Posts Tagged ‘literature in translation’

Love Thy Text

Thursday, September 10th, 2009

 

When I read a brilliant book, I immediately think – wow, the author is a genius! Included in this author-is-a-genius package is of course the idea that the writer is the sole creator of the text. The more perfect the text, the more I assume that the author gave birth to it in one push – without any midwives and doulas about. Sometimes I even wonder about immaculate conceptions.

 

This belief is deeply imbedded. Years of writing and now publishing other writers’ texts has not dissuaded me. Although my daily work proves me continuously wrong, nothing seems to shake the foundations of my credo. It’s a recorded disk – no, a mantra written in stone - in my subconscious. However, every now and again I get a glimpse of my fatal error.

 

A few weeks ago I received a first draft of the translation of “Stone in a Landslide” from Laura. ( I mention her name – and Paul’s in a moment – deliberately here because she is a Catalan translator I can indeed recommend). Now, this Catalan novel is a modern classic and cyberspace is full of Catalonians discussing its meaning. Frankly no easy text to translate. Laura’s work exceeded my expectation. Then Paul went through it meticulously improving rhythm and narrative voice. Then the manuscript came back to Laura and me, we added our comments. Even better. Yesterday Paul and I sat down with the latest version (Laura has gone on a well deserved holiday!) The last two thirds of the text come through strongly. I still manage to cry each time I read it. The translation clearly works its magic. It’s the first part which doesn’t feel right yet. The narrator’s voice needs more work and the text jars at too many places. We discussed, compared notes until 11pm, and now know where the problem lies. So Paul has gone back to the drawing board and will send it to Laura and afterwards to me. And then probably another time round Paul, Laura, me and perhaps one more. Paul, Laura, me.

 

Afterwards I cleaned the kitchen, I tried on some clothes from my wardrobe – do my old jeans go with my new black top? And the orange necklace? Or the purple one or perhaps better earrings? – I put my hair up, I let it down, I made myself a tea and stood in front of the bathroom mirror a bit, all the while thinking: I love text. I love working with text. By this time it was way beyond midnight. But I was far too excited to go to bed. What a wonderful feeling! To make a text complete. And this process requires teamwork. One person alone just can’t get to it. Hurray! No author, no editor, no publisher, no translator is a genius, we are humans and we need each other! Yeah!

 

Anyway, guess what? Because of all this excitement I went to sleep far too late, got up exhausted, have already drunk three coffees (my usual daily limit is two!) and find it hard to deliver a punch line.

The Literary Apprentice

Monday, June 29th, 2009

scn0002So, I did make it to the castle party! But I forgot my camera! Otherwise, and if I were already an expert blogger, I could have shown you the proof. Now you have to take my word for it.

It’s a fascinating concept, that Ingeborg Bachmann literary festival and I don’t think there is anything like it here in the UK. Quite surprising actually since it’s got all the right ingredients. It’s basically an abridged version of The Apprentice plus Britten Got Talent for literature. Fourteen authors, known and less known, renowned and less renowned, each read for half an hour an unpublished text. After each reading a panel of seven judges, made up of literary critics, writers and academics, voice their opinion in an half an hour discussion. At the end the best text is chosen and awarded the Ingeborg Bachmann prize. All of this is televised.

Its a show for the judges really. The discussions are often more interesting than the texts, because over the course of the three days you get to know the characters of the judges and can predict in advance who will say what to which text. You will have your favorite judge and the one who you feel has absolutely no clue. They turn into fixed characters in your head and cannot escape their roles. This year was no exception until one text came along that changed it all. The text was by an unknown poet who ventured for the first time into prose. And … it was dull. Static and void of any internal movement. At best, these eleven pages could have been reduced to a beautiful poem. But then the big surprise came: almost all judges, including my favorite, thought it was a remarkable text. I frantically skip read again the pages on my knees, wondering if I missed something unbelievably important. I hadn’t. Only one judge had real issues with the text - my least favorite with whom I up to then had mostly disagreed. Suddenly we were allies.

It took a while to piece together the jigsaw puzzle. The text had been recommended by the leading critic who in turn was pointed in the direction of the text by the most imminent of all German agents. In addition the leading critic is best mate with one of the leading Germophone publishers. So there were a lot of important people to reassure that their opinion was sound. There you go, that’s how literature is made.

Anyway, let me not over-dramatize. Not all is lost in the German speaking literary scene. This text did not win the Bachmann Preis 2009. Indeed the text that won has my stamp of approval ( no! I am not best mate with either the author, or the publisher or the agent). Jens Petersen’s “Till Death May Us” which won with five panel voices against two, was an haunting extract from the author’s soon to be published novel about euthanasia and the attempted suicide in a relationship. Written in sparse language it sent shivers down my spine. (You can read an English translation of the text here.)

By the way: Just in case Simon Cowall will ever read this blog and create a Brit Lit TV competition - please Simon, don’t forget to mention Peirene and her books!