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Saturday, July 4th, 2009
Yesterday I finished The History of the Siege of Lisbon and started reading Baltasar and Blimunda (wonder why the translation has this title; the original is called something like Memoir of the Convent) -- not much to say about it yet besides I loved the sex scene between João V and his queen -- especially nice in with the memory fresh of the very different sex scene between Raimundo and Marie Sara; Saramago can certainly write sex scenes! -- I wanted to note that this is the only of Saramago's novels to be made into an opera, by Azio Corghi, with a libretto written by Saramago himself. Corghi and Saramago also collaborated on the opera "Divara, Wasser und Blut," based on Saramago's play "The Name of God." And more music: Rudolf Kämper composed a chamber music suite called "Baltasar & Blimunda." I am happy to be reading these two novels set in Portuguese history now, I think they are going to be good ones to have fresh in mind when I start reading The Elephant's Journey -- I haven't seen a publication date for that yet but have my fingers crossed it will happen before the year is out.
posted morning of July 4th, 2009: Respond
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Wednesday, July first, 2009
I get home from the Spanish-language meetup this evening -- I mostly listened, talked a little bit -- and find a new post up on Saramago's blog, starting out "To write is to translate. It will always be, even when we're writing in our own language." The rest of it's a little beyond my meagre translating abilities, but interesting stuff. Reading The History of the Siege of Lisbon tonight, I found another reference to the Blindness epigraph -- ... Nonsense, I've simply done a little reading, I've amused or educated myself little by little, discovering the difference between looking and seeing, between seeing and observing, ...
posted evening of July first, 2009: Respond
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Tuesday, June 30th, 2009
We know that Mogueime has no such thoughts, he travels by a more straightforward route, whether death comes late or Ouroana comes soon, between the hour of her arrival and the hour of his departure there will be life, but the thought is also much too complicated, so let us resign ourselves to not knowing what Mogueime really thinks, let us turn to the apparent clarity of actions, which are translated thoughts, although in the passage from the latter to the former, certain things are always lost or added, which means that, in the final analysis, we know as little about what we do as about what we think.
I am not sure what to make of this: in the narration of Raimundo's book, Saramago makes reference to several different battlefield sex scenes -- e.g. the Portuguese troops raping and beheading Moorish women at Santarém; the prostitutes who offer their services to the troops next to the Portuguese army's cemetery; Mogueime's lust for Ouroana, the concubine of the crusader Heinrich. In each of these cases we see Raimundo identify more or less explicitly with the subjects of his writing; and particularly in the first case it is appalling. I haven't quite seen yet what the linkage is between this and Raimundo's love for Maria Sara, who could be concisely and pretty accurately termed "his muse" -- there was an indication near the beginning of the story that his previous sexual experiences had been generally with prostitutes, also it has been brought forth repeatedly that he has no military background and is guessing as to what things are like in war -- and clearly suggested that he has no experience with love and is guessing as to how that works as well.
posted evening of June 30th, 2009: Respond
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Sunday, June 28th, 2009
I'm really interested to know more about what Raimundo's experience is like in writing his History -- he has never written a story before, what is going through his head as he composes? Is Saramago making reference to his own experiences first picking up the pen? I have a vague understanding (quite possibly mistaken) that he made a living doing technical writing for a long time before he wrote any fiction -- possibly there is room to extrapolate from there to Raimundo's life. I am feeling like it's difficult for me to get this novel without knowing much of anything about the historical events at the center of the novel -- I don't know where (besides the obvious point) Raimundo's History is at odds with the accepted history. It looks (from where I am right now, about halfway through) like he is trying to write a story in which that key decision goes the other way, but everything ends up the same -- this is an unusual approach to "alternate history".
 ...What a great line, from Saramago's description of Raimundo's reconstruction of the Portuguese riding to a summit with the Moorish leaders:
...Roger or Rogeiro joined the expedition as a chronicler, as becomes clear when he starts removing writing materials from his knapsack, only the stylus and writing-tablets, because the swaying of his mule would spill the ink and cause his lettering to sprawl, all of this, as you know, the mere speculation of a narrator concerned with verisimilitude rather than the truth, which he considers to be unattainable.
posted afternoon of June 28th, 2009: Respond
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And early in the morning he came again into the temple, and all the people came unto him; and he sat down, and taught them. And the scribes and Pharisees brought unto him a woman taken in adultery; and when they had set her in the midst, They say unto him, Master, this woman was taken in adultery, in the very act. Now Moses in the law commanded us, that such should be stoned: but what sayest thou? This they said, tempting him, that they might have to accuse him. But Jesus stooped down, and with finger wrote on the ground, So when they continued asking him, he lifted up himself, and said unto them, He that is without sin among you, let him first cast a stone at her. And again he stooped down, and wrote on the ground. And they which heard, being convicted by conscience, went out one by one, beginning at the eldest, unto the last: and Jesus was left alone, and the woman standing in the midst. -- John 8:2-9
...We are entitled to question whether the world at that time was so hardened by vice that its salvation could only be brought about by the Son of a God, for it is the episode itself about the adulteress which illustrates that things were not going all that badly there in Palestine, not like today when they are at their worst, consider how on that remote day not another stone was thrown at the hapless woman, Jesus only had to utter those fatal words for aggressive hands to withdraw, their owners declaring, confessing and even proclaiming in this manner that, yes, Sir, they were sinners.
This observation is striking. Cutting against it you can say either, Well Jesus uttered those fatal words because of his divinity, it was the saying that exposes him as the Son of God; or, Well Jesus was the Messiah you know, so he had to be pretty damn charismatic. But basically Saramago has got something here: it is a striking aspect of this parable that the persecutors listen to Jesus and heed his reproach. The modern world is not at all lacking in comparable situations, and I can't remember seeing the people throwing the stones stand down when they are reminded of their own all-too-human status.
posted afternoon of June 28th, 2009: Respond
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Saturday, June 27th, 2009
That would be just punishment, said the fat woman, in payment for all the misery they have caused our people, Scarceley in payment, rejoined the café-owner, since for every outrage commited against us, we have paid back in kind at least a hundredfold, But my eyes are like dead doves that will never more return to their senses, said the muezzin.
Are the scenes in The History of the Siege of Lisbon that take place in Moorish Lisbon part of the book Raimundo is writing? I got the strong sense during the first such scene that it was happeing in Raimundo's imagination; he had not started writing his book at this point, but it could certainly works to think of it as a precursor to that. But his book is about the crusaders -- I don't see room in it for the close portraits of what's happening among the Moors. Are they part of the book Saramago is writing about Raimundo writing his book? Obviously in a sense yes, but Saramago's book is set in modern Lisbon. I was thinking of saying this is a third book being written by a third author, one who shares attributes of both Saramago and Raimundo. Raimundo lives in a historically-Moorish section of Lisbon and a part of his imagination identifies with its inhabitants. The blind muezzin is the interface between his story and Saramago's.
This idea needs heavy revision. Of course much of the book Raimundo is writing will take place in Moorish Lisbon; it is the History of the Siege of that town after all. Once the crusaders have refused to help King Afonso and left, he will need to write a lot about events in Lisbon. I think the author's voice in these sections sounds different, more confident, than the voice narrating the meetings between Afonso and the crusaders -- perhaps that is because Raimundo is more familiar with the world of daily affairs in Lisbon than with the world of noblemen planning warfare against Lisbon.
posted afternoon of June 27th, 2009: Respond
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 John Holbo's latest episode of Squid and Owl (if you haven't been reading along, view them as a slide show here -- funny stuff) mentioned the pleasantly-named Codex Zouche-Nutall, which sent me looking to find out more about it. Turns out scanned images of it and several other Aztec, Miztec and Mayan codices are online at the Foundation for the Advancement of Mesoamerican Studies website.
posted morning of June 27th, 2009: 2 responses
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Thursday, June 25th, 2009
"Maybe she just wrote this way because she's crazy" is their way of saying that Dickinson can't possibly have thought about how slant rhyme unsettles the reader, or how her dashes would disrupt the flow of traditional meter in evocative ways. She was just crazy, and so none of our methodological processes of analysis can be used. Crazy is a get-out-of-analysis-free card.
A White Bear has a thoughtful post up today about teaching Dickinson (and David Foster Wallace) to her English students without letting the discussion of the works get derailed talking about how the author was crazy. This has come up a lot in my experience of literature because I've noticed over the years, many of the authors that have really spoken to me have had psychological problems -- enough to have made me think at times that being crazy, or damaged, or addictive was a privilege, something I envied these artists. Which of course is pretty screwed up in a lot of ways. Anyways, AWB's take on it is clear-headed and meaningful, recommended reading.
posted evening of June 25th, 2009: 5 responses
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Gabe passes along a link to a great silent short, from a French company called Eclipse Film, dated 1912:
Pretty miraculous job of restoration -- I'm not sure who did the restoration but I thank whoever it was. And thanks, Gabe!
 Update: the film is taken from Flicker Alley's compilation of restored shorts, Saved From the Flames. I assume but am not sure that the restoration was done by Flicker Alley. From Lobster Films comes information that the director and star is Ernest Servaes; this was the first of three short comedies about Arthème.
posted evening of June 25th, 2009: Respond
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Wednesday, June 24th, 2009
To expand on a comment in the previous post, I just can't understand this choice by Pontiero: the Portuguese ...no interesse desta editora e da harmonia das nossas futuras relações, Profissionais. Espero que não lhe tenha passado... is translated as...for the sake of the publishing house and harmony in our future relationship. Professional, I trust you're not suggesting... Now I'm just really confused as to why Pontiero would have transposed the comma preceding "Profissionais" and the period after it. My initial thought when I read the English sentence was, this would "sound right" in Portuguese because the adjective follows the noun, so Raimundo is "completing the thought" of his interlocutor, whereas in English he's inserting a word in the middle of her thought. But the punctuation issue is separate. In the original, Raimundo adds his adjective directly in reply to her -- she is a little taken aback and pauses before replying. In the translation as it stands here, Raimundo pauses before replying, and she comes back with a quick riposte. I'm sort of flummoxed as to why this would be done -- it changes the sense of the passage and for no good reason that I can see.
 Thinking about this a little further: I guess it's possible that the change in punctuation is a way of addressing the word-order issue -- that the quick "professional" following "relationship" sounds right in Portuguese, but in English the longer pause is necessary because the "correction" is being inserted prior to the end of the previous sentence. This does not seem right to me -- I think the flow of conversation would still work even though there's a slightly false note introduced by the word order -- but it makes some sense as a reasoning behind this change. (And/or, another possibility is that Pontiero is having a little fun with me by getting me to proof-read a novel about proof-reading.)
posted evening of June 24th, 2009: Respond
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