Ponorenie

Pedro Novoa

Illustration by Andrea Popyordanova

Ponoríš sa. Klesáš pod hladinu a počuješ babičku Hiromi: „Dones riasy ako za starých čias.“ Slová sa vznášajú okolo tvojej ručne vyrobenej masky, sú rybami, ktoré rozptyľujú svetelné lúče. Nanič bol tvoj návrh, myšlienka naďalej dôverovať modernej medicíne. Jódové pastilky, tie tabletky, ktoré tvoj brat Yochan bral proti anémii, veľmi neposlúžili; nanajvýš mu na pár týždňov prifarbili líca na bledoružovo.

A vtedy prišiel tvoj tréning: plávanie, čoraz hlbšie ponory a jasné, lekárske prehliadky, aby sa videlo, ako reaguje tvoje telo. Musela si sa uistiť: mama Misuki zomrela práve preto, že podcenila vedu, pretože dôverovala viac mýtu ako realite. Pre babičku dcéra nezomrela, more ju zavolalo späť. Nikto jej neoponoval. Ako zvyčajne sa na kare neplakalo. Iba papa Hideo sa schoval na záchod, kde porušil tradíciu a rozplakal sa.

Papa bol čierna ovca rodiny. Ak nás gravitačná sila ťahala k zemi, on sa vznášal. Ak sa všetci otáčali doľava, on zrýchľoval opačným smerom. Keďže vedel, čo ho čaká, dovolil, aby ho Yochanov doktor presvedčil a presťahovali sme sa do Chosiky s nádejou, že suchá klíma zlepší zdravie tvojho brata.

Keď to babička zistila, vydedila ho a zbalila mu kufre. „Vrátim sa do svojej vlasti,“ povedala, keď sa vo svojich osemdesiatich rokoch pohla na letisko a vydala sa smerom do Japonska. Hrdá starenka žila sama bez elektriny, kreditných kariet či supermarketov a živila sa iba rybami, morskými plodmi a riasami, ktoré sama lovila v mori. „Mala som celý Tichý oceán len pre seba,“ vysvetľovala o rok neskôr.

Keď sa zistilo, že chosická klíma Yochanovi skôr škodí ako pomáha, vrátili sme sa do Callao. Práve ty si presvedčila babičku, aby sa vrátila. Bolo to aj obdobie zrady, tvojej zrady: cestovala si do Cuska, pretože si našla dobrú prácu, ale babičke si povedala, že žiješ v Lime, iba hodinu od domu. Preto, vždy, keď sa zorganizovali rodinné stretnutia, vymýšľala si najnezvyčajnejšie výhovorky. A keďže si bola jej miláčikom—hoci nikdy to nepriznala—vždy prijala akýkoľvek výmysel. No keď ti v telefóne oznámili, že Yochanova choroba sa zhoršila a že lekári to už celkom vzdali, prvým letom si šla do Limy. A bola si tam, potápala si sa, aby si vylovila riasy, ktoré babička používala vždy, keď lekárska veda odsúdila tvojho brata na smrť.

Keď mal Yochan osem rokov, ponárala sa babička; keď mal šestnásť, mama Misuki a teraz, v dvadsiatich štyroch to bolo na tebe, na ďalšej generácii. Žena tvojho brata sa ponúkla namiesto teba, ale v žilách jej nekolovala tá istá história. Ženy v našej rodine sa potápali do mora už tisícky rokov, lovili mušle a perly. Nešťastná vytočila tvoje telefónne číslo s rovnakým zúfalstvom, ako teraz držala lano omotané okolo tvojho pásu. V člne sa tvoja švagriná potila, trpela: tvoje ponorené telo bolo istým spôsobom jej telom.

A ty so sklonenou hlavou, ponárajúc sa do univerza čierneho mlieka so šnorchlom, ktorý bol teraz rohom vyrastajúcim z tvojich úst. A agonický pásik svetla z baterky ti ukazoval zostup, aby si zistila, že noc pod hladinou je ešte väčšou nocou. A bez plutiev, bez neoprénového obleku, s odhalenými prsiami a oblečená iba v malých plavkách si smerovala celú večnosť k množstvu rias, aby si našla hnedožlté, slávne riasy fucus. Tie rastliny, ktoré tvoje predchodkyne lovkyne perál, jedli čerstvé, aby zahnali démonov slabosti. Nanešťastie však rástli v nepriateľských hĺbkach pod útesmi. Teraz, tridsať metrov pod hladinou si cítila, aké zvlášť ostré sú skaly.

S veľkou opatrnosťou si vplávala medzi množstvá planktónu a kolónie mušlí. A konečne si na rukách, ramenách, na prsiach pocítila nadýchané vačky rias fucus. Vytrhla si koľko si len mohla, aby si naplnila pletený vak a stačilo: polovica bitky bola vyhratá.

Už minútu a pol si nedýchala: vo vodách je to celá večnosť. Chvíľami si cítila, ako ti puchne jazyk, tuhne a tlačí sa do hrdla: tak zomrela mama, keď sa prerátala so silami na návrat. Aj teba by mohla zastihnúť takáto smrť. Pohla si sa čo najmenej, aby si si telo neotrávila oxidom uhoľnatým. Ruky si pripažila k telu a kopala si nohami iba toľko, aby si sa vynorila na hladinu. Bohužiaľ, uzol na tvojom lýtku ti prekazil plány. Zrejme si sa zamotala do vlastného lana.

„Neboj sa mora. Neboj sa bojovať o to, čo miluješ v hĺbkach,“ boli babičkine slová, tie ryby, ktoré prehĺtali záblesky svetla pred tvojou maskou. A hore sa tvoja švagriná s vypätím síl zúfalo pokúšala ťahať lano, ktoré s hrôzou zacítila uvoľnené a potom pretrhnuté.

Potom, čo zacítiš neviditeľné údery do bránice, uspávajúcu nevoľnosť, ktorá ťa odnáša zo sveta, dokážeš rozviazať uzol, zbaviť sa oloveného opasku a takmer inštinktívne stúpať. Vraciaš sa pomaly, ale plynule, keď päť metrov pred vynorením zbadáš spodnú časť kýlu člna, ktorá sa postupne rysuje a dostáva tvar. Vidíš, ako sa útržky tvojho života vznášajú nad tebou ako nepravidelné olejové škvrny. Uprostred nich rozoznávaš bledé líca, ktoré Yochan zdedil po otcovi, mamin úsmev, keď vylovila svoju prvú perlu a počuješ prísny prikazujúci babičkin hlas. V tej chvíli sú tvoje ruky stŕpnuté, tvoj jazyk je obrovský had, ktorý sa tlačí na podnebie. Svetlo sa zmenilo na iné svetlo: belšie a krutejšie. Začneš snívať. A v tvojich snoch ti narastú na nohách plutvy a kyslík je len obyčajnou poverou.

Read the original in Spanish

Read the Albanian translation

Read the Bengali translation

Read the Chinese, Traditional translation

Read the Czech translation

Read the Dutch translation

Read the English translation

Read the French translation

Read the Greek translation

Read the Japanese translation

Read the Kannada translation

Read the Korean translation

Read the Persian translation

Read the Portuguese translation

Read the Tamil translation

Listen to the author read the text in the Spanish:

Winner of the “Story of 1000 Words” contest sponsored by Peru’s Caretas magazine, Pedro Novoa’s “The Dive” does not fit neatly into any genre. At 997 words, it lives on the margin of the cuento (short story), the cuento breve (short short story), and the microcuento (micro-story).

I posed the question of genre to the author in an email: “There is a very thin line between cuento and cuento breve that makes a sharp delineation difficult. I use devices common to the cuento, but also poetic devices like metaphor, similes, or symbols, which allow me to save space.” “Ultimately,” he concluded, “I think it’s a cuento breve because, unlike the microcuento, it forces the reader to take a breath, a brief but necessary pause before resuming the story.”

Written in the second-person tú, “The Dive,” whose first line is “Te sumerges” (You dive), is reminiscent of Carlos Fuentes’ Aura, whose opening line, “Lees ese anuncio” (You read the advertisement), has become of the most memorable, if not haunting lines in Spanish literature. This comparison is appropriate, however, for another reason: the novella, like the cuento breve, is a genre that demands linguistic economy.

As a translator, my immediate task was to honor the 1000-word limit. This meant, for example, avoiding periphrasis wherever possible and applying a scalpel to remove any excess.

Another consideration was the translation of the title, “Inmersión,” a polysemic noun, meaning at once “immersion,” “diving,” and even “under-water fishing.” This polysemy, of course, is intentional. No single English word, however, contains the same semantic values. In the end, I chose “The Dive” to echo my translation of the story’s first line.

In a final email, Novoa confessed that the story is based on his own experience of losing consciousness while taking diving lessons. “But,” he wrote, “following Vargas Llosa’s recommendation to not ‘parasitize’ our lives, I decided to use the experience in a way that demanded that I do research. That’s how I arrived at the pearl divers.” My translation, then, required that I also carry out research on Japan’s ama, which, like Novoa, I opted to leave in Japanese.

Novoa ended his email confession, saying, “Writing this story was part of an exorcism,” adding, “I wanted those demons that I had immersed to be known by as many people as possible.”

Consider, then, this translation an effort to help Novoa exorcize those demons.

Pedro Novoa (b. 1974, Lima) has won numerous literary prizes in his native Peru, including the Premio Nacional de Dramaturgia, in 2004, and the Premio Internacional de Cuento Corto Dante Alighieri for short stories. He has published the novel Seis metros de soga (Ediciones Altazor), which was awarded the Premio Nacional Horacio 2010 in the short novel category, and the novel Maestra vida (Alfaguara), winner of the Premio Internacional Mario Vargas Llosa. He has contributed to anthologies published in Chile, Argentina, Colombia, Spain, and Peru. His story “Inmersión,” which appears here as “The Dive,” recently won first prize in the XXVII Edición del Concurso de las 1000 Palabras, organized by the magazine Caretas. He is a professor at the Universidad César Vallejo.

George Henson is a translator of contemporary Latin American and Spanish prose. He has translated works by many notable writers, including Elena Poniatowska, Andrés Neuman, Claudia Salazar, Raquel Castro, Leonardo Fuentes, and Luis Jorge Boone. His translations have appeared variously in Words Without Borders, Buenos Aires Review, BOMB, Literal, and The Literary Review. His translations of Alberto Chimal have appeared in The Kenyon Review, Flash Fiction International, and World Literature Today. His book-length translations include Sergio Pitol's The Art of Flight and The Journey, both with Deep Vellum Publishing. George is a member of the Spanish faculty at the University of Illinois Urbana-Champaign, where he is affiliated with the Center for Translation Studies. He holds a Ph.D. from the University of Texas at Dallas.

Alketa Halilaj (1990) is a young journalist and translator from Albania. She started her career in 2013 by co-funding and working as the Editor-in-Chief of Pa Fokus online magazine (Albania). Currently, she manages some online platforms on investments and entrepreneurship. She is also translating two books on Semiotics. During her short but intensive career, Alketa has been part of many translation projects—mainly in the literature field. She is very passionate about literature, semiotics and languages as she can speak Albanian, English, Italian, Spanish and German. During her free time, she takes online courses and reads literature blogs.

Eunice Kim is a schoolteacher and novelist who received her MFA from Otis College of Art and Design and her BA from Amherst College. Previously, she has been published in Lumen and Canyon Voices. In her free time, she advocates a sustainable lifestyle that seeks beauty in all its material and spiritual manifestations. Her fiction and nonfiction works are inspired by fairytales, meditation practices, and improvised music, and revolve around place, object, symmetry, and abstraction. Originally from New York, she is currently living in Los Angeles with her pet turtle Soren.

Fabrizio Mas was born in Lima, Peru. He has had instruction in different forms of art, but he is mainly a writer and a translator. As a writer, he has been published a number of times in literary magazines like Os Fazedores de Letras (Faculty of Letters of the University of Lisbon, Portugal). His most recent work is included in an anthology of young Latin American writers called Apuntes Sudacas (Ayni—Cooperativa Editorial, 2016), which will be published this year in Barcelona, Spain. He is currently working on a book of short stories and on a translation, from Portuguese into Spanish, of a Brazilian writer and composer. He is also part of an art collective in Peru called Sapos y Culebras. Besides his literary work, he has also worked as a scriptwriter for shortfilms in Peru, combining his work as a writer with his interest in cinema.

Sohini Basak has poems and short stories in the Missing Slate, Ambit, Lighthouse, Paris Lit Up, Helter Skelter, Emma Press and Poetrywala anthologies, and elsewhere. She won second prize at the inaugural RædLeaf India Poetry Prize in 2013 and was shortlisted for the Melita Hume and the Jane Martin poetry prizes in 2014. She studied literature and creative writing at the universities of Delhi, Warwick, and East Anglia, where she was awarded the Malcolm Bradbury continuation grant for poetry. She is one of the social media managers for Asymptote and works as an editor in Delhi.

Sylva Ficová is a freelance translator, editor, lecturer, and photographer. Professionally, she specializes in subtitling, academic translation and localization, but she has also translated more than 15 book titles, including The Marriage of Heaven and Hell by William Blake, a novel by Patrick McCabe, a comic by Alison Bechdel and books on literary theory by Northrop Frye. She lives in Brno, Czech Republic.

Avgi Daferera is a translator to/from English from/to Greek, and occasionally from Spanish. She was born in South Africa and raised in Greece. She studied English Literature at the Aristotle University of Thessaloniki, Greece, and holds an MA in Writing from the University of Warwick, UK, and an MA in Literary Translation from the University of East Anglia, UK. Apart from Greece and the UK Avgi has also lived in Spain and Belgium. She has worked as a freelance translator for over five years. Her translations have been published in various print and online magazines. Avgi was the Greek mentee during the first year of the British Centre for Literary Translation Mentorship Programme in 2012. She is currently working as a Children`s Rights Assistant at the Ersilia Literary Agency in Athens.

Rosy D'Souza is a poet, translator, teacher and a development professional and cofounder of Sunoh, an online radio station. In the past she has taught English literature to graduate students and has worked with internationally renowned NGOs to improve the quality of teaching-learning in primary schools in rural India. Currently, she has taken a sabbatical to be with her baby girl, Misuni. Her poetry has won many prizes and her anthology Manna Bisupu (Warmth of the Soil) is critically acclaimed. Her translation of H. Y. Sharada Prasad's Quit India Prison Dairy, Arivina Adumbola (A Playground of Wisdom) is a vital historic document of India's freedom struggle. Her translation of Jeremy Seabrook's essays into Kannada, Swargakke Moore Maili (Only Three Miles to Paradise) is forthcoming.

N. Kalyan Raman is a translator of contemporary fiction and poetry in Tamil, a major language of south India, into English. He has so far published nine volumes of Tamil fiction in translation, including Mole! (2004), Manasarovar (2010), The Arena (2013), Farewell, Mahatma (2014), Still Bleeding from the Wound (2016) and The Ghosts of Meenambakkam (2016). His poetry translations have appeared in several anthologies of literature in Indian languages and in journals such as Poetry Internetional, Circumference, Indian Literature, Caravan and The Little Magazine, among others. He has just completed translation of two novels by Poomani, the distinguished chronicler of subaltern lives, and is currently translating a collection of short stories by Salma. He has translated relatively little from English to Tamil, his mother tongue, but would like to do a lot more in future. In 2014, he published a Tamil translation of Grace Paley’s story, “The Long Distance Runner.” “The Dive” is only his second attempt in this direction.

Aňa Ostrihoňová studied English, American and French language and literature at Charles University in Prague and has a PhD in translating studies from Constantine the Philosopher University in Nitra. After living abroad for several years, including working as a translator for the European Commission and the European Parliament, she returned to Slovakia in 2011 and founded her own publishing house, INAQUE. She writes essays and book reviews and translates fiction and non-fiction from English, French and German.

Francis Li Zhuoxiong is a contributing editor at Asymptote. A critically acclaimed and platinum-record lyricist, he was the subject of an interview in the Jan 2011 issue of Asymptote. Songs he has written include the 2012 Olympics song for China (sponsored by Coca Cola), the Chinese version of the 2010 FIFA World Cup song "Wavin' Flag," the theme song to the movies "Red Cliff I & II" (directed by John Woo), and the Karen Mok songs "愛" and "不見不散,“ which won him Golden Melody Awards for Best Lyrics in 2003 and 2015 respectively. Click here for his website.


Lectures d'ailleurs is an alternative Spanish/French—French/Spanish literary translation initiative and publisher conceived and run by Professor Caroline Lepage of the University of Paris Ouest-Nanterre-La-Défense in France. With no commercial aim and comprised of both high school and university students and professors as well as professional translators—all of whom are passionate about literature and translation—this project has as its aim the diffusion of short literary forms. Only a few stories or micro-stories from a given author are published in order to give greater visibility to as many authors as possible. Stories do not need to be previously published or fit any thematic criteria; all that matters is that they are untranslated. The members of the team then read the stories and proceed to select some of them. The translation is then produced collaboratively in different workshops. Lectures d'ailleurs was created on November 4, 2012. It has produced 32 anthologies organized by country or theme and in the process translated more than 700 authors.

Poupeh Missaghi, Asymptote’s Editor-at-Large for Iran, has a PhD in English, Creative Writing, from University of Denver and an MA in Translation Studies. She works and has published as a writer, translator, editor, and educator.

Nazanin Mehrad has a PhD in Hispanic literature from the Universidad Autonoma de Madrid. She has worked as a translator and interpreter for many years and has teaching experience at the university level as well.

Sim Yee Chiang is a contributing editor at Asymptote. He was born in Singapore, received an undergraduate education and a master's in English from Stanford University, and researched issues of English-Japanese and Japanese-English literary translation under the auspices of the University of Tokyo, where, seduced by the praxis itself, he now hopes to contribute to the exponentially growing mass that is world literature.

Sayuri Okamoto is a contributing editor at Asymptote. She holds degrees in art history and Japanese literature and works as a translator, writer, and curator. Born and raised in Shizuoka, Japan, she is currently living and working in London (UK) and Padua (Italy). In 2014, she received a PEN/Heim Translation Fund grant for her translation of Gozo Yoshimasu's "post-3.11" poetry series Dear Monster.

Machiel van Veen developed a liking for languages while working as a conductor on Dutch Railways, where he learned English, French, and German. He has translated John Barth’s The Sotweed Factor into Dutch as well as several other books from English and Scottish English. Based in Amsterdam, he also specializes in decoding works written using the Fractur-Alphabet.