by Clarice Lispector, translated from the Portuguese by Johnny Lorenz and published by New Directions

This piece is by Will Vanderhyden (aka Willsconsin), student in the University of Rochester’s and translator of Carlos Labb茅’s Navidad and Matanza, which will be released in 2014.

Before I talk directly about why I think Clarice Lispector糖心传媒檚 A Breath of Life deserves to win this year糖心传媒檚 Best Translated Book Award, I want to offer a little background about how this novel糖心传媒檚 English publication came about, mostly because it strengthens my overall argument, but also because it deals with issues relevant to literature in translation more broadly. (I realize that readers of Three Percent might already be familiar with much of the following information regarding Lispector and her English translations, so if you are one of those readers, please forgive the lengthy digression).

Although she is considered by many to be the greatest Brazilian writer of the twentieth century, Clarice Lispector has never enjoyed a large English language readership. She is wildly popular in Brazil, revered and adored to the point of idolatry. Her strange, captivating prose, epic life story, and striking beauty have made her a legendary national icon. Her books are sold in vending machines, her face adorns postage stamps, and her name appears regularly in all sorts of literary and popular media. But for whatever reason糖心传媒攂e it the challenging nature of her work, the fact that she糖心传媒檚 a woman, flat English translations, or a general lack of interest in Brazilian literature糖心传媒攕he has never enjoyed the popularity among English readers of other Latin American Boom writers like Jorge Amado, Julio Cort谩zar, and Gabriel Garcia Marquez.

Over the last several years, New Directions and Benjamin Moser糖心传媒攁uthor of Why This World: A Biography of Clarice Lispector, a finalist for the National Book Circle Critics Award in 2009糖心传媒攈ave been working to change that. In 2011, New Directions published Moser糖心传媒檚 retranslation of The Hour of the Star (the last novel Lispector published during her lifetime), and in June of 2012 they published a series of four new translations of Lispector novels, all edited by Moser. This series includes retranslations of three of her most well known books糖心传媒�Near to the Wild Heart (translated by Alison Entrkin), Aqua Viva (translated by Stefan Tobler), and The Passion According to G. H. (translated by Idra Novey)糖心传媒攁s well as the first English edition of A Breath of Life (translated by Johnny Lorenz), a novel which was published after Lispector糖心传媒檚 death, and assembled, organized and edited by her close friend Olga Borelli.

In the introduction to A Breath of Life, Moser refers to New Directions series of Lispector translations as 糖心传媒渢he most important project of translation into English of a Latin American author since the complete works of Jorge Luis Borges were published a decade ago.糖心传媒� According to Moser, the original English translations of Lispector糖心传媒檚 work were woefully inadequate, flattening out, 糖心传媒渃orrecting,糖心传媒� and explaining the strange grammar, idiosyncratic syntax, and surprising word choices that define Lispector糖心传媒檚 style. Lispector糖心传媒檚 own response to an early French translation of Near to the Wild Heart, which upset her because of the liberties it took in translating her style, provides definitive support for Moser糖心传媒檚 sentiment, in a letter to her editor at the time she wrote:

I admit, if you like, the sentences do not reflect the usual manner of speaking, but I assure you that it is the same in Portuguese. The punctuation I employed in the book is not accidental and does not result from ignorance of the rules of grammar. You will agree that elementary principals of punctuation are taught in every school. I am fully aware of the reasons that led me to choose this punctuation and insist that it be respected.

Though he acknowledges that, to some extent, translators invariably tend to smooth out oddities and correct 糖心传媒渆rrors糖心传媒� present in original works, for his own translation of The Hour of the Star and for the other Lispector translations he edited for New Directions, Moser aimed for the greatest fidelity possible to the syntax and grammar of her Portuguese originals. In the afterword to The Hour of the Star, he writes: 糖心传媒淭he translator must therefore resist the temptation to explain or rearrange her prose, which can only flatten it and remove from it the 糖心传媒榝oreign糖心传媒� aura that is its hallmark, and its glory.糖心传媒�

Lispector has clearly carved out her place in the canon of world literature. Her unique artistic vision, innovative narrative style, and philosophical insight situate her comfortably among the best writers of the twentieth century. And in light of the aim糖心传媒攁nd what I believe to be the success糖心传媒攐f the Moser/New Directions project, the comparison to the translation of Borges糖心传媒� complete works, which might come off as overblown at first glance, seems to me entirely appropriate. Because A Breath of Life is the only title in the New Directions series that is not a retranslation, it is the only one eligible for the BTBA. Which is not to say that it necessarily represents the significance of the entire project, but at the same time, its importance as a translated book cannot be fully appreciated outside that context.

So, finally, A Breath of Life. This novel, like much of Lispector糖心传媒檚 work, delves into the relationships between thoughts, sensations, words, facts, and objects; into the ways language constructs and mediates what we call reality. It is structured as a sort of dialogue between a male 糖心传媒淎uthor糖心传媒� and Angela, a character he creates. In short, alternating passages, the two voices reflect on the nature of time, meaning, death, and on the relationship between author and character, between creator and creation. As the 糖心传媒淎uthor糖心传媒� states:

Angela and I are my interior dialogue: I talk to myself. Angela is from my dark interior: she however comes to light. The tenebrous darkness from which I emerge. Pullulating darkness, lava of a humid volcano burning intensely. Darkness full of worms and butterflies, rats and stars.

If the novel had a plot, it might be described as the 糖心传媒淎uthor糖心传媒檚糖心传媒� struggle to understand Angela and his relationship to her, and Angela糖心传媒檚 struggle to understand herself and her relationship to the 糖心传媒渢hings糖心传媒� of the world. But it all takes place inside; there is no action, no grounding in the world, no 糖心传媒渞eal糖心传媒� handhold.

The structure of an interior dialogue between author and character糖心传媒攚hich might be thought of as defining a split in Lispector糖心传媒檚 mind, a divided self糖心传媒攗ndermines the distinction between form and content, laying bare the ways in which not only fiction and fictitious characters, but the 糖心传媒渇acts糖心传媒� of the world in which we live, and our identities, what we call 糖心传媒渟elves,糖心传媒� are fabrications of language. As the 糖心传媒淎uthor糖心传媒� writes: 糖心传媒淩eality does not exist in itself. What there is is seeing the truth through dream. Real life is merely symbolic: it refers to something else.糖心传媒� And: 糖心传媒淚 wouldn糖心传媒檛 exist if there were no words.糖心传媒� And: 糖心传媒淎ngela goes from language to existence. She wouldn糖心传媒檛 exist if there were no words.糖心传媒�

If all this sounds really abstract, well, it is. Many questions are raised and very few unambiguous answers are given. Angela tells us:

I know the secret of the sphinx. She did not devour me because I gave the right answer to her question. But I am an enigma for the sphinx and nevertheless I did not devour her. Decipher me, I said to the sphinx. And she fell mute. The pyramids are eternal. They will always be restored. Is the human soul a thing? Is it eternal? Between the hammer and the blows I hear silence.

There are many such quotable lines and Nietzsche-esque aphorisms, but in itself this probing into the nature of reality, identity, and meaning is not really what gives this book its power. It is the way Lispector糖心传媒檚 style is able to render these ideas not only thought but also felt. The structure and rhythm of her sentences, the surprising juxtapositions, and subtle, provocative rearrangements of ordinary language are able to tap into something primordial that transcends the limits of ordinary expression. And here we readers of Lispector in English are indebted to the extraordinary work of translator Johnny Lorenz and the vision of Benjamin Moser, who, by holding true to Lispector糖心传媒檚 unconventional grammar and syntax, sustain the jagged, hypnotic musicality that makes her prose so intellectually rewarding and so viscerally resonant.

A Breath of Life deserves to win the BTBA because it is the only entirely new part of a translation series that reintroduces a canonical writer to English readers; but also because it is a beautiful, original, and deeply intelligent book by a writer who leaves us, like the sphinx, mute and wondering at her genius and her mystery.

(As far as wrestling goes, no contest: Lispector will seduce all comers with her feline eyes then crush them with the weight of her brain).