Posts filed under 'AIDS'

The Blurriness of Intimacy: On Caio Fernando Abreu’s Moldy Strawberries

June 1, 2022  |  in Reviews  |  by Georgina Fooks

Abreu has the ability to narrate big emotions while undercutting them with a self-consciousness that means these moments never feel trite.

Moldy Strawberries by Caio Fernando Abreu, translated from the Portuguese by Bruna Dantas Lobato, Archipelago Books, 2022

Moldy strawberries: just past the point of ripeness, bursting with life until they exude decay. Sweet yet bitter, delicious yet spoilt, nourishing yet rotten. It is this dichotomy that sustains Caio Fernando Abreu’s Moldy Strawberries, tenderly translated from the Portuguese by Bruna Dantas Lobato: a collection of short prose pieces and stories that brims with life even as its flesh bruises.

Abreu (1948-1996) came of age in a turbulent time in Brazilian political history. In 1968, the Department for Political and Social Order put him on the watch list they used to target their ideological opponents, and Abreu subsequently spent time in exile across Europe—in Spain, Sweden, the Netherlands, England, and France. While his writing was heavily censored by the Brazilian authorities, he nonetheless became one of the country’s most beloved queer writers, winning the prestigious Jabuti Prize for Fiction three times for his luminous work.

Moldy Strawberries is considered by many to be his magnum opus. Published in 1982, its vivid depictions of queer communities amidst the perils of the military dictatorship, rising homophobia, and the looming AIDS crisis serve to affirm life even when the threat of death feels ever-present. In eighteen prose pieces, which range from dialogues and vignettes to fully developed stories, Abreu’s writing bears witness to humanity in all its fragile glory. His prose affirms the possibility of love, desire, and connection—or at least indulges that dream. READ MORE…

A Gesture of Togetherness: An Interview with Ian Russell

April 18, 2022  |  in Interviews  |  by Rose Bialer

I became more comfortable translating the work as a gesture of togetherness with the artist.

In my reading of the current Winter 2022 issue, I was drawn to the vivid and imaginative poetry of Spanish artist Pepe Espaliú. The featured excerpt, translated beautifully by Ian Russell, was taken from Espaliú’s only collection of poetry, En estos cinco años (Through These Five Years). The collection was written in the years preceding his death from AIDS, gracefully exploring the topic of mortality. Russell’s translations introduce a new audience of Anglophone readers to a dynamic activist, who fought to call attention to AIDS through his art while many political leaders refused to even acknowledge the disease. Russell was generous enough to agree to speak with me over email, and in the following interview we discuss Espaliú’s legacy as a performance artist, the communal aspect of translation, and some interesting parallels between birding and poetry.

Rose Bialer (RB): Before we start discussing your translations of Espaliú’s work, I’m curious to know how you became interested in translation in the first place. What was your introduction to the craft?

Ian Russell (IR): I can think of two starts. I got offered some freelance work to translate articles from Spanish to English while I was in grad school and took them purely to make a little extra money. I actually felt like I wasn’t very good at it. But right around that same time I had some friends that wrote poetry ask me to help translate their work. I felt totally unqualified since I had only done these academic articles, but after working on them and talking through the poems it became a really gratifying creative outlet for me.

RB: How did you come across Pepe Espaliú’s art? What initially attracted you to his poetry?

IR: I came across Espaliú’s visual work in researching HIV/AIDS in Spain. Later, I discovered he had written quite prolifically, and I found a copy of the first printing of En estos cinco años in the library (this was before Jesús Alcaide’s stunning 2018 La imposible verdad); I really loved the sort of smallness, the roundness, that I encountered in that short edition. I don’t know if that makes sense—the book is comprised of several different sections that seem pretty hermetic at first read, and many poems have an aphoristic quality. Other prose poems sit in their text blocks on the page. I felt a smallness and roundness that was easily digestible, maybe.

RB: In your translator’s note you mention that a challenge you faced in rendering this excerpt of Espaliú’s poetry was understanding that his poems are only a part of his artistic repertoire—he was also a visual and performing artist. How did you go about translating this poetry with consideration of Espaliú’s larger body of work? Did you translate while immersing yourself in it?

IR: I actually started writing about Espaliú’s performance work first. During the pandemic, I found it more difficult to keep up with that sort of critical analysis, and turned to translating Espaliú as a way to think about his performances, as if translating might offer some clue to approach the visual/performance. I think the main piece that came together for me in that process was how the installation, performance, and poetic pieces all read as a reaching out, a convocation of togetherness. So, in that way, I became more comfortable translating the work as a gesture of togetherness with the artist.

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Translation Tuesday: An excerpt from Prosopopoeia by Farid Tali

December 13, 2016  |  in Translations  |  by Aditi Machado

That autumn I believed in God for three months while the metro trains screeched along, especially where there were bends.

Farid Tali’s Prosopopoeia is a hybrid novella—a work of postmodern elegy that narrates the death of a young man from AIDS. We are told this story by the deceased man’s brother, who is at times tormented and mournful, at times disengaged from his French-Moroccan family’s forms of grieving. With “cold curiosity” he even describes the decomposition of his brother’s corpse in dense, poetic language. In the excerpt included here, the narrator reveals his conflicted feelings about religion even as the power and beauty of the Quranic verses sustain him, give him—in the midst of this death song—life.

Forty days would have passed between the first ceremony and the last: there was a time, a dead time that followed the death of the body, which was calm, having been abandoned by pain and now engulfed by two long songs which got mixed up. It was neither a period nor a duration, just a time, sensed too early and known too late. It’s to keep company with the deceased, someone said, so that he knows where he’s going, that he won’t be alone there. His room had been emptied of all furniture; it was also the room in which I slept. I was crouched in a corner: old, Arab men with receptive palms were sitting in an almost perfect circle in which each one in his place rhymed with another. And those soft, rhyming words, whose meaning I could not understand, seemed to be coming out of their palms. I knew they were from the Quran, that it was music, I recognized its rhythm. I breathed in the syllables, they cure tuberculosis. I hung on to each successive rhyme, each time it was the same. I puffed out my chest at the beginning of every verse, it was like nectar for my lungs. The words came loose as though liquid and, flowing in a single gush, came to rest on my lips as at the source of a garden as old as several years of drought. The words came but in written form only, dressed in strength and glory, borne in those sacred characters that symbolized for me the essence of the divine. They had neither body nor flesh but were men. They came from the bottom of the throat—from the base of the larynx, to be more precise. From the voices of those one seldom hears, beyond the commonness of the everyday, composed of a balance between breath and sculpted air. They possessed nothing more than the appeal of written things and they were no less beautiful for it. I thought this as I listened, and I listened. It might have been God or madness or love, but so what. Certainly I was wrong to think that to love this singing as I did meant I believed in God, that there could be no beauty in a moment such as this without it having been dictated by him. I didn’t think I could be this deluded, that I could be so unhappy as to confuse pleasure with faith. I saw truth where there was none, as is the case often.

That autumn I believed in God for three months while the metro trains screeched along, especially where there were bends. I believed because I was reading the Quran (and I was haunted by the idea that my hands were too dirty to touch it, that for every page I turned I needed water—or sand, as I’d heard it said of those primitives, Muslims of the desert, who in the absence of water were permitted, by way of ablution, to rub their bodies and hands with a stone or with sand) and because it made me fear God.

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Translation Tuesday: “Beyond the Point” by Caio Fernando Abreu

September 2, 2014  |  in Translations  |  by Elisa Wouk Almino

Distinct and powerful short fiction from Brazil, translated by Elisa Wouk Almino

It rained, rained, rained and I went on inside the rain to meet him, without an umbrella or anything, I always lost them all at the bars, I only carried a bottle of cheap cognac pressed against the chest, it seems insincere said this way, but it was how I went through the rain, a bottle of cognac in hand and a bundle of wet cigarettes in my pocket. There was one point when I could have taken a taxi, but it wasn’t very far, and if I took a taxi I wouldn’t be able to buy cigarettes or cognac, and I thought firmly that it would be better to arrive wet from the rain, because that way we would drink the cognac, it was cold, not that cold, it was more the humidity entering through the fabric of clothes, through the thin, worn soles of shoes, and we’d smoke drink without limits, there’d be music, always those hoarse voices, that moaning sax and his eye set upon me, warm shower distending my muscles. But it still rained, my eyes stinging from the cold, my nose began to run, I would clean it with the backs of my hands and the liquid from my nose would harden instantly over the hairs, I’d tuck my reddened hands into the depths of my pockets and I would keep going, keep going and jumping the puddles of water with frozen legs. So frozen were my legs and arms and face that I thought of opening the bottle to take a sip, but I didn’t want to arrive at his house half-drunk, with bad breath, I didn’t want him thinking I had been drinking, and I had, every day a good pretext, and I also went on thinking that he’d think I had no money, arriving by foot in all that rain, and I had none, my stomach hurting with hunger, and I didn’t want him thinking I had been walking like an insomniac, and I had, purple bags under my eyes, I would have to be careful with my lower lip when smiling, if I smiled, and I almost certainly would, when I met him, so that he wouldn’t see the broken tooth and think I had been slacking, not seeing a dentist, and I had, and everything I was doing and being I didn’t want him to see or know, but after thinking this it brought me grief because I went on realizing realizing, inside the rain, that maybe I didn’t want him to know that I was me, and I was. Something confusing started to happen inside my head, this idea of I not wanting him to know that I was me, drenched in all that rain that fell, fell, fell and I had the urge to return to some place dry and warm, if there was such a place, and I didn’t remember any, or to stop forever right there on that gray corner that I attempted to cross without being able to, the cars throwing water and mud at me as they passed, but I couldn’t, or I could but shouldn’t, or I could but didn’t want to or no longer knew how one stops or goes back, I had to continue going to meet him, who would open the door for me, the moaning sax in the background and who knows a fireplace, pine nuts, warm wine with cloves and cinnamon, those winter things, and even more, I needed to avert my desire to go back or stay in place, for there is a point, I discovered, in which you lose control of your own legs, it’s not really like that, a torturous discovery that the cold and the rain wouldn’t let me chew properly, I merely began to know that there is a point, and I, divided, wanting to see what was after the point and also the pleasure of him waiting for me warm and ready.

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