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Fête du Livre de Bron – Bron literary festival.

March 10, 2019 16 comments

It’s currently the Fête du Livre de Bron, a festival for contemporary literatures, one of the numerous literary festivals in France. This year’s theme is La vie sauvage. (Wild Life in English). Friday morning, I attended two conferences, one by Oliver Gallmeister, the founder of Gallmeister publishing house and one by Pierre Schoentes, professor at the Gand university in Belgium.

Regular readers of this blog know that I love books published by Gallmeister. They are specialized in American literature with two strong preferences, Nature Writing and Noir fiction. All books show a certain side of America and in their way, question the American way of life. Their books are right in the theme of the festival.

Oliver Gallmeister was interviewed by Thierry Guichard and the interaction between the two was lively. It was interesting to hear the point of view of a publisher. He runs an independent publishing house and his only compass is that he publishes books that he loves. Old ones with new translations or new ones. He comes from the countryside and says that nature has always been part of his life.

Gallmeister publishes Edward Abbey, Pete Fromm, David Vann, Jean Hegland, Gabriel Tallent but also Ross McDonald, Craig Johnson or Thoreau. They publish writers whose books could not be transposed anywhere else. Books that are intrinsically American.

He talked about nature in America, the way it is part of the American psyche and in their daily life, something we can’t understand in Europe where wilderness is when a garden in unkempt. In the books Gallmeister publishes, nature is an important part of the plot. It’s almost a character or at least something so present that it influences the character’s way of life.

I’m not going to paraphrase everything he said about Nature Writing but I’d like to share what he said about publishing.

80% of the books they publish come to them through literary agents. Gallmeister starts to be well-known in America for publishing a certain type of American literature. They receive around 500 books per year and publish 20. Some of these books are not even published in English because no American publisher wants them. For me, it’s quite puzzling to read a book in translation that has not even been published in its own language. It’s the case of Evasion by Benjamin Whitmer.

Oliver Gallmeister said that France is a little paradise for some of the writers they publish. France still has a unique dense and active literary ecosystem made of libraries, independent bookstores, festivals and partly relayed in the school system. When they first come to France, their writers are amazed by the crowds they meet and it’s something I’ve witnessed at Quais du Polar. Writers are sitting at their table to sign their books and they’re pleasantly surprised by the queue of people, patiently waiting their turn to have their book signed and a quick word with its writer. There are a lot of people attending literature festivals, them being free probably helps too.

Can you imagine that? Some of Gallmeister’s writers are so successful in France that it helps them being published in their home country or live off their books. Some keep on writing thanks to the French public and their book buying. (Now I have an excuse to splurge at Quais du Polar…)

I’ve already mentioned that Gallmeister’s traductions are outstanding. They work with a steady team of translators and their watchword is to disappear. The translator shall not be visible and they have each translation controlled by a team to ensure that the translation reflects the author’s text. There is no room for the translator’s voice or interpretations. Their efforts are visible in their translations. I speak English well enough to hear the American under the French, but it’s still written in a French that a French would speak. And yet, it reflects the American way of speaking and Frenglish with literal translation of expressions doesn’t have its place here, which is excellent because it’s irritating. It sounds odd to readers who don’t speak English and they leap to the face of the English-speaking reader. Honestly, it made me want to be part of their team who checks on translations.

I loved this interview because I truly share Oliver Gallmeister’s passion for American literature and also his non-academic relationship with literature. He doesn’t lose the most important part of why we read: pleasure. I managed to muster the courage to talk to him at the end of the conference and ask if they’d branch out to Australian literature and suggested a book that seems right in their publishing policy: The Hands by Stephen Orr.

Last info: Gallmeister will have a stand at the London Bookfair on March 15th.

The second interview was in total contrast with the first one and soon became a snooze fest. Pierre Schoentjes is certainly a very competent academic. He has written an essay about “nature writing” in French literature, which explains why he was Oliver Gallmeister’s counterpart. His first sentence included a word of literary theory that I didn’t know. That didn’t bode well for the rest of the talk. His speech was not totally accessible to non-academics. Sadly, he reminded me why I never wanted to go to university and study literature.

To sum it up: there’s no real nature writing in French literature for different reasons. There’s a genre called “régionalisme”, about peasant stories and it’s not considered as noble as literary fiction and it’s a put off. Europe doesn’t have wilderness anymore. Post WWII intellectuals were mostly urban writers and were more interested in the working class than in nature. It seems that books about nature were a political statement, either to contrast with the brutality of war (Giono) or to promote ecology.

The two interviews really illustrate my perception of American vs French literature. American writers (at least the ones I read) tell stories and nature or wilderness can be part of their story. French writers often fail to avoid the pitfall of introspection and intellectualization of things even when it’s not needed. One example: The Sermon on the Fall of Rome by Jérôme Ferrari. An American writer published by Gallmeister would have written a story about the two friends taking over a café in Corsica. All the stuff about Saint Augustine would never have been there.

I don’t want a novelist to show off how erudite they are, it’s boring and in a way, it says, “I only write for like-minded people”. I see literature as a way to escape, a way to see the world and broaden my horizons. Why should I need a degree in literature to read novels?

So yes, I’m going to be a very good customer to Gallmeister. The icing on the cake? The book covers are gorgeous.

On Saturday, I attended the interview of Fabrice Caro, a BD (comic books) writer and novelist. It was a very funny interview by one of his passionate reader, Maya Michalon. We went through his work as he shared anecdotes about his life, his creation process and his interactions with the public.

I bought his BD Zaï, zaï, zaï, zaï, the story of the absurd manhunt that starts in a supermarket when a consumer forgot his loyalty card. He had no papers. I haven’t read it yet but from the excerpts I’ve heard yesterday, it’s totally hilarious in an off-beat sense of humor. The idea behind the loyalty card is to show what could happen to someone who doesn’t have an ID card.

I’d also like to read his novel, Le discours and his other autobiographical BDs entitled Le Steak haché de Damoclès, Like a Steak Machine and Steak It Easy. He can’t tell you why all the titles have steak in them, except for the pleasure of a good word.

There were a lot of other conferences that seemed fascinating but alas, one is always caught put by pesky things called work and chores.

Bookish news in my small world

January 26, 2019 20 comments

Over the last few weeks, I have gathered miscellaneous bookish things I wanted to share with you. They caught my attention during my daily life activities and stayed with me.

Literary events

Angouleme BD festival

This weekend is the Festival de Bande Dessinée d’Angoulême. It’s the 46th edition of this festival dedicated to BD, a French acronym that covers comics, graphic novels, manga… The Grand Prix of the Angoulême festival has been awarded to Rumiko Takahashi, the Japanese author of mangas. Did you know that France is the second market in the world for mangas? (After Japan, of course) 18 million of mangas were sold in France in 2017 and it represents 38% of the BD sales in France. We are unique in the Western world for this and it started with my generation. We watched manga cartoons on TV and we were hooked.

 Fête du Livre de Bron – a festival for contemporary literature.

It’s organized from March 6th to 10th, 2019. Oliver Gallmeister will give a lecture, Nature Writing, une tradition anglo-saxonne. I hope I can attend this as I’m curious to hear this wonderful publisher of American literature.

Quais du Polar – March 29th – March 31st.

I have my subscription to Quais du Polar! Nordic Crime will be celebrate during the 15th edition of this cime fiction festival. I received my badge, my two free books and now I need to browse through the writers that will be invited and see if I have one of their book on the shelf already.

Translations

Good news! Il reste la poussière by Sandrine Collette is now translated into English. It’s published by Europa Editions and it’s entitled Nothing But Dust. See Claire’s review here.

Other great news, La Daronne by Hannelore Cayre will be available in English in September. It will be The Godmother, in a Coppola sense, not the Disney one. It will be published by Old Street Publishing.

I also stumbled upon a German translation of Un certain M. Piekielny by François-Henri Désérable. I hope it’ll make it into English one of these days.

Economy and Literature.

When literature takes interest in economy and vice versa.

I’ve started to read the number 79 of the magazine L’Economie politique as it is about literature and economy and how the two interacts. Some articles are more difficult than others, I’m not done yet. I didn’t know that Robinson Crusoe was used in economy theories. I enjoyed the article about writers and the literature and book market. I’m looking forward to reading the one about economy and Zola.

I’m not going to post a billet about it. Sometimes I struggle to understand the content in French, so writing a summary of it in English is insuperable.

When the French tax law for 2019 favors independent bookstores.

When browsing through the tax changes voted last December, I stumbled upon an article about new tax exemptions for independent bookstores. Chain stores are not in the scope of this law and I’m happy our deputies voted texts to protect our network of independent bookstores.

 

America – A French magazine

America is a magazine founded by François Busnel and Eric Fottorino. It started when Trump was elected as president and it is meant to last the four years of his presidency. Each magazine has a theme to make us discover America. François Busnel is best known in France as the presenter of the weekly literary live TV show La Grande Librairie. It’s a famous TV program in France, one that managed to gather 841 000 viewers on December 11, 2018 and keeps getting high ratings for that kind of show.

America includes long interviews of writers, reportages by French and American writers, a chronology of events in Trump’s America, beautiful illustrations and pictures. It’s a gorgeous magazine, the right mix of long articles and news in brief, of contemporary writers and older ones, of literature, cinema and TV.

This quarter’s number is about race in America, it opens with a poem by Maya Angelou and includes a long interview by Russel Banks, a text by James Baldwin and other reportages and interviews.

Silence, on lit!

Quiet! We’re reading, that’s the meaning of Silence! On lit. It’s a charity devoted to developing reading in schools. The idea is simple: everyday students read at the same time during 15 minutes. The middle schools (collèges) have arranged their schedule around this new reading time. Any reading material is allowed: books, magazines, BDs…Anything. The whole school gets quiet during 15 minutes as all the students in all the classrooms are reading what they chose to read. The repetition helps improving at reading. It’s a real success where it’s implemented. New readers emerged and for the others, it’s a quiet time to settle down after other activities and be ready to learn something else after.

It’s a charity, and of course, they need money to buy more books for school libraries because they need a bigger stock of books if all the students read at the same time and want to borrow something from the library. I like their idea a lot, because 15 minutes is not long and I think that their small steps approach is interesting and takes reading down from its pedestal of intellectual activity.

Libraries Without Borders

Libraries Without Borders is a French charity whose aim is to help alphabetization and promote access to culture and education through libraries. They work locally in 30 countries.

In France, they were recently involved in La nuit de la lecture. (Reading night). Libraries Without Borders gave book bags to a group of migrant children. French children from Alsace prepared personalized book bags for each child, as a welcome to France and the French language gift. For my Australian readers, have a look at what they do for Aboriginal communities. (Here)

Why this billet? you might ask

I know there are tons of initiatives to foster reading, to improve literacy or to build bridges between communities. There are also tons of book festivals everywhere in France. All the events, actions and news I shared are just drops in this ocean of literary-oriented activities. But they were the drops that brightened the world news I heard every day.

The Kites (Les cerfs-volants) by Romain Gary

April 29, 2018 18 comments

The Kites by Romain Gary (1980) Original French title: Les cerfs-volants.

The Kites is a novel by Romain Gary translated by Miranda Richmond-Mouillot. Although it was published in French in 1980, its English version was only released end of 2017. I am crazy enough about this writer to have ordered the English translation of a book I’m perfectly able to read in the original. I wanted to see how the translation was, how the translator managed to give back Gary’s peculiar style. All the English translations in this billet are by Ms Richmond-Mouillot.

Lisa from ANZ LitLovers and I decided to read The Kites along. With time difference between Australia and France, her review is already available and as I write these lines, I haven’t read it.

The Kites starts in 1930 and ends just after WWII. Ludovic Fleury lives in Cléry, a small village in Normandy. He’s an orphan who lives with his uncle Ambrose. Ambrose is a bachelor, a postman with a passion for kites. He makes wonderful kites that sing the beauty of life and feature the great names of French history, be it literary or political. He’s famous for them and he became quite an attraction in the neighborhood. Ambrose’s friend Marcellin Duprat runs a gourmet restaurant, Le Clos Joli. Tourists go to Cléry to have a wonderful meal at the Clos Joli and see Ambrose’s artistic kites.

Ambrose is a full-on Republican, someone who values the heroes of the French Republic. He celebrates them through his kites and he passes this vision on to Ludo. The young boy is the product of the Third Republic, educated in the public school-system. From a very young age, Ludo is attached to historical figures and suffers from too much memory. He remembers too much and he’s able to do complex calculation in his head or to remember lists of numbers, something that will prove helpful for clandestine activities.

In 1930, Ludovic is 10 when he meets Lila Bronicka for the first time. She’s the daughter of a Polish aristocrat who owns an estate near Cléry. Ludovic is bewitched by Lila.  Victim of his infallible memory, he will wait for her return during four years. He’s totally and irrevocably in love with her.

Lila returns to Cléry with her family, her German cousin Hans von Schwede and their protégé Bruno. Ludo befriends Lila and her brother Tad. Things are more complicated with Hans and Bruno who are also in love with her. Ludo is invited to their estate and gets to know her and her family. In the 1930s, Lila spends all her summers in Cléry and their love relationship grows. Meanwhile, Ludo works as Count Bronicki’s secretary. In 1939, Ludo goes to Poland to spend the summer at Lila’s and he’s still there when WWII starts.

How will Ludo and Lila survive this war? You’ll have to read the book to discover it.

The Kites is a typical love story by Romain Gary. Absolute. Irrevocable. Made of mutual imagination and unbreakable bonds. As Lila explains to Ludo:

Je comprends qu’on meure d’amour, parce que parfois, c’est tellement fort, que la vie n’arrive pas à tenir le coup, elle craque. Tu verras, je te donnerai des livres où ça arrive. I understand dying of love, because sometimes it’s so strong that life can’t withstand it, it snaps. You’ll see, I’ll give you books where that happens. (chapter 6 p37/38)

When Lila and Ludo are adolescent, they try to imagine their future. And Lila’s words reflect Gary’s vision of youth.

Je peux encore tout rater, disait Lila, je suis assez jeune pour ça. Quand on vieillit, on a de moins en moins de chances de tout rater parce qu’on n’a plus le temps, et on peut vivre tranquillement avec ce qu’on a raté déjà. C’est ce qu’on entend par « paix de l’esprit ». Mais quand on n’a que seize an et qu’on peut encore tout tenter et ne rien réussir, c’est ce qu’on appelle en général « avoir de l’avenir »… “I can still fail at everything,” Lila was saying. “I’m young enough. When you get old you have less and less opportunity to mess everything up because you run out of time, so you can live an untroubled life and be happy with what you’ve already made a mess of. That’s what they mean by ‘peace of mind’. But when you’re only sixteen you can still try everything and fail at it all, that’s what they usually call ‘having your future ahead of you.’” (chapter 8 – p55/56)

Youth is when everything’s still possible and risky. In his eyes, old age is not a time to take advantage of your past experiences but more a time to mourn the loss of possibilities. Time is running out and nothing daring can come out of it.

The Kites is more than Ludo and Lila’s challenging relationship. It’s an homage to the Resistance. Romain Gary joined the Resistance early in 1940 and his novel is an opportunity to mention names and places, a way to give them immortality through literature. As Lisa pointed out, historical details don’t fit. It doesn’t matter because it is not a historical novel. It’s a way to mention heroes from the time and especially the village of Chambon-sur-Lignon where the pastor André Trocmé and other villagers helped to save Jewish children.

The war time in The Kites is also a time to ask ourselves “What is it to be human?” After the horrors of WWII, how do we reconcile the concept of human with all this inhumanity? Inhumanity was so widespread that it must mean that it’s hidden away in each of us. How do we know if we’ll be able to chain this wild beast if dire times happened? Inhumanity is part of humanity and this war made us learn this lesson.

I cannot write about Gary without mentioning his witty style. It brings a lightness to the story, a little spring in his sentences. Despite its serious themes, it’s told with a unique sense of humor and a lot of cultural and popular references. He uses the French language in his own way, mixing expressions, thinking out of the box, putting codes upside down.

Il ne s’agissait pas de ce que j’allais faire de ma vie mais de ce qu’une femme allait faire de la mienne. It was not a question of what I would do with in life, but what a woman was going to do with mine. (chapter 17, p102)

Miranda Richmond-Mouillot did an excellent translation of Gary’s voice. Here’s the perfect example of her excellent interpretation of Gary’s mind:

En réalité, avec le genre d’esprit que tu as, mon cher frère, tu devrais être garçon de bains : tu aimes tellement donner des douches froides ! Really, dear brother, with a sense of humor like, you should take up meteorology – you just love to rain on people’s parades! (chapter 8, p52)

She managed to translate the French play-on-words with an equally good pun in English. In American, I should say. We had a little exchange about that with Lisa who was complaining that the version published in Australia was not with Australian spelling. I objected that the translation was American, with American spelling and keeping ‘mustache’ instead of ‘moustache’ kept a certain consistency in the text. Gary’s French is full of colloquialisms with some swear words. I’m not an English-speaking native but from where I stand, the differences between English and American are a lot more visible in colloquial language. And I’m not sure that an English translator would have translated putain de merde by goddammit. What do English speaking readers think about this?

Another thing about the translation. It’s not the first time that I noticed it but a level of informal language seems to be missing in English compared to French. There’s no English equivalent for words like ‘bouquin’ (book), ‘godasses’ (shoes) or ‘bagnole’ (car). It’s not vulgar, it’s warmly informal. These words convey affection of the things they refer to. It’s too bad because it brings warmth to someone’s tone. Miranda Richmond-Mouillot can’t do anything about this and her translation of Gary is still remarkable compared to the original.

The Kites has another dimension, a more personal one for Gary. I think that Ludo’s love for Lila is a representation for Gary’s love for France, his adoptive country, that Lila is a personification of France and that The Kites, Gary’s last book mirrors Education européenne, Gary’s first book. This is a trail I can’t explore without spoilers. I will write about it in another billet, you’ll be free to read it or not. I know that at least Lisa will read it.

A last word about the book covers I included in my billet. I think the American one is the best. It’s an excellent representation of the book with the kites, the French flag, the Lorraine cross representing the Resistance and Lila’s face on a kite. It’s perfect. The French one with the postman is my old edition and it represents uncle Ambrose and his kites. It gives a good idea of the humorous thread of the book and of its “Douanier-Rousseau” vibe but leaves out Ludo and Lila, the main protagonists. The other French one is terrible: it’s only Lila as a femme fatale and The Kites is a tale, told by a story-teller and the naïve tone of the narration is totally missing, just as the kites and their symbolic value is left behind.

I hope this billet will prompt you to read The Kites, a lovely book by my favorite writer.

Quais du Polar 2018 : Fascinating conference about republishing old crime fiction books.

April 9, 2018 9 comments

At Quais du Polar I attended a fascinated conference among publishers about republishing old crime fiction books. The participants were Oliver Gallmeister, from the eponym publishing house, Jeanne Guyon, in charge of Rivages Noir, Jean-François Merle for the publisher Omnibus and Jérôme Leroy, writer, reviewer and in charge of the collection La Petite Vermillon at Gallimard.

The journalist started the discussion by asking about each publisher’s view on reeditions. All said that it was part of the strategy of their publishing house as a way ensure the transmission of a literary heritage. Rivages Noir started with a new edition of Pop. 1280 by Jim Thompson. For Omnibus born 30 years ago, it was the origin of their existence as they started with the project to publish an omnibus collection of Simenon’s work. You know how prolific he was and it ended up with 27 volumes of 1000 pages each. A colossal work of researching all the books, getting them and arranging them in consistent volumes. Gallmeister has started to republish Ross McDonald, mostly because Oliver Gallmeister wants to share this writer with new readers. When he launched his own publishing house in 2006, he had in mind to release half of new books, half of reeditions. The first reedition was The Monkey Wrench Gang by Edward Abbey. (French title: Le gang de la clé à molette). He was inspired by François Guérif, the creator of Rivages Noir.

Reeditions are a way to help a new publisher to create a catalogue and start their activity. At the same time, they quickly become a tricky economic equation. Indeed, there isn’t as much press coverage for a reedition as for a new book. And there are less prescriptions from the libraires. Why is that? Well, for these well-read and sometimes older readers, these books are old news. They’ve read them before and don’t see why they should write about them or recommend them to clients. Gallmeister has republished seven books by Ross McDonald and it hasn’t been profitable since book three. He said he will keep on republishing them anyway, as it is his duty as a publisher to keep this literary heritage alive. Jeanne Guyon said they had the same problem at Rivages Noir where they endeavor to reedit every book by Donald Westlake and Elmore Leonard.

The root of the economic equation is: Is there a public today for this book? They never know if a reedition will be a success. For example, they republished We Have Always Lived in the Castle by Shirley Jackson. (French title: Nous avons toujours vécu au château), and it was a huge success. Gallmeister republished Margaret Millar and it was a failure, total silence in the press. On the contrary, when books by Chesterton were republished, glowing articles appeared in Le Figaro and Le Monde and the book was launched. The publisher’s thorough work is a not a sure recipe for success in bookstores. There’s a good dose of serendipity. The corporate executive in me understands the economic angst coming out of this serendipity and the need to ensure a return on investment for their good work and the aim to earn money and not endanger their company. The passionate reader in me is happy that selling books is still something different from selling peas and that the whims of the reader remains an unpredictable variable in the equation.

With this economic problem comes another tricky question: should they be completist and republish every single book by a writer or leave behind the less worthy ones? Westlake’s books were of unequal quality; is it worth it to republish the bad ones?

The question of the publisher’s duty in the transmission of book heritage was a crucial one. Gallmeister recoiled a bit at this idea, probably because it smelled a bit too much about duty and mothballs and not enough of passion for books. Jérôme Leroy said he was in a very comfortable position: as the director of a small collection of four books per year at Gallimard’s, his only guide was his urge to share with other readers books by writers that have been formative to him and kindled his love for reading. He loves to republish long forgotten books like La princesse de Crève by Kââ or La langue chienne by Hervé Prudon or oddities in a writer’s career like Drôle de salade by Cécil St Laurent, a penname of the very conservative Jacques Laurent.

The question of republishing one book in a writer’s work or all of their books came back because it’s a crucial question for the publisher. Gallmeister said that no matter what, he will publish the whole work of Ross McDonald. For other writers, he will leave some lesser works behind. He thinks it’s also part of the publisher’s duty to let some writers fall into oblivion. Do former Nobel Prizes like Anatole France deserve republishing? He’s not so sure. (Me neither, btw. Same for Voltaire. Most of his plays are OOP and for a good reason, from what I’ve heard)

I guess that all these parameters are valid for all countries and all literary genres. There’s a specificity to crime fiction and Noir in France though. Books by Thompson, Chandler, McDonald, Westlake and others were first published in collections called Série Noire or Fleuve Noir. They were named romans de gare, books to be bought in railway station by travelers. They used to sell their collection through subscriptions, publish ten to twelve books a month. Books had to be 250 pages long, not more. It was considered as popular literature aimed at a popular readership. They thought about their readers before thinking about the writers. And they had –in my view—quite a low opinion of their readers. They assumed that these readers weren’t able to read long books or that they could enjoy digressions and detours in their crime novels. There’s a lot of contempt from the literary elites on their working-class readers. White collars just assumed that their blue-collar readers were idiots.

So, they took liberties with the original and tampered with the translations. The publishers kept a team of writers/translators who worked according to precise specifications. There wasn’t much time for proof reading. Passages that didn’t contribute to move the action forward were cut, accuracy wasn’t a golden rule for the translator who adapted the text to the reader’s everyday life references. These butchery cuts sometimes erased the singularity of the writers and could reprensent from 10% to 30% of the original. Pop 1280 became 1275 âmes in its first edition probably because it sounded better than 1280 âmes. In the end, 1280 âmes is a book by Jean-Bernard Pouy where he investigates the disappearance of these five souls.

A same writer had a lot of different translators which resulted in inconsistencies in the translations. Two characters would say vous to each other in one volume and tu in others. What’s their relationship? How do they address to each other? The choice must be consistent throughout the translations and it wasn’t. It’s the case for 87th Precinct by Ed McBain published by Omnibus. The foreign authors had no idea of the poor quality of the French translations.

It was another era, a time where French readers knew less about America and translators tried to translate the books into French but also into French references to help the reader. This is behind us with globalization.

This doesn’t correspond to our vision of what a translation should be. Now translation contracts specify that the translation must be faithful, complete and accurate. Publishers are also more respectful of authors and now readers buy a book by a certain writer and not the latest Série Noire or Fleuve Noir. That’s a major difference too.

However, this past isn’t without consequences. Any reedition implies a retranslation of the book, adding to the cost of the new edition. This is also why the participants to this conference consider the republishing of older crime fiction books as a literary duty, a way to preserve and foster a literary heritage. It allows new readers to discover the books that were seminal to their contemporary favorite writers. This trend also means that crime fiction is now seen as a noble and literary genre. Excellent news, if I may say so.

2017 in books: highlights of my reading year.

January 2, 2018 31 comments

Let’s face it, the TBR is still out of control. I read 56 books in 2017, half of them came from my TBR, the rest were new acquisitions. Oh well, they’ll keep, all these books, right?

My Reading Bingo billet already gave you a vision of my reading year through my bingo card. This is a more personal list of categories to highlight part of my 2017 literary journey.

The book I’d love to find a translator for.

Les harmoniques by Marcus Malte. This crime fiction book resonates with the sultry notes of a jazz club in a black and white movie and dives into the horrors of the war in ex-Yugoslavia. A tribute to jazz, to classic noir novels and films and a sobering reminder of that war.

The book that may change your vision of the emigrants that run aground on the coasts of Sicily.

In Eldorado, Laurent Gaudé shows us two sides of the problem. Through the eyes of an Italian naval officer, we see the weight of rescuing so many people and finding so many bodies. Through the eyes of an immigrant, we see what they’re ready to live through to get to Europe. A very moving book that puts this delicate question at human’s height

A 1930s book that reminded me of Trump’s America.

A Cool Million by Nathanael West. A rotten politician tells speeches whose rhetoric sounds like Trump. Chilling.

A book that will show you another side of Paris.

In Black Bazaar, Alain Mabanckou takes the reader in the black communities in Paris. His vivid descriptions of the 19th arrondissement in Paris will walk you away from the museum Paris that tourists see first.

The book that blurs the lines between literary fiction and crime fiction.

Elle by Philippe Djian. I’m a huge Djian fan and he gets better as years go by. Elle is one of his bests with Michèle as a venomous femme fatale.

Bleak but brilliant.

Caribou Island by David Vann. I wasn’t initially attracted to Vann’s books because they seemed too bleak for me. But after hearing his interview at Quais du Polar, I decided to give this one a try. And I’m so glad I got over my reservations. Alaska is not a place you want to visit after reading Caribou Island, though. The cover of the French edition is stunning as it pictures perfectly the relationship of the older married couple.

Books with unexpected modernity.

I never expected the feminist streak of The Dark Room by RK Narayan and Doctor Glas by Söderberg raises questions about the right to conjugal duty, euthanasia and birth control that I never suspected in a book published in 1905. Both books are novellas and their writers managed to say a lot in a few pages.

Journey into the past.

Monsieur Proust by Céleste Albaret. Proust’s last housekeeper relates her memories of her years at his service. It pictures an outmoded world that died with WWI. She was too fond of him to be objective in her stories but she doesn’t hide his flaws. What a pain he must have been. A fascinating one, certainly, but still a pain with his upside-down way-of-life.

Most crazy book in its plot and characters.

Aller simple by Carlos Salem. Sadly, it’s not available in English. It’s a crazy road trip through Marocco and Spain with a poor fellow who’s afraid to be charged for the murder of his wife and the ghost or reincarnation of the famous tango singer Carlos Gardel.

Best blind date with a book.

Dominique Sylvain was present at Quais du Polar. When I discovered that she comes from my region and that The Dark Angel opens with a quote by Romain Gary, I had to read it. Billet to come where you’ll encounter a great duo of female investigators.

Best Sugar Without Cellulite Book

The Three Miss Kings by Ada Cambridge. I finished it on December 31st and I will write the billet in a couple of weeks. It reminded me of The Romance of a Shop by Amy Levy. It’s one of those 19th century books about love and marriage with incredible twists and turns.

Worst reading experience of the year.

Death Comes to Pemberley by P.D. James. Truly awful, a crime to fiction, to quote my billet.

The billet you liked the most.

Last year, your favorite billet had been Literature in relation to American paintings in the 1930s. This year, it is Book recommendations needed: Australian literature. It was inspiring, I received recommendations for 80 different books.

The billet you missed.

Not a lot of comments or likes for Letters from England by Karel Čapek and I find it unfair. It’s a short book about his travels in Great-Britain. It’s delightful and witty.

A book for the Romain Gary aficionado that I am.

In Un certain M. Pielkieny, François-Henri Désérade writes an autofiction book about looking for M. Piekielny, a person mentioned in Gary’s autobiographical book, Promise at Dawn. Billet to come. I loved it.

 

 

2017 has been a good reading year, but not an excellent one. I didn’t read any Thomas Hardy, and I still want to read all of his books. My work life has been quick paced and it drained part of my energy. I turned to easy books and tried to read in French as much as possible. It took me a month to read the 750 pages of Bánffy’s They Were Counted. I hope I’ll be able to read more engaging books in 2018. As mentioned in my Happy New Year billet, I will read at least one Australian book per month among my selection and my Book Club reads. (The list is here, if you’re curious about it)

If you published your Best of 2017 already, links in the comments are welcome. And of course, I’m curious: what are your reading plans for 2018?

Saturday literary delights, squeals and other news

October 28, 2017 25 comments

For the last two months, I’ve been buried at work and busy with life. My literary life suffered from it, my TBW has five books, I have a stack of unread Télérama at home, my inbox overflows with unread blog entries from fellow book bloggers and I have just started to read books from Australia. Now that I have a blissful six-days break, I have a bit of time to share with you a few literary tidbits that made me squeal like a school girl, the few literary things I managed to salvage and how bookish things came to me as if the universe was offering some kind of compensation.

I had the pleasure to meet again with fellow book blogger Tom and  his wife. Tom writes at Wuthering Expectations, renamed Les Expectations de Hurlevent since he left the US to spend a whole year in Lyon, France. If you want to follow his adventures in Europe and in France in particular, check out his blog here. We had a lovely evening.

I also went to Paris on a business trip and by chance ended up in a hotel made for a literature/theatre lovers. See the lobby of the hotel…

My room was meant for me, theatre-themed bedroom and book-themed bathroom

*Squeal!* My colleagues couldn’t believe how giddy I was.

Literature also came to me unexpectedly thanks to the Swiss publisher LaBaconnière. A couple of weeks ago, I came home on a Friday night after a week at top speed at work. I was exhausted, eager to unwind and put my mind off work. LaBaconnière must have guessed it because I had the pleasure to find Lettres d’Anglererre by Karel Čapek in my mail box. What a good way to start my weekend. *Squeal!* It was sent to me in hope of a review but without openly requesting it. Polite and spot on since I was drawn to this book immediately. LaBaconnière promotes Central European literature through their Ibolya Virág Collection. Ibolya Virág is a translator from the Hungarian into French and LaBaconnière has also published the excellent Sindbad ou la nostalgie by Gyula Krúdy, a book I reviewed both in French and in English. Last week, I started to read Lettres d’Angleterre and browsed through the last pages of the book, where you always find the list of other titles belonging to the same collection. And what did I find under Sindbad ou la nostalgie? A quote from my billet! *Squeal!* Now I’ve never had any idea of becoming a writer of any kind but I have to confess that it did something to me to see my words printed on a book, be it two lines on the excerpt of a catalogue. Lettres d’Angleterre was a delight, billet to come.

Now that I’m off work, I started to read all the Téléramas I had left behind. The first one I picked included three articles about writers I love. *Squeal!* There was one about visiting Los Angeles and especially Bunker Hill, the neighborhood where John Fante stayed when he moved to Los Angeles. I love John Fante, his sense of humor, his description of Los Angeles and I’m glad Bukowski saved him from the well of oblivion. It made me want to hop on a plane for a literary escapade in LA. A few pages later, I stumbled upon an article about James Baldwin whose novels are republished in French. Giovanni’s Room comes out again with a foreword by Alain Mabanckou and there’s a new edition of Go Tell It on the Mountain. Two books I want to read. And last but not least, Philip Roth is now published in the prestigious La Pléiade  edition. This collection was initially meant for French writers but has been extended to translated books as well. I don’t know if Roth is aware of this edition but for France, this is an honor as big as winning the Nobel Prize for literature, which Roth totally deserves, in my opinion.

Romain Gary isn’t published in La Pléiade (yet) but he’s still a huge writer in France, something totally unknown to most foreign readers. See this display table in a bookstore in Lyon.

His novel La Promesse de l’aube has been made into a film that will be on screens on December 20th. It is directed by Eric Barbier and Charlotte Gainsbourg plays Nina, Gary’s mother and Pierre Niney is Romain Gary. I hope it’s a good adaptation of Gary’s biographical novel.

Romain Gary was a character that could have come out of a novelist’s mind. His way of reinventing himself and his past fascinates readers and writers. In 2017, at least two books are about Romain Gary’s childhood. In Romain Gary s’en va-t-en guerre, Laurent Seksik explores Gary’s propension to create a father that he never knew. I haven’t read it yet but it is high on my TBR.

The second book was brought in the flow of books arriving for the Rentrée Littéraire. I didn’t have time this year to pay attention to the books that were published for the Rentrée Littéraire. I just heard an interview of François-Henri Désérable who wrote Un certain M. Piekielny, a book shortlisted for the prestigious Prix Goncourt. And it’s an investigation linked to Gary’s childhood in Vilnius. *Squeal!* Stranded in Vilnius, Désérable walked around the city and went in the street where Gary used to live between 1917 and 1923. (He was born in 1914) In La promesse de l’aube, Gary wrote that his neighbor once told him:

Quand tu rencontreras de grands personnages, des hommes importants, promets-moi de leur dire: au n°16 de la rue Grande-Pohulanka, à Wilno, habitait M. Piekielny. When you meet with great people, with important people, promise me to tell them : at number 16 of Grande-Pohulanka street in Wilno used to live Mr Piekielny.

Gary wrote that he kept his promise. Désérable decided to research M. Piekielny, spent more time in Vilnius. His book relates his experience and his research, bringing back to life the Jewish neighborhood of the city. 60000 Jews used to live in Vilnius, a city that counted 106 synagogues. A century later, decimated by the Nazis, there are only 1200 Jews and one synagogue in Vilnius. Of course, despite the height of my TBR, I had to get that book. I plan on reading it soon, I’m very intrigued by it.

Despite all the work and stuff, I managed to read the books selected for our Book Club. The October one is Monsieur Proust by his housekeeper Céleste Albaret. (That’s on the TBW) She talks about Proust, his publishers and the publishing of his books. When Du côté de chez Swann was published in 1913, Proust had five luxury copies made for his friends. The copy dedicated to Alexandra de Rotschild was stolen during WWII and is either lost or well hidden. The fifth copy dedicated to Louis Brun will be auctioned on October 30th. When the first copy dedicated to Lucien Daudet was auctioned in 2013, it went for 600 000 euros. Who knows for how much this one will be sold? Not *Squeal!* but *Swoon*, because, well, it’s Proust and squeals don’t go well with Proust.

Although Gary’s books are mostly not available in English, I was very happy to discover that French is the second most translated language after English. Yay to the Francophonie! According to the article, French language books benefit from two cultural landmarks: the Centre National du Livre and the network of the Instituts français. Both institutions help financing translations and promoting books abroad. I have often seen the mention that the book I was reading had been translated with the help of the Centre National du Livre.

I mentioned earlier that the hotel I stayed in was made for me because of the literary and theatre setting. I still have my subscription at the Théâtre des Célestins in Lyon and I’ve seen two very good plays. I wanted to write a billet about them but lacked the time to do so.

Illustration by Thomas Ehretsmann

The first one is Rabbit Hole by Bostonian author David Lindsay-Abaire. The French version was directed by Claudia Stavisky. The main roles of Becky and Howard were played by Julie Gayet and Patrick Catalifo. It is a sad but beautiful play about grieving the death of a child. Danny died in a stupid car accident and his parents try to survive the loss. With a missing member, the family is thrown off balance and like an amputated body, it suffers from phantom pain. With delicate words and spot-on scenes, David Lindsay-Abaire shows us a family who tries to cope with a devastating loss that shattered their lived. If you have the chance to watch this play, go for it. *Delight* On the gossip column side of things, the rumor says that François Hollande was in the theatre when I went to see the play. (Julie Gayet was his girlfriend when he was in office)

Illustration by Thomas Ehretsmann

The second play is a lot lighter but equally good. It is Ça va? by Jean-Claude Grumberg. In French, Ça va? is the everyday greeting and unless you genuinely care about the person, it’s told off-handedly and the expected answer is Yes. Apparently, this expression comes from the Renaissance and started to be used with the generalization of medicine based upon the inspection of bowel movements. (See The Imaginary Invalid by Molière) So “Comment allez-vous à la selle” (“How have your bowel movements been?”) got shortened into Ça va? Very down-to-earth. But my dear English-speaking natives, don’t laugh out loud too quickly, I hear that How do you do might have the same origin…Back to the play.

In this play directed by Daniel Benoin, Grumberg imagines a succession of playlets that start with two people meeting up and striking a conversation with the usual Ça va? Of course, a lot of them end up with dialogues of the deaf, absurd scenes, fights and other hilarious moments. Sometimes it’s basic comedy, sometimes we laugh hollowly but in all cases, the style is a perfect play with the French language. A trio of fantastic actors, François Marthouret, Pierre Cassignard and Éric Prat interpreted this gallery of characters. *Delight* If this play comes around, rush for it.

To conclude this collage of my literary-theatre moments of the last two months, I’ll mention an interview of the historian Emmanuelle Loyer about a research project Europa, notre histoire directed by Etienne François and Thomas Serrier. They researched what Europe is made of. Apparently, cafés are a major component of European culture. Places to sit down and meet friends, cultural places where books were written and ideas exchanged. In a lot of European cities, there are indeed literary cafés where writers had settled and wrote articles and books. New York Café in Budapest. Café de Flore in Paris. Café Martinho da Arcada in Lisbon. Café Central in Vienna. Café Slavia in Prague. Café Giubbe Rosse in Florence. (My cheeky mind whispers to me that the pub culture is different and might have something to do with Brexit…) It’s a lovely thought that cafés are a European trademark, that we share a love for places that mean conviviality. That’s where I started to write this billet, which is much longer than planned. I’ll leave you with two pictures from chain cafés at the Lyon mall. One proposes to drop and/or take books and the other has a bookish décor.

Literature and cafés still go together and long life to the literary café culture!

I wish you all a wonderful weekend.

The Dance of the Seagull by A. Camilleri. Thoughts about the unusual French translation

May 1, 2016 27 comments

The Dance of the Seagull by Andrea Camilleri (2009) French title: La danse de la mouette. Translated from the Italian by Serge Quadruppani.

Camilleri_mouetteI went on holiday in Sicily and it was the perfect opportunity to read a book by Andrea Camilleri. He’s a crime fiction writer, the father of the commissario Montalbano series. The Dance of the Seagull is the fifteenth book of the Montalbano series. It didn’t matter much that I hadn’t read any of the previous ones.

In this episode, when Montalbano arrives at the police station in Vigàta, he discovers that inspector Fazio is missing. It seems like he was investigating shady business in the habour when he went MIA but nobody knows exactly what he was working on. Is it smuggling, arm or drug dealing? Montalbano is worried about Fazio and starts digging while dodging bullets from his superiors as he doesn’t want to reveal that he’s in the dark regarding Fazio’s work. Montalbano is upset enough about Fazio’s disappearance to forget all about his long-distance girlfriend Livia who comes from Geneo to visit him.

And that’s all I’ll say about the plot. It’s my first encounter with Montalbano and again we are drawn to a set of characters and a location. Montalbano is this middle-aged police officer, grumbling, eating fantastic food in trattorias and riding shotgun instead of driving as often as possible. He only follows the rules when absolutely necessary, not hesitating to forget some of them when it’s convenient.

It was a nice read, I can’t say that the plot was extraordinary but it came second to the setting and the translation. The most fascinating aspect of the book was its translation.

The French translator, Serge Quadruppani, wrote a foreword to explain his translation choices, backed up by the publisher. Camilleri’s language is specific to Sicily and to him. He peppers the book with Sicilian dialect. He uses a lot of regionalisms and his syntax is special because of the Sicilian setting. He also tweaks the spelling of certain words to give back the Sicilian accent. Therefore, the original text has a specific flavor for the non-Sicilian Italian. The French translator and the publisher decided to transfer this experience into the French text. This is why we find in the French translation: strange syntax, Sicilian words, French verbs with a bizarre spelling, regionalisms from the South East and creative spelling to transpose an accent. Serge Quadrippani chose to make his French translation sound like person from Marseille who would be of Italian origins. It works. There’s a similarity between the South East of France or Corsica and Sicily. The Mediterranean landscape is similar and the city of Palermo reminded me of Bastia in Corsica.

For example, Montalbano introduces himself with Montalbano sono, which has been translated into Montalbano, je suis or in English, Montalbano, I am. It’s strange in French but it sounds like the original. That’s for syntax oddities. Then Quadrappani twisted some French verbs to match the original. When Camilleri writes aricordarsi instead of ricordarsi, the French verb se rappeler becomes s’arappeler.

Here are two examples of the first pages and the comparison with the English translation by Stephen Sartarelli. I’ll underline the oddities in French, for foreign readers.

Souvent par chance, il dormait comme ça jusqu’au matin, si ça se trouvait, il faisait tout ça à la file, mais certaines nuits au contraire, comme celle qui venait juste de se passer, au bout d’une paire d’heures de roupillon, il s’aréveillait sans aucune raison et il n’y avait plus moyen d’aréussir à retrouver le sommeil.

Often he was lucky enough to sleep through till morning, all in one stretch, but on other nights, such as the one that had just ended, he would wake up for no reason, after barely a couple of hours of sleep, unable for the life of him to fall back asleep.

The word roupillon is more nap than sleep and it’s more spoken language than sleep is. See also the a before the verbs réveillait and réussir.

Mais il n’avait aucune envie de s’amontrer de mauvaise humeur devant Livia quand elle arriverait. Il fallait passer une heure en rousinant.

Le voyage du matin lui avait réveillé un solide ‘pétit.

But he really didn’t want to be in a bad mood when Livia arrived. He had to find some distraction to make the extra hour pass.

The morning drive had whetted his appetite a little.

The English doesn’t sound like the French at all. We have another a before a word, the verb rousiner that I had to look up and ‘pétit instead of appétit. The English is flat and factual. Of course, it is a lot easier to do that with the French language, with it being so close to the Italian. It sure isn’t as simple in English. The French sounds like the South, cicadas, characters by Pagnol and a man who speaks like a blue collar.

In the end, what impact did it have on this reader? It is well done, consistent throughout the novel. It is commendable that the publisher agreed to it and went out of the usual path. After a while, I got used to it.

For a French from the North, it reminded me of the sun, the holidays. Reading this while visiting Sicily made me appreciate Quadruppani’s creative translation even more. It enhances the sense of place. However, it’s hard to connect this type of style with crime fiction, with investigations and criminality. But one can argue that it’s probably the same for an Italian from Milan who reads Camilleri.

I would love to hear someone else’s experience with reading Camilleri in French or in the original, so don’t hesitate to leave a comment. Messages in French are welcome too. For readers who are fluent in French, I would recommend to try this out, for the good time with the story but also for this curious translation.

Sicile

 

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