Translations

Translation Tuesday: “Mr. Shyti Sheds Light on Some Lesser Known Aspects of National Hygiene” by Ardian Vehbiu

. . . it resembled those desk calendars with individual date sheets, on the back of which one can read a quote by Marx or some curiosity from Mars.

For this week’s Translation Tuesday, the prolific Albanian writer, Ardian Vehbiu, mixes the language of bodily intimacy with the language of the state and bureaucratic maintenance. A dry metaphor takes root, illuminating not only the persistence of pastiche but also the tendency of humans to analyze and rearrange thoughts. This tendency, what some may call the poetic or political, exists in some way at every level of human work. With humour, Vehbiu manages to, in the space of a small speech, cast light on material circumstances, personal history, and the idiosyncratic phenomena that rises from circumstance.

“There will be those, among you,” Mr. Shyti said, “who still remember the time when one could not find any toilet paper in Albania: the State of Workers and Peasants, which thought of everything, did not consider it necessary to provide for this indispensable item for the daily wellbeing of its citizens, not because it was its intention to abandon them in their efforts for keeping their private parts clean, but because it was, perhaps, rather confident that the Albanians had such adequate tradition that they would not find it difficult to overcome such a trifle. I, for a start,” Mr. Shyti continued, “did use polished river stones or, indeed, fig leaves for personal hygiene purposes; however, the truth is that, leaving aside a significant—and still unknown—number of compatriots that humbly used jugs of water to wash themselves, the Albanians of the time used the daily newspaper as toilet paper. I do remember, as a matter of fact,” he recalled, “my late Uncle Neptun, who developed a habit of saving his newspaper copies, which, later, when they were past their relevance, he would cut into equally small pieces, with the precision of a surveyor or metalworker, using his wife’s fearful sewing scissors. He used to do this on Sunday afternoons, while listening to live football coverage on his battery-powered transistor. The result of his work was a handsome pile of regular square sheets, fixed on the wall with a monstrous nail right next to the Turkish toilet; it resembled those desk calendars with individual date sheets, on the back of which one can read a quote by Marx or some curiosity from Mars. And, so, like many other guests at Uncle Neptun’s,” he went on to explain, “I, too, would happen to squat on his toilet, waiting for ‘relief,’ while perusing pieces of field news, recommended phrases, headlines as large as tank tracks, fear-instilling political invectives, accusations and counter-accusations against the superpowers and Eurocommunism, letters from common citizens and public epistles; or watching photographic fragments of leaders, terraced hills, military naval ships, milky cows, and front-runner textile workers, always out of context and randomly remixed as if in a Dadaist work of art, thanks to poor Neptun’s magician folding and precise scissors, may his soul rest in peace! Thus, a toilet was transformed into a recycler not only of the Albanians’ metabolic waste and periodical paper, but also of news and information disseminated by those newspapers, even the ideology of the times, albeit always in the form of collage, or in stark combinations. To those of you who are young and have no recollections of such times,” concluded Mr. Shyti, “I will limit myself to saying that reading slightly outdated newspapers in such minimalistic and fragmented pieces resembles, more than one would think nowadays, a news aggregator or portal, including Facebook, which people now think of as something new.” READ MORE…

Translation Tuesday: Two Poems by Antonia Pozzi

But I burned / with the desire to spring out, / in the encroaching sun

This week’s Translation Tuesday features the work of Antonia Pozzi. Translator Amy Newman writes that “Pozzi’s poetry was posthumously altered by her father Roberto Pozzi to reshape her public image; he scrubbed any evidence of his daughter’s passionate love affairs and her doubts about religion.” These translations represent the restoration of a singular vision, showing that the work of translation can polish away the muck of misrepresentation meant to stifle the subjectivity of women. In these poems the brightness of the mind is painted next to the depths of angst. Here, Pozzi explores the poetry of her own body and what it means to contemplate an individual death in a time of the hierarchy and patriarchy of war.

Thoughtlessness

I remember a September afternoon
in Montello. I still a young girl,
with slender braids and itching
to race wildly with my knees.
My father, crouched inside a passage
dug out in a rise of the ground
pointed out to me through a fissure
the Piave and the hills; he spoke to me
of the war, of himself, of his soldiers.
In the shadow, the grass, cold and sharp
grazed my calves: underground,
the roots were perhaps still sucking
some drops of blood. But I burned
with the desire to spring out,
in the encroaching sun, to gather
a handful of blackberries from a hedge.

Milan 22 May 1929 READ MORE…

Translation Tuesday: “9th June” by Jacky Yuen

Each generation must have its roads and its flags

This week’s Translation Tuesday features the work of Jacky Yuen. Titled “9th June,” after the date of the sizable 2019 demonstrations in Hong Kong, this poem paints the energy and direction of the protestors in a way that is both cosmic but not disengaged. Within the symbolism of the poem, the oppression of mass and obscurity are combatted by singular points. The poet expresses a spirit that is constant rejuvenating and resurfacing, which is aptly captured by the translator: clauses tumble over one another like a structure kept in motion by magnets. Inspiration moves through the people as stardust and rainbows, ethereal and material at the same time. The poem presents the material and metaphysical aspects of collective movement, expressed in individual activation, thereby expressing the frustration and hope of the current political climate.

9th June

No one wants to drown twice in the same ocean.
The fins that sank
will resurface.

The comet fights to resurface.
It trails long shards of ice
like a fisherman’s net. When we lowered it they were stones—
When the times released it they were stars in sideburns.
READ MORE…

Translation Tuesday: “Perspective” by Maria Borio

that their borders invert onto one another as they age

This week’s Translation Tuesday features the work of Italian poet Maria Borio. This translation of Borio’s work is deft, bringing out the implausibly smooth staccato of the original Italian. The mix of rhythm and flow in the poem is incapsulated by the symbol of the train that cuts and blows as it glides. Here, the movement of images works to push the boundaries of the movement of thoughts: brackets set off points of views that read almost like cinematic direction, suggesting that the pure movement of the verse—and thought—are always conditioned by some perspectival imposition. Come aboard Maria Borio’s powerful train of thought.

Perspective

The horizon line seemed the border of the world
halted midst your pole and the sea. The sea curving since

the earth is a globe, suspended between nose and horizon hands
fist fight, thrusting images of inconsistency against
[the horizon.

READ MORE…

Translation Tuesday: Three Poems by Gemma Gorga

Like sad eyes / gestures are also inherited

This week’s Translation Tuesday features the poetry of Gemma Gorga. The poems revolve around themes of domestic labor and consumption; but they are not what they appear on the surface. Fastidious consideration of fish-flesh or mercury or cautionary affects inherited by one’s grandmother hint at a nuanced understanding of the traces of events left on the body and the mind. “Still the smell does not want to leave them, / as if tiny bags of memory remained,” Gorga writes, indicating the complex and grotesque traces that always remain after affects. Visceral, but not overly descriptive, the style weaves potent materials with potent concepts in metaphoric embraces. These poems show that whole lives, whole beings, can be explained and articulated by the smallest things: an anchovy’s spine, a pellet of mercury, a poem.

Poetics of the Fragment

When you return from the market
you must clean the anchovies,
which means ripping off the head and tail,
removing the thin strips still sticky
with life, the central spine
that detaches with a slight zip,
afterwards washing them,
purifying them under tap water
(even death requires baptism),
making sure no tiny eye remains
trapped in the moist blindness of your fingers,
finally soaking them in vinegar,
waiting until the flesh whitens
cured in acid, cured all the way through.
They have lain for hours beneath the planetary
light of oil and pepper.
Still the smell does not want to leave them,
as if tiny bags of memory remained
hidden in the folds forming matter and air.
Making sure no one sees me,
I smell the backs of my hands
(for the sea trace from fish bellies)
and I know they are yours. READ MORE…

Translation Tuesday: Excerpts from Proofs of the Living by Andrée Chedid

Groan / without a voice / in our accents

This week’s Translation Tuesday features the work of Andrée Chedid. Expertly translated for sound and content by Lauren Peat, these poems crack like a conceptual whip—the poet writes, “The cry of being / Rattles our targets / Unweaves our wefts.” With a density of imagery and sound as well as a commitment to a somber reflection on modern consciousness, these poems recall the poetry of the French Symbolists, who constructed dense systems of meaning that evoke magnitudes from the mundane or eerie. The vaguely mathematical nature of the poems, captured in “proofs,” means that the reader is driven towards a certain point, or climax, without realizing exactly where they have arrived. Sometimes the subject matter is haunting; at all times it is captivating.

proofs of being

The call of every birth
Cracks the world order

Its verb looks for us
Its breath divests

Planted into marrow
Pulling speech from the field of words
The cry of being
Rattles our targets
Unweaves our wefts
Flips the streaming hourglass
Holds us to the path———— READ MORE…

Translation Tuesday: “Theory of Affections” by Luca Argel

I always thought that this was a universal truth.

For this week’s Translation Tuesday, Luca Argel spins a simple observation into a theory of relation and attachment. Trafficking in clichés that are made vivid by honest prose, this piece of micro-fiction outlines an order of love in what is often considered an extremely sterile place, devoid of culture: the supermarket. For the narrator, the simple task of prioritizing food on a shelf based on the date it was produced or purchased leads to a revelation about duration and relationships. It is not often that fiction so accurately represents the metonymic understandings that are developed at young ages by considering relations between things and people. Argel’s writing suggests that metaphor is alive and well in the mind of a child; and these metaphors stay with us as comforting touchstones throughout our lives.

I’ve enjoyed supermarkets a lot more ever since I left my parents’ house. I remember my mother telling me that they always place the almost-expired products in the front, and the newer ones in the back. I always thought that this was a universal truth: “all supermarkets have a policy of storing newer products in the back and older products in the front, so customers grab the older ones first.” But that’s not always the case. Today, for instance, the peas on the back of the shelf have the same expiration date as the peas on the front of the shelf. Generally, in the canned goods section, this rule doesn’t apply. But it does in the bakery section; in the bakery section, it never fails! You always need to look for the fresher products, for the ones that will last longer. When we got home, my father would arrange the groceries like that: recently purchased food went to the back of the pantry, while everything that had been there for a while came to the front. At a certain point in my childhood, I began to suspect that my parents had met at a supermarket. One day, she was looking for the freshest heart of palm; he was in the aisle behind her, looking for the freshest mayonnaise, and when they got to the back of the shelf, they realized that the shelf didn’t have a back, one looking right at the other.

READ MORE…

Translation Tuesday: “The Most Solemn Song” and “Asleep in a Haze” by Nadia Anjuman

No one reads the book of your heart’s happy anthems

This week’s Translation Tuesday features the devotional work of Nadia Anjuman. Under pressure, the poems sing out—but not so much to the divine Patriarch as do many religious songs. Created under political pressure in Afghanistan, Anjuman’s poems speak to a feminine subject free from repressive structures. When she says “If one strand of hope finds me” one gets the impression that the “me” is the subject who speaks free of the restraints of strict gender norms. The self is shuttled into wispy metaphors of string and haze, surviving, on the back of lyric, as opaque lightness. The style of Islamic mystics is breathlessly combined with resolutely feminist concerns—the result is a dire urgency. Anjuman ultimately died under the same oppression she was writing against, and her poems give testament to the pervasiveness and resilience of song. The stakes are high here—read carefully. READ MORE…

Translation Tuesday: “The Hot-Air Balloon” by Vassilis Alexakis

In reality, it’s like all words, with good and bad attributes, capable of protecting a thought as much as betraying a meaning.

This week’s Translation Tuesday features microfiction by Vassilis Alexakis. “The Hot-Air Balloon” begins and ends in an ambiguity, thickly described. The prose is structured around a choice without mooring, a choice that presents itself only to give way to the realization that a language system is something that only appears all-encompassing. By intellectualizing the feeling of infinite choice within a closed system and the eventual choice to leave it, Alexakis acutely describes a weightlessness only obtainable by those who walk between epistemologies. In the end, it is the feeling of the transcendence of the system, thematized as an air-balloon, that prevails. It is only through a meditation on words that we can unmoor ourselves from a system. This airy story depicts well the critical posture, especially of those with multiple languages to rely on.

I was asked to write a definition for a word without knowing which one. I had no hesitation. The more arduous a task, the more it fills me with joy. If I’d been given a word, I would’ve felt some pressure; I would’ve felt trapped. Now that I’ve briefly surveyed the entirety of the lexicon, I feel free as if I were being carried in a hot-air balloon.

Is it a masculine or feminine-gendered word? From my point of view, this question is of no concern. Besides, it’s not uncommon for a word’s synonyms to be of the opposite gender. READ MORE…

Translation Tuesday: “The Woman by the River” by Nguyễn Đức Tùng

I have already promised the baby to someone else, she told my mother, but don’t you worry I’ll save the next one for you.

This week’s Translation Tuesday features the harrowing work of Nguyễn Đức Tùng. Illustrative language supports a narrative of unbelievable realism, as the speaker relates the acts of necessity during the Vietnam War that reverberated through the coming generations. Specific lives are pulled out of the polarizing and stereotyped recounting typical of that terrible war, and the author seizes on every chance to give intimate details of lives affected and bowled over. The narrator’s travels to a forgotten home, occupied by a woman who cannot keep but only gives, mirrors and subverts colonial narratives of inaccessibility and backwardness. In the end, the “The Woman by the River” thematizes hope and testifies to the possibility of stories surviving war and the smothering narratives that surround it.

My mother needed to find someone who would sell her a child. It would not be for her; she had given birth to several children, been provided with both boys and girls. The child would be for her cousin who lived in town and had been married for ten years but was still barren. One time my mother took me to the river for this mission, thinking a five-year-old boy like me wouldn’t understand grown-up affairs, or if I learned anything I would forget it as soon as I grew up.

But my mother was wrong.

READ MORE…

Translation Tuesday: “The Viola Couple” by Gyrðir Elíasson

I am alone (apart from the cat), and only those who have endured being alone for an extended period of time can understand the effect.

This week’s Translation Tuesday features microfiction by Gyrðir Elíasson. “The Viola Couple,” translated into a familiar monologue style by Mark Ioli, renders a melancholic protagonist in the throes of loss and ennui. What begins as a mindset typical of a sort of modernist masculinity slowly morphs as the character’s observations reverberate through the prose, changing the concerns from a self-conscious banalness into a metaphoric repose. The change in mood is expertly reflected by the expanding sentence length and conceptual language that increases in complexity. The story seems to suggest that what we focus on can help to shape thought and that singular problems appear different depending on the objects that we hold close to our psyches.

Dedicated to ÓJS

My cat isn’t dead, but he is on a hunger strike. It’s taking a toll on him. I bought him this premium food that was insanely expensive, but he wants nothing to do with it and demands his generic Bónus food back. It’s been several days, and we’re both locked in a battle of wills. No resolution is in sight. The cat mainly lies around inside on the couch, casting accusatory glances at me if I walk past him.

These have been trying times for me, both on account of the cat and various other things. I am alone (apart from the cat), and only those who have endured being alone for an extended period of time can understand the effect it has on your psyche.

READ MORE…

Translation Tuesday: “Don’t Cry” by Mohamed M. Farrag

“Men don’t cry, whatever happens.” And then he wiped my tears.

This week’s Translation Tuesday features the work of Mohamed M. Farrag. The prose is short, succinct, and hits like a hammer—much like the vision of masculinity embodied in the story. Enigmatic messages, the codes that construct subjects along certain lines, flow freely between a boy and his grandfather. These messages transport generational models of masculine repression as they are passed down; in just a few lines, Farrag aptly demonstrates the ways in which the social codes that dictate behavior are transferred. However, the end of the story leaves us with a question: can the script of behavior be broken by reflection and release? Or is this too a planned movement, derived from what came before? Regardless, the emotions captured here are delivered with an uncanny availability: the rhythms that the translator pulls from the original present an ordinary scene that makes one feel as if the answer to some pressing, universal question is close at hand. But the true answer is only a choice: to show or to hide.

He sat beside his dying grandfather; a man known for his cruel heart. He’d never seen him cry. ‎Gently, the grandfather caught his grandson’s hand. “Do you know, son, what my father ‎told me when he saw me crying on the day of my mother’s death?”‎

“No.” The young boy shrugged.

He said, “Men don’t cry, whatever happens.” And then he wiped my tears. “When my wife died your ‎mother was still young. Her death stung me, but I didn’t cry in front of her. I didn’t want her to fall apart. I ‎kept my tears inside.” READ MORE…

Translation Tuesday: “Hedgehog” by Anastasia Afanas’eva

About the dead, we cannot speak / for they are completed.

For this week’s Translation Tuesday, Anastasia Afanas’eva constructs a world of shapes, shadows, and sensations that thematize dread and longing. The poem raises up images from the page in a maelstroma deluge of realizations that impress themselves on the reader like a flood. But the images’ actions are unreal; they are strung together in uncanny ways. In this poem, language acts absurdly, mirroring the unmistakable confusion of loss and of reckoning. The Hedgehog and its shadow are central, and show, in verse, how the most innocuous of things can become sutured with the weight of the universe.

READ MORE…

Translation Tuesday: “Homecoming” by Badai

Eventually, at the edge of his vision, where the fog begins to thin, a figure of a person emerged.

This week’s Translation Tuesday features the work of Badai—an indigenous Taiwanese writer. “Homecoming” probes at themes of reunion, service, and loss through the eyes of a young man torn between the traditional ways of his family and the projects of the nation-state. Juxtapositions between the mountains where the protagonist lives and the flatlands with the military bases, government projects, and different linguistic groups are drawn into tension. This tension is extended for the protagonist as roads, schools, and parks show the growing homogeneity of the national culture. Pride in one’s service—to family and to the state—are complicated things for young men and women. Moments like those expressed here show the complex interrogation that the short story form provides. Here, the interrogation revolves around one’s implication in the changing social fabric of Taiwan. 

A young man was on a bus, heading home. His name was Dumasi. Dumasi had already transferred buses once; this was the second leg of his journey, and he was forcing himself to nap because he still had the final leg ahead of him. The bus would drop him off at the last stop, and then he would hike for two hours up mountain trails. Not that he felt the slightest bit tired. Every inch of him was bursting with the excitement of returning home. Nonetheless, he shut his eyes to rest.

A voice said: “Hey, mister bus driver, this is my stop!”

Dumasi opened his eyes: there was a middle-aged man walking unsteadily up the aisle, laden with bags and bellowing good-naturedly in the direction of the driver’s seat. For Dumasi, the sight and sound of this man was deeply familiar, comforting even—from his broad shoulders to the way he spoke Mandarin with a thick, mountain-man accent.

Dumasi reached down to his luggage and ran his hand along a bulge in the bag. Good—the two bottles of sorghum liquor he’d bought for his homecoming were intact—all was in order. Father will be so happy, he thought to himself. READ MORE…