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Over at Trevor Berrett posted a really interesting interview with Margaret Carson, the translator of Sergio Chejfec’s (among other books):

A ���Ĵ�ý�walking���Ĵ�ý� book, when I finished My Two Worlds I wrote, ���Ĵ�ý�It���Ĵ�ý�s meandering (obviously), sometimes feels pointless (deliberately), and takes longer than one would expect to go a such a short distance (which works perfectly with the book���Ĵ�ý�s plot).���Ĵ�ý� It���Ĵ�ý�s a slow-burner, but in the time since I finished it has only grown in my esteem. My Two Worlds is only just over 100 pages, but it took me some time to read because of the many layers and switch-backs not just in the global structure of the book but alaso in each sentence. The translation is a marvel. [. . .]

Q: What were some of the particular challenges of translating Chejfec���Ĵ�ý�s work?

A: What sets Chejfec���Ĵ�ý�s work apart from other fiction I���Ĵ�ý�ve translated is the density and complexity of his sentences. There���Ĵ�ý�s no coasting along; every sentence demands an intense scrutiny and a parsing through of meanings and possible translations. When I was working on My Two Worlds, I had to ask Sergio a million questions, to the point where a gloss on the book could be made from the Q&As in the emails that went back and forth

At the same, I noticed how crucial the ���Ĵ�ý�little���Ĵ�ý� words were in qualifying the narrator���Ĵ�ý�s ruminations, such as ���Ĵ�ý�I can���Ĵ�ý�t be sure���Ĵ�ý� or ���Ĵ�ý�anyhow���Ĵ�ý� or ���Ĵ�ý�whatever,���Ĵ�ý� the whole panoply of verbal stutters in English that express doubt or hesitation. Even these formulaic expressions needed to be sorted through and weighed in the English translation.

Q: Some of the pleasures?

A: The biggest one? That was when I reached a certain moment in the revision and could read long stretches of the novel as a novel, I mean, I could step back and enjoy the scenes as if it were any book I���Ĵ�ý�d just picked up. You then flash back to an earlier stage when your draft was a mess, full of brackets around those phrases or sentences that resisted translation . . . So it was utterly gratifying in the end to feel myself being gripped by the story as would any other reader.

And throughout the project, it was a real joy to work with Sergio Chejfec. As I said, Sergio spent an enormous amount of time answering my questions, either in emails or in person. I don���Ĵ�ý�t think he ever imagined his novel would be subject to the kind of microscopic scrutiny it underwent. I asked him once about what it was like to be translated and he said it was like a parable by Kafka; he had to offer his explanation to the Guardian of the Other Language so that the door would open. If that was the case, I loved my Kafkaesque role in this endeavor!

The response to My Two Worlds has been amazing. It���Ĵ�ý�s the first translation I���Ĵ�ý�ve done that���Ĵ�ý�s made a perceptible ripple. Chad Post and the staff at Open Letter Books have done an exceptional job at getting the novel out there to the right readers, and it���Ĵ�ý�s a thrill for me to read reviews or commentaries that quote from the translation itself.

Be sure and read And My Two Worlds. It really is a spectacular book . . .