Posts filed under 'village life'

Translation Tuesday: “Earth Mounds” by Ahmed Amran

He wanted nothing else, just to live in respect and dignity.

This Translation Tuesday, we present a quiet and devastating tale of abuse, escape and dreaming, told with care and gentle detail by Ahmed Amran. Yemeni-born but a naturalized citizen of Hungary, Amran writes in Hungarian and here draws inspiration from its vast and “dazzling” plains—the story of Earth Mounds hinges on his protagonist’s first glimpse of a steppeland that stretches to the horizon. Its very endlessness holds the promise of a future; he need only grab it.

We were still kids, all of us short. While of our age group, he was smaller in bearing. He barely spoke. He would rather observe our games than join in. He was fearful, almost terrified, of ending up in the sort of squabble that would spill over into a fight. Yet once in a fight, he slowly turned into a wounded lion. Then he would strike hard, unstoppably, sobbing as he fought, and when he sensed his victory, he would pull his most grievous punches. Then he would break into a run. Later we found out his refuge. On the edge of the village, on the other side of the fearsome graveyard, several low earth mounds lay. He would run there, climb up them, and roll down.

I remember when we noticed his growth spurt. Under his pitch-dark hair, the brown of his forehead had darkened. We hardly ever saw him on the village’s narrow streets. Instead, he would turn up in the deep, steep valleys engirdling the village. Later we heard about how his stepmother used to torment him. She would accuse him of stealing; almost every day she would find some excuse to kick him out of his father’s house. His father, to stay on his young wife’s good side, berated and beat his son. The boy had no strength left to cry. Out of sheer exhaustion he would often fall asleep during a beating. But sometimes he found refuge in the house of a hobbling old woman, where he could rest his worn body.

From the proximity of our old house we saw and heard them every evening. As if he enjoyed it, his father would raise his voice while throwing stones after his fleeing son. His young wife, like a hawk swooping down, would snatch up any of her little children who were playing nearby. A sly smile, visible only to those familiar with her wicked nature, etched itself in the corners of her mouth.

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Translation Tuesday: “Glass Apples” by Lidmila Kábrtová

So I leaned against him, resting my head on his chest, and looked up. But the sky was like burnt porridge.

A game of magical thinking leads to a teen’s traumatic coming-of-age in Lidmila Kábrtová’s short story “Glass Apples,” this week’s Translation Tuesday selection. Decay and growth surround our speaker as she pursues a crush, though her excitement and anticipation betray her as she discovers a sinister and predatory side to young love. Of note is the speaker’s voice, initially full of hyperbole and youthful naiveté. A first-person narrative of meandering thoughts segues into a moment of subtle disembodiment (CW: sexual assault) as the speaker refers to “the body” instead of “my body,” and all the while rotting “forbidden” fruit provides a literal background to our protagonist’s fear and disillusionment.

It’s pitch black. Even though I’m being very careful, I can still feel myself standing on apples. There are so many that it’s impossible to avoid them, so I don’t. They crunch underfoot, turning into a sticky, sour-smelling mush. They are summer apples, but Gran, who I’m staying with over the summer holidays, calls them glass apples because they have such fine white skins that they almost look like they’re made of glass. They bruise easily—in fact, all you have to do is handle them a bit roughly and almost at once horrid marks appear on their soft apple skin and quickly turn brown. These apples don’t even taste very nice: at first they’re hard, bitter and tart, and then almost instantly they become floury and not nearly as sweet as, say Holovousy or reinettes, so they’re no good for anything except strudel. Gran bakes strudel with them regularly, twice a week. Even with the bashed and rotten ones. Which is just about all of them. The two of us always have a lot of coring to do. Gran even knows how to core the really, really bad ones. But not even Gran could make anything out of these ones.

My skin is really delicate too. Like glass. Gran says it’s like those apples. She says it all the time. I liked her saying it to me when I was ten, but now that I’m sixteen it’s really annoying. It’s also annoying how she’s always checking up on where I’m going, who with, and what time I’ll be back. I’m sixteen and I don’t want my Gran on my back all the time!

Last year I could still talk to her about a lot of things. But now I don’t want to talk to her about anything. Not about apples and certainly not about Štěpán. Definitely not him. Or anything to do with tonight. I just want to get home quietly so Gran doesn’t hear me. I’ll have to wash my shoes too, as they’ll be filthy from all of the apple mush.

I know I promised Gran I wouldn’t go to the dance. And then I climbed out my bedroom window. It’s on the ground floor, so you don’t have to jump from very high up. I’ve never tricked Gran before—well, at least never this much. But I just had to. Going out was a matter of life and death. Gran wouldn’t have understood. She would have said: Tereza, there’ll be other dances. In a year or two when you’re older and more responsible . . .

But how could Gran know what it was like not to see Štěpán, when it was obvious he’d be at the party? How could I lie under the duvet and try to close my eyes when all I could see going round my head were all the girls around him squealing, just so he’d notice them?

I didn’t have to squeal. He whistled over to me this afternoon when I was in the garden: “Are you coming, Tereza? It’s just a stupid dance, but better than nothing . . .” And he had his head tilted to one side in a really cute way and was kicking a stone on the ground.

Štěpán, the best-looking boy in the village. All of the girls were after him. Of course I was aware of him too, but the past two years he had acted as if I meant less than nothing to him. As if he didn’t register me. As if I didn’t exist.

“Yeah, I’ll come.”

“See you at nine then,” he said and disappeared. READ MORE…

Why Living Is Not the Same as Life: Yan Lianke’s Village Memoir

Perhaps the best way to describe Yan’s writing is that of brutal honesty.

Three Brothers by Yan Lianke, translated from the Chinese by Carlos Rojas, Grove Press, 2020

One of the most translated contemporary Chinese authors, Yan Lianke, has become quite the celebrity: he is featured in interviews in global media, invited to international literary festivals, and quoted on the coronavirus pandemic. Yet, despite this fame and international image, he remains fiercely loyal to his roots—the Chinese village where backbreaking hardship was the common lot until the 1990s. As he admits in his latest book to be translated into English: “I grew up in a household full of poverty and warmth.”

In this piece of non-fiction called 我与父辈 (first published in China in 2009) and rendered as Three Brothers in English through Carlos Rojas’ faithful and vivid translation, Yan pays tribute to the generation of his father, who survived an era of famine, political upheavals, social discrimination, and self-reliance in the 1960s and ’70s. By remaining faithful to their rock-solid values of decency, sacrifice, and stoic acceptance of life’s unfairness, this generation was able to provide better lives for their children. Yan, who belongs to the bridge generation, still remembers his early life of “吃苦” (chi ku, or literally, “eating bitterness”), whilst he has also directly experienced the benefits of China’s economic and social reforms that started in the 1980s but affected life in villages much later, around the late 1990s.

The book, which is subtitled Memories of My Family, describes the lives of three men: Yan’s father, Yan’s father’s second brother (called Second Uncle), and his cousin (called Fourth Uncle). All of them share similar characteristics: they are illiterate, extremely hard-working, and they all die as a result of the physical abuse that their bodies experienced in order to meet their most important obligations towards their families.

Perhaps the best way to describe Yan’s writing is that of brutal honesty. In this world of harsh masculinity—there are very few mentions of women in the book—life consists of the most important stations in life: giving birth, building houses, feeding and marrying off one’s many children (this was before China’s one-child policy started being implemented in 1979), providing education for the happy few, and ensuring a decent funeral. This is all accomplished through a philosophy that Yan describes as the difference between living in the village and in the city:

“ ‘Living’ suggests a process of enduring day after day, with each day being the same, and implies a kind of monotony, boredom, hopelessness, and idleness. ‘Life,’ on the other hand, conveys a sense of richness, of progress and the future. It has color and vitality and calls to mind the act of walking down a broad road illuminated by bright lights.”

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