Language: German

The Lives of the Translators: the Whence and the How

"Kafka’s fluent homelessness began to look more and more prescient to the Muirs as the years passed..."

Translation, like marriage, is the art of making things work; so it should be no surprise that some of the best translations in literary history were made by married couples.

Frequently this is a matter of convenience, or at least begins that way. One partner is fluent in one language; one is a better writer; one has more time. Talents assert themselves and sacrifices are made, until eventually the two sides work things out enough for the garbage to get taken out and the dog fed. The book gets done, in other words, which is another way of saying that the labor that produced it disappears behind a finish so perfect that it confuses pets and makes guests wish their own lives were so spotless.

For Willa and Edwin Muir, the Scottish couple whose translations of Franz Kafka, Hermann Broch and many others introduced English-language readers to some of the greatest German modernists, translation was a gift and a curse. On the one hand, it offered them money and a sense of accomplishment; on the other, it encroached on the writing that both of them, at different points in their lives, considered a true calling. But no matter how they thought about it, translation remained a means of survival for the couple: a lifeboat in which they bobbed, happily or at odds, through some of the most treacherous waters of the 20th century.

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Translation Tuesday: “A Little Love Story” by Ödön von Horváth

The fact of the matter was, I wanted every girl I saw, I wanted to possess her. God knows I never felt any “spiritual” connection.

How quiet it is in autumn, a strange and unearthly quiet.

Everything is just as it always was, it seems nothing has changed. Neither the marsh nor the farmland, not the fir trees on the hills, not the lake. Nothing. Only that summer’s gone. October’s end. And already late in the afternoon.

A dog howls in the distance, and the earth smells of sodden leaves. It’s rained heavily in the last few weeks, soon it will snow. The sun is gone, and twilight shuffles over the hard ground. It rustles in the stubble as if someone were skulking around in it. And as the clouds come in, so does the past. I see you again—oh days of yesteryear! Your mountains, your trees, your roads—we can all see each other again now.

And the two of us, you and I. Your light-color summer dress gleams in the sunlight, joyful and wanton as if you had nothing on under it. The stalks of grain swayed back and forth, the earth breathed in and out. It was hot and humid, do you remember? The air buzzed like an army of invisible insects. In the west, a storm threatened. And the two of us far from the village on a steep, narrow path, then walking through the sheaves of corn, you ahead of me—but good heavens, what has this got to do with you? Yes, I mean you, dear reader! Why should I tell you about this? Come on now, don’t be like that! What’s it to you if two people once disappeared into a cornfield? After all, it doesn’t affect you. You have other things to worry about than someone else’s love affair—and it certainly wasn’t love anyway.

The fact of the matter was, I wanted every girl I saw, I wanted to possess her. God knows I never felt any “spiritual” connection. And her? Well, I thought she trusted me completely. She told me so many stories, both colorful ones and dreary, about her work, about going to the movies, about her childhood—the sort of things that happen in every life. But it all bored me, and once in a while I wished she were deaf and dumb. I was a brutish fellow then, conceited out of a roguish emptiness. READ MORE…

What’s New in Translation? January 2016

So many new translations this month!—Here's what you've got to know, from Asymptote's own.

Carlos Velázquez, The Cowboy Bible (Restless Books, January 2016). Translated by Achy Obejas—review by Selina Aragón, Spanish Social Media Manager

The Cowboy Bible (La Biblia Vaquera) is Carlos Velazquez’ second book, which contains two fictional and three nonfictional stories, plus two neither-fiction-nor-nonfiction texts and two epilogues. They are all set in the land of PopSTock!, for which there is a map at the beginning of the book.

The Cowboy Bible is also a character that metamorphoses into other characters (The Western Bible, The Cowgirl Bible, etc.) who live and act in different times and spaces but share the same talent for entering the dark alleyways of life. Despite their morally questionable actions, wrestlers, drunkards, DJs, street-food sellers, whose “legendary” deeds go from writing songs about drug dealers to crowning a Queen of Piracy in reality shows, become underground heroes equivalent to Mexican popular culture icons:

“I went dressed as a Cartesian seminarist. As soon as the guy in charge of composing the soundtrack to reflect the wrestling audience’s passions saw me take a step forward the ring, he put on a song by the great Sonora Dinamita.”

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Translation Tuesday: from Looking at Pictures by Robert Walser

“When he felt his earthly end approaching, it irritated him somewhat that he had evidently produced, alas, almost a little too much.”

Diaz’s Forest

Translated by Susan Bernofsky

In a forest painted by Diaz, a little motherkin and her child stood still. They were now a good hour from the village. Gnarled trunks spoke a primeval tongue. The mother said to her child: “In my opinion, you shouldn’t cling to my apron strings like that. As if I were here only for you. Benighted creature, what could you be thinking? You’re just a small child, yet want to make grownups dependent on you. How ill-considered. A certain amount of thinking must enter your slumbering head, and to make that happen, I shall now leave you here, alone. Stop clutching at me with those little hands this instant, you uncouth, importunate thing! I have every reason to be angry with you—and I believe I am. It’s time you were told the unadorned truth, otherwise you’ll stay a helpless child all your life, forever reliant on your mother. To teach you what it means to love me, you must be left to your own resources, you’ll have to seek out strangers and serve them, hearing nothing but harsh words from them for a year, two years, perhaps longer. Then you’ll know what I was to you. But always at your side, I am unknown to you. That’s right, child, you make no effort at all, you don’t even know what effort is, let alone tenderness, you uncompassionate creature. Always having me at your side makes you mentally indolent. Not for a minute do you stop to think—that’s what indolence is. You must go to work, my child, you’ll manage it if you want to—and you’ll have no choice but to want to. I swear to you, as truthfully as I am standing here with you in this forest painted by Diaz, you must earn your livelihood with bitter toil so that you will not go to ruin inwardly. Many children grow coarse when they are coddled, because they never learn to be thoughtful, thankful. Later, they all turn into ladies and gentlemen who are beautiful and elegant on the outside but self-absorbed nonetheless. To save you from becoming cruel and succumbing to foolishnesses, I am treating you roughly, because overly solicitous treatment produces people free from conscience and care.” READ MORE…

Translation as Firework: A Prismatic Rendition of Anna Weidenholzer

"The original is dead. Long live the original."

For my latest event as the Austrian Cultural Forum London’s guest literary curator, I commissioned and curated work for an exhibition presenting multiple translations of a short story by Austrian author Anna Weidenholzer in forms including sound, ceramics, textiles, video, sculpture, photography, text, and even tattoo designs and recipes. A reading and performance event in the ACF’s Salon celebrated and closed the exhibition this week and let the audience all be translators for an evening.

The incredibly affecting short story “Sessel und Sätze” (“Chairs and Sentences”) from Anna Weidenholzer’s collection Der Platz des Hundes (Where the Dog Sits) follows aging school caretaker Ferdinand Felser’s preoccupations with his passive position in the world. Having been mocked as a schoolboy by pupils and teachers for his dialect—and by his parents for trying to change it—Ferdinand is now secretly learning nine languages in his office and is troubled by the climate of xenophobia surrounding him at work, in the news, and among close friends. You can read the story tomorrow on the Asymptote blog.

Posing as a metaphor for the multiplicity of possible translations of any story, the exhibition on display in the ACF’s gallery encouraged the visitor to see how each “translation” altered and added to their reading of the story (which they also read in translation) or how the exhibition could be one multifaceted translation. It considered a translation as a personal reading, extension, destruction or an attempt at honing into an essence of the original text by a “translator,” and also explored the fallibility/adaptability of linguistic translation by further experimenting with alternative translations. READ MORE…

Translation Tuesday: Multilingual Poems by Ann Cotten

In honor of our July Issue, a super-special multilingual Translation Tuesday—Ann Cotten translates Ann Cotten, and back again!

Ann Cotten is a multilingual poet based in Berlin. These poems hail from Fremdwörterbuchsonette, her first book of poems. Inextricably multilingual, maddeningly compelling, borderline cantankerous—her poems are all unique valences of self-translations that interrogate place and language in way that evokes both the familiar and the jarringly new.

Select translation:

nonesuch I (from Fremdwörterbuchsonette)

 

The ghost entered me like a kind of shirt.

It hung next to the dancefloor and was opposite

to all. That sounds a bit odd, not quite

credible, certainly I cannot say it right.

 

Something was backward in the whole construction

of what I happened to be working on.

Time seemed to have some purpose further on

with me, wrung me and couldn’t work it out.

 

And so I leant against the wall and smoked,

and watched the Russendisko on and on and smoked

too much. And I was much too bored to write.

Still not at all ill at ease, squandering my light

I thought of never going home to better-lighted dirt

and suddenly began to see the ghost in the shirt.

 

“O ghost,” spake I, “please understand my wonder!

I didn’t know that ghosts would deign to wander

casting their eyes perplexingly asunder,

in shirts, our fears and echoings to pander.”

 

The ghost just stared at me. A girl came over

and asked me for a light. My boyfriend came

and told me he was going home. It was the same

to me. I nodded, quite the midnight rover,

 

knowing myself to have become rather a dud,

my self’s long-empty shell, and how my words

rustled and shifted, like rice in gourds,

vague and conceited like smoke from a cigarette,

cold and precise like condensation.

 

And I awoke, as cold as ash, in my own tub.

***

nonesuch II (from Fremdwörterbuchsonette)

 

In my own tub I lay and dreamt of girls

who come around and ask you for a light.

Their little souls rotate inside their eyes

as my lighter renders them closer than the night

 

which is the reason why I love these rituals

in which the incomparables and I unite.

And all the while I know my cigarettes are all

exactly the same length, and they seem to invite

 

their and my own interconfoundability,

white, lightweight, full of discontent,

rattling and wheezing when they’re full of tea

and, taken, all desire just to be spent,

as air races through them, they wake the ghosts

and attract minutes, posted between the lips’ red boasts.

 

The ash upon the water forms a brittle film.

Mein Liebling, erklärst du dich zu meiner Giraffe,

verspreche ich, dass ich dich immer lachen mache.

The past has risen and is lapping at my chin.

Die Biber haben alle Bäume abgenagt, mein Lieber, sieh,

noch während wir hier stehen, beknabbern sie meine Knie.

 

The tap presses a lullaby into my nape,

the boiler hums a low and dismal tune,

I watch myself scratch myself like an ape,

and fall asleep into the arms of monster rune:

 

It isn’t realistic to be lying here.

In all the fog and damp time seems to override itself.

I cannot reach you, not with beer, nor animals, nor jokes;

everything runs out; the ghost of the night lives to side with itself, but chokes.

nonesuch I (from Fremdwörterbuchsonette)

 

Der Geist betrat mich wie eine Art Hemd.

Es hing am Rand der Tanzfläche und bildete

den Gegenpol zu allem. Das befremdet,

wirkt unerklärlich, wenn ichs schildere.

 

Es war etwas verkehrt an dem Gebilde,

an dem ich zu der Zeit gerade arbeitete;

die Zeit führte mit mir etwas im Schild,

wrang mein Gebein und kriegte es nicht raus.

 

Und so lehnte ich rauchend an der Wand,

schaute der Russendisko zu und rauchte

zu viel. Zum Schreiben war mir viel zu fad.

Ich war trotzdem nicht unzufrieden, dachte

entfernt daran, eher nicht heimzugehen,

plötzlich begann ich diesen Geist im Hemd zu sehen.

 

“O Geist,” sprach ich, “verstehe mein Befremden:

Ich wusste nicht, dass Geister auch in Hemden,

die großen Augen gegenteilig wendend,

Widerhall, Trost und Unbehagen spenden.”

 

Der Geist indessen starrte mich nur an.

Ein Mädchen kam zu mir und bat um Feuer.

Meine Begleitung kam und sagte, dass er heimgeht.

Ich nickte nur, als ging es mich nichts an:

 

Ich war schon lange nur mehr eine Panne,

die Schale meiner selbst, und ausgehöhlt

klimperten geistermäßig meine Worte,

vag und geziert wie Zigarettenrauch,

kalt und präzise wie Kondensation.

 

Ich wachte auf, wie Asche kalt, in meiner Badewanne.

***

nonesuch II (from Fremdwörterbuchsonette)

 

Ich badete und träumte von den Mädchen,

die herkommen und mich um Feuer bitten.

In ihren Augen rotiern ihre Seelchen

in meinem Feuerschein in kurzen Augenblicken.

 

Deswegen liebe ich ja diese Sitten,

in denen unvergleichlich sich vereinen

jene und ich. Und meine Zigaretten

sind glatt und alle gleich lang. Bescheinigen

 

sie ihre und meine Vertauschbarkeit,

weiß, leicht und voller Unzufriedenheit,

klappernd und rauschend, wenn sie altern,

und jung voller Verlangen, wenn der Atem

sie schnell durchzieht, so wecken sie die Geister,

binden künstelnd Minuten, an Lippen gekleistert.

 

Die Asche auf dem Wasser bildet einen Film.

My darling, if you will be my giraffe,

I’ll promise to do things to make you laugh.

Mir reicht Vergangenheit bis an mein Kinn.

The beavers, dear, have gnawed off all the trees,

and as you look at me they’re working on my knees.

 

Der Hahn drückt mir ein Schlaflied in den Nacken,

der Boiler summt den Bass betrübt und wüst,

ich schaue mir beim Dösen selbstgesprächig zu,

gleich wird das Brainmap mich mit den Tentakeln packen:

 

Es ist nicht realistisch, hier zu sitzen

im Dunst, im Nass hebt Zeit sich aus den Angeln.

Erreich dich nicht mit Tieren, nicht mit Witzen, es läuft aus und

der Geist der Nacht sitzt tief im letzten Gurgeln.

Ann Cotten, born 1982 in Iowa, U.S., grew up in Vienna, Austria and moved to Berlin in 2006. Her first book of poems—excerpted here—consisted of 78 double-sonnets and made waves in the German poetry scene. She then published her diploma thesis on concrete poetry (Nach der Welt, Klever Verlag 2008), a second book of poetry and prose ostensibly written by a palette of characters (Florida-Rooms, Suhrkamp 2010), a 1-Euro elegy (Das Pferd, SuKultur 2007), part of an underground-bibliophile "Schock" edition (Pflock in der Landschaft, 2011), and a book in English: I, Coleoptile (Broken Dimanche Press, 2011). In 2013, she published The Quivering Fan, a collection of short stories with erotic, philosophical and political content. In 2014, she started a project on mnemotechnical poetry working with Japanese Kanji. This year will see her second English-language publication, Lather in Heaven (Broken Dimanche Press).

July Issue Highlight: “Excerpt” by Cia Rinne

A look at one of our multilingual feature's star poems.

Translation Tuesday: “Barefoot Through the Temple” by Albert Ostermaier

a sticky pressure / on my soles crusted / animal blood ash red blossoms / charred at the edges

nice shoes he pointed to
my shoes i took them
off i know you he smiled
you’re a movie star i
smiled back camera
switched on he rolled his
eyes you can take a
picture of me i counted
the money out he put the
notes in his breast pocket
bowed briefly &
took me by the hand
where do you come from
READ MORE…

In Review: “Thought Flights” by Robert Musil

P. T. Smith reviews a newly translated collection of short pieces by Robert Musil

At first appearance, the newly translated collection of short pieces by Robert Musil, titled Thought Flights by translator Genese Grill (Contra Mundum Press), seems at odds with the writer’s reputation. After all, he is most famous for the massive, unfinished Man Without Qualities. Why would he take time away from that project he was so dedicated to so he could write pieces of fiction only a couple pages long, essays about whether the crawl stroke is an art or a science, and satirical fragments like “War Diary of a Flea”? And considering all that Musil articulated about society, gender, philosophy, art, etc. in Man Without Qualities, is there reason to read this instead of, or after, that? The quickest way to answer both questions is hinted at by Grill in her introduction. The first: for Musil to maintain his sanity by taking breaks. The second: if you admire both the intellect and aesthetics of Musil and the serious play that Walser brought to his feuilleton, this is a chance to see what comes about when those two styles are combined.

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Working Title: A Sorrow Beyond Dreams

"Titles that involve wordplay often send translators into overdrive."

There is a scene in Jeffrey Eugenides’s novel The Marriage Plot where a class of American students discusses A Sorrow Beyond Dreams by Peter Handke. A know-it-all boy with a penchant for Barthes says he found the book “totally dank and depressive” and “loved it.”

“Suicide is a trope,” he announced. “Especially in German literature. You’ve got The Sorrows of Young Werther. You’ve got Kleist. Hey, I just thought of something.” He held up a finger. “The Sorrows of Young Werther.” He held up another finger. “A Sorrow Beyond Dreams. My theory is that Handke felt the weight of all that tradition and this book was his attempt to break free.”

At this point, the teacher reminds him that the original German title, Wunschloses Unglück, has no “sorrow” in it: this “serious and strangely wonderful title,” a play on the phrase wunschlos glücklich (“happier than you could ever wish for” ), could be translated as “extreme unhappiness.”  The student, without batting an eyelid, proceeds to explain what the author wanted to achieve with the book. READ MORE…

Hands Across the Water: A Dispatch

Jen Calleja dispatches from "Don't Mind the Gap: An Evening of British/German Literature at King's Place" in London

‘Don’t Mind the Gap: An Evening of German and British Literature’ at King’s Place, though clocking in at two hours, had an energetic, celebratory and comfortable atmosphere from start to finish. Though the venue was larger than the ICA’s cinema where I’d attended ‘Found in Translation’ the previous evening, it also felt like the more intimate of the two events.

Reading one after the other for ten-to-fifteen minutes apiece were some of the finest English- and German-speaking poets and writers working today: Durs Grünbein, Terézia Mora, Simon Armitage, A L Kennedy, Imtiaz Dharker, Marcel Beyer, Don Paterson and Alfred Brendel. All the authors’ texts were projected onto an updating screen, in English for the British writers to help German-speakers (which made a couple of the writers a little nervous, and even confused when they saw English behind them but half-expected to see themselves in German), and in English translation for the German writers. READ MORE…

Poem as Firework, Poem as Bone China: A Dispatch

A dispatch from the "Found in Translation" event at the Institute of Contemporary Arts in London

We run through groups of snail-paced tourists from Trafalgar Square to arrive just in time for the start of “Found in Translation” at the ICA, almost walking directly into Michael Hofmann on entering the filling cinema. We take our seats just as he walks down to join fellow poet and literary translator Jamie McKendrick and German poet Jan Wagner on stage. While everyone settles down to an ominous soundtrack straight out of Star Wars, I take in the two rows of bulbs, like the lights that surround the mirror in a theatre dressing room, running the length of the ceiling. Some of them are out, which fits an event that glows but never quite reaches its full brightness.

In the introduction, Jan Wagner is sprightly and upright with a schoolboy haircut, Jamie McKendrick cradles his leather satchel before sliding it onto the floor, Michael Hofmann plays with his hands, lets them hang down either side of his chair, then finally folds them in his lap. Microphones are reluctantly taken up. McKendrick hugs his to the side of his head, Hofmann whispers to his like a little friend. READ MORE…

An Interview with the “Turnip Princess” Translator, Maria Tatar

Beyond Brothers Grimm, beyond Hans Christian Andersen: "There's nothing like this collection in English."

The following is an interview with translator Maria Tatar, of Franz Xaver Von Schönwerth’s The Turnip Princess and Other Newly Discovered Tales, available here—and if you’d like a taste, check out our recent Translation Tuesday, featuring the short story “The Enchanted Fiddle!”

Could you talk about the Turnip Princess and what sort of fairy tales they are?

Schönwerth collected his stories from farmhands, domestic servants, artisans —people who worked for a living and were experts in the art of gossip, improvisation, talk, and storytelling. His official work took him into royal quarters, but he was deeply committed to capturing tales told by adults in workrooms and around the hearth. Unlike the Grimms, who were equal-opportunity collectors, begging and borrowing from all social classes, Schönwerth wanted tales untainted by literary influences—hence the rough-hewn quality of many of his stories.   He did not smooth out rough edges, add psychological motivation, or make stylistic “improvements.” The Turnip Princess lets us listen in to storytelling sessions from times past. And suddenly, once you’ve read a a dozen or so of these tales, you begin to see how they were put together and animated for audiences.

How did you prepare to translate this sort of writing?

I suppose I could say that I have been preparing for this work all my life. I was trilingual for a brief period as a child, speaking Hungarian, German, and English—never confusing them according to my parents, and thank goodness for that. My graduate work in German Studies took a literary turn, and I did not begin research on folklore and fairy tales in earnest until I started reading fairy tales to my children in the 1980s. Translating the fairy tales of the Brothers Grimm and Hans Christian Andersen for my annotated editions of their work was in some ways actually not the best training ground for Schönwerth. The Grimms and Andersen strive for a carefully constructed folksy tone; Schönwerth by contrast just puts on the page what he hears. I often had to resist the temptation to smooth out the rough edges and create a reader-friendly story. READ MORE…

This Monster, the Volk

At the Pegida demonstrations, the soul of Dresden has been revealed: reckoning with the mentality of my native city

Monika Cassel translates Durs Grünbein’s op-ed, which appeared on the front page of Die Zeit’s weekly magazine on February 12, 2015, the day before the 70th anniversary of Dresden’s bombing. 

Every year, the city I was born in falls again. On the one hand this is a ritual (of commemoration), and on the other hand it is a reality (of history). All over the world, people know what happened to Dresden in February 1945, just before the great turning point in history when Germany was given the opportunity to better itself. The city lost nearly everything that had once made her charming and was from then on condemned to live on, severely handicapped, hideously deformed, and humiliated. Where once courtly splendor and stone-hewed bourgeois pride had delighted the eye, now desolate wastelands unfolded as I wandered through my city as a child. It is hard to imagine that this was where Casanova contracted a venereal disease and Frederick the Great, when he was still the crown prince, lost his virginity. According to legend, one of the delectable ladies-in-waiting pulled him through a concealed door and initiated him into the Saxon mysteries of love. I still remember imagining the Marquis de Sade visiting the city on the Elbe. In one thing, at least, historians are in agreement: what was supposedly once the most beautiful Italian city north of the Alps was a paradise on earth for all of the libertines of aristocratic Europe.

But it all turned out differently. Lately I have seen a monster in Dresden—it calls itself das Volk (the People) and thinks it has justice on its side. “We are the Volk,” it yells, shamelessly, and it cuts anyone off mid-sentence who dares disagree. It presumes to know who belongs and who does not. It intimidates those from foreign lands because—in the extremity of their plight—they have nowhere else to go, those who come in search of a better life. I can identify with these asylum-seekers. I was once a person who felt trapped in his country, in his native city. Who wanted to escape from a closed society—precisely the kind some wish we could return to again. Was I an economic refugee, driven by political dissent against the system that had planned my whole life for me, was it a yearning for foreign cultures, or all of these? Who can say?

READ MORE…