Posts filed under 'Hungarian fiction'

Translation Tuesday: “I Wonder Whether” by Anita Harag

I don’t know whether I’m in love. I do know where these words must appear in a sentence.

For this week’s Translation Tuesday, we bring you a captivating short piece by Anita Harag, translated from the Hungarian by Walter Burgess and Marietta Morry. Although our narrator is immersed in the bliss of romance, she finds herself relentlessly questioning the foundation of her happiness. Does her partner truly love her, though he appears to be drawn to other women? Does she genuinely love him in return? More fundamentally, how can she even be certain of her own feelings? Her efforts to impose a logical structure on the messy, unpredictable nature of love disrupt the lushly intimate moments she shares with her lover. With its playful linguistic twists and staccato rhythms, “I Wonder Whether” masterfully captures the sensation of being both within and without, suffused with pleasure and unease.

His hands are warm, my thighs cold; I’m chilly. It’s autumn, the AC is on. The cinema is full, I’m sitting on the aisle; the cool air is blowing on me. He asks me whether we should switch seats. I like to sit on the aisle; I don’t want to switch. I would like his palm to be bigger, to warm a bigger area of my cold thighs. I like it when he doesn’t only touch my thigh, but my shoulder and my behind, too. When he takes my hand on the street, in a store or on the bus. He takes my hand anywhere and at any time. Mine is cold; he warms it. His is always warm, mine always cold. At the bus stop he breathes on my neck, so that I won’t be cold. Women stare at him. When I look at them; they turn their eyes away.  

There are handsome men. This sentence is declarative. “Handsome” is the adjective attached to men. Not to all men, that would be “men are handsome”. Not all men are handsome; for me only the ones with prominent noses and muscular calves. In this I differ from my girlfriend, who likes men with strong arms and blue eyes. Those are also handsome; yet I don’t like them. I should say: I like some men, and some I don’t. The ones I don’t like, my girlfriend might. It’s also possible that we both like the same man, with blue eyes and muscular calves; that’s a problem.  Fortunately, my girlfriend doesn’t like men with prominent noses. They repel her; I think the reason for this is to make sure we won’t end up liking the same man, even by accident. Sometimes, I find a man with blue eyes and strong arms attractive. That makes me feel bad, and I try to find fault with him. Some of them can look at me with those blue eyes and make me forget to speak. Him, too, he hasn’t got a prominent nose nor muscular calves, yet I like him. He likes women with brown hair and brown eyes, like me. He also likes women with green or blue eyes, with large or small breasts. He finds something pretty in each of them. I can see myself falling in love with several women at the same time, he says. This is a declarative sentence. It doesn’t contain “perhaps” nor “maybe”, nor anything conditional. “Perhaps” and “maybe” are modifiers expressing uncertainty and possibility. Perhaps I could fall in love with several women, at the same time.  

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Translation Tuesday: “The Toothpick” by Mari Klein

it had been accidentally baked into a slice of Gerbeaud cake, and the confectioner, without knowing it or wanting to, had begotten a tragedy

This Translation Tuesday, we are proud to present a brilliant vignette from the innovative mind of Hungarian author Mari Klein, who also translates her own work into English. Dropping us in media res in this tableau of a woman crouching on a bathroom floor as she gasps for her dying breath—the ignominious cause revealed only near the very end—Klein not only gives us a masterclass in the depiction of consciousness but also a glimpse into her huge gifts as a mordantly funny writer.

(Then she groped on all fours on the worn bathroom floor, along the bathtub, under the washing machine, behind the laundry basket, but couldn’t find it: half a pair of the pretty green stone earrings were gone; there goes the family heirloom, she thought, wiping the blood that had clotted on her neck. But the snake bracelet―the clasp was broken and it was only cheap trinket gold anyway―she couldn’t get rid of, even though she threw it in the toilet and flushed it three times: the blue-purple marks of the scales would have to be worn and concealed on her wrist for a long time to come.)

She opened St. Peter’s Umbrella, to be read by Wednesday, and turned to the last page: “. . . a whisper, it sounded like the buzzing of a fly. Poor child!” she read, but suddenly slammed the book shut, crumpling the dust jacket in her hands, clenching it so tightly that her knuckles turned white. Then she gently stroked the letters on the cover, as if to apologise, and put the book back on the bedside table, next to the polka dot mug. With her finger she stirred the cold cocoa: the pale swirl swallowed the skin and then, as it weakened, spat it back to the surface. She licked her finger: the milk had gone sour. Titi said her daddy made her cocoa every night too.

 (From the white vinyl apron on the drying rack above the bathtub, she counted: water dripped on every fourth. The heavy body was sweating, panting, reeking of booze and garlic; but then all she could see was the fly on the mirror, rubbing its feet, buzzing, moving back and forth a few centimetres every now and then.) READ MORE…

What’s New in Translation: January 2023

The latest reads from Hungary, Sweden, and Kurdistan!

2023 is already setting up to be one of the most wide-ranging and bounteous years for literary purveyors of the world, with an abundance of exciting works slated for publication. This month, we’re presenting three texts that enrapture the imaginative prospects of a world in translation: László Krasznahorkai subverts every expectation for the travelogue, Bachtyar Ali braids storytelling and truth-seeking, and Maria Adolfsson reasserts feminist presence in the male-dominated mystery genre. 

krasznahorkai

A Mountain to the North, A Lake to The South, Paths to the West, A River to the East by László Krasznahorkai, translated from the Hungarian by Ottilie Mulzet, New Directions/Serpent’s Tail, 2023

Review by Matthew Redman, Digital Editor

László Krasznahorkai is among Hungary’s most feted writers in the Anglophone world. His works, characterised by inordinately long, slow sentences which chart the depths of obsession and madness, have earned him a cult of devoted readers and international acclaim, while his translators—Georges Szirtes and Ottilie Mulzet—are lauded writers in their own right. However, his most recent novel to be translated into English, A Mountain to the North, A Lake to The South, Paths to the West, A River to the East, is an intriguing departure from the works that have made his name. The vast sentences he is known for are intact, but they are used in service of a radically different tonal palette. Where his other novels use length to induce futility and despair, A Mountain to the North explores the beatific, languorous, and even beautiful possibilities of extreme syntax.

Set in Japan, the novel takes the form of a travelogue—albeit with the sheer mass of textual detail slowing the journey to an ooze. Strip this away and you find comparatively simple structural bones: a train deposits us at a deserted platform somewhere in Kyoto, we leave the station and wander half-lost through empty streets until we arrive at our destination, a Buddhist monastery in which we remain for most of the novel, touring the grounds and slowly penetrating the interiors. It is a balmy late afternoon, there are beautiful gardens all around, the monastery is silent and exquisite. This part of Kyoto is almost entirely bereft of inhabitants, but the emptiness is one of the rare details that Krasznahorkai chooses not to linger on. In fact, the absence is fortuitous, because the novel is uninterested in people; what consumes the author instead is the immutable, near indescribable beauty of things wrought in accordance with Japanese tradition. With the streets and monastery empty, the prose is freely devoted to the description of his sublime surroundings. Plants in their carefully tended gardens; the shrine’s architecture—their calculations and materials, the minutiae of their construction; the nigh-divinely sagacious prescriptions according to which every detail within the monastery was planned, planted, and built; the commitment at every turn to the tireless refinement of perfection; and above all the feel of all of this beauty—the texture and the grain, and the effect on the soul.

Each chapter houses a single enormous sentence that describes and extols a single beautiful object (a gate, a shrine, a statue) or craft (carpentry, gardening), and ends only when Krasznahorkai deems the subject exhausted. As demanding and unconventional as this novel is, it is not difficult in the way that experimental fiction is often thought to be.  For all its density, there is a deceptive simplicity, even a solicitousness to Krasznahorkai’s prose. His sentences are slow enumerations in service of a simple message that never changes: the monastery and everything within it are perfect, and it could only ever have been so, for it is all the product of patient, genius craftsmen adhering immaculately to faultless prescriptions. The long succession of accounts of perfect things has an incantatory quality, the meticulousness neither torturous nor bewildering, but rather intended to soothe. Krasznahorkai wants to leave you tranquil:

[…] it was something like a labyrinth, of course, but at the same time the chaos causing the oscillation of the layout of these streets wasn’t frightening and even less so futile, but playful, and just as there were finely wrought fences, the grated rolling gates protected by their small eaves, above, leaning out from both sides here and there, were the fresh green of bamboo or the ethereal, silver foliage of a Himalayan pine with its firework-like leaves unfolding; they bent closely over the passerby as if in a mirror, as if they were protecting him, guarding him and receiving him as a guest within these tightly closed fences and gates, these bamboo branches and the Himalayan pine foliage; namely, they quickly gave notice to the one arriving that he had been placed in safety […]

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