miruna a tale – Three Percent /College/translation/threepercent a resource for international literature at the University of Rochester Mon, 16 Apr 2018 15:12:31 +0000 en-US hourly 1 https://wordpress.org/?v=7.0.6 The Fringe Elements by BTBA Judge Monica Carter /College/translation/threepercent/2015/03/13/the-fringe-elements-by-btba-judge-monica-carter/ /College/translation/threepercent/2015/03/13/the-fringe-elements-by-btba-judge-monica-carter/#respond Fri, 13 Mar 2015 10:00:00 +0000 http://www.wdev.rochester.edu/College/translation/threepercent-dev/2015/03/13/the-fringe-elements-by-btba-judge-monica-carter/ Monica Carter is a freelance critic.

Discerning how one should approach a written work for translation is a challenging task. The approach of some publishers is to accept the writer糖心传媒檚 work as is, with no editorial input, which means the translation is as close to the original text as it can be, disregarding cultural, historical, or stylistic choices a translator might make to ameliorate the text for the proposed audience (for the sake of this post, an English-speaking readership). Another approach is to take into account the work糖心传媒檚 historical and cultural references, weigh their importance, and interpret those for the reader. If the translator is allowed to work more liberally with the original text, that creative license allows her to be truer to the overall tone and rhythm of the original. Chad Post and Tom Roberge have an interesting discussion about this on the recent Three Percent podcast.

Although it is admirable to hold the words of an author in such high esteem that the translator must produce a copy verbatim, it糖心传媒檚 impossible in so doing to capture an author糖心传媒檚 cultural, historical, and/or stylistic intent for a different readership. This point seems clearest with fiction that dwells closer to the fringe than the mainstream. Fiction that is experimental, transgressive, surrealist, fabulist, folkloric, or geographically charged with a storied political history cannot rely on a word-by-word translation if the goal, as it is in this case, is to introduce and engage an English-speaking reader. The translator must decide how to provide a context for the that readership and how much detail is necessary for the reader糖心传媒檚 understanding of the text and what the author is trying to do.

As the judges near the end of the decision-making process for the BTBA longlist, it felt important to give praise to a few titles that are extremely well-written and translated to as close to perfection as possible. All are boundary-pushing titles in their own way. They have had little mainstream coverage but deserve it. Challenging the English-speaking readership shouldn糖心传媒檛 be done quietly or timidly; it should be done loudly and often. The ideas these three titles contain speak to the difficulties we face in the world today in a new and exciting way.

by Dorothy Tse, Translated by Nicky Harman
Muse Publishing

There are a few short story collections floating around the BTBA longlist discussion, but for my money Dorothy Tse糖心传媒檚 collection is by far one of the most captivating, original, and intriguing that I糖心传媒檝e read this year or in the past few years. Tse is a Hong Kong writer who writes mostly in Chinese and readily admits that her writing is never an act 糖心传媒渢hat naturally brings one to the theme of nationality or cultural tradition.糖心传媒� Yet without Nicky Harman糖心传媒檚 superb translation, Tse糖心传媒檚 style of measured detachment and meticulous prose might be lost. Yet the reader is skillfully led into her surreal worlds, steeped in magical realism and tinged with fabulism. Whether it糖心传媒檚 a woman turning into a fish in “Woman Fish,” the ultimate story of psychological gaslighting between wife and husband (“Black Cat City”), or “The Mute Door” about a building where the tenants are in constant search for their own front doors, it糖心传媒檚 Tse糖心传媒檚 confidence that lures the reader forward, introducing the grotesque, the absurd, and the scatological with such a deft hand and direct style that the reader never feels deceived or that the writer is using any of the surreal twists as a mere conceit.

There糖心传媒檚 the feeling of crowded urbanity in most of her stories, the lingering impermanence of reality, and phantasmagorical imagery that offsets the emotionally charged topics of abortion, loss and incest. In 糖心传媒淏ed,糖心传媒� a sleep-deprived young girl shares a bed with her father and her older sister and expresses her feelings in a nightmare:

糖心传媒淪he pulled back the mound of bedding and discovered her father and her big sister had taken up the whole bed. But they seemed not to need those brightly colored pajamas anymore. They were completely naked and tightly embraced, their fingernails dug deeply into the skin of each other糖心传媒檚 back. They seemed fast asleep, curled together like a pair of fetuses. No matter how hard the girl tried, she could not pull them apart, and they were too heavy to push out of bed. The girl just had to sit on the floor, listening all night long to her father and sister emitting low groans like an insect makes just before it pupates and the sound is cut off midstream. The air seemed full of butter about to precipitate, stiflingly hot.糖心传媒�

Many of Tse糖心传媒檚 stories seem horrific, but her character糖心传媒檚 responses are relatable and often touching. The environment and parameters of each story may appear eerie and bleak, but there is always an empathic underpinning that simmers below the surface. The characters are not intentionally evil; they are the damaged creating their own worlds to inhabit. As in the opening of 糖心传媒淢ute Door,糖心传媒� Tse offers an allegorical answer for the reader and her characters:

糖心传媒淎mong all the doors I have come across, it is only the invisible doors of the mime artists that capture the essence of the door. Whether in streets occupied by the language of colonizers or in a red square in the month of June, mime artists can always silently create a house that is theirs alone. All that is needed is a pair of hands and a posture that implies the actor walking close to a wall, and an enclosure instantaneously appears and spins. No groundwork is necessary for a house like that, no foundation on rock—this house is built from the poetry of the body and the mystery of bones and flesh in motion. The room has no boundaries, nor does it have cracks to let anyone in. It dawns on the audience that a door is no more than a fish slipping constantly out of their grasp. One of the sayings of mime artists is, 糖心传媒楢 door is not outside of you.糖心传媒櫶切拇綕

In Snow and Shadow, Tse opens a door for the reader to experience worlds she doesn糖心传媒檛 know, but the emotions Tse elicits are familiar. Each story raises provocative questions. Many short story collections can dazzle and amuse, but it is the mark of a quality collection that it also makes one think.

by Josef Winkler, Translated by Adrian West
Contra Mundum Press

With proponents such as Elfriede Jelinek and Thomas Bernhard, it糖心传媒檚 difficult to understand why Josef Winkler hasn糖心传媒檛 garnered more of an English-speaking audience. He糖心传媒檚 won many literary prizes in Germany and his native Austria, including the Alfred D枚blin Prize for his novella, Natura Morta, in 2001. Winkler hasn糖心传媒檛 had many works translated into English but thankfully, that seems to be changing with the release of in 2013, Natura Morta in 2014 and Graveyard of Bitter Oranges in 2015, both by Contra Mundum Press and translated by Adrian West.

In Natura Morta, a novella that reads like a demonic script version of Christopher Isherwood糖心传媒檚 Goodbye to Berlin directed by Michael Haneke, Winkler stays true to his themes of Catholicism, homoeroticism and death. In just over ninety pages, his indefatigable sensory detail pulses and throbs, rots and stinks, foams and drips, sweats and sticks so that the reader cannot escape the suffocating reality of the Roman marketplace, Piazza Vittorio Emanuele. Natura Morta is fragmented, visceral, primordial—a work that uses endless imagery, mostly Catholic iconography, and the sexuality of a teenage boy to dramatize the moral psychomachy of our modern day world. In these snapshots of the marketplace, Winkler chooses Piccoletto, the fig vendor糖心传媒檚 son, as the Christ-like object of sexual desire for men and women, desire that subtly buoys the character糖心传媒檚 own sense of power:

糖心传媒淥ne of the girls, folding her hands behind the nape of her neck, turned her head toward the two young men and bit her upper lip coquettishly. The girl tore a piece of fabric, pressed the scrap against her lips, which were smeared with red lipstick, and threw it in the branches of the pine tree. The two boys fetched the lipstick-streaked cloth from the tree and, each snatching the scrap from the other糖心传媒檚 hands, pressed it against their noses. One of the bathroom attendants in the park of Piazza San Vittorio, nibbling a green fig, worked a crossword puzzle while the other sank herself deep into the liberally illustrated crime reportage of the Cronaca vera. In exasperation, a gecko dodged the black ants with red heads over the sun-drenched walls of the market bathrooms, trying frantically to return to his niche, which had just been plastered over by a bricklayer. Near the entrance to the market bathrooms, Piccoletto pulled a splinter from the elbow of the alimentari owner糖心传媒檚 son and smeared his spit over his friend糖心传媒檚 wound.糖心传媒�

With Winkler糖心传媒檚 use of repetition, imagery and inference, Natura Morta had to be masterfully translated in order to stay true to the essence of Winkler糖心传媒檚 work while also conveying the tone of each fragment and the importance of each image that buttresses the book糖心传媒檚 conclusion.

Winkler, like Tse, doesn糖心传媒檛 go in for plot. He糖心传媒檚 internal and reactionary, in a way, writing his way around those provocative questions that continue to mystify him, anger him, or shackle him. Yet, these are the questions that matter, the questions that should be asked but are too often ignored by many writers. I look forward to Winkler糖心传媒檚 next exploration of the world we live in and the hypocrisy of it.

by Bogdan Suceav膬, Translated by Alistair Ian Blyth
Twisted Spoon Press

Out of the three books out on the fringe, Miruna, A Tale, is the most accessible. It has a plot, a traditional structure and a few main characters that drive the story. What makes this book more challenging and enjoyable is that it harkens back to the adult fairy tale. Set in Evil Vale, a small hamlet in Southern Romania, Miruna, A Tale is actually many tales woven together and retold by Niculae Berca to his two grandchildren, a seven year-old boy named Trajan and a six year-old girl named Miruna. It糖心传媒檚 an older version of the latter child who narrates the book. Most of the stories center around Trajan糖心传媒檚 and Miruna糖心传媒檚 great-grandfather, the seemingly mythical Constantine Berca, and his archetypal village mates Father Dimitrie, Old Woman Fira the fortune teller, and Oar葲膬 Aman, a bandit who robs the rich on their way to Bucharest.

The oral storytelling tradition is so vibrant that it doesn糖心传媒檛 take much for the reader to feel herself sitting by the fire listening to Trajan relay the long ago stories of Old Woman Fira糖心传媒檚 exorcism for witchcraft by Father Dimitrie, or how Niculae the Welldigger found a water source on a barren hill, or that the ghost of Oar葲膬 carved crosses on the faces of Germans during World War I. Many of these fables have a basis in truth or involve an historical element, but Blyth does well not to call attention to these events. There are notes at the end of the text, but they are not numbered or italicized within it; the reader never feels the heavy hand of the translator pointing out the importance of something that the reader might not find necessary to know.

The young Miruna is the heir apparent as keeper of the tales, and over three summers, her grandfather糖心传媒檚 stories grew more complex and detailed until 糖心传媒淢iruna eventually [comes] to conceive the world in the form of a fairy tale, living for years in a world full of the fantastical, which gave her the air of being a child prodigy, one of those who know something of history and geography before they even start attending school but cannot say for sure if King Carol and Pr芒slea lived at the same time or before one another.糖心传媒�

Even as some of the tales are magical or enchanting, sounding like a postcard from the rural hills of Romania, where 糖心传媒渢he fays lifted him up by the arms, as if he, the giant of Evil Vale, were light as a snowflake, and they bore him toward the palace of crystal and porphyry,糖心传媒� they糖心传媒檙e still serious in tone, planting the seeds of the Russo-Turkish War and World War I and stressing the geographical isolation of the village.

This book is a bewitching tribute to the Balkan tradition of oral storytelling and to Suceav膬糖心传媒檚 loyalty to the traditional culture of his grandparent糖心传媒檚 small town in the Carpathians. Paired with Blyth糖心传媒檚 vivid translation, this is work that hopefully will be passed on as many times as the stories within.

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Miruna, a Tale /College/translation/threepercent/2014/10/21/miruna-a-tale/ Tue, 21 Oct 2014 14:00:00 +0000 http://www.wdev.rochester.edu/College/translation/threepercent-dev/2014/10/21/miruna-a-tale/ Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as 糖心传媒淕randfather,糖心传媒� other times as 糖心传媒淣iculae Berca糖心传媒�). The Evil Vale is located in the region of Wallachia (southern Romania) in the Carpathians, and is described as a place seemingly forgotten by time. In the Author糖心传媒檚 Afterword, Bogdan Suceava explains that the remoteness of the place made it possible for its inhabitants to avoid Communist laws and to live according to an archaic way of life that was rare even for the Balkans.

In the world that is the Evil Vale, the news from the rest of the world, which comes by way of newspapers and rumors, gets tangled up, mixing fact and fiction, the real and the surreal, the past and the present. Niculae Berca spends the summer telling stories to his grandchildren, in which the family history is an outgrowth of the country糖心传媒檚 history, and the stories of real heroes sound like the folktales whose protagonists are based on mythical characters. Facts are always contaminated by myth (or, one could say, as the author reminds us, that the myth itself is often born of a real event that happened in the distant past). Most of the stories are centered on a local character: the Welldigger; Old Woman Fira糖心传媒攁 soothsayer who can predict the future and who, after being converted by Father Dimitire, still keeps her old ways; Father Dimitrie, who lives to be two hundred; the bandit Oarta Aman, who, after terrorizing the entire province of Wallachia, is killed by the king糖心传媒檚 army, then comes back as a ghost to frighten and humiliate the German soldiers.

But the most enchanting stories are those involving Constantine Berca, Niculae糖心传媒檚 father and the children糖心传媒檚 great-grandfather. After shooting a shepherd with a wolf糖心传媒檚 face, Constantine Berca, full of remorse, goes into the woods where, under the fays糖心传媒� spell, he is led to the entrance of a cave connected to the underworld. When he comes out, he finds himself in a country whose language he can糖心传媒檛 understand, which turns out to be Greece, and from where, eventually, he returns thanks to a Romanian captain. Constantine is a mythical figure who is both a real grandfather and a sort of archetypal Pater Familias. The family history starts with his arrival from the war against the Turks in the nineteenth century, when, with the money received as a veteran, he buys a Swiss clock糖心传媒攖he most expensive item ever owned by a member of the family糖心传媒攁nd then claims the barren land given to him by the state.

In the telling of these stories that often have a labyrinthine shape and grow from each other, one can identify Borges糖心传媒檚 influence; but more than anything, these stories are born of Romania糖心传媒檚 lore and the Balkan tradition of storytelling. The framing of the novella糖心传媒攁 narrator who narrates the stories heard from another source (often a traveler encountered at an inn during a voyage)糖心传媒攚as very common in early twentieth-century Romanian literature, and it represented both a reflection of an oral tradition of storytelling and an influence of Russian literature (it can be found in Tolstoy, Gogol, and Nikolai Leskov, among others). Romania is, by the way, together with Albania and a few other places in the Balkans, one of the rare areas in Europe to have kept to this day a strong oral tradition.

It took the author fifteen years to finish this tale, started in his birthplace, Romania, and ended in California where he lives now. Miruna is one of the most charming books of fiction that have come out in English (for which we have to thank the translator, Alistair Ian Blyth) from Eastern Europe in recent years.

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Latest Review: "Miruna, a Tale" by Bogdan Suceav膬 /College/translation/threepercent/2014/10/21/latest-review-miruna-a-tale-by-bogdan-suceava/ /College/translation/threepercent/2014/10/21/latest-review-miruna-a-tale-by-bogdan-suceava/#respond Tue, 21 Oct 2014 14:00:00 +0000 http://www.wdev.rochester.edu/College/translation/threepercent-dev/2014/10/21/latest-review-miruna-a-tale-by-bogdan-suceava/ The latest addition to our Reviews section is by Alta Ifland on Miruna, a Tale by Bogdan Suceav膬, translated by Alistair Ian Blyth and out from Twisted Spoon Press.

Fun fact! Bogdan and Chad were at MSU during the same time, where they became friends. Here’s the beginning of Alta’s review:

Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as 糖心传媒淕randfather,糖心传媒� other times as 糖心传媒淣iculae Berca糖心传媒�). The Evil Vale is located in the region of Wallachia (southern Romania) in the Carpathians, and is described as a place seemingly forgotten by time. In the Author糖心传媒檚 Afterword, Bogdan Suceava explains that the remoteness of the place made it possible for its inhabitants to avoid Communist laws and to live according to an archaic way of life that was rare even for the Balkans.

In the world that is the Evil Vale, the news from the rest of the world, which comes by way of newspapers and rumors, gets tangled up, mixing fact and fiction, the real and the surreal, the past and the present. Niculae Berca spends the summer telling stories to his grandchildren, in which the family history is an outgrowth of the country糖心传媒檚 history, and the stories of real heroes sound like the folktales whose protagonists are based on mythical characters. Facts are always contaminated by myth (or, one could say, as the author reminds us, that the myth itself is often born of a real event that happened in the distant past). Most of the stories are centered on a local character: the Welldigger; Old Woman Fira糖心传媒攁 soothsayer who can predict the future and who, after being converted by Father Dimitire, still keeps her old ways; Father Dimitrie, who lives to be two hundred; the bandit Oarta Aman, who, after terrorizing the entire province of Wallachia, is killed by the king糖心传媒檚 army, then comes back as a ghost to frighten and humiliate the German soldiers.

For the rest of the review, go here.

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