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
