Book deals are a bit like buses, as the jokey British saying goes: you wait ages and then two come along at once.
That’s certainly what it feels like for me at the moment. A little more than two weeks before the launch of the updated edition of Reading the World: How I Read a Book from Every Country, I have happy news of another publication to share. This one in particular has taken a lot of waiting – five years to be precise.
I wrote my second novel, Crossing Over, in 2017, shortly after I’d moved to live on the Kent coast. Back then the reports of small boats crossing the English Channel were few and far between. The migrant crisis, as it was becoming known in the English-speaking world, was still mostly in the Mediterranean. So this novel, which centres around an encounter between a recently arrived migrant and an 87-year-old woman with dementia, was largely speculative.
It was my most ambitious project to date, and one that brought together a lot of the thinking about the role of storytelling in building our sense of one another’s humanity, different Englishes, and the limits and possibilities of mutual understanding that is at the centre of my reading-the-world work. It contained what I believed was my best writing so far; working on it had felt like spreading my wings.
But – despite a lot of great responses from early readers and interest from several major publishers – it failed to find a home with a big press. Audible was keen, so it came out as an audiobook in 2019.
For a long while, I resigned myself to Crossing Over not existing in print. But as time went by, this felt less and less satisfactory.
In the intervening years, as more and more boats began to arrive in this area, I had the chance to work with a number of people who had made the crossing, thanks to the support of the Royal Literary Fund and collaborations with local charities, including KRAN and Samphire. I also attended a vigil on the beach down the road in solidarity with the 27 people who drowned trying to make the trip last November. These experiences and the hardening of UK government policy towards those risking their lives for the hope of security in my home country made me feel increasingly strongly the importance of using stories to build bridges.
And so I decided to try again, this time approaching the kind of small, independent publishers who so often champion the extraordinary, boundary-pushing books I feature on this blog. A few months ago, I agreed a deal with the wonderful Renard Press.
Their publisher, Will Dady, told The Bookseller this: ‘I’m absolutely delighted to have acquired the UK and commonwealth rights to Ann Morgan’s beautiful new novel, Crossing Over. A stirring tale that considers the plight of those forced by circumstance to leave their homeland and cross the Channel in search of a better life, as well as the realities of living with dementia, the book is a real celebration of humanity, and leaves you reeling, thinking about what others are facing in their lives and the power of connection, even when language fails.’
Crossing Over comes out in April 2023. No doubt I’ll be pestering you about buying it nearer the time (in fact, those in the UK and Commonwealth countries can already pre-order it here). But for now I’d just like to say hooray and thank you to the many people who believed in this project, and to the hundreds of readers, writers and translators around the planet who keep my faith in the power of storytelling strong. Yes!
Women in Translation Month is a brilliant time for book recommendations. A cursory search on #WITMonth on Twitter invariably brings up a wealth of tempting suggestions, and that’s even without the list of new releases that WITMonth founder Meytal Radzinksi generously shares every year to help promote the reading of translated literature by women and address the imbalance that sees more than 65 per cent of literary works coming into English authored by men.
So it was that I found my August book of the month after a tweet caught my eye. I can’t say what it was about this particular post, or indeed remember who wrote it, but something in the enthusiasm of the words prompted me to seek out Mima Simić’s translation of the oddly titled Love Novel by Croatian writer, theatre director and performer Ivana Sajko.
In spite of the warmth with which I’d seen the book discussed, I nearly didn’t get past the first chapter. Opening in the middle of a fight between the couple whose troubled relationship it follows, the narrative bristled with fury and violence, striking a sharp, angular tone that I wasn’t sure I had the energy to stick with for a whole book, even one as slender as Love Novel (which weighs in at not much more than 100 pages).
It was only the softening at the end of the first chapter – when the unnamed female protagonist, an out-of-work actress, retreats to her child’s bedroom and tries to soothe the toddler with a string of brittle and whimsical claims, and flights of fancy – that made me think I might be missing something and persuaded me to persevere.
I’m very glad I did. Over the following pages, I discovered that this slight book is a work of enormous range. The emotional intensity that had nearly overwhelmed me in the opening chapter was not the relentless, one-note barrage of anger I’d feared but an illustration of Sajko’s extraordinary capacity to suffuse her narrative with the feelings of those she portrays. From the ludicrous to the poignant and the excruciating to the banal, she inhabits her characters’ realities with a freshness that is at times quite astonishing, rendering this story of a couple pushed to breaking point by circumstances largely beyond their control as gripping and engaging as the most high-stakes thriller.
This power probably doesn’t come from Sajko alone. Mima Simić’s ‘Translator’s Note’ at the end, in which she reveals that this story of poverty and struggle is hers too – one lived by almost all those she knows who grew up in the former Yugoslavia – makes clear how invested she is in this project. ‘The world of Ivana Sajko’s Love Novel is my world,’ she says, going on to reveal that the translation process took her more than a year because ‘every time I opened the book, it was like a punch in the gut. A punch by someone I knew, a family member.’
Simić’s description of how hard she worked to overcome the ‘not-quiteness’ of the story’s expression in another language, and her evident commitment to rendering the work as powerfully as possible in English provide an interesting case study for those considering the issue of the direction in which translation should work. (For a long time, the prevailing assumption in the anglophone industry has been that translators ought to translate into their mother tongues, with the result that native English speakers have largely been the ones who win contracts to bring foreign works into the world’s most-published language. Recently, however, a number of people have begun to query this, rightly demonstrating that this can be limiting and short-sighted, restricting the movement of texts and the opportunities open to those working in different languages.)
Love Novel makes a powerful argument for approaching the question on a case-by-case basis. Not only is the power in the writing impressive (although Simić is quick to stress that she doesn’t believe you have to have lived through an experience to translate it well, and I would say the same is true for writers), but there is a quality in the voice that feels distinctive, and which a first-language English speaker may have hesitated to try to achieve.
It’s hard to know how to write about this – the language we have with which to review translations in English is still very underdeveloped and sparse. But while being entirely grammatically correct (with the flexibility that literary writing allows), the text has a striking timbre that seems to complement its subject matter and place of origin. It’s something to do with the cumulative effect of choices that skew its rhythms in a certain direction, accenting the voice. So it is that, as we read about everything from irreverent reflections on how Jesus milked his crucifixion to a nosy neighbour’s grizzly demise in a wheelie bin, the world in which this is all taking place remains present.
Yet, in the way of the best novels, the writing is universal too. One of Sajko’s key methods for achieving this is reflecting psychology at the sentence level, shifting tenses and tumbling from contemplation into action and even hallucination as scenes become fraught. She knows and shows how we think in extreme moments – that peculiar blend of insight and delusion that at once connects us to and separates us from the rest of the world. What’s more, though the experience portrayed in this novel may feel deeply personal and particular to people who lived through it, like Simić, for those of us staring down the barrel of an economic crisis, much of the book will read as scarily fresh and timely.
Brilliant, strange, funny, angry and sad, this is an extraordinary novel. A welcome addition to the anglophone bookshelves. Highly recommended.
Love Novel (Ljubavni roman) by Ivana Sajko, translated from the Croatian by Mima Simić (V&Q Books, 2022)
Back in 2013, when I was researching Reading the World: How I Read a Book from Every Country (new edition out in September), I was fortunate to speak to many translators and other literature experts about the way stories travel. A particularly fascinating conversation was with Nicky Harman, one of the driving forces behind Paper Republic, a charity that promotes Chinese literature in English translation.
Among the many things we talked about was crime fiction. English-language publishers, Harman said, were always expecting to find great crime novels in China, yet it was very rare for anything to get picked up. The reason for this involved a fundamental difference in approach to the genre.
Despite the Sherlock Holmes stories being so popular in China that the detective and his sidekick Watson are affectionately known there as Curly Fu and Peanut, Chinese crime fiction tends to have a strongly didactic streak. The page-turning suspense that is an essential ingredient of most anglophone thrillers is generally considered secondary to the message and information the story conveys.
Indeed, the early translations of the Holmes novels provide a neat illustration. As academic Eva Hung found, many had their titles changed to give away the ending. The plot was secondary to the ingenious detection skills the works showcased.
My latest Book of the month suggests that the tide may be beginning to turn. Although far from being a conventional crime novel in the anglophone sense, Rouge Street, a collection of three novellas by award-winning contemporary author Shuang Xuetao, translated by Jeremy Tiang, contains many of the elements of a pageturner. Hard-bitten characters dodge in and out of the underworld of one of Shenyang’s roughest neighbourhoods, mysteries abound and unfold, and a sense of the compromised, broken nature of human dealings in the scramble to survive pervades the narrative.
There is a directness to the prose that has invited comparisons to Hemingway. Sometimes this is very funny, as when one character observes, ‘If you have a big ass, you don’t need to take off your pants to prove it.’ At other times, it is satisfying in its precision, enabling Shuang to convey the essence of a character who might only appear for a handful of pages in a single sentence. For example, when he tells us that Mingqi is ‘the sort of man who’d never be willing to go for an easy win at mahjong but would insist on building elaborate hands to crush the other players’, we know precisely who we are dealing with.
Yet aspects of the collection veer sharply away from the conventions English-language crime thriller readers know so well. Murakami is another name that has been mentioned in relation to Shuang’s work and it’s not hard to see why: the narrative dives into the surreal and the fantastical with little warning. In particular, an extended sequence involving a battle with an interrogator-turned-fish beneath the surface of a frozen lake flies in the face of the gritty realism that suffuses much of the rest of the narrative.
The investigation at the heart of Rouge Street is much more introspective and psychological than the fact-based jigsaw puzzles of traditional anglophone mysteries. Rather than an excavation of events, this is an excavation of the self – a coming to understanding of individual characters’ motivations through the unspooling of seemingly tangential happenings.
This is achieved through a kaleidoscopic series of shifts between the perspectives of different parties involved in the stories so that we are constantly looking at the situation through fresh eyes. It is testament to Shuang and Tiang’s skill that, for the most part, characters are distinctive enough to carry us with them each time a new voice takes over (although the flurry of shifts in the final section teeters on the edge of bewildering).
I suspect Harman is right that anglophone publishers will continue to search in vain for a Chinese book that fits their brief for a great crime novel. Rouge Street is more interesting than that: inventive, irreverent, daring and fresh, it contains far more satisfying surprises than the familiar twist at the end.
Rouge Street by Shuang Xuetao, translated from the Chinese by Jeremy Tiang (Metropolitan Books, 2022)
One of the joys of this project is the contact it’s given me with readers and writers around the globe. It’s always a joy when someone I know to be a committed book lover stops by the blog, sends me an email or replies to a tweet to let me know about books they’ve enjoyed.
So when prolific reader Judy, whose recently concluded book blog continues to be a mine of recommendations, shared a couple of her favourite recent translated reads with me, I lost no time in seeking them out – and in so doing, I discovered my next Book of the month.
Blue, translated by Tina Kover, is the first novel to be brought into English from Emmelie Prophète, an award-winning writer and diplomat, and the director of the National Library of Haiti. Plotwise, it’s at once deceptively simple and hard to sum up. In essence, a woman waits at departures in Miami. As she contemplates her return to Port-au-Prince and the scene of the struggles of her childhood, memory unlocks a raft of personal and inherited trauma, revealing a bedrock of suffering that underpins the existence of all the women in her world.
Normally, I avoid the temptation to present a book as speaking for a particular community – something the marketing departments of anglophone publishers are often all too eager to do. Yet this novel actively invites the idea. Time and again, the narrative voice extrapolates from the specific to the general, identifying here ‘a metaphor for the country’s glittering sickness’, there the rhythm of ‘the heart of all women who have been poorly loved’. In this sense, the narrative voice seems more choric than individual, actively encouraging the reader to see it as an ambassador for Haitian women’s experience.
The book challenges in other ways too. From the start, it makes no secret of its resistance of Anglo-European narrative conventions. Beginning, middle and end have no place here. Instead, the telling circles its subject matter, like one of the planes waiting to land at the airport. ‘By the end of the story, or what will seem to be the end, [the voices it contains] will seem like nothing but an endless cry echoing from the depths of this country,’ we are told.
The language use is as fresh and inventive as the structure. ‘An umbrella opens in my head,’ the narrator tells us. Meanwhile, watching many of her compatriots encountering suspicion and questioning at security, she identifies their biggest crime as being ‘Carriers, probably, of all sorts of dreams.’ The book is, essentially, a poem in prose.
Inevitably, the result is slippery. There are not many fingerholds for those used to grasping a narrative thread and stories that work on the principle of one thing leading to the next. Although we enter into the narrator’s thoughts, she holds the reader at arm’s length, resisting any attempt to make her our creature. The heavy, mournful nature of the subject matter will also prove too much for some.
But for those willing to give themselves over to the rhythm of the telling and let go of the need to be ‘right even before the question is asked’ – a Western trait the narrator criticises at several points – there are riches in store. Unapologetic and unflinching, Blue demands to be taken on its own terms. It does not need our approval.
Blue (Le Testament des solitudes) by Emmelie Prophète, translated from the French by Tina Kover (Amazon Crossing, 2022).
I have a bit of news. I have a book coming out in September. Actually, it’s a new edition of my first book, Reading the World – seven years after the original UK hardback and ten years since my 2012 quest.
In that time, this blog and has changed from a quirky, yearlong project to a lifelong endeavour – one that strangers still contact me about almost every day. It has had some extraordinary highs (from my delivering my TED and TEDx talks, speaking on BBC Radio 4 and meeting my hero Tété-Michel Kpomassie over Zoom to taking up the role of Literary Explorer in Residence at the UK’s Cheltenham Literature Festival).
But it has also been challenging and I have had to work hard to keep it sustainable and worthwhile alongside my other work and writing projects. One of the ways I have tried to do this is by continually developing my reading and reviewing practice, most recently launching the first of what I hope will eventually be a series of workshops for curious readers (more information here).
The fact that I have kept going is largely down to you and the thousands of intrepid readers around the world like you who contact me about books. Your enthusiasm, and the wonderful recommendations and information you send, continue to inspire and intrigue me, and keep me excited about the extraordinary power of stories to connect us across all sorts of divides. Thank you.
It’s been great to have a chance to reflect on all this – and on how storytelling and our world have changed in the past ten years – in a new foreword. I’ve also enjoyed catching up with some of the writers and translators I featured in the original edition and adding to their stories, as well as updating a lot of the facts and figures in the original manuscript. And I rather like the new subtitle – How I Read a Book from Every Country – too. I hope this edition will be of interest to anyone who loves reading widely and wants to understand more about how stories travel, and how they shape us.
Preorders make a massive difference to a book’s success, so if you don’t have a copy, would like another, know someone who might enjoy it, or simply need a doorstop, please do place an order. Your support will mean a lot and will help me keep this blog free for people everywhere keen to explore the world’s books. Thanks so much.
Firsts can be tricky propositions. Whenever I hear about the first translation into English of a work of literature from a particular country, I am pulled in two directions. On one hand, I’m glad that another nation’s stories are now represented in the world’s most-published language (there were around 11 UN-recognised states with no commercially available literature in English at the time of my 2012 quest).
On the other hand, I feel wary. Making a book the global ambassador for a country’s written works is a lot of weight to place on a single story (a dangerous concept as Chimamanda Ngozi Adichie has explained). It can also be very unhelpful – a nation, after all, is the sum of numerous, often contradictory narratives. We need a supply of multiple tales told in a range of voices, not a single example that we can showcase like an artefact in a museum.
But publishers love a marketing hook and billing something as the first example of a certain kind of literature seems a good way to attract sales. So it’s hardly surprising that houses big and small make much of such claims.
My latest featured read is not strictly the first book in English translation from its home nation. There was a long-out-of-print children’s book – a sort of Enid Blyton with crocodiles – that I managed to get my hands on from this country during my original quest. But, to my knowledge, publisher Dedalus is correct in describing Rachael McGill’s translation of Adrienne Yabouza’s Co-wives, Co-widows as the first book for adults by a writer from the Central African Republic to come into English.
As the title suggests, the novel follows two women, Ndongo Passy and Grekpoubou, married to the same man, Lidou, who dies during the course of the story. Faced with an event that spells disaster in their strongly patriarchal society, where women are routinely turfed out of their homes by their husbands’ families on the death of their spouses, the widows have little option but to rely on each other to secure a future for themselves and their children.
The major challenge for an author writing protagonists in a relatively powerless position is not to make them seem like victims. Yabouza’s solution to this is humour. Her narrative is threaded through with a range of kinds of comedy, revealing everything from the surreality of death to the hypocrisy that underpins the women’s daily reality.
Often, wit glimmers in a single word (credit to McGill here). We learn, for example, that the sun ‘beat down mercilessly and democratically on all citizens’ waiting in the interminable queue to vote. Similarly, Yabouza makes rich capital of free indirect speech to reveal the ways her characters lie to themselves. Here’s Lidou in the run-up to his heart attack: ‘He’d practically given up smoking, he only accepted every other beer these days and he only ever touched kangoya or bili-bili on Sundays, or mostly only then.’
This lightness of touch does not prevent Yabouza from revealing the depths of the injustices that surround Ndongo Passy and Grekpoubou. Whether it’s the self-regard of the EU officials monitoring the electoral process or the naked corruption in the legal and political systems, she pulls no punches in laying society’s ills bare – sometimes literally. The widows, for example, receive a brutal beating from their husbands’ relatives when they attempt to attend his funeral.
There is a beautiful directness in the writing, too, particularly when it comes to scene-setting. Take ‘the big eyelid of night closed over Bangui’ or the description of the sky ‘slashed from side to side by the machete strokes of lightning’. This directness adds weight to moments of emotional intensity in the narrative, where Yabouza often excels at capturing deep feelings in simple words.
That said, not every image works smoothly. I found myself tripped up by the phrase ‘deeper in his thoughts than a relative trying to draft an insincere eulogy for a bigwig’s funeral’. It felt as though the writing was trying too hard here – although this may also be a function of cultural difference, which presents some intriguing challenges. For example, the depiction of a new suitor wooing Ndongo Passy by inviting her to cook a meal for him and his friends (much to her delight) will pull many of those raised in the Western tradition up short, as will the proliferation of descriptions comparing her to one of his cows.
The same can be said for the plot. Those looking for a staunchly feminist account of two women breaking free of patriarchal control, will no doubt find the resolution, which relies on the women gaining male support and permission for their plans, frustrating. Unlike the protagonist of Paulina Chiziane’s The First Wife, tr. David Brookshaw, who bands together with other women to transcend the system that has oppressed her, Ndongo Passy and Grekpoubou choose to operate within the mechanisms they know. Although the narrative presents strong female agents, such as the lawyer Catherine, it falls short of imagining an upending of the status quo.
But perhaps this is ultimately a more emotionally satisfying, realistic-seeming ending for many of the original readers of this novel. A mirror rather than a beacon, it is a trailblazer in another respect: a translation of a story from the Central African Republic written without regard for European sensibilities (unlike the children’s book published decades before). That alone makes it worth the price of admission. And judging by its wit, insightfulness and passion, it ought to be the first of many more such publications.
Co-wives, Co-widows (Co-épouses, co-veuves) translated from the French by Rachael McGill (Dedalus, 2021)
Picture: ‘Central African women inspecting building for microfinance project’ by hdptcar on flickr.com
My featured read from April sparked an interesting discovery. Shortly after starting it, I found myself brought up short by something on the page: a section of dialogue featuring the response, ‘…’.
I was struck by seeing ‘…’ as it was a formulation I had recently started to experiment with in my own fiction. Making the choice to use it had felt like a bit of a leap. It wasn’t a construction that had been part of the written English I had grown up with and wasn’t something I was conscious of having seen in prose books until relatively recently.
Encountering a conversational ellipsis in a work translated from Korean raised a question for me. Where had it come from? Was it present in the original or had the translator introduced it in lieu of writing: ‘X said nothing’? Did other languages have this formulation before it started to have a presence Anglophone writing?
Intrigued, I turned to Twitter. Responses from translators including Sawad Hussain, Frank Wynne and Lucy North quickly established that ‘…’ features in Japanese, Arabic, French and Spanish. Given the relatively recent emergence of this construction in English, it was beginning to sound as though translators may have been instrumental in introducing it to the world’s most published language – an instance of translation not only conveying meaning but also enlarging modes of expression.
Then, in a delightfully serendipitous turn of events, Anton Hur, the translator of the book I was reading, joined the discussion.
‘I’ve wondered the same thing,’ he wrote. ‘Frank’s answer makes me think it was invented in Europe and came over to Korea through Japan (which readily absorbed European practices) in the Modernist era. Edmund White uses it in THE BEAUTIFUL ROOM IS EMPTY (1988) and he studied Chinese lit.’
When I revealed that the book that had made me ask the question was his translation of Kyung-Sook Shin’s Violets, he responded: ‘AAAAHHHHH thank you for reading! Yes, there is A LOT of implied silence in VIOLETS, and many more “…” in the source than what made it into the translation (I changed it to “Silence” or “She was silent” etc.). Many Kyung-Sook Shin characters express themselves silently. A style!’
It certainly is. Written more than 20 years ago, Violets, as Shin explains in her 2021 afterword to the English translation, is a story that aims to speak for ‘women all around us who exist in silence’. It follows the fortunes of San, a neglected young woman who comes to Seoul and takes a job at a florist’s only for her new life to be derailed by a violent obsession with a man who comes into the shop one day.
Silence is just one of the tools used to express the reticence that underpins and ultimately drives the story. A profound succinctness in the writing works to convey an emotional detachment that reveals the heartbreaking disassociation San has been obliged to go through in order to survive. Without the connective tissue often used to embed a character’s thoughts in third-person narratives, impressions arrive as though they are occurring organically so that it often seems as though the reader is experiencing and thinking in step with San.
Credit must also go to Hur for his deft handling of cultural exposition. Issues such as name order and informal and formal voice can often creak in English language versions. But his presentation of San and her friend Namae’s outsider status in her home village – because they are Sur Namae and Oh San rather than members of the Yi family – is disarmingly unfussy and clear. (Slightly confusingly, Kyung-Sook Shin’s family name is given last in the English edition, although in South Korea she is known as Shin Kyung-Sook.)
What makes this all the more impressive is the depth of the immersion in San’s world Shin and Hur achieve in so few words. It’s no surprise to learn from the afterword that Shin spent six months working on a flower farm while she wrote the novel because there is an almost tangible quality to the depiction of San’s daily life in the florist’s, where small details speak loudly and feelings can swell ‘like a cloud of tadpoles rising up from muddy water’.
The surface tranquility of much of the narrative makes the moments of violence and rupture all the more shocking. It would have been easy to present San purely as a victim, but Shin is careful not to do so: even as she self-sabotages and runs up against systemic misogyny, San fights to act on her own terms, freeing herself from a would-be attacker in one particularly memorable sequence.
What undoes her is not her weakness but the universal inability of human beings to look at lived experiences objectively. Locked in her present, San is unable to appreciate the layeredness Shin reveals in moments and the way actions are rarely a response to the contemporary situation but to events that stretch back through and beyond the limits of an individual’s existence – impulses that have ‘lain in wait for millennia before bursting forth’. The rare moments of self-insight – the realisation that her loneliness has its roots in her rejection by her childhood companion Namae, the understanding that she is misremembering a significant encounter by picturing herself wearing a plum-coloured blouse she doesn’t own – are not enough to stem this tide.
Quiet novels can struggle to be heard in the clamour of today’s literary market. But Violets makes a strong case for the importance of making space for narratives that don’t shriek for attention. Though couched in silence, ellipses and the unsayable, this is a story that builds to a roar.
Violets by Kyung-Sook Shin, translated from the Korean by Anton Hur (Weidenfeld & Nicolson, 2022)
This month has been an unusual one in my reading life. Shortly after the news of Russian forces invading Ukraine, I took the decision to spend March exploring Ukrainian literature. With the exception of a few non-fiction titles I’m looking at for other writing projects, I devoted my reading time over the following four weeks to books from the nation, drawing my choices from suggestions shared with me on Twitter, posted on other platforms, and published in a rash of recent articles, such as this.
I think it’s the first time I’ve focused on one country for an extended period since I started reading the world. To date, I’ve tended to skip about between nations as my curiosity, research obligations and other people’s recommendations dictate. It was fascinating to dedicate a period of time to a body of writing from a particular region, and see what connections and thoughts this generated.
First, a couple of caveats. It’s important, particularly when talking about literature in translation, not to fall into the visibility trap – the assumption that what is available in English is a representative spread of a community’s stories. The factors that decide which books travel beyond their country of origin’s borders are complicated, various and shifting. Often (as I have discussed previously), the tiny proportion of stories that make it into the world’s most published language from many parts of the world say more about what feels authentic to commissioning editors in London and New York (and what their marketing departments believe people like you and me want to read) than they do about the breadth and character of a particular region’s literature. (Although it is to be hoped that initiatives such as the recent translation drive spearheaded by Tault may do something to change this, at least in Ukraine’s case.)
Broadbrush generalisations, such as the tendency for Ukrainian literature to contain irreverence, humour and the sort of defiant resilience in the face of oppression we have seen reported in many news stories, are easy to make. Indeed, I have encountered numerous examples in recent weeks – from the contrarian heroine of Tanja Maljartschuk’s A Biography of a Chance Miracle, translated by Zenia Tompkins, and the outrageous gangsters who stalk the pages of Isaac Babel’s Odessa Stories, translated by Boris Dralyuk, to the quixotic plot to force the EU to grant Ukraine membership by smuggling the entire population through a tunnel into Hungary that forms the premise of Andriy Lyubka’s Carbide, translated by Reilly Costigan-Humes and Isaac Stackhouse Wheeler.
What’s more, it would be tempting to say that works such as Carbide – published with the tagline ‘The much anticipated response to Voltaire’s Candide’ – and Yuri Andrukhovych’s Moscoviad, translated by Vitaly Chernetsky and built around a 24-hour binge in Moscow after the manner of James Joyce’s Ulysses, reveal a streak of audacity in Ukrainian writing. Just as Oksana Zabuzhko deconstructs the novel form and language itself in her groundbreaking Fieldwork in Ukrainian Sex, translated by Halyna Hryn, so these writers appear unafraid of helping themselves to the world’s classics and turning them to their own ends.
Yet, to make claims like this without knowledge of what hasn’t made it through the translation bottleneck would be foolish. It would be to forget that these themes and characteristics may have been part of what made publishers judge these stories to have international appeal – and that collectively they may present a somewhat distorted picture, one that at least partly reflects anglophone interests and concerns. Reading in English as I do, I could not hope to achieve a balanced, comprehensive survey of Ukrainian literature, even if I devoted a year to the project.
So what was I trying to achieve with this kind of targeted reading? For many of those who have scoured the round-ups of Ukrainian literature shared around the web in recent weeks, a desire to understand the horrors unfolding in the nation will have been a key motivation. This is quite natural and certainly anyone who spends time reading translated literature from Ukraine will be left in no doubt as to the complexity and longevity of the tensions that have fuelled this crisis. Perhaps one of the most nuanced and engrossing depictions can be found in Andrey Kurkov’s Grey Bees, translated by Boris Dralyuk, which comes out in the US this week.
Taking too anthropological or socio-historical an approach to reading makes me uneasy, however. I have never been comfortable with the idea of books speaking for their communities. I don’t think individual stories can be reliable telescopes through which to view life elsewhere. Nor should they be.
So, I decided to return to first principles and remind myself of the ethos that underpinned this project when I launched it ten years ago: curiosity; exploration; accessing voices; seeing what spoke most powerfully to me.
This month, that turned out to be Life Went on Anyway: Stories by Oleg Sentsov, translated by Uilleam Blacker. Put together over email while celebrated film-maker Sentsov was imprisoned in Russia on dubious terrorism charges (he was released as part of a prisoner exchange in 2019), the translation of the collection contains a series of autobiographical pieces centred largely on childhood, plus an opening biography that, according to Blacker, was originally included by mistake.
The simplicity and directness of the writing is disarming. ‘A bit about my personal life: for more than ten years I’ve been living with the same woman. I’m married to her. I have two little kids with her. I love them all,’ runs a section of the erroneously included ‘Autobiography (In Literary Form)’ – in which Sentsov admits that he didn’t take a nine-to-five job on graduating because he’d have murdered his co-workers and that he spent a year ‘ripping people off’ selling herbal products on a market stall.
When he turns this frankness to childhood, the writing soars. The depiction of the bond between a boy and his pet in ‘Dog’, for example, is deeply moving:
‘It was fun to hang out in a gang, but I preferred walking alone in the forest with my dog. They were unforgettable moments. When he searches for you, after you’ve deliberately stayed behind a bit and hidden in the bushes. Searches for you and finds you. And how happy you are when you find each other again after such a brief parting. The dog is happy that he found his master, and the master is happy that he has such a clever dog, and you’re both happy because you love each other and you’re together again.’
This switch into the present tense is a hallmark of the collection. At such moments, it is as though Sentsov turns to the reader to compare notes, saying: ‘you recognise this, don’t you? You’ve been here.’ And even if you haven’t, the power of the writing – the trust and confidence it contains – is strong enough to sweep you into the vision, so that it is as if you too, in your childhood, walked through the woods with your dog.
Humour works to strengthen this connection. This is less the thrawn, irreverent wit we sometimes see celebrated as being distinctively Ukrainian than an affectionate admission of the ludicrousness of human existence, often linked to an awareness of its fragility. In ‘Testament’, for example, the narrator imagines his funeral and the scattering of his ashes in the rain, with a cheeky grandchild peering into the urn to see a clump of Grandpa still hanging on. Similarly, numerous walk-on characters are endowed with quirks that could easily be handled cruelly and yet, through Sentsov’s eyes, seem oddly precious because of their uniqueness and ephemerality. (Witness: Svetka, the talentless would-be singer who sets her sights on stardom decades before the TV screens are thronged with tone-deaf wannabes.)
At root, the writing is driven by a profound empathy that enables Sentsov to inhabit the rounded, conflicted reality of a huge number of the figures who pass through his pages. As he does in ‘Grandma’, he excels at presenting a situation and then taking the reader inside the truth of it, revealing how far from simple even the most bald of statements may turn out to be. In this way, he reveals the workings of some of humanity’s most profound and problematic experiences – from childhood bullying to the development of social conscience, and from the processing of guilt and loss to the passing of time – using his own life and perspective as the lens through which to focus his vision.
For this – to me, at least – is what great stories are. Not explanations. Not studies of human action. Not definitive representations of the experiences of particular groups. But a person saying: here I am in all my silliness, vulnerability, wonder and mystery. And this is how the world looks to me.
Life Went on Anyway: Stories by Oleg Sentsov, translated from the Russian by Uilleam Blacker (Deep Vellum, 2019)
Getting translated into English is a tricky business. An anglophone book deal represents an opportunity for a writer to access a huge international audience because novels that appear in English have a greater chance of securing other language deals. But, with literary translations making up 3 to 5 per cent of publications in much of the English-speaking world, there is a narrow bottleneck to negotiate to achieve this kind of global reach.
For many books, time is of the essence. Editors love novelty and the idea that they are discovering talent before anyone else. As a result, most novels that don’t get picked up for translation in the year following their first publication are unlikely to make it beyond their original language.
Every so often, however – perhaps because of a news event or the efforts of a particularly tenacious champion – an exception breaks through. And sometimes books get several incarnations. Such is the case with Belgian author Jacqueline Harpman’s classic I Who Have Never Known Men, which was published in French in 1995, and first appeared in Ros Schwartz’s translation as The Mistress of Silence in 1997, before being republished under the more direct translation of its title in 2019, seven years after its author’s death.*
I was lucky enough to interview Ros Schwartz for the Royal Literary Fund’s Writers Aloud podcast some months ago. In a metaphor that feels uncannily resonant for the times we are living through, she used the French word ‘passeur’ to explain what translators do. ‘Passeurs were people who helped refugees escape during the war,’ she told me. ‘[A translator is] a passeur, a ferry if you like, between cultures.’
The image of the passeur is also relevant to Harpman’s novel. Narrated by a nameless girl who is one of 39 female prisoners held in a subterranean cage until the day an alarm sounds, leading the guards to flee while the door is open, the novel explores exile and alienation. Left to wander a deserted landscape that they cannot even be sure is Planet Earth, the women piece together the fragments they discover to try to understand what has happened to them and how to survive until the bitter truth finally reveals itself.
The richness and depth with which Harpman inhabits her narrator’s experience is astonishing. Indeed, it is no surprise that she was a psychoanalyst, for she presents the psychological shifts with which the protagonist encounters her predicament incredibly vividly. Those of us who have lived through lockdowns will recognise the truth in the heightened sensitivity you develop and the greater significance small events and objects take on when your world shrinks. Similarly, it is fascinating how thoroughly Harpman brings to life the experience of living without timekeeping devices and the ingenious way the narrator adapts to this.
The novel is also a powerful portrait of how we try to make sense of things – the ways we attempt to read situations we lack the necessary contextual information to understand. As so many of us do when confronted with texts that work differently to the kinds of stories we are used to, the women in the novel draw on their own limited knowledge to plug the gaps in their comprehension of this strange new world.
In the case of the narrator, who has been imprisoned since she was an infant and knows little of adult human civilization, this tendency is particularly clearly demonstrated in the naive fantasies she constructs around the young guard who keeps watch over the cage. Ignorant of the mechanics of sexual relationships, she tells herself stories that blend scraps of information with instinct and guesswork to bring about a mysterious ‘eruption’ in her maturing body. ‘This was extremely difficult because I was simultaneously the inventor of the story, the narrator and the listener awaiting the shock of the unexpected.’
Indeed, exploring the potential and purpose of storytelling forms an increasingly urgent theme. Repeatedly, along with questions about what defines human existence, the novel invites us to consider what a text is and what it does. Towards the end of the book, the narrator, who, we learn, is writing the account we’re reading, reflects on the strange alchemy that happens when someone reads a story: ‘The reader and I thus mingled will constitute something living, that will not be me, because I will be dead, and will not be that person as they were before reading, because my story, added to their mind, will then become part of their thinking.’
Yet, even as she examines storytelling, Harpman resists many of its conventions. There is a playful irreverence at work sometimes in the text: ‘Underneath, there were several items,’ writes the narrator at one point. ‘[…] But I shan’t go into the difficulties I had in identifying and naming all these things because that would be too tedious and I wouldn’t enjoy it.’ The reader’s curiosity is just one factor in the crafting of this story; this text must also serve its author’s pleasure.
At other points, the narrative seems to critique itself: ‘So few things happened during all those years of walking. I found the bus, I lost the road, I arrived here.’ It is almost as though Harpman is taunting the reader with her refusal to bow to plot conventions by withholding the revelations and resolutions the setup seems to demand. Indeed, on the face of it, this is a profoundly bleak and open-ended book.
To read it this way, though, would be to miss the subtleties at work beneath the surface that bring about the very transformation the protagonist claims reading is capable of effecting. For in being worked upon by Harpman and Schwartz’s fine words, we find ourselves changed from passive bystander to active participant. The story we hold in our hands may be a lonely one. But the fact that we are able to read it and enter into its protagonist’s strange experiences conveys a message of profound hope.
I Who have Never Known Men (Moi qui n’ai pas connu les hommes) by Jacqueline Harpman, translated from the French by Ros Schwartz (Vintage, 2019)
Yesterday, however, I got to realise my dream (virtually at least) and spent 40 minutes talking to the intrepid explorer, whose extraordinary journey across the world to live with the Inuit in the 1960s has long been an inspiration for me.
The call came about after I heard the wonderful news that Kpomassie’s groundbreaking memoir, An African in Greenland, translated by James Kirkup, was being reissued as a Penguin Modern Classic, with a new afterword, translated by Ros Schwartz. When Penguin contacted me about it, I seized the opportunity to ask to speak with the great man, who is now 80 and lives in France.
It turned out to be one of the most joyful, thrilling and thought-provoking conversations of my life. I was humbled to hear Kpomassie say that he saw parallels between our quests because they both came out of a desire to push beyond received notions and meet the world on our own terms. And my delight knew no bounds when, holding up the beautiful new English-language edition of his book, I saw Kpomassie raise a copy of my novel, Beside Myself, in reply.
We covered many things. I asked Kpomassie how he maintained so much energy and enthusiasm after living with the aftermath of his life-defining journey for so many decades. ‘It’s easy,’ he told me. ‘I am still the same person.’
He went on to explain that, for him, the extraordinary adventure he began as a teenager has always had the quality of a mission – a calling entrusted to him by the surprising collision of many factors (the appearance of the python that gave him his fear of snakes; the baffling presence of a book about Greenland in a shop in rural Togo; the fact that his six years of education gave him just enough French to understand the text and conceive his ambition to run away to this treeless, snake-free land).
A big part of this mission involves opening up the minds of young Africans to the wider world. ‘I think Africans should learn many languages and travel,’ he told me. But he is clear that this must work both ways. There should be greater prominence for and celebration of African culture internationally.
For Kpomassie, language is central to this. ‘We have more than 100 languages in Togo, yet if a young boy can’t speak French perfectly, he cannot succeed. That’s ridiculous,’ he told me, going on to say that it was similarly outrageous that African nations are among the few that don’t speak their own languages when they go to international conventions such as those at the UN.
He would like to see a Pan-African language chosen as the continent’s lingua franca – whether Swahili, Wolof or another widely spoken tongue. This, he says, would play a powerful role in evening up international relations and cultural exchange: people around the world would learn it in much the same way as many European languages are studied, thereby opening up opportunities for African linguists and translators.
The point, he stressed, was to be respectful and evenhanded. ‘No culture is better than another.’
Kpomassie has seen firsthand the damage favouring one culture over another can do. He still remembers the outrage and confusion the European missionaries caused when they tried to convince his father to abandon seven of his eight wives and marry one in a Christian ceremony, an action that would have spelled disaster for many of his brothers and sisters, and could have started a feud with neighbouring villages.
Yet it wasn’t until he reached Greenland that the extent of the wrongs done by colonial evangelism became clear to Kpomassie. ‘They changed the words [of the Lord’s Prayer] to “Give us this day our daily seal”,’ he told me. ‘But no-one gives you a seal at minus 40 degrees. You have to work really hard for it. I realised then that “Give us this day our daily bread” was a lie used to control us.’
Different though they were in so many ways, Kpomassie found parallels between the animism of the Inuit and the traditional beliefs of his community. There was a respect for nature and a sense of oneness with the environment that he found lacking in many European settlers, who made handbags out of the pythons that were sacred to locals in Togo.
This is one of the reasons that, as he writes in the afterword of the new edition of Michel the Giant: An African in Greenland, on some level, he never really left Greenland. And it is why he will move back there later this year. After a lecture tour, he plans to live out his days reading and writing in the country that won his heart more than 50 years ago. ‘This time,’ he says, ‘I will not return.’