for college students, which was kind of stodgy.)  What I remember best from Suite Française, other than the scenes of Parisians evacuating before the German Occupation, is Némirovsky’s use of light. A woman hiding in a house shrouded in trees seems trapped in something aquatic. It was then that I learned and cherished the word glaucous.

Other than the fact that the French were fleeing the Nazis, there was no whiff of anti-Semitism in that book that I, with my limited language skills, could detect. So I was surprised, when reading Claire Messud’s introduction to the collection David Golder, The Ball, Snow in Autumn, The Courilof Affair that Némirovsky was virulently anti-Semitic, a token Jew at a right-wing newspaper, and a convert to Catholicism. Not that any of this saved her in the end. (For an in-depth discussion of Némirovsky see Susan Rubin Suleiman’s The Némirovsky Question.)

Michael read “David Golder,” the novel that made Némirovsky famous at 26. Though the story is well-written, the stereotypical depictions of Jewish businessmen did not sit well with him. (It should be pointed out, if you don’t know, that the stereotype of the banker Jew is a result of centuries of discrimination, as Jews were not allowed to practice most other professions or own land.) I wondered whether the popularity of “David Golder” had any connection to pandering to stereotypes. I decided to save my time and skip to “The Ball.”

Here, the Kampfs are a nouveau-riche couple who want to throw their first big party. M. Kampf “made a killing” in the Stock Market and in just four years they moved from a modest apartment to one that could accommodate (if a bit uncomfortably) 200 guests. The story was published in 1929 and you can feel the imminent doom.

M. Kampf is Jewish (alas, the Jewish stockbroker) and his wife is Catholic. They’re raising their fourteen-year-old daughter Antoinette to be Catholic. Mme. Kampf, whose past is questioned and who married M. Kampf for money, is desperate to host a glamorous party that will establish her reputation with the aristocracy. She hires a band to play the blues and the Charleston, and orders a bevy of roses, buckets of champagne, aspic, oysters, foie gras, caviar sandwiches, game, fish, petit fours, and, a modern luxury to be delivered fresh at 11 pm: ice cream.

Poor Antoinette keeps getting in the way of party planning. It is her violent emotions that attract me most to this story. Her thoughts feel the most real, compared to the somewhat flat, Mme. Bovary-esque aspirations of Mme. Kampf. Indignant, in bed, Antoinette thinks:

To them a fourteen-year-old was just a kid–to be pushed around like a dog…I want to die! God, please make me die…Dear God, sweet Holy Virgin, why did you make me their child? Punish them, I’m begging you. Punish them just once, and after that, I’ll gladly die.

Antoinette’s desire for vengeance suggests something darker here than your run-of-the-mill teen anger, but it also pushes this story deliciously to its conclusion. The characters probably aren’t any more likable than in “David Golder,” not that that is a requirement for my reading pleasure. But Antoinette’s course of action moves the story toward a complex, yet surprisingly tender, picture of mother-daughter conflicts.  If you like the glamor of F. Scott Fitzgerald’s Jazz Age Stories, or coming-of-age stories in general, you’ll want to check this one out.

“Translation is not kale” in The Seattle Review of Books

10 Aug

WITMonth2017-2August is Women in Translation Month. This is the fourth year of the campaign, which was founded by literary blogger and biophysicist Meytal Radzinksi. I’m a big fan of this effort to raise awareness about women writers in translation and read more of them. And, I’m super excited to have my piece “Translation is not kale” in The Seattle Review of Books today, which discusses WITMonth in a wider context and revels in some of my favorite-favorite books. You can read “Translation is not kale” here. I’ve also got three reviews scheduled right here on my blog, starting today and continuing the next two Thursdays. More soon!

 

Women in Translation Month

26 Jul

Women in Translation Month is around the corner! Last year, I compiled a list of translated books by women that I enjoyed and created a Women in Translation Bingo game. I also wrote about novellas by Marguerite Duras and Eileen Chang and poetry collections from Rocío Cerón and Angélica Freitas.

This summer has been a bit more hectic as I’ve been teaching more, taking my second novel through an eighth draft, and researching my third novel. However! I’m excited for Women In Translation Month and wanted to share with you four books on my to-read pile.

What have you been reading? WITMonth2016

Rilke Shake by Angélica Freitas & Diorama by Rocío Cerón

27 Aug

Thanks to Women in Translation Month, I recently learned about two fantastic contemporary poets published by Phoneme Media, which, I must say, designs some gorgeous bilingual books.

Diorama by Rocio Ceron, translated by Anna Rosenwong, Phoneme MediaDiorama, by Rocío Cerón, is super rich and multilayered. Her long poem “13 Ways To Inhabit a Corner,” under the subtitle “Pinhole” speaks particularly to peering into something very closely. The looking is so careful, the sensual details so packed in, the poem demands and rewards multiple rereadings. Each of the 13 sections builds a particular atmosphere. In section I: “In the midst of a stampede, a hand rests on the arc of a kneecap. Cigar and smoke. Rosy cypress sleep.” And, in section VII: “Hills, clouds, boreal forest. Woman undressing on a frozen bed. Beneath the folds of her clothing a constellation of sleet.” As her translator Anna Rosenwong points out, the work is associative and hallucinatory. Other poems are more political. “DIY Instructions or the National Telluric” includes the line “civil disobedience breaks out but still the dead pile up” — a line that made me sit up out of the intense dream state of “13 Ways to Inhabit a Corner.” Diorama won the 2015 Best Translated Book Award, and it’s no wonder. It’s the sort of beautiful, meaty book you need to settle into, chew on, and revisit.

Rilke Shake by Angelica Freitas, translated by Hilary Kaplan, Phoneme MediaWhereas Diorama is experimental and gorgeous and challenging, Rilke Shake,by Angélica Freitas is more fun for everyone. Playful, energetic, and irreverent, Freitas takes references to poetry greats (Rilke, Keats, Gertrude Stein, etc.) and popular culture, and simply shakes. The work is sonically chewy: “I think about stravinski / and the beard of klaus kinski / and the nose of karabtchevsky / and a poem by joseph brodsky” she writes in the poem titled “what passed through the head of the violinist as he hurled toward his death against his black hair clutching his stradivarius in yesterday’s great air disaster”. She imagines bathing with Gertrude Stein, who “lets one loose under the water” and asks in “i can’t read the cantos”: “shall we free ourselves from ezra pound?” The poems do have poignant moments, such as in “sioban 4” where the speaker wonders: “does she think of me / does she also ask what happened // to the good girls of sodom, the ones who / always // kissed on the stairs / vanished in libraries / preferred to turn to salt?” I will be pushing Rilke Shake on many people. It’s too good to be missed.

10:30 on a Summer Night by Marguerite Duras

20 Aug

10:30 on a Summer NIght, in Four Novels,  by Marguerite Duras, translated by Anne Borchardt10:30 on a Summer Night operates at a slow boil. The noir-ish 80-page novella follows a French couple, Pierre and Maria, on vacation in Spain with their four-year-old daughter Judith and their friend Claire.  The story opens with talk of a murder in the small town where they’ve landed, their plans to get to Madrid thwarted by a storm. Rodrigo Paestra, having killed his wife and her lover, is on the run. With that crime of passion in the background, tension between Pierre, Maria, and Claire builds, complemented by the landscape’s moody weather:

“The afternoon’s dark blue, oceanlike mass moved slowly over the town. It was coming from the east [….] The water that ran between their feet was filled with clay. The water was dark red, like stones of the town and the earth around it.”

Maria drinks manzanilla after manzanilla. Customers in a local cafe talk about the horror of Paestra’s crime while “eating, more or less heartily.” Like many tourists stuck in the town for the night, the family and Claire must sleep in a hotel hallway.  In Maria’s wooziness, her thoughts drift between Paestra’s whereabouts (they say he’s on the rooftops), and the possible budding infidelity between Pierre and Claire. Her restlessness tears her from the claustrophobic hotel hallway, out into the wet night, looking for Paestra:

“He had gone around the chimney. Maria kept singing. Her voice clutched her throat. You can always sing. She couldn’t stop singing once she had started. He was there.”

The novella twists and turns into scarier and scarier landscapes.The extreme weather of the lightening storm is followed by extreme mid-day heat of the open country. Maria wonders, “What would you save, if you took Rodrigo Paestra to France?” The double love triangle leads to a bizarre chain of events I have no intention of spoiling. But the last image of the three adult travelers at a night club, finally in Madrid, watching a man with a “chalky laugh” singing with “loving, languorous, nauseous drunkenness,” evokes the complexity, the utter tangled thorniness, of this story.




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“Sisters” by Alexandra Kollontai

13 Aug

Love of Worker Bees by Alexandra Kollontai, translated by Cathy PorterI picked up Alexandra Kollontai’s Love of Worker Bees at Boneshaker Books during the AWP conference in Minneapolis. Usually, I skip a book’s introduction, dive right into the fiction, and read the introduction afterwards. Kollontai’s work is a rare look at the Russian Revolution, and since I’m also reading Dr. Zhivago, I wanted to get some background on her. This may have marred my reading experience.

The introduction made me crave reading more history, and perhaps Kollontai’s nonfiction. Her fiction served to illustrate the feminist causes she fought for, and so in reading the short story “Sisters” I felt biased against the artistry of the story, about “a deserted wife and a prostitute who find a common bond.” (Let me back up and say I think if the explicit aim of the writer is to illustrate a political cause, it would be more effective to write nonfiction. That isn’t to say fiction must be apolitical. Pretty much all art is political. I believe a fiction writer should make story primary. The politics arising out of the story tend to emerge in a more complex, satisfying way when you don’t set out to illustrate a specific agenda. Let the story drive.)

Set in the 1920s, “Sisters” is a frame story in which someone at a “delegates conference” is being confided in. The storyteller has left her husband, has nowhere to go, and fears she may have to resort to prostitution. After her daughter’s illness, she was laid off from her job. Her husband, an executive in a government trust company, has taken to coming home drunk. She would like to work and he would like her to stay home. Things get worse when their daughter dies; he brings prostitutes home. The woman is horrified, humiliated, ready to run the second prostitute out of their house–but she sees a desperation in this sad young woman’s eyes, and as they talk, realizes she is an educated young woman without money or shelter, starving, anguished. The storyteller realizes that if she hadn’t been married, she’d be in a similar situation. She leaves her husband and…is at risk at being in the same situation. The story illustrates a pressing issue that Kollontai had to fight for relentlessly, that women’s rights are an essential part of the revolution. She ended up in diplomatic exile for much of her adult life.

The story is affecting, in the way that if someone you met told you that story you would care and be concerned, and want to do something. So in this way, the story achieves a goal. However, the story is mostly told in summary, in the way that someone might relate their tale in real life, not told in scene, with the kind of sensory detail that draws you closer to the humanity of the characters. It feels one step removed. And so I didn’t love the story, and I wouldn’t press it upon anyone unless they were digging into the subject matter–the issues of feminism and Communism, the struggles of people living in Russia after the Revolution. I’ll add as another caveat that is the third piece in the book. I did not read the first two and do wonder if the book is “front loaded” with stronger stories. So take my lack of enthusiasm with a grain of salt, check it out if it intrigues you, and let me know what you think.

This series on Women in Translation continues next week with a Duras novella and will finish at the end of August with a couple surprise books of contemporary poetry, review copies I was delighted to receive in the mail.

“Love in a Fallen City” by Eileen Chang

6 Aug

Love in a Fallen City by Eileen Chang, translated by Karen S. Kingsbury, from New York Review Books ClassicsFor Women in Translation Month, I’m reviewing three novellas right here on this blog, as well as tweeting poetry in translation daily. The first of the three novellas is “Love in a Fallen City” by Eileen Chang. Stay tuned for a selection from Alexandra Kollontai’s Love of Worker Bees and Marguerite Duras’ “10:30 on a Summer Evening.”

Eileen Chang has long been on my to-read list. So when I learned about Women in Translation Month I put her at the top of my agenda. You may know her through Ang Lee’s adaptation of her 1979 novella Lust, Caution. Born in Shanghai in 1920, she straddled two radically different worlds. Translator Karen S. Kingbury writes in her introduction to Love in a Fallen City that “Chang’s worldly form of the sublime was achieved […] by viewing her father’s [aristocratic, traditional] Qing world from her mother’s [modern, Edwardian] perspective, but with an artist’s compassionate detachment.” This straddling of eras is apparent from the start of “Love in a Fallen City.” Liusu, a twenty-eight-year-old divorcee, struggles to live with her stifling family in Shanghai. Their clocks are literally one hour behind the rest of the city to “save daylight,” and, “The Bai household was a fairyland where a single day, creeping slowly by, was  a thousand years in the outside world.”

When news of her ex-husband’s death arrives, her family tries to convince her to return to his family as his widow–thus relieving themselves of her burdensome presence.  Rather bleakly, her elderly mother says, “Staying with me is not a feasible long-term plan. Going back is the decent thing to do. Take a child to live with you, get through the next fifteen years or so, and you’ll prevail in the end.” A matchmaker suggests Liusu find a new husband or become a nun and eventually convinces the Bai family to allow Liusu to travel with her to Hong Kong. There, the major conflict unfolds, when it becomes clear that Fan Liuyuan, “an overseas Chinese” had contrived to have Liusu come to Hong Kong. He wants “a real Chinese girl,” “never out of fashion,” and when she calls him a modern man he replies, “You say ‘modern,’ but what you probably mean is Western.” Their uncertain budding relationship takes Liusu into territory as ambiguous and unsettling as being a widow in her mother’s home, but with the frightening freedom of being more or less alone in a huge, unknown city.

Chang’s writing is intensely visual, influenced by modernism while maintaining sparkling clarity. On Hong Kong’s waterfront:

“it was a fiery afternoon, and the most striking part of the view was the parade of giant billboards along the dock, their reds, oranges, and pinks mirrored in the lush green water. Below the surface of the water, bars and blots of clashing color plunged in murderous confusion. Liusu found herself thinking that in a city of such hyperboles, even a sprained ankle would hurt more than it did in other places.”

Her binocular vision (to borrow the the title of Edith Pearlman‘s collection, another straddler of worlds) is the kind of perspective I find endlessly fascinating. The invasion of Hong Kong has serious repercussions for Liusu and Liuyuan’s future together. It’s the sort of widening out, from the deeply intimate to the global, that I love to encounter in fiction and strive to achieve in my own work. I’m so glad I finally got to this novella and look forward to reading the rest of the collection. “The Golden Cangue,” another novella in the volume, is translated by Chang herself–it’ll be a real treat to get a sense of how she viewed her own work and how it should feel in English.

For more Women in Translation Month goodness, check out Meytal Radziniski’s wonderful blog Biblibio.




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Women in Translation

25 Jun

August is Women in Translation Month (WITMonth), designed to encourage readers, reviewers, publishers, and translators to explore more books in translation by women. If you’ve been following the VIDA count, then the grim statistics around women in translation (gathered diligently by Meytal Radzinski) is, unfortunately, not a surprise: women writers comprise only about 30% of books translated into English. As I’m passionate about cultivating a diverse literary ecosystem, this is a project near and dear to my heart. And though I’m happy WITMonth is an annual event, I’m getting started right now. Because there are SO MANY good books and I’m sure there are SO MANY MORE out there waiting to be picked up by a publisher and gobbled by readers.

I immediately pulled all the books from my shelves that fit the bill. I made a read pile and a to-be-read pile. Of the read pile, I’d like to make some recommendations, for those of you who’d like to join me in WITMonth. Read these books! And I’ll be diving into the to-be-read pile and writing about the gems in that pile in August. Read those books too! Let’s talk about ’em!

Recommended Books

Tasty pile of books in translation

Tasty pile of books in translation.

Death in Spring by Mercè Rodoreda, translated from Catalan by Martha Tennent (Open Letter, 2009). A gorgeously written and harrowing novel about cruelty among humans and violence in nature.

Days of Abandonment by Elena Ferrante, translated from Italian by Ann Goldstein (Europa Editions, 2005). A dark, slender novel about a woman abandoned by her husband spiraling into terrifying psychological territory, with a helpful dash of absurd humor and redemption. After devouring this book, anything else was VERY difficult to get into. So good. This brief review in The New Yorker is spot on. I have not cracked open her more recent Neapolitan series, but it is definitely on the docket.

The End of the Story by Liliana Heker, translated from Spanish by Andrea G. Labinger (Biblioasis, 2012). Another dark novel. I’m sensing a trend? This metafictional work explores Argentina’s Dirty War. I reviewed it for Ploughshares.

Death as a Side Effect by Ana Maria Shua, translated from Spanish by Andrea G. Labinger (University of Nebraska Press, 2010). As I note briefly in my review of Heker’s novel, Shua‘s is “dark and wry and screwed up in the best possible dystopian way.” Is it weird to quote myself? Oh well.

Dreams and Stones by Magdalena Tulli, translated from Polish by Bill Johnston (Archipelago Books, 2004). I adore Archipelago for focusing on translation and producing truly beautiful books. Dreams and Stones is probably the least dark book on my list, a kind of treatise on cities and imagination.

Mile End by Lise Tremblay, translated from French by Gail Scott (Talon Books, 2002). I read this novel a few times, starting in a class in college on literary Montreal. It’s set in the neighborhood I lived in while at McGill, which may be part of my attachment to it. And, yes, yes, this is another dark story, about an obese pianist at a ballet school teetering toward psychosis.

The Land of Green Plums by Herta Muller, translated from German by Michael Hoffman (Metropolitan Books, 1996). Muller, winner of the 2009 Nobel Prize in literature, paints a grim picture of life in Romania under Ceausescu. The language is highly poetic, and I’ve been working on an essay about it (among other things) for quite some time. In fact, the assignment I’ve given myself for the next few weeks is to cut that essay up paragraph by paragraph to figure out how to keep going with it.

Why the Child is Cooking in the Polenta by Aglaja Veteranyi, translated from German by Vincent Kling (Dalkey Archive Press, 2012). Told from the point of view of an unnamed young woman, this is the story of Romanian refugees who travel through Europe as circus performers. Yes, yes, dark. But also with absurd humor. (Some criticize Muller for being humorless. I say, bah. Read her still. Not everything is funny ha ha.)

Phew. That’s a lot of recommendations. There are more in my pile. I may write more about them. More likely I will tweet my favorite bits from them in August. But not just August. Probably all year. WITForever!

My To-Be-Read Pile. Stay tuned for reviews & more !

Another tasty pile of translated books.

Another tasty pile of translated books.

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