Sounds like wish - A quiet place.

9 July, 2017

Weekly photo challenge: Bridge

If I were young and in love I might be tempted to engrave my name and his on a padlock and attach it to a beautiful bridge, casting the keys to an unreachable depth and thereby hopefully cementing the relationship. Now that I’m oldish I see these padlocks as akin to litter. Young lovers who attach the piece of not-easily-removable coloured metal see it through the rosy glow of their love. The decorative wrought iron of the bridge panels is little more than a place to hang their public bling. When I saw this and other footbridges in the Englischer Garten in Munich I felt an old woman’s frustration.

Later I despaired at the sight of a love-lock stand framed by a huge walk-through heart that was covered in them. Lovers could purchase padlocks for the specific purpose of attaching them to the narrow ironwork of a bridge and throwing the keys into the river below. Like a fast food outlet, the stand eliminated the need for forethought and preparation.

But not all pretty garden footbridges are made with decorative ironwork. In Albert on The Somme in northern France there’s a small public garden with a narrow stream, a waterfall and this bridge, where lovers would need to bring something pretty big and heavy to permanently attach it to the branch-sized bars.

The public garden in Albert is at the back of the Somme 1916 Museum where there is much to see regarding all the parties fighting in and around Albert in that year. Lots of grim reminders of war. The garden, by contrast, is a place of joy and peace.

Thanks WordPress for the Bridge prompt for this week’s photo challenge.

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1 July, 2017

The Half-Veil

The digital literary fiction journal, Brilliant Flash Fiction, has just published “The Half-Veil”, my translation of “La Voilette”, a Catulle Mendès short short story of 1884. Click on the link and scroll down through other brilliant flash fiction till you see this cool photo added by the editor.

Header image: La Modiste sur les Champs Élysées, Jean Béraud (1849 – 1935), courtesy Wikimedia Commons

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28 June, 2017

Changing seasons: June (London)

I’ve not only changed seasons from winter to summer, I’ve changed countries, again. In this present country, England, in this city, London, each day changes weatherwise. When the temperature’s up and the sky is clear, the ideal summer day, jets leave condensation trails in white exes against the blue, visitors to Hyde Park buy ice creams and let their children play in the ‘Diana, Princess of Wales Memorial Fountain’, and the park gardeners busily pull out unwanted pond-side plants. Tourists sail on the lake, attracting swans in flocks looking for crumbs. And the ugly duckling born in spring is left to fend for himself, wondering why.

The next day the sky is grey, rain falls on and off for hours, the ground is puddly in the least expected places, and canvas shoes let in water. The old dark brick 18th-century buildings of the former silk manufacturing area, Spitalfields, look worse without sunshine. But I’m sure they’re beauties inside now that the price tags are in the millions.

Thanks to Cardinal Guzman for his seasonal inspiration.

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25 June, 2017

Weekly photo challenge: Transient

The soaring Gothic cathedral in Amiens is a medieval beauty by day with an abundance of statuary and stone lace, but at nightfall in summer it becomes a giant canvas for a light show of high-definition coloured images. Nightfall means 11 pm. At 10.45 when I took the first photo, the sky was still deep blue. The days are very long in a northern French summer, but this one just happened to be the summer solstice. The longest day.

La cathédrale Notre-Dame d’Amiens, 10.45 pm, 21st June

The projections are modern for the most part, following the lines of the facade, highlighting them and even appearing to move parts of the cathedral about.

11:08 pm, the solid cathedral resembling a line engraving

11:13 pm, making smaller details the main attraction

The best is left till last. In the beginning of their existence (approx. 1220 – 1270) the statues were polychrome, a feature revealed during the laser cleaning of the facade in the 1990s. Time has stripped them back mostly to bare stone; only a few small areas of colour can be detected here and there, and if you didn’t know they were once painted, you wouldn’t notice even these patches. But, for one transient moment, our brilliant 21st-century lighting people can restore the medieval colours for us.

11:29 pm, just when we thought it was all over, the colours of the tympana appeared for the pleasure of those who hadn’t walked away.

The statuary is mostly far above my head, so photography is a good way to look closer at the details. I particularly like the central tympanum depicting the last judgment. In the middle register, the naked damned are led to hell, while the saved are clothed and led to heaven. I’m hoping to be among the clothed.

Each image projected onto the cathedral facade lasts but a moment, the spectacle itself lasts half an hour, and even the lighting patterns change from time to time. But the cathedral itself has stood solid and unchanging since the 13th century, a survivor of wars and revolutions. It reminds me that if I leave something behind, it had better be good; it may be around for centuries.

Thanks to WordPress for the transient challenge.

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20 June, 20176 February, 2018

Changing Seasons: June (Munich)

June in Munich. It’s hot, surprisingly hot. Two months ago it was still cold and even snowing a bit. Now, after the long winter, the population of Munich has come outside. Large numbers of people are running and cycling in the streets and exercising in the parks. In the Englischer Garten they even surf!

A small man-made river, the Eisbach, flows through the Garden with a current so forceful that the ducks don’t need to paddle. In one section near a bridge, a standing wave has been created, and though swimming in the river is not allowed, the rule is bent for surfers (München rules generally seem made to be broken), with the exception, noted on a sign, that the wave is only for experienced and skilled surfers.

The surfers are out every morning, but on Sunday morning in the Englischer Garten there were people not just surfing, or strolling like me; others were boxing, studying, cuddling, meditating, photographing, dog-walking, or doing a little yoga:

Nearby, at the end of Prinzregentenstrasse where I went to gaze on a golden angel, the Friedensengel, I found a photographer with models, exercising of course. The stone angel babies almost seem to be joining in the whole Munich exercise trend.

I’ve seen the seasons change in a few cities this month, starting with Canberra, then Singapore, and now Munich. Cardinal Guzman likes to see seasons change and prompted me to do the same.

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13 June, 2017

Changing Seasons: June (Singapore)

First thing on a Singaporean June morning, steamy air fogs the lens and veils the purple bougainvillea in mist.

By 6.30 on a Saturday morning the revellers have all gone home and a man sits alone in peace beneath colourful colonial architecture, a combination of Chinese, Muslim and British influences. He watches a video on his phone, oblivious to the loud repetitive soundtrack, a version of Twinkle Twinkle Little Star.

At midday, amid a mass of visitors to the Botanic Gardens, amid the lush vegetation found here and throughout the island, a bride in red and her less spectacular husband pose beside an old fig, its roots resembling two human legs and perhaps a tail.

When Cardinal Guzman posed this prompt to photograph the changing seasons, he wanted a photo of the same place each month. I’ve already covered Canberra for June, but have ended up in Singapore, a country with no winter. Just heat and humidity and eternal summer.

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7 June, 2017

Changing Seasons: June

June in Canberra.

It’s officially the first month of winter in Australia. Here in this part of the country that’s more wintry than most, many of the trees are leafless, the maximum today is 13, feels like 8, the public servants still run morning, noon and night even when the wind is blowing at 35 knots, and if you’re standing beside the lake taking photos of the landscape, you get wet.

Cardinal Guzman’s ‘Changing Seasons’ challenge: check it out for more seasonal photos.

3 June, 2017

Southerly

My translation of Claudine Jacques’ Condamné à perpétuité, “Life Sentence”, has today been published by Southerly, the journal of the English Association at Sydney University. The journal is available to purchase in print or digitally.

Southerly is dedicated to publishing new Australian literature. I feel honoured to have had my work selected, given that the author I’ve translated lives in New Caledonia, a French island about two hours off the coast of Queensland. However, I’m Australian and the English is mine. The story has much in it that was familiar to me as a child in Queensland: tropical flora, heat, ocean. But one thing I’m not familiar with is leprosy, the topic. There’s a little island clearly visible from Brisbane called Peel Island, which in the past when anyone asked was always quickly identified as the leper colony. The question was a good conversation killer. All we knew was that those who lived there had been expelled from the mainland. No one actually knew what it was like to be there.

Reading Condamné à perpétuité gave me a bit of an insight into life on an Island of Lepers.

To encourage you to read the translation, I’ll reveal that “Life Sentence” has a happy(ish) ending.

I feel especially fortunate that Southerly has published it since the theme of their current issue is Persian literature! “Life Sentence” is one of the few stories included that are outside the theme. Thank you Southerly.

(Be assured this is the latest issue despite the 2016 date.)

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2 June, 2017

It's You

From time to time literary translators seek an analogy to help others see what it is that a translator does with a story. When I hear a great cover version of a song or a piece of instrumental music I see the similarity with translation. It’s a work originally written by one artist but interpreted by another. A composer writes a piece of music and another musician can play it, but no two interpretations of the score will be the same. The player or singer always puts a little of himself into the piece. And so it is with translators.

I have sons who play piano or guitar or sing a cappella in quartets, and when they want to learn a new song, they listen to other musicians performing live or on Internet videos. As I’m listening in the background, I note that the same song can sound so different according to the singers’ skills, their personal histories and their countries of origin.

Here’s a good example of a piece of music interpreted quite differently from its original version, though it is equally entertaining and touching. It was a performance in April when my son Ben competed with a quartet in a contest in Sydney for the Barbershop Harmony Australia association. Barbershop singing has changed a lot since its beginnings and is now less about boater hats and corny gestures than the precision of singing four-part harmony without instrumental accompaniment.

Left to right, Danny, Ben, Geordie and Adam – Fresh Notes – sing It’s You, written by Meredith Willson for the 1957 Broadway musical The Music Man. Fresh Notes came second in the contest.

The lyrics and melody are Meredith Willson’s, but the style and composition for the quartet belong uniquely to Fresh Notes. Remembering this helps me to relax when I’m translating, it reminds me that sometimes the cover version can be as good as, even better than, the original.

Like a musician, a literary translator takes someone else’s composition and performs it in his own special way.

Performing without a Stage
Robert Wechsler

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21 May, 20178 April, 2018

Weekly photo challenge: Heritage

In Canberra there’s a street that exists because of war. On either side of Anzac Parade there are statues and sculptures to commemorate those men and women who went off to every war that Australia has been part of over the past century and more. At the head of the street is the biggest monument of them all, the Australian War Memorial, not a statue but a building, built to commemorate those who fought in the First World War. Every war has been represented except one. The Boer War in South Africa.

We’ve needed a memorial for the mounted troops who fought there between 1899 and 1902. That gap will soon be filled. The sculptor, Louis Laumen, has created four bronze riders and horses for the commission. They are in place on Anzac Parade, but will remain covered in black plastic until the official opening on 31st May.

Until then we’ll be seeing phantom riders at dusk.

Beside the statues, a verse by A. B. Paterson (Banjo Paterson) reminds us of the courage of those who volunteered to fight in South Africa:

When the dash and the excitement and the novelty are dead,
And you’ve seen a load of wounded once or twice,
Or you’ve watched your old mate dying – with the vultures overhead,
Well, you wonder if the war is worth the price.
And down along Monaro now they’re starting out to shear,
I can picture the excitement and the row,
But they’ll miss me on the Lachlan when they call the roll this year,
For we’re going on a long job now.

A.B. Paterson 1902

The war memorial building and Anzac parade have National Heritage listing to ensure this tribute to the sacrifices by many generations of Australians is recognised and protected.

Thanks WordPress for prompting me to think about heritage for the photo challenge.

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