Posts filed under 'translation tuesday'

Translation Tuesday: Three Poems by Mateo Morrison

August 9, 2022  |  in Translations  |  by Ariel Francisco

my home becomes / a democratic cemetery / everyone free to choose their tomb

This Translation Tuesday, dive into three poems by the Dominican poet Mateo Morrison, recipient of the Premio Nacional de Literatura. Drawn from Morrison’s collection titled Hard Equilibrium, the poems here exhibit a form of night vision that navigates the reader through a world of emerging outlines. Rendered by poet and translator Ariel Francisco in a language that evokes through its understatement, we are thrilled to share these alluring poems with you. 

Scene of the Dead

Night arrives,
my home becomes
a democratic cemetery
everyone free to choose their tomb.

We lay bare our vocation
of living cadavers.
Not even a whisper is heard
and sometimes
—the neighbors know—
we play at death.

Our flowers no longer grow
their yellow’s become
one with death’s playful touch.

The gnawed doors are rigid
the moths have decided
to cease their gorgeous woodwork. READ MORE…

Translation Tuesday: “Prodigy” by Nei Lopes

August 2, 2022  |  in Translations  |  by Robert Smith

Rumor had it the festival in the bay was being watched from the highest parts of the city too.

This Translation Tuesday, dive into a short story from Jabuti Prize-winning author Nei Lopes that takes the reader a century back to Guanabara Bay in Brazil where a circus troupe disembarks. Drawn from a short story collection (Nas águas desta baía há muito tempo: Contos da Guanabara) that zooms in on complex and forgotten chapters in Brazilian history. Hear from translator Robert Smith how Lopes, in Smith’s own words, “undertook meticulous historical research to offer a sweeping view of the place and era, celebrating Afro-Brazilian culture and exploring the history of systemic racism.”

“In portraying a dynamic period of upheaval, the narrator Prodigy occasionally overwhelms readers with the feeling that too much is happening too fast. At the same pace that his story becomes entangled with that of the geographical region, two revolts, and the historical figure João Cândido Felisberto, his ebullient mood overlaps episodes of horrific violence. This translation took some liberties in altering punctuation to maintain this disorienting effect. When translating idiomatic expressions indicative of a past era, I looked to rough English equivalents that would sound similarly dated to contemporary readers. A challenge specific to this short story is the multivocal narrative, which leaves the question open as to whether we are facing a carnival storyteller who is cordially inviting us to suspend disbelief, a folktale with elements of magical realism, or an unreliable narrator whose traumatic experiences as a victim of abuse and a soldier have led him to rewrite his life story.”

—Robert Smith

This island has a lot of stories. They all do, I should say; the whole bay: land and sea. The day the first circus arrived, for example, was like the world was starting all over again.

When the barge docked and started unloading all that stuff, we had no idea what it might be. But a strange joy took hold of everybody, made us want to sing and dance to do something to please that gift that had fallen from the sky without saying what they had come for. Little by little, the colorful poles, the boards, the wheels, the iron braces, the motley flags appeared… Then the cages with the animals.

It was the Seventh of September¹, and, while we were watching everything in awe, the fireworks were going off. The ships, Tamandaré, Trajano, Liberdade², were sailing by in the bay, shooting their fireworks toward the city, way over on the other side. Right then and there, we knew that something truly beautiful had begun in all of our lives.

Disembarking in the quay, the caravan of oxcarts and wagons continued down the bumpy old road. The company was directed by the famous artist Benedito de Lima. And it arrived on our island, straight from Niterói, to save us from our isolation and change our daily routine. It popped up out of nowhere, the only attraction in our village, stirring up the hopes and daydreams of rich and poor, young and old, black and white; everybody.

No one had known the circus was going to come. But when it arrived, even without announcements or pamphlets or newspapers, word got round. READ MORE…

Translation Tuesday: Three Hip-hop Songs from the Swahili

July 26, 2022  |  in Translations  |  by Richard Prins

Not everyone in jail committed a crime / Not everyone in jail committed a crime

In this very special edition of Translation Tuesdays, we are thrilled to bring to our readers three translations of hip-hop song lyrics translated from the Swahili by Richard Prins. From LWP Majitu to Juma Nature to Inspector Haroun, these three songs give us a peek into the music made by a generation of hip-hop artists working out of contemporary Tanzania. These lyrics, thoughtfully arranged in a visually refreshing use of space, find their own musicality and rhythm on the page in Prins’ translation as they tackle issues such as power and punishment through allegory and allusion. Be sure to check out the music videos in the links under each song as you feel your way into the counterpoints of page and performance. 

Story! Story!

“Hadithi Hadithi” by Sloter ft. Juma Nature

Back in the old days,
in the village of Kwale
in the land of the Pare,
there came a lion,
a lion,
stomping an elephant
dead.

Come, deceit
Make it sweet

So listen: When the wild dogs saw that the lion was a killer,
        They pulled a gun on the lion.
        They pulled a gun on the lion.
        The elephant rose from the dead.

Story! Story!
Come deceit
Make it sweet

Better hear it young
Or you’ll be lost

And now that the elephant was resurrected,
Giraffe
        Lion
                Gazelle
                        Hyena
                                Monkey
                                        Cheetah
                gathered around Lake Tanganyika
                        to witness the matinee
                                spectacle:
An elephant, trampled
        to death.

And once the elephant was resurrected:
        He pulled a gun on the lion.
        The lion pulled a gun back.
        Beat the elephant down.
        Lion stomped him afresh
        and knocked his lights out.

The elephant fell,
extinguished.

Story! Story!
Come deceit
Make it sweet

Better hear it young
Or you’ll be lost READ MORE…

Translation Tuesday: “Triangle” by Lior Maayan

July 19, 2022  |  in Translations  |  by Lior Maayan

Wrinkling time is not like standing time

This Translation Tuesday, we present to you Lior Maayan’s self-translation of his poem “Triangle”, in a moving poem that meditates on the experience of time as the speaker moves through the vicissitudes of living, both grand and personal. Read on!

Triangle

Today it occurred to me that there is no real time,
That there is no time in the real sense, just matter changing around us—changing us.
And I really felt in my body that there is no direction to this change,
In a fallow outside Shefar’am I saw an olive tree two thousand years old.
According to the harvesters. How will you prove it, as you are required to
amputate the trunk and count the rings of time, and yet I write you this
on my way to Stuttgart as evening is falling.

Once in the grocery shop, time wrinkled, I’m not sure this sight will ever come back,
I think it’s because of the sun but it’s probably because of Ayelet’s death.
Wrinkling time is not like standing time, it is the feeling that there is no
movement and you are for one moment a wind.
In the past, I would have told you about such things: “it’s to die for”
And meant “it’s to die”.

The days to come touch the days that have come
like the skin around
a bleeding cut,
and our lives are like a series of cuts. READ MORE…

Translation Tuesday: Two Sketches from Vicente Rama’s Portrait

July 12, 2022  |  in Translations  |  by Alton Melvar M Dapanas

Why not separate a couple who always fight like cats and dogs? Even twins who stick together at the womb are separated at birth.

This Translation Tuesday, we are thrilled to bring to you two sketches from Vicente Rama translated from the Binisayâ by Alton Melvar M Dapanas. Join our Editor-at-large for the Philippines, as they show us through the literary and linguistic histories of a writer widely considered as the Father of Cebu City.

“The following dinalídalí (sketches or vignettes) are taken from Larawan [Portrait], a collection of sugilanon (short stories) and dinalídalí written by fictionist Vicente Rama (1887-1956) published in 1921 by The Cebu Press. In Portrait, realism and radio drama sentimentality, sometimes street humour, Christian didacticism, and folklore, backdropped with the ethos of working-class ruralscape, are prevalent, symptomatic of late 19th to early 20th century Philippine fiction in Binisayâ, Tagalog, and other local languages. To National Artist for Literature and Cebuano Studies scholar Resil B Mojares, this comes as no surprise “considering the contact Filipino writers had with Romantic literature through Spanish and American intermediaries.” Rama himself wrote from within a particular tradition in Philippine literature in Binisayâ: the dinalídalí, in itself comparable to the binirisbiris and pinadalagan (sometimes spelled pinadagan, or the Spanish instantanea and rafaga), “short account[s of] spontaneous and hurried quality” which subversively proliferated in vernacular publications even at the imposition of American literature and the English language in the public educational system after the Philippine-American War. Most sugilanon and dinalídalí from Rama’s Portrait started as serialised prose pieces from Kauswagan [Progress] and the bilingual Nueva Fuerza/Bag-ong Kusog [New Force], both periodicals he himself edited, the latter, he owned. 

My impetus behind translating Rama is grounded on two rationales. First, it has been 100 years since the publication of Portrait. The second reason is geopolitical. “Few works in Cebuano [or Binisayâ],” according to Mojares, “have been translated into other languages, whether foreign or Philippine. This is essentially a problem of power: Cebuano has historically been relegated to a position subordinate to Spanish, English, and Tagalog. The concentration of state power and media resources in a Tagalog-speaking primate region and the promotion of Tagalog as ‘base’ for the national [Filipino] language, or as the national language itself, have marginalized regional languages like Cebuano. As a consequence, the development of Cebuano has been stunted.”

Perhaps the primary challenge in translating Rama is that his Binisayâ is distant from mine not only in terms of the temporal (a century apart) but also in the geopolitical (my native tongue is a different dialect within Binisayâ; his is contentiously considered ‘the standard’). His Binisayâ—in its contemporary form a language already heavily influenced by, and possibly the language spoken by the ‘natives’ who had first contact with, the former Iberian colonisers—is also interlaced with the conventions of mechanics and punctuation from Spanish which are no longer used. A product of his own time, Rama’s moral compass is also very different from mine. While “Ang mga mahadlokon” [The cowards] paints a homophobic and effeminophobic picture of two unmarried—possibly queer-coded for gay—men living together as chicken-hearted village idiots, the fictional universe of “Divorcio” [Divorce] is where victim-blaming coupled, as always, with misogyny, is normalised. So beyond textual concerns, my act of translating Rama was also a sort of my confronting of the perpetual elephant in the room in several works within Philippine literature in Binisayâ from a century ago and even that which pervades until today. Such is propagated by paleo/conservative circles of old, (predominantly) male writers who are remnants—or, I daresay, residues—not only of this particular aesthetics, but also of this sociopolitical alt-Right conservativism which, with misplaced regionalism in the mix, has enabled and is still complicit to Philippine authoritarian fascistic regimes.”

—Alton Melvar M Dapanas 

The Cowards 

It was 3:30 at Sunday dawn, the day of the mass at church. Ating and Tuloy both rose from bed and got on their feet. 

“Let’s go, Tuloy. It’s time for church.”

“I know. I even called you up earlier.” 

And so the two went down the stairs. I should say that these two bachelors are known in town for being chicken-hearted so not a day goes by without them doing things together. As they trek through the dimness of the road, they realized they’re being followed. With the loud footsteps behind them, Tuloy felt the chill. He poked Ating and whispered, “Check out who’s behind us.” 

“Ah, not me,” Ating pleaded.

And so on they went while holding each other’s hands tight. When they stop, the one behind them stopped as well. When they run, the one behind them ran as well.

“We’re going to die, Tuloy!” Ating mumbled.

“Don’t say a word! Just pray,” was Tuloy’s reply. READ MORE…

Translation Tuesday: Excerpt from Les pays by Marie-Hélène Lafon

July 5, 2022  |  in Translations  |  by Dr. Benjamin Eldon Stevens

Rumors made the rounds, Monsieur Jaffre was a rebel, a sort of Prometheus chained to the cause of second-rate students

This Translation Tuesday, glimpse into the novelistic invention of Marie-Hélène Lafon’s award-winning Les pays through her protagonist Claire who, much like the author herself, moves from agricultural France to the city. Encountering a certain professor of Greek at the Sorbonne, Claire’s eyes open to this world of “impeccable choreography” and the difference that Monsieur Jaffre brings in his manner and mystique. Translator Dr. Benjamin Eldon Stevens brings us through the landscapes through which Lafon writes, and the feeling he tries to evoke in a translation that bubbles with a kind of intellectual and spiritual wonder. 

“The title of Marie-Hélène Lafon’s 2012 novel, Les pays, suggests a humanizing plurality. Ordinarily, ‘les pays’ would refer to ‘countries’ or ‘nations.’ Here it seeks to make of the French ‘countryside’ something more than how the region is traditionally depicted: instead of the simple monolith that may be found in literature of the city, rather a set of places with their own complex histories. This chimes with Lafon’s stated hope to develop a contemporary literature that would lift rural lives—likewise plural—to the level of myth.

Thus Lafon refigures her own upbringing, with her move from countryside to city modeling that of Les pays’s main character, Claire. Like Lafon, Claire has left her childhood home in Aurillac to study classical literature at the Sorbonne. In this excerpt, which starts the second part of the novel, Claire is in her first year at the Sorbonne. Overwhelmed by the work and not helped by other teachers, she yet delights in language, privately calling the coursework ‘cursus’ and its masters ‘mandarins’ (for, implicitly, they are tart). That sparkling delight she finds reflected in Monsieur Jaffre. His love of the material, his home library overrun with ‘paunchy dictionaries,’ a desk under the spreading arms of a—Chekhovian?—cherry tree: such details suggest to Claire that a life of joy is possible, albeit a ‘joy both ardent and austere.’ It is that complex feeling, felt by the author no less than by her character, that I have hoped to capture in this translation.”

—Dr. Benjamin Eldon Stevens

The Greek professor has a woman’s hands, he rubs them together, interlaces his outstretched fingers; his wrists are supple, and Claire thinks that he must play the piano. She imagines him in a large living room, the piano is black and stretches across a patterned rug, the room is studded with books; his daughters would be listening to him, he has three daughters she knows that he has said so, all three in sciences like their mother, they did however do Latin and Greek in high school, through their final year; the eldest a doctor, a geneticist, a PhD candidate, the other two engineers. Two daughters would be seated on stiff armchairs upholstered in pale yellow fabric, like you used to see for sale in pairs in the window of the antiques dealer in Saint-Flour, you did not know the price, which was not posted, behind the senatorial armchairs you could make out gleaming dressers, pontificating armoires and distinguished vanities, you did not stop you never went inside. The Greek professor’s youngest daughter would stand up straight at her father’s side and turn the pages of the score, or the father would play without one; Claire hesitates, she does not know if playing without a score, by heart, is a sign of greater distinction at the piano; she hesitates also on their first names, Anne, Alma, or Sophie, she sees the girls’ hairstyles, smooth brilliant blunt bobs for the younger two, long hair left down the back for the eldest, they are brunettes like their father, the color matte. READ MORE…

Translation Tuesday: “The Punishment” by Inés Garland

June 28, 2022  |  in Translations  |  by Richard Gwyn

That night, as always, Ramona made us pray on our knees, side by side, with our elbows resting on the bed.

This Translation Tuesday, we bring to you a short fiction from the prize-winning Argentine writer Inés Garland. The story evokes the terror endured by two sisters from an affluent Buenos Aires family, after their parents leave them in the care of a vindictive nanny at the family’s country ranch. Tense and dramatic at turns, this story is a look into a child’s psyche and how they navigate the vagaries of their world. Before reading the piece, hear from translator Richard Gwyn himself about the connotations and choices around the story’s title. 

One issue stood out above all others in translating Inés Garland’s short story ‘La Penitencia,’ and it concerned the title. Penitencia—‘penance’ in English—is familiar to practising Catholics as an action one performs in the hope of making up for a sin. The particular nuances of this concept, or sacrament, might not be familiar to non-Catholic readers. ‘Penitence,’ which sounds as if it should be right, refers more specifically to a state of mind; of regret, sorrow, or remorse for a wrong committed, and it was clear from Garland’s story that the nanny, Ramona, was expecting rather more than this from her young charges. I opted for the less problematic but less precise ‘Punishment’ to cover a multitude of sins, not only those committed by Catholics.

—Richard Gwyn

That summer might have been no different from any other. We had spent Christmas in Buenos Aires and two days later, like every year, Mum and Dad took us to the country. Ramona was sitting between Clara and me, on the back seat, and was staring ahead, very quiet. She always travelled like this, with her arms crossed and back straight; occasionally she moved her lips as if she were praying and looked at Mum, at the back of Mum’s neck, with short and furtive glances.

Before reaching the dirt road, Mum and Dad announced that, this year, they wouldn’t be able to stay with us, even for one night; some friends were expecting them the next day. Clara began to cry. Ramona continued to stare straight ahead, but clenched her jaw. I decided that this time I wasn’t going to let Mum and Dad go without telling them how Ramona carried on with us when they weren’t around, but, determined as I was, I couldn’t think of a way of telling them everything without Ramona hearing me.

The solution occurred to me when I saw the overgrown field of maize, next to the house. While they were unloading the bags and opening up the house, I explained the plan to Clara, without going into details. I grabbed her by the hand and we ran into the maize field and lay on the ground, face down.

My plan was simple: Mum and Dad would have to look for us to say goodbye—I was sure of that—and when they bent down to give us a kiss, the leaves of the maize would hide them. Down there, hidden from Ramona, I would tell them everything. It seemed so easy, so perfect. READ MORE…

Translation Tuesday: Two Poems by Cho Ji Hoon

June 21, 2022  |  in Translations  |  by Sekyo Nam Haines

but what shall I do with / my long sighs that turn my lips blue

Part of the Green Deer school of poetry that emerged in the aftermath of Japanese rule, the celebrated South Korean poet Cho Ji Hoon was one of the most distinguished poets of modern Korea. This Translation Tuesday, we bring to you two of Cho’s poems translated by Sekyo Nam Haines that evoke the complex folds of longing and distance through their meditations on the simplicity of a door or a road. 

Stone Door

There is a stone door that will open at the brush of your fingertips, without a sound.
Many people are anxious about it, but since the door has been shut, within the stone walls, the green moss grows on the shelves of twelve stair cases.
Until the day you return, I keep a stick of candlelight that will never burn out.
As long as your longed face reflects faintly in the dim light, even if a thousand years
pass, my sad soul will not close my eyes. 

What are those few dewdrops that always linger on my long lashes?
Should I dry my tears with the blue linen robe you left behind?

My two cheeks still look peach colored as before, but what shall I do with
my long sighs that turn my lips blue?  READ MORE…

Translation Tuesday: “CABO ROUGE / Kabiosile” by Soleida Ríos

June 14, 2022  |  in Translations  |  by Kristin Dykstra

I scrawl / lacerate / squeeze / twist / hammer

This Translation Tuesday, enter the oneiric geography of acclaimed Cuban poet Soleida Ríos in a hybridised work that is her own fluid and inventive relationship to genre and tradition. The airport—with all its connotations of citizenship, mobility, and border-making—is given a surreal makeover when the speaker at every unexpected turn is confronted with the presences of Chagall to Sarduy, from an Arching-Eyebrow Woman to (Normal-Brow) woman. Accompanying Kristin Dykstra’s energetic translation is an illuminating tour of Ríos artistic and political inheritances that allows us to see the poet’s workings, but which renders her poem no less strange and powerful.

“Soleida Ríos often explores dreams, as well as realities refracted through dreamlike states. An elusive quality characterizes her work, the spirit of creative cimarronaje. This term refers to the ethos of the fugitive slave, which Ríos has invoked in some descriptions of her writing. Her book Estrías (Grooves) intertwines that spirit with a more recent strand of Cuban history: the internal migration of rural citizens (many of them Afro-descendent), who like Ríos moved from their origins in eastern Cuba to the western capitol, Havana, in the decades after 1959. In the city, finding and keeping a home can be a struggle. 

“CABO ROUGE / Kabiosile” depicts psychological navigations of national space and legal language in search of one’s own place. Along the way the narrator registers artistic legacies of Severo Sarduy, Marc Chagall, René Magritte, and Yoruba traditions in Cuba. Here too are figures from local bureaucracy, which might well be described as a culture in its own right. The agent at an airport counter initially seems responsible for enforcing travel regulations, then transforms into a subject struggling to create a place that state officialdom would interpret, legally speaking, as her house. Settings shift, contributing to the sensation of unreality. Perhaps we have fallen into a Chagall painting. But the woman’s refrain foregrounds practical acts of migration: “I left MY COMMUNITY and I moved on to THE COUNTRYSIDE … From the countryside I came HERE.” Other recurrent elements invoke attributes of the orisha Changó, who is associated with the color red and explosive percussion in ritual music. The kabiosile of the title is a verbal salutation to Changó.”

—Kristin Dykstra 

CABO ROUGE / Kabiosile

… I’m not reproducing …
I scrawl, lacerate, squeeze, twist,
hammer.
A number.
A smudge.

In the airport (one example), my head filled with such disorder that I’ve forgotten to retrieve my suitcases. Eighteen suitcases.

But since I also forgot to set aside my essential documents, namely: TICKET, BOARDING PASS, BAGGAGE CLAIM stub, among others of subtle distinction, which I can’t remember now … I’m thinking about how I can maneuver, to present myself in transit and request my entirely disproportionate and (I guess) extremely suspicious baggage.

So now I’m at the counter saying, with all the composure of (borrowed voice) I-Came-On-The-Flight-From-Paris….

Arching-Eyebrow Woman looks at me doubtfully …, she turns back to the heap of papers … So I confirm, “The-11:39-From-Paris.” 

And immediately I remember, horrified, “the PERMIT, I forgot the PERMIT …”

Nothing subtle about that.

And my wings drop away from me.

Arching-Eyebrow Woman, still doubtful?, asks me, “Your last name is Vives ….?!” READ MORE…

Translation Tuesday: Two Poems by Katrine von Hutten

June 7, 2022  |  in Translations  |  by Cristina M. Burack

gladly would I write two three / sentences that look like you

This Translation Tuesday, we bring to you two poems by the German writer Katrine von Hutten, including her poem “Description”, which won the Leonce and Lena Prize in 1969. In an elegant and plain style rendered by translator Cristina M. Burack, these two poems convey the simplicity and mystery of approaching another person through one’s private vocabulary. 

Description

gladly would I write two three
sentences that look like you
that are as you are
at best I can describe you

you are a wolf
in wolf’s clothing
and a sheep
in sheep’s clothing
but you know that

the circles under my eyes look like you too
when you jump through I have to laugh
you often say whoopsie
even when you don’t say it
better to say: you mean it

it is only half past six
but already wholly dark
you’re like that too

READ MORE…

Translation Tuesday: “Flowerie Dream” by Hàn Mặc Tử

May 31, 2022  |  in Translations  |  by Phuong Anh

I beg, please empty out words and let yourself be present

This Translation Tuesday, treat yourself to a poem by the poet Hàn Mặc Tử, a celebrated figure of the New Poetry Movement in colonial Vietnam. Translator Phương Anh—whose interview with Vietnamese writer Thuận we recently featured—brings to us this poem with its modernist and mist-like qualities. “Flowerie Dream” is a meditation on the quality of presence from the early twentieth century that refracts the influence of French symbolism. 

“Hàn Mặc Tử’s poetry, with his surreal and ambiguous imagery, has often been considered untranslatable. It doesn’t help that, with each printing, there have been tweaks in punctuations and even words. In my opinion, his poems invite multiple translations, with mine being one of the possibilities, based on the version found in the bilingual edition Le Hameau des Roseaux by Hélène Péras and Vũ Thị Bích. My approach for this poem was mainly to bring out that meditative and quality of mystique in the Vietnamese, and to take liberties in changing the structure, particularly in the first stanza. In Vietnamese you can often create a double action in a very short space, but when translating into English (or French), in unpacking all actions, sometimes the line becomes too long, taking away that succinctness from the Vietnamese. Therefore, I decided to move a few words around—but only when it fits the effect. For example, instead of directly translating the word ‘không gian’ (space), I left the line hanging on ‘staining.’ Partly because I felt the line was getting too long, but also because I wanted to bring out the idea of the staining movement of the smoke by having it intrude onto the next line. This adds to the mystical quality of the ‘khói trầm’ (smoke) which also can refer to the agarwoods sometimes present in spiritual practices. Similarly, I moved the verb ‘daring’ up a line, and placed it at the enjambement to underscore both the speaker’s confidence and hesitation.” 

—Phương Anh

Flowerie Dream

Low-hum smoke gently ripples across, staining
Bluish time spills into golden dream
This evening’s dress is too formal—daring
To kiss chrysanthemum soul’s in the dew

Can you water the flowers with your warm tears?
Count a petal for each loving time
Can you bury the pieces of withered spring?
And please, bury them in the depths of the heart. READ MORE…

Translation Tuesday: “Chemistry Lesson” by Hagit Zohara Mendrowski

May 24, 2022  |  in Translations  |  by Dana G. Peleg

In our room we are delivering / each other

Revel in the sensuous yearning of “Chemistry Lesson” this Translation Tuesday, a poem by the pansexual Hebrew poet Hagit Zohara Mendrowski’s that itself enacts a pedagogy of queer desire. In Dana G. Peleg’s translation, the linguistic aspects of gender between Hebrew and English unfold in poetic time to elongate and stretch the modes of desire latent in Mendrowski’s poem. Read this poem today and hear from the translator on the choices she made: 

“The love poems of Hagit Zohara Mendrowski, a pansexual Hebrew poet, reflect a great yearning. In many of her poems, the lover she yearns for is non-existent or a fantasy male or female lover. In this poem, the female lover is real, tangible. Furthermore, the gendered conjugation of verbs and prepositions in Hebrew does not leave any doubt regarding the type of the lovemaking depicted here. When using second person singular in Hebrew poets are forced to choose a gender. English, on the other hand, allows room for interpretation. I took the liberty of leaving readers with a question mark for a while. That question mark becomes an exclamation point when Mendrowski writes “pigeons” in the feminine. This is a grammatical error, or a children’s word, since “pigeon” in proper Hebrew is pluralized in the masculine. This usage adds another layer to the yearning expressed in this poem, for turning lesbian lovemaking into an act of procreation, of recreating.” 

—Dana G. Peleg

Brilliant formulae you have developed
Insist on impregnating me

When you squat on all six
my tongue draws infinite figures of eight
inside you. The whole room is lit. I drop into
The world of my childhood, scared
to sprout
but your obstinate womb pushes away—

Outside people continue to
Spit, swear, drag their heavy baskets.
Honk their limping cars.

In our room we are delivering
each other. Wander READ MORE…

Translation Tuesday: Excerpt from “Father” by Ivana Dobrakovová

May 17, 2022  |  in Translations  |  by Julia Sherwood and Peter Sherwood

I was horrified that one day I’d be as stingy as my dad. Because stinginess is hereditary, you see. It’s a genetic predisposition, I’m quite sure

This Translation Tuesday, we feature a story from Slovak writer Ivana Dobrakovová’s European Union Prize-winning collection of short stories Mothers and Truckers. Told from the perspective of a young woman who brings up memories of her father, this story—translated by our very own editor-at-large for Slovakia, Julia Sherwood, and Peter Sherwood—employs a first-person voice that is compelling and speaks from the very core of a childhood that is at once stained and sustained by these recollections. Hear from our translators on the themes and connections of the forthcoming collection which opens with this powerful story. 

““Father” is the opening story in Mothers and Truckers, a collection of five stories by Slovak writer Ivana Dobrakovová, set in her hometown of Bratislava, and in Turin, Italy, where she now lives. Each of the stories features a troubled young woman living through, or reliving, a variety of  traumatic events and Dobrakovová has given each a distinct voice in which they deliver cascading internal monologues that are intense, searingly honest and often very funny. As Hungarian literature scholar Anna Gács notes in her foreword to the English edition, due from Jantar Publishing on 30 June: “By focusing on the mental processes of her protagonists, sometimes almost in a stream-of-consciousness manner, she offers us five sensitive portraits written with an abundance of empathy, down to the most ironic details.” While four of the protagonists struggle to shake off the influence of dominant mothers and to escape from claustrophobic relationships with neglectful husbands or partners, or seek solace in imaginary relationships, here the author focuses on on the impact on the narrator of her father’s mental decline and descent into alcoholism.”

—Julia and Peter Sherwood

What do I know about my parents’ relationship? The less the better? To be on the safe side? Mum must have seen something in him. But what exactly?

She said that once Dad had told her, in the presence of other people, that she was not only intelligent but also beautiful. It must have been quite a statement, an exceptional compliment for her to cherish the memory of it so much. To want to share it with me. He had always had a drinking problem, which is why, as long as I can remember, I always thought of it as something inseparable from him, a part of him that was meant to be that way. Just like his illness. There’s no point trying to figure out which came first, the chicken or the egg, what was the cause and what was the effect: his unstable mental state, the age-old proclivity to drink, the genetic predisposition to both that got all mixed up, reinforcing each other until they came to form his very essence.

Nevertheless, some episodes do stand out.

One night, Mum, at the end of her tether, dragged us out of bed. ‘Girls, get up, go and tell your Apuka that we live one floor higher up’. My sister and I staggered out into the stairwell in our pyjamas, drowsy with sleep. We didn’t understand what was going on. We found Dad one floor below, persistently ringing our neighbour’s doorbell even though the neighbour was standing in his open doorway trying to stop him. With great difficulty, the two of us then helped Mum haul him upstairs and into our flat. I don’t know when exactly this happened. Or how old I was at the time. My sister was still at the same school as me, so I would have been in the third form. One of the first incidents of this kind, to be followed by many more. It felt bizarre. Like a bad dream. Like a night-time escapade foreshadowing my eventful youth. READ MORE…

Translation Tuesday: Excerpt from Lucky Beny by Simona Bohatá

May 10, 2022  |  in Translations  |  by Alžběta Belánová

“You’re gonna be a famous photographer . . . you’ve got an eye for it, you see 'it,’ dude, they can’t teach you that at no school.”

This Translation Tuesday, we feature an excerpt from Simona Bohatá’s novel that offers the reader a kaleidoscopic perspective on a slice of the working class in 1980s Czechoslovakia. With prose reminiscent of Bohumil Hrabal, the novel was nominated for the Magnesia Litera Prize in the Czech Republic where the jury praised Bohatá’s characters as “so full-blooded that we can almost feel their pulse.” As you glimpse into this fascinating novel of the everyday, hear from translator Alžběta Belánová on the intricacies of representing the Prague slang. 

“The novel offers an up-close-and-personal look at the grimy, crumbling world of workers’ settlements, pubs and salvage yards in 1980s Czechoslovakia, and the lively assortment of bizarre characters who inhabit it. Young Beny leaves home to escape a violent and abusive father to find refuge at a scrapyard run by someone they call the Fabrikant. Together with Hany who is handicapped, a drifter called Julča and Beny’s brother Vítek, they form a quirky new family. While the author certainly shows the dark and disturbing reality of this era—Beny and the others were certainly dealt a hard hand in life—the book doesn’t just serve up misery as the real time storyline moves in an almost optimistic direction. Beny is truly lucky, as he manages to find a better job and ends up having more time for his one passion, which is photography. As with other Simona Bohatá’s works, the biggest challenge for the translator is capturing the atmosphere of the novel, which the author achieves through the use of heavy working-class Prague slang, what is more, spoken by teenagers. Linguistically, I found a parallel with The Basketball Diaries memoir (and similar such works), which achieves the same effect through the use of heavy New York slang and a disarmingly familial tone of the various journal entries. I found this quite inspiring for my translation and was able to draw on that to find the right voice for Beny and the others.”

—Alžběta Belánová 

Beny 

He was mad as hell as he walked up the street, angry with himself for letting it get to him even after all these years. He ran into them stupidly on the corner right by the ice cream parlour. They were laughing but stopped when they caught sight of him. Two, maybe three of them said “hey,” while the others bent their heads down in embarrassment. Beny was ten times more embarrassed though because they split the embarrassment up among themselves but he had to go at it alone. 

Classmates, he thought and smirked to himself. They were thick as thieves all of year eight including Jana and Bingo whose grades were just as shitty as Beny’s. But Bingo’s mom came down hard on him, forced him to start cramming and managed to get him through to ninth grade. No one came down hard on Beny though, so he had to go off to trade school right out of eighth grade while Bingo went on to ninth grade with all the others and then on to grammar school. 

He was a leper to them ever since. It only took one time when he met up with them after summer vacation to figure that out. He was sitting with them outside the Bookworm restaurant and it was as though he was invisible to them. They wouldn’t look him in the eye. Jana was latched on to Bingo who was telling idiotic stories. The very same Jana who was telling him how much she loved him only half a year ago. They didn’t even notice when he left. He didn’t see them for more than four years after that and now he had to go and run into them all together like that.

He wanted to go home but felt all out of sorts so he headed to the scrapyard.

“Fuck them, dude . . . they’re just spoiled brats.” Fabri handed him an opened bottle and Beny took a big gulp to wash the anger down. Fabri went on with his philosophizing.

“Where the hell would they be without their filthy rich fathers? Bullshit, rich brats . . . with parents in high places . . .” He shot a side glance at Beny and was glad to see him smile.  READ MORE…