August 16, 2012
Say the words ‘Kenyan writer’ to most world literature fans and they will come back with one name: Ngũgĩ wa Thiong’o. Imprisoned for speaking out against injustice and corruption, the author of such landmark books as A Grain of Wheat and Wizard of the Crow abandoned English to write in his first language Gikuyu in the late seventies. He is revered around the world for his work and his passionate advocacy and has been given many awards, seven honorary doctorates and held numerous visiting professorships.
It seemed a no-brainer that I would read one of this literary giant’s novels as my Kenyan choice. But then I heard about Philo Ikonya. Arrested repeatedly for her human rights activism and living in exile in Norway since 2009, the poet and novelist is an avid blogger and journalist, as well as a keen linguist. She is also president of PEN Kenya.
Intrigued though I was to read the work of Kenya’s great man of letters, Ikonya and her oddly titled novel Kenya, Will You Marry Me? piqued my interest. I decided to give it a go.
In a nutshell, the novel is a love story. It gives an account of a life-long passion for and relationship with the country Kenya in all its exuberance and raw pain. Growing up in a village near Nairobi, the young narrator uses dolls to act out and embody some of the conflicts she sees around her, while flashes forward and backward in time and stories from other relatives and friends bring home the personal consequences of such traumatic events as the attempted coup of 1982 and the humanitarian crisis in the wake of the rigged election of 2007, as well as the long shadow of colonialism. Hurt but not discouraged by all that she has seen, the young woman transforms herself into the embodiment of Change during the course of the narrative, urging her fellow countrymen and women to get behind her and appealing to the nation she loves to unite itself with her.
Nationhood and what it means to belong to a country bind the narrative like the spine of the book. Frequently speaking about Kenya as a person, the narrator emphasises that ‘history and politics live in homes’, showing how events in parliament pervade even the bed sheets and the cooking pots of the most remote villages. This sense of the interconnectedness of national and domestic events is coupled with a great love and celebration of the beauty of the land and, as the narrator’s grandfather explains, a ‘greater love [which] is to realise that these are only ours for some time and that your children must find them still here’.
As a result of her intense connection with her country, the narrator feels every threat to its wellbeing as a personal attack. This leads to a barrage of righteous anger against the injustice of colonial rule, the heartlessness and corruption of politicians, the cruel rapes suffered by many of the country’s women and children, and the fact that ‘people gifted with melanin continued to be left out of the game’. Often, this takes the form of powerful, rhetorical addresses in which the narrator apostrophises various groups in her effort to galvanise them into positive action, taking in everyone from her dolls and her compatriots, to corrupt politicians and even Western readers:
‘You, most of you, in the West have the comfort of analyzing what you call deception, we are grateful for the small straws of hope we see near us. We cannot afford to shun all.’
Ikonya’s poetic sense comes through strongly in the narrative, adding subtle layers of meaning. Whether she’s playing with rhymes to make deeper points – ‘I have never been able to hear the word “bribe” without seeing “tribe”. Vice like lice lives in families too’ – or stripping back the etymology of place names and sexual terms to reveal the power struggles that lie beneath, she uses words richly, milking them for every last drop of significance.
Readers unfamiliar with Kenyan history and politics, as I was, will sometimes struggle to follow the narrative, which is often essentially a stream of consciousness ‘crisscross[ing] years, beating arrangements in books’. In addition, the novel’s fragmented and free-flowing nature means that there is often very little to drive it forward other than the narrator’s passion. The fingers begin to itch to flick in the last third where earlier polemics on corruption and women’s rights are reprised without much development.
Nevertheless the commitment and fervour of the narrator carry the day. As a portrait of patriotism, this stands in stark contrast to the rather anaemic if not downright cynical expressions of national pride we tend to hear in the UK. It is an urgent reminder of the importance of politics and the influence that individuals can have on events larger than themselves. No wonder the people in power felt threatened.
Kenya, Will You Marry Me? by Philo Ikonya (Langaa Research & Publishing Common Initiative Group, 2011)
August 11, 2012
This was a recommendation from Stewart of booklit.com. As the driving force behind not only booklit.com but also the World Literature Forum, Stewart knows a thing or two about global literature, so I was keen to see what his suggestion would be like.
Written in 1970 but not translated into English until 2008, Ferenc Karinthy’s Metropole tells the story of Hungarian linguist Bubai who inadvertently gets on a flight to the wrong destination and, instead of arriving at the conference he is due to speak at, finds himself stranded in a mysterious country where he cannot make himself understood. Bewildered and increasingly desperate, he must bring all his knowledge, academic training, cunning and instincts to bear in an attempt to crack the cryptic language of the citizens and find his way home.
Karinthy is a skilful storyteller. Sweeping the reader along over the obstacles to credibility – the absence of anyone with knowledge of any of the two dozen languages Bubai speaks and the apparent indifference of the hotel staff to his plight, not to mention the whole business of getting there in the first place – he creates a compelling work.
He does this by embracing the unbelievable nature of the story and stretching its boundaries even further: the office block under construction near the hotel grows at an impossible rate, for example, and the city seethes in a ‘never-ending rush hour’. As a result, like the protagonist, we are never quite sure where we are and find ourselves wondering with Bubai whether he is ‘on planet earth at all or in some other part of the cosmos’ – or indeed in an imaginary world where the rules are different from our own.
This sense of disorientation is heightened by Bubai’s linguistic expertise. Watching a man used to navigating his way between cultures as easily as most of us get around our houses try and fail to achieve even the most basic level of communication is gripping.
At times it can be very funny, as when the hero is ‘all but dancing with rage [...], his arms threshing the air’, but as the book goes on and Bubai retreats into reticence as a result of the continual rebuffs he encounters it becomes increasingly tragic and disturbing. The unmaking of his confidence and sense of identity develops into a chilling parable about the rapidity with which all of us can be made to abandon our skills and self-belief in the face of sustained rejection and frustration.
If I had to name a gripe, it would be that the pacing is a little odd towards the middle of the book. As Bubai circles the communication problem, returning again and again to the same doubtful solutions like someone trying to break into a locked house, the narrative becomes a touch repetitive.
But this is nitpicking. Overall this is a thoroughly engrossing and masterful work about the potentially life and death consequences of not being able to communicate. It is the only book I’ve read where all dialogue bar the words spoken by the protagonist is gobbledygook, yet it is also one of the most thorough and powerful celebrations of language in all its forms. A joy.
Metropole (Epepe) by Ferenc Karinthy, translated from the Hungarian by George Szirtes (Telegram Books, 2012)
August 3, 2012
This book had lots going for it. The British Centre for Literary Translation’s director Dr Valerie Henitiuk, a Canadian national, told me it was one of the best translations she’d come across. In addition, as a Quebecois classic, it would be the first French-Canadian novel I’d ever read. And it was feminist literature – something I’ve had a fascination with ever since my year of reading women opened my eyes to some of the riches in this frequently overlooked field of writing. Nevertheless, even with all this promise, I could not have imagined the treat I had in store.
Split into three parts, Nicole Brossard’s Mauve Desert takes storytelling and translation apart from the inside. The first section follows 15-year-old Mélanie as she speeds across the Arizona desert in her mother’s car, ‘moving forward in life, wild-eyed with arrogance’, while also fleeing the insecurity, awkwardness and tenderness of life at her lesbian mother’s motel. Next, the middle part catalogues the experience of Maudes Laures, who finds Mélanie’s story in a second-hand bookshop and spends two years obsessing over its meaning and the actions of its characters and author, Laure Angstelle. The final section is Maudes Laures’s translation of Mauve Desert, which is at once similar to and very different from the original text.
Rich, ambiguous and fluid, Brossard/Angstelle’s writing sweeps the reader into the heart of teenage longing, using fine details to evoke intense experience. Long, sultry afternoons around the pool consist in the glint of wet tiles and the snaking of a hose pipe, while the rush of speeding through the desert shimmers on the horizon and in the dizziness of dehydration. Deliberately ambiguous, ‘both in focus and out of the frame’ as Mélanie describes her driving experiences, the narrative opens up a vast landscape of multivalency so that we can often never be sure exactly what is taking place. ‘Reality had a meaning, but which one?’ reflects Mélanie at one point.
As Maude Laures discovers, this confusion is precisely the point. While she strives to get to the heart of the text that has obsessed her, picking apart places, characters and events, and even at one stage imagining an encounter with Laure Angstelle herself in which she berates and interrogates the author over her treatment of one character, she finds herself dazzled by ‘the inexorable light that transforms lives of flesh into the bare bones of narrative’. As she records and analyses conflicting assertions that she finds in the text and her discourse with it, some sort of truth emerges like a line drawn through a cluster of points on a graph, tying trends and outliers together into a kind of coherent whole.
Yet, as Laures’s translation in the final section shows, this whole will not be the same for any two readers. Filtered through her consciousness and the result of her interaction with the novel, Laures’s rendering of the text (here of course given another layer by virtue of having been translated in reality by Susanne de Lotbinière-Harwood), is a new work. It picks up fresh angles and possibilities in the story and even adds things not in the original, as well as sometimes making passages awkward and stilted. Mélanie’s brush with some aggressive road-users is a good example:
Original: ‘At the junction of Route 10 and Route 25 are dozens of motorcycles, guys smoking as they look at the sky. Two girls are talking. One of them flashes me a peace and love sign while the other one, barely set back in the spatial plane, gives me a violent f**k with her finger, then with her fist. I press on the accelerator. I know reality. Fear, it doesn’t matter when you accelerate; fear vanishes like a dark spot in the rearview mirror.’
Translation: ‘At the junction of Route 10 and Route 25, a gang of bikers are smoking with their noses in the air. Two girls are talking, a bottle of beer in hand. One of them flashes me a victory sign and the other one, barely set back in the spatial plane, violently “up-yours” me with her middle finger, then the whole fist up. I accelerate. I know reality. Fear is nothing, it’s nothing when one is fast so fast. Fear faints dark spot in the rearview mirror.’
This exploration of the mysterious alchemy of translation and the anxieties around the authenticity of such renderings – as Laure Angstelle puts it in her imaginary dialogue with Maude Laures: ‘How am I to believe for a single moment that the landscapes in you won’t erase those in me?’ – is utterly engrossing. It is without question one of the most innovative things I’ve ever read.
However, it does come with a health warning for e-reader fans. While normally a Kindle enthusiast, I would encourage anyone planning to read this to do so on paper. Flicking back and forth between the third and first sections to compare the two versions of the novel is maddening on-screen, whereas it would be a breeze in a hard copy.
Alternatively, of course, you could buy yourself an e-version and a paperback and read it like that. It’s certainly worth it.
Mauve Desert (Le Désert Mauve) by Nicole Brossard, translated from the French by Susanne de Lotbinière-Harwood (Coach House Books, 1990, 2010)
April 21, 2012
I’m not the only one trying to read the world. Since I launched this project to explore a novel, short story collection or memoir from every UN-recognised country in 2012, I’ve heard from people engaged in a whole range of international literary quests.
One of the latest ventures I’ve come across is by Swedish blogger Fredrika, who stopped by this blog ten days ago to tell me about a project she started in November to read a book from every country. Much more organised than me, she got a pretty comprehensive list together before she started and is working her way through it over the course of the next few years. Her criteria are different to mine, in that she is taking on some historical and anthropological books too, however there are also some fascinating fiction and biography choices on her list.
Fredrika has clearly done a massive amount of thinking about world literature, so when she recommended a Swedish title for me, I decided I’d be mad not to give it a try.
The book was Montecore by Jonas Hassen Khemiri, an award-winning novel exploring the experience of immigrants in Sweden. Told through a correspondence between one Jonas Khemiri and Kadir, who claims to be an old family friend, the book is a daring, powerful and often hilarious attempt to unfold the story of the struggle of Dads, Jonas’s estranged father, to make a life for himself in Scandinavia after he left Tunisia as a young man.
The novel is rich with comedy as the overbearing Kadir wrestles with the author in an attempt to guide and direct the narrative as he sees fit. This manifests itself in a variety of ways, from Kadir’s ‘glissades of truth’ to his patronising asides to the author about writing techniques and instructions for how he should handle particular events – ‘this scene must be filled with great dramatic gunpowder and symphonic basses’, he writes at one point.
Best of all are Kadir’s odd expressions and similes, which had me laughing on nearly every page of the first half of the book. Among the most sparkling examples are his descriptions of Jonas’s paternal grandmother as ‘a powerfully strong woman who grappled with her context like the wrestler and actor Hulk Hogan’, his confession of his suspicion ‘that [Jonas's father] had become infected with homosex’ at one point and his later remark that ‘the tooth of time had munched a festive breakfast on his exterior’.
That translator Rachel Willson-Broyles is able to convey the linguistic quirks of Kadir’s Arabicised Swedish is testament to her great skill. This skill is essential to getting the subtleties of the book across as the narrative delves deeper into Dads’s battle to shrug off the label of ‘immigrant’ and establish himself in a society that becomes ever more hostile to outsiders or ‘blatte’ as Jonas grows up.
This battle, which sees Dads reject his origins in an effort not to ‘infect [his] son with being an outsider’, takes place as much on the linguistic as on the physical level and leaves deep scars. For much of the book, Jonas writes about himself in the second person, as though cut off from his identity, and his consciousness of the losing linguistic battle his father had to fight is acute:
‘One single wrong preposition is all it takes. A single en word that should be an ett. Then their second-long pause, the pause they love, the pause that shows that no matter how much you try, we will always, ALWAYS see through you. They enjoy taking the power and waiting waiting waiting until just when Dads think they are defeated. Then they point out the right way with vowels that are quadrupled as if they were talking with a deaf imbecile. STRAAAAAIGHT AHEEEEAD, then to the LEEEEEEEEEEEFT, okay, then RIIIIIIGHT. You’re welcome. And Dads say thanks politely and bow and you’re standing alongside and feeling how something is bubbling inside.’
Even with Willson-Broyles’s superlative translation, I can only imagine the effect of reading the book’s moving dissection of the politics of the Swedish language in the non-standard Swedish of the original. In English it is riveting, wise and sad. A towering achievement of a book. Thank you, Fredrika.
Montecore by Jonas Hassen Khemiri, translated from the Swedish by Rachel Willson-Broyles (Knopf, 2011)