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Tuesday, October 19th, 2010
In one beginning, for everything must have a beginning, even in the case where this beginning is the same as that terminal point from which it cannot, ultimately, be broken, and to say "cannot" is not the same as saying "will not" or "need not", it is the extremity of not being able, for if this breaking could take place, we know that the whole universe would crumble into its component bits, the universe is a fragile construction, it cannot bear interruption, in one beginning, then, four paths were laid out.
I'm really getting somewhere with this translation of "Ebb-Tide" -- I've got a rough draft nearly done and have been doing some revisions, I think it's going to come out very pleasant. In the first sentence you can already hear Saramago's unique rhythm and pacing.It's interesting to read Saramago talking about two cycles of his work, the narrative novels and the more allegorical novels he wrote after moving to the Canary Islands -- it makes a lot of sense to me that he named this book as the root source of the allegorical stories, I can hear Blindness and The Cave in it. I think Death With Interruptions will be worth rereading with this story in mind.
 (It occurs to me that "the extremity of not being possible" or "of impossibility" might be better English. I kind of like the sound of "the extremity of not being able". The Spanish is "el extremo no poder".)
posted evening of October 19th, 2010: 1 response
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I found a wonderful interview with José Saramago, published in the Spring 2002 issue of Mass Humanities. The interviewer is Anna Klobucka of U. Massachussets Dartmouth.
AK: The mainly historical novels you wrote in the
1980s, from Baltasar and Blimunda to The Gospel
According to Jesus Christ (published in 1991), form
the first grand narrative cycle in your work. Many
of your readers perceive a clear dividing line
between these narratives and your subsequent
works, the three allegorical novels from the 1990s:
Blindness, All the Names, and A Caverna. How do
you describe the balance of continuity and change
in your writing in the last two decades?
JS: The first narrative cycle you mention includes
also, as a starting point, Levantado do Chão, the
novel in which I articulated for the first time the
distinct “narrative voice†that from then on became
the hallmark of my work. And in the novels of the
second cycle there are clear echoes of my earlier
volume of short stories, Objecto Quase.
Furthermore, we must not forget my still earlier collections
of newspaper columns, Deste Mundo e do
Outro [From This World and the Other] (1971) and A
Bagagem do Viajante [The Traveler’s Baggage] (1973).
In my view, everything I have written in later years
is rooted in those texts. As for the definition of the
“dividing line†that separates the two novel cycles,
I explain it through the metaphor of a statue and a
stone: up to and including The Gospel According to
Jesus Christ, I was describing statues, insofar as a
statue is the external surface of
a stone; with Blindness and later
novels, I have moved inside the
stone, into that space where
the stone does not know whether
on the outside it is a statue
or, for example, a doorsill.
posted morning of October 19th, 2010: Respond
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Saturday, October 9th, 2010
 So I started reading one of Saramago's early works in Spanish translation, because I believe it is not available in English*: Objecto Quase (1978) was translated by Eduardo Naval in 1983 as Casi un objeto (online as PDF at www.inabima.org). It is 6 longish short stories told in Saramago's magnificent, inimitable voice -- the same voice we see in Blindness 20 years later, the same voice we see in The Elephant's Journey 30 years later, and I'm surprised to see it so fully developed this far back, ten years before his breakthrough with Balthazar and Blimunda in 1987.
I have started working on an experimental translation of the third story, "Ebb-tide" -- possibly this is hubristic, I can't imagine the Saramago foundation giving me permission to publish it... but I can dream. Even if it goes unpublished, it is a great exercise in understanding his voice. It seems (most of it, so far) almost ridiculously easy to render nicely in English, makes me wonder if I'm missing something... There are to be sure a few passages where I am having trouble figuring out the meaning, but these are distinctly in the minority.
*English Wikipædia has a stub page for it titled "Quasi Object" but there is no information about translator or publication, it seems like somebody just ran the Portuguese title through a mechanical translator. The page does contain the tasty information that a film adaptation of the second story, "Embargo", was released this year in Portugal. If I'm understanding Wikipædia's layout correctly, Saramago has a number of works of fiction, of poetry and of memoir which have not yet been translated, and I find this a bit surprising.
posted afternoon of October 9th, 2010: 2 responses
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Sunday, August first, 2010
Lönnrot: Hello, Zunz --
Zunz: Inspector Lönnrot?
L: Yeah -- I hope you don't mind me calling at this hour, but ah... I was just wondering if you managed to turn up anything on the ninth attribute of God yet.
Z: The ninth attribute of God?... Well yes, it's the immediate knowledge of everything that will exist, exists or has existed. ...Is everything all right, inspector?
I was interested to find out the other day that Death and the Compass had been adapted into a movie a few years ago, and that the movie is watchable online. It is adapted by Alex Cox, who directed Repo Man, and the (amazing) soundtrack is by Pray for Rain, a band which has apparently been around since the eighties.Cox directs this piece masterfully -- I am in awe of his adaptation, which took off in a direction I was not expecting at all, but which had me believing by the end of the movie that Scharlach was speaking words Borges had written -- Cox' screenplay has drunk of the same well Borges was going to when he wrote this. The radical deviations from Borges' storyline only serve to make it a better movie, truer to the original. You can watch the movie online at dailymotion.com; I recommend it highly.
An interview with Cox about how he picked this story.
posted evening of August first, 2010: 7 responses
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Sunday, July 18th, 2010
...truth, whose mother is history, rival of time, depository of deeds, witness of the past, exemplar and adviser to the present, and the future's counselor.
This catalog of attributes, written in the seventeenth century, and written by the "ingenious layman" Miguel de Cervantes, is mere rhetorical praise of history.-- "Pierre Menard, author of the Quixote" (Hurley's translation)
It was not until I was reading the Quixote this evening and happened on the quoted line (near the end of the ninth chapter) that I realized it is not a mere rhetorical flourish, that Borges is calling attention to the line for his own reasons. (Still not exactly sure what those reasons are...; but the line comes at the end of bit of meta-storytelling that sounds to my ear very Borgesian, about the discovery and translation of Benengeli's history. When I'm reading it now it sounds like Cervantes is being ironic about the truth-value of his story.)
posted evening of July 18th, 2010: 4 responses
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Wednesday, July 14th, 2010
I've started reading Richard Slotkin's Regeneration through violence with the idea that I might be able to draw some parallels between his narrative of myth formation and Borges' stories... In service of that end, here is a passage from "Narrative of the Warrior and the Captive Maiden" (from The Aleph) and one from Slotkin's book.
John Williams' narrative, The Redeemed Captive, taught that the ultimate salvation of the soul itself was really at stake in the trial by captivity. One of Williams' daughters, who was very young when captured, could not be won from her captors in time for repatriation with her father. The result was typical of the fate of many captives: she forgot her language and her catechism and became at once a papist and a pagan savage, married to an Indian. Despite the efforts of her father and her family to bring her back, she refused all opportunities to resume her former life. On one occasion she returned to the neighborhood of her birthplace (Deerfield, MA) dressed as an Indian. Her friends clothed her in the English fashion and sent her to meeting, but she "indignantly threw off her clothes in the afternoon, and resumed the Indian blanket." By her own declaration she preferred the Indian way of life. ...she declared that she would never move again from Canada to New England because to do so would "endanger her soul."
Her visit occurred in 1740-41 at the height of the Great Awakening, and her presence in the congregation had been the occasion for "A Sermon Preached at Mansfield, August 4, 1741, at a Time set apart for Prayer for the Revival of Religion," by Pastor Solomon Williams. It was perhaps Williams' attempt to use her as an example of God's delivering a soul from bondage to the devil that made her afraid of "losing" in New England the "soul" she had developed in thirty-eight years of captivity.
-- Chapter 4, "Israel in Babylon"
Perhaps for one instant the two women saw that they were sisters; they were far from their beloved island in an incredible land. My grandmother, enunciating carefully, asked some question or other; the other woman replied haltingly, searching for the words and then repeating them, as though astonished at the old taste of them. It must have been fifteen years since she'd spoken her native language, and it was not easy to recover it. She said she was from Yorkshire, that her parents had emigrated out to Buenos Aires, that she had lost them in an Indian raid, that she had been carried off by the Indians, and that now she was the wife of a minor chieftain -- she'd given him two sons; he was very brave. She said all this little by little, in a clumsy sort of English interlarded with words from the Auracan or Pampas tongue, and behind the tale one caught glimpses of a savage and uncouth life... An Englishwoman, reduced to such barbarism! Moved by outrage and pity, my grandmother urged her not to go back. She swore to help her, swore to rescue her children. The other woman answered that she was happy, and she returned that night to the desert.
--"The Warrior and the Captive Maiden" (Hurley's translation)
Further reading -- The Redeemed Captive; Narrative of the Captivity of Mary Rowlandson
posted evening of July 14th, 2010: Respond
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Monday, July 5th, 2010
| Hace ya tantos años que Carlos Reyles, hijo del novelista, me refirió la historia en Adrogué, en un atardecer de verano. En mi recuerdo se confunden ahora la larga crónica de un odio y su trágico fin con el olor medicinal de los eucaliptos y la voz de los pájaros. | | It's been many years already since Carlos Reyles, son of the novelist, told me this story -- in Adrogué, one evening in the summer. In my memory are muddled now the long story of a hatred and its tragic ending, with the sickly odor of the eucalyptuses, the cry of birds. -- beginning of "The Other Duel" |
This beginning is fairly characteristic of the stories in Brodie's Report -- the narrator (who is often identifiably Borges) distances himself from the story he is telling. He introduces it as a story he heard years ago, that he doesn't remember, quite, and is embroidering with his own inventions -- sometimes (eg "Unworthy") the character who is telling the enclosed story explicitly expects Borges to weave a story out of it, to decorate it with knife fights and lawlessness.
posted evening of July 5th, 2010: Respond
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Sunday, July 4th, 2010
At the opening of "Juan Muraña" (the fifth story in Brodie's Report), Borges refers back to a biography of Evaristo Carriego which he wrote in 1930 (and which I see was translated by Norman Thomas di Giovanni, in 1984*) -- his old classmate Trápani mentions the book by way of asking what Borges knows of "malevos," a word which I am not finding  in the dictionary but which Hurley translates as "fighters and thugs and underworld types." ("Gangsters" seems like it might work just as well...)
I took the opportunity to have a look at Borges' foreword to Versos de Carriego, a selection which he edited in 1964** -- it is giving me another bit of nuance about the Argentine literary tradition Borges is coming out of. Previously I had been thinking the knife fighting in his Argentine stories was a reference to gauchesca literature, the literature of the pampas; but in this foreword he writes, Esteban EcheverrÃa was the first chronicler of the pampas; Evaristo Carriego, it appears, was the first chronicler of the arrabales [suburban slums around Buenos Aires].
There is knife fighting in gauchesca literature, but the knife fighting in the stories in Brodie's Report all takes place in the slums around Buenos Aires; the reference here is not to gauchos but to malevos.Below the fold, a little more from the foreword, which makes Carriego's work sound fairly important to the evolution of Argentine literature. Carriego's complete works are online at Proyecto Biblioteca Digital Argentina.
 From the foreword:
Carriego could not have carried out his works without the enormous freedom of vocabulary, of theme and of meter which Modernism granted to the literatures of the Spanish tongue, both on this side and on the other side of the ocean; but the Modernism which was his stimulus was also his enemy. A good portion of Heretic Masses is given over to involuntary parody of DarÃo and of Herrera. But beyond these pages, and beyond the rest, the discovery (let's call it that) of our suburbs is the most valuable contribution of Carriego.
And
I know little of his political inclinations -- a likely guess is that he was vaguely, eloquently an anarchist. [which cf Borges' statements about his own politics in the foreword to Brodie's Report.]... He worked ceaselessly, driven by the soft mania of the tubercular. ... He died twenty-nine years of age, at the same age and of the same disease as John Keats. Both men had a hunger for fame -- [this last bit I am finding very hard to understand, not sure whether from a language problem or a complexity problem:]
la pasión era lÃcita en aquel tiempo, ajeno todavÃa a las malas artes de la publicidad.
* di Giovanni wrote an essay on "Evaristo Carriego: Borges as Biographer," which one can read in part at Google Books.
** (Also included in Prologos is a foreword to Roberto Godel's Birth by Fire -- In "Juan Muraña," Borges mentions that Godel was in school with him and Trápani.)
↻...done
posted evening of July 4th, 2010: Respond
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Thursday, July first, 2010
| Estaba compilando, me dijo, una copiosa antologÃa de la obra de Baruch Spinoza aligerada de todo ese aparato euclidiano que traba la lectura y que da la fantástica teorÃa un rigor ilusorio. | | Fischbein was putting together, as he told me, a collection of the work of Baruch Spinoza, shorn of this whole Euclidian business which hinders the reading experience and which lends the bizarre theory some rigor, some illusory rigor. |
The first page of "Unworthy" has me scurrying to find out a little more about Spinoza, bizarre theories lent an illusory rigor by a Rube Goldberg Euclidian apparatus sounds like just my cuppa tea... I spend a little time looking at his Short Treatise on God, Man and Human Welfare and am finding it... strange. Not "difficult to parse," which has often been my experience reading philosophy, but just wrong-headed. Statements like "So since man has an idea of God it is clear that God must exist formally" have me scratching my head and wondering what Spinoza makes of unicorns and leprechauns, and flying spaghetti monsters... Statements like "Since Nothing can have no attributes, the All must have all attributes" have me shaking my head and muttering that that does not follow, all your capitalization and italics will not make it follow. All this head-scratching and head-shaking and muttering is making it hard to get anywhere with the text. (It was fun to find out, though, that I can nearly read Dutch -- if I squint just right and have the translation to hand -- I had never thought to look much at Dutch before but the description I've heard of it as being halfway between German and English seems just about right.)
 Joseph B. Yesselman maintains a hypertext library of Spinoza's works translated into English. It seems like his Ethics and possibly Tractatus Theologico-Politicus are where I should look for Euclidean apparati.
posted morning of July first, 2010: Respond
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Saturday, June 26th, 2010
In the interest of drawing connections between unrelated texts... This passage from "Unworthy":
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La imagen que tenemos de la ciudad siempre es algo acrónica. El café ha degenerado en bar; el zaguán que nos dejaba entrever los patios y la parra es ahora un borroso corredor con un ascensor en el fondo.
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The image which one holds of one's city is always a little anacronistic. This café has deteriorated into a bar; that hallway, the one through which we could make out the patio and the garden, is now a faded corridor with an elevator at the far end.
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deserves to be read in conjunction with this song:
(and well also, the song deserves to be listened to in conjunction with that passage -- they magnify one another, is what I mean.)
Another useful point of reference for this passage, and for this song, is the beginning of "The aleph":
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La candente mañana de febrero en que Beatriz Viterbo murió ..., noté que las carteleras de fierro de la Plaza Constitución habÃan renovado no sé qué aviso de cigarrillos rubios; el hecho me dolió, pues comprendà que el incesante y vasto universo ya se apartaba de ella y que ese cambio era el primero de una serie infinita.
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On the hot February morning when Beatriz Viterbo died ..., I noticed that the iron billboards in Plaza Constitución had been cleared of their advertisement for blonde cigarettes (or whatever it had been)... The matter caused me some pain, when I understood that the vast, incessant universe was detaching itself from her memory; this change would be the first in an infinite series.
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posted afternoon of June 26th, 2010: Respond
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