I’ve been keeping an eye on a web site called Fairytalez for most of this year with some enjoyment and a certain degree of frustration. It’s an appealing site with a variety of illustrations and a mass of information related to classical fairy tale telling and tellers. There’s an invitation to readers not just to read fairy tales from all over the world but also to publish their own.
Now, I have a number of such tales I’ve translated over the past five years and have long been looking for a home for them. The problem was that I could read the stories that were already published on the site but could not get a response from the site owners when I asked if my translations would be accepted. This week they contacted me at last after 10 months. It turns out that Fairytalez has had trouble with site maintenance for most of this year…
Once it was fixed I asked my question, and I got a Yes!
Today I submitted a tale that includes the mandatory fairy, ‘Golden Kisses‘, originally ‘Baisers d’or’ (1885) by the French author Catulle Mendès.
It’s a delicious little piece about two musical starvelings who grow up together yet alone, for they have no family or friends. They discover the pleasure of kisses and are happy enough with their poor but simple life until a fairy, out of pity, offers to change things.
I’d be extraordinarily happy if you read it and commented below.
Have you ever gone to a place for the first time because you read about it in a story?
I recently read ‘On the Edge’ by an Australian writer, Ashley Hay. I came at it the long way round, beginning with ‘The Little Red Writing Book’ by Mark Tredinnick, a beautifully written, exceedingly helpful Australian book for writers who write like public servants but want to break away from that stilted language. Early in the book Tredinnick praises the writing of Barry Lopez, an American, and recommends Lopez’s writing about nature. So I went searching and saw Lopez’s name come up as an editor of ‘Where the Rivers Meet’, an Australian collection of short stories about our land, the nature of it, the history of it. ‘On the Edge’ was in it.
Ashley Hay wrote about the city of Wollongong, south of Sydney, built between the coastal mountains and the ocean and necessarily spreading north and south but never east or west. The whole city is ‘on the edge’ of Australia. She remembered being taken for a drive, as a teenager, along the road that once precariously hugged the steep cliffs prone to rockfalls, and compared it with the bridge that has replaced that road, the SeaCliff Bridge, a cantilevered serpentine bridge that follows the same coastline but in an open space over the ocean.
I tried to imagine it. I looked at the photos online, but I wanted to feel it, to see it.
Today, I’m in Wollongong, and am being driven to the bridge. It’s pouring, a deluge of rain that began at 5am and hasn’t stopped since. We’re on the bridge, three tourists in brightly coloured raincoats are taking photos of each other joyously holding their arms out as the rain beats down. Not another soul can be seen, and barely another car. I’m not as bold as the tourists, I can’t get out and walk in this weather, so we continue along the road up to Bald Hill Lookout where the cloud is low and the wind is gusting and whoomping the car. The view is supposed to look as it does in this advertisement for the new seats by Outdoor Design :
But today the view looks like this:
The sea is invisible, can’t open the windows, no point staying. We turn back towards the bridge and search for a place to stop so I can get out, stand still, and take in the view of this bridge I have only known in a story. The car parks are some distance away but I want to see what it’s like to walk on the bridge. I’ll need to take a photo and won’t be able to hold my umbrella steady in this wind, let alone a camera. It’s too hard, I give up and take a happy snap through the windscreen of our moving car.
The view was so blurred by the torrents of rain that if I hadn’t seen photos of the SeaCliff Bridge I still wouldn’t know what it looked like. So what have I gained by wanting to get inside someone else’s story?
Today I can say, at last, that my translation, ‘The Wolf’, by Marcel Aymé, has been published by Delos Journal at the University of Florida.
I came across the original story, ‘Le Loup’, one lunchtime as I was eating my sandwich in the sun. It’s rare for a story to keep me reading all the way to the end in one sitting, but ‘Le Loup’ did it for me. When I’d finished the story, and my lunch, I began translating it immediately.
That was a couple of years ago. Publication of the piece has been a long time coming. In the world of literary translation and publishing (or any writing and publishing really), progress is often at snail pace and this is a good example.
First there was the enquiry to the French publisher, Gallimard, to see if the rights to publish a translation were available.
Months passed without a response, but prompting them brought a yes.
Second, there was the submission to journals. Many journals said No. But Delos said Yes! That was two yeses!
Then it was back to the French, who in turn had to put the question to the rights holder of Marcel Aymé’s estate. It was the beginning of a looooong negotiation process to buy the rights. Three months I waited, anxious that the journal might give up. There was no response.
But the journal editor, bless her, offered to write to the French publisher on my behalf. And I suppose it’s not surprising that she was answered tout de suite…
Weeks passed again while we waited for a response from the rights holders. Finally they quoted a price so high that I was sure my translation would really never see the light of day.
Now, in the world of literature there are people who care, good people, and one of them came to my rescue with some of the funds, but it wasn’t enough. I scraped together a bit more, and made an offer to the French. And waited. Again. The journal deadline came and went, I had no response to my (low) offer, and Delos and I agreed to drop the whole project.
Then, that very night, there was a miracle. The rights owners accepted my figure, and it was full steam ahead for ‘The Wolf’.
The editor offered to find an illustrator for the story, and with my childlike adoration of illustrations, it was a bonus thrill for me. Most French editions are illustrated with sweet images like this one showing three good friends hugging, laughing and trusting one another:
And in a past translation of ‘Le Loup’, there was even an illustration of an incident which never occurred in the story. The translator had partly tweaked the narrative to protect little readers from the truth that wolves are carnivores. In reality, the wolf didn’t miss out, he got lucky, and the girl was not dark-haired but blonde, because wolves prefer blondes:
But for the Delos issue, the editor’s daughter drew a terrifying image in pen and ink of the wolf chasing two small girls, which now accompanies my new translation. I can’t show you; it’s in the journal which is behind a paywall. But I read some pieces from archived issues when the journal was free, and can recommend it. The table of contents for the latest issue is here.
The next translation to be published will be a whole book of stories from the Belle Époque, currently being prepared for publication by Odyssey Books. Again, it’s taking a long long long time. Early next year I expect it to come out. I’ll keep you posted.
Booksaremyfavouriteandbest invites us each month to find six degrees of separation between books. November’s starting point is Vanity Fair by Thackeray.
1. I haven’t read Vanity Fair but the name of William Makepeace Thackeray immediately brought George Sand’s Spiridion to mind because Thackeray said, in relation to her novel Spiridion (that I translated), that she was “the most elegant writer, I think, that her sex ever produced.”
2. Thinking of Spiridion leads me to Cœurs russes (Russian Hearts) by Eugène-Melchior de Vogüé which I’ve also translated. It’s a book of short stories written by a French ambassador to Russia in the 1880s, set in Russia and written in the style of Turgenev and Tolstoy.
3. Now I’m remembering the pleasure of reading A Sportsman’s Sketches by Ivan Turgenev, especially the short story ‘The Tryst‘.
4. I’ve used ‘The Tryst’ several times when tutoring migrants in English because of its delicious descriptions. One student who enjoyed it has now asked for us to read Picnic at Hanging Rock together. I can’t believe my luck, I love this book.
5. Of course the images in my head now are from the movie of the same name, where floaty, pure, muslin-robed girls wander over forbidding boulders, as though returning to their fairy homes. This triggers a memory of Théodore de Banville’s story ‘L’Enfant bossue’ (The Hunchback Girl) in Contes féeriques (Tales of Faerie) about a convent girl who wants to return to her fairy parents.
6. I’ve got fairies on the brain, having translated a great number of French fairy tales in the last few years and read several illustrated books of Grimm’s Fairy Tales.
Four of these six books are collections of short stories, which says something about my translating life: stories are more likely to be accepted by publishers than novels. But they’ve made me love 19th-century literature even more.
I have another translated short story to announce!
Six months ago my translation of ‘Les Larmes sur l’épée’ by Catulle Mendès – ‘Tears on the Sword’ – was accepted by the Agorist Writers Workshop for the anthology FairyTale Riot. At last! It’s available as an ebook or print copy here: Amazon.
The Agorist Writers Workshop is a small group of liberty-minded individuals with an interest in creative writing. (I’m not sure what ‘liberty-minded’ means but I’m definitely interested in creative writing!) This is their 4th anthology. Fortunately for me they were looking for fairy tales, fables and folklore, and I happen to have a stash of them in my metaphorical bottom drawer. It was a big thrill to find an anthology seeking my kind of story and a bigger thrill to be accepted. They even found an illustration appropriate to the story and put it on Facebook: Roland, the protagonist, a fabled heroic figure of French history, is blowing his horn to call for help when almost all of his men are dead.
While Roland in ‘Tears on the Sword’ doesn’t blow his horn, the image on Facebook is nevertheless of Roland and his dead soldiers. It’ll do.
Roland’s story is composed of a little truth and much invention. His sword, Durandal, was so strong that when Roland worried that some other soldier would take it after his death, he cried over it and tried to break it on a solid porch step, but the sword broke the step! Durandal remained undamaged.
But in Mendès’ tale, Roland cries over the sword for a different reason. Read it in FairyTale Riot and discover why he cried and what the connection is with liberty-seekers.
The 11th of the 11th is not far off. The Australian War Memorial here in Canberra is demonstrating the community’s sorrow over all those who died in World War 1, the war to end all wars. Not. Crocheted and knitted poppies have been planted in the lawn, 62,000 of them, one for each of the dead, forming a sea of red spilling out in front of our beautiful war memorial building.
Poppy posts and photos are appearing all around the country. I’ve read that 62,000 poppies was the goal for the project, but the women (mostly women) contributed many many more. The extras have been used in a display in Parliament House and in towns around Australia. I made 12, and I taught my Japanese student to crochet and then she made 12. Our 24 poppies are there in the crowd somewhere.
All this talk about the centenary of the armistice reminded me of a poem I read in my father’s poetry book that he brought back from World War 2. He recorded poems he wanted to remember, and re-reading this one leaves me wondering what it meant to him, especially the final verse. The poet was Rev. G. A. Studdert Kennedy who allowed it to be circulated among the soldiers. It speaks of a death by gassing and may have comforted some of those who had lost mates to this horrific weapon. My father’s father was gassed in 1916, but survived. Perhaps Dad had him in mind when he recorded this poem in 1942. Here’s his first page:
Reverend Geoffrey Studdert Kennedy was a volunteer British chaplain to the army on the western front, and was also known as Woodbine Willie for the Woodbines he smoked and handed out to the wounded and dying. He was a great anti-war poet.
Here’s the whole poem written in 1917 in soldier-dialect :
Thy Will Be Done A Sermon in a Hospital
by Rev. G. A. Studdert Kennedy, from Rough Rhymes of a Padre, 1918
I WERE puzzled about this prayin’ stunt,
And all as the parsons say,
For they kep’ on sayin’, and sayin’,
And yet it weren’t plain no way.
For they told us never to worry,
But simply to trust in the Lord,
“Ask and ye shall receive,” they said,
And it sounds orlright, but, Gawd!
It’s a mighty puzzling business,
For it don’t allus work that way,
Ye may ask like mad, and ye don’t receive.
As I found out t’other day.
I were sittin’ me down on my ‘unkers,
And ‘avin’ a pull at my pipe,
And larfin’ like fun at a blind old ‘Un,
What were ‘avin’ a try to snipe.
For ‘e couldn’t shoot for monkey nuts,
The blinkin’ blear-eyed ass,
So I sits, and I spits, and I ‘ums a tune;
And I never thought o’ the gas.
Then all of a suddint I jumps to my feet,
For I ‘eard the strombos sound,
And I pops up my ‘ead a bit over the bags
To ‘ave a good look all round.
And there I seed it, comin’ across,
Like a girt big yaller cloud,
Then I ‘olds my breath, i’ the fear o’ death,
Till I bust, then I prayed aloud.
I prayed to the Lord Almighty above,
For to shift that blinkin’ wind,
But it kep’ on blowin’ the same old way,
And the chap next me, ‘e grinned.
“It’s no use prayin’,” ‘e said, “let’s run,”
And we fairly took to our ‘eels,
But the gas ran faster nor we could run,
And, Gawd, you know ‘ow it feels
Like a thousand rats and a million chats,
All tearin’ away at your chest,
And your legs won’t run, and you’re fairly done,
And you’ve got to give up and rest.
Then the darkness comes, and ye knows no more
Till ye wakes in an ‘orspital bed.
And some never knows nothin’ more at all,
Like my pal Bill–‘e’s dead.
Now, ‘ow was it ‘E didn’t shift that wind,
When I axed in the name o’ the Lord?
With the ‘orror of death in every breath,
Still I prayed every breath I drawed.
That beat me clean, and I thought and I thought
Till I came near bustin’ my ‘ead.
It weren’t for me I were grieved, ye see,
It were my pal Bill–‘e’s dead.
For me, I’m a single man, but Bill
‘As kiddies at ‘ome and a wife.
And why ever the Lord didn’t shift that wind
I just couldn’t see for my life.
But I’ve just bin readin’ a story ‘ere,
Of the night afore Jesus died,
And of ‘ow ‘E prayed in Gethsemane,
‘Ow ‘E fell on ‘Is face and cried.
Cried to the Lord Almighty above
Till ‘E broke in a bloody sweat,
And ‘E were the Son of the Lord, ‘E were,
And ‘E prayed to ‘Im ‘ard; and yet,
And yet ‘E ‘ad to go through wiv it, boys,
Just same as pore Bill what died.
‘E prayed to the Lord, and ‘E sweated blood,
And yet ‘E were crucified.
But ‘Is prayer were answered, I sees it now,
For though ‘E were sorely tried,
Still ‘E went wiv ‘Is trust in the Lord unbroke,
And ‘Is soul it were satisfied.
For ‘E felt ‘E were doin’ God’s Will, ye see,
What ‘E came on the earth to do,
And the answer what came to the prayers ‘E prayed
Were ‘Is power to see it through;
To see it through to the bitter end,
And to die like a Gawd at the last,
In a glory of light that were dawning bright
Wi’ the sorrow of death all past.
And the Christ who was ‘ung on the Cross is Gawd,
True Gawd for me and you,
For the only Gawd that a true man trusts
Is the Gawd what sees it through.
And Bill, ‘e were doin’ ‘is duty, boys,
What ‘e came on the earth to do,
And the answer what came to the prayers I prayed
Were ‘is power to see it through;
To see it through to the very end,
And to die as my old pal died,
Wi’ a thought for ‘is pal and a prayer for ‘is gal,
And ‘is brave ‘eart satisfied.
This week Peacock Journal published “The Lame Angel”, my translation of Catulle Mendès’ short story, “L’ange boiteux”. You can read it for FREE on their website. As part of their mission – Beauty First – Peacock Journal‘s editors add beautiful images to every story they publish. Knowing this, and having been published by them previously, I prepared myself for an image of an angel. So this one had me guessing for a while:
They never caption their images, so all I could go on was an assumption that this fresco was by Raphael. It was enough information for Google which immediately threw a few images at me, including this one. Bingo! It’s one of Raphael’s frescoes in the Palace of the Vatican, an image of poets on the mythological Mount Parnassus. But where’s the connection with a lame angel?
There isn’t one. But there is a connection with the author, Catulle Mendès. He was allied with the Parnassian poets at the end of the 19th century whose literature was a reaction against emotionalism and Romantic imprecision. The Parnassians preferred restraint and self-discipline, and often selected classical subjects (eg angels…). Mendès wrote and reworked a number of fairy tales aimed at a Decadent adult readership. There are no fairies in this tale but it does have another mystical winged being, a very sad angel.
If you’d like to read more Catulle Mendès in my English translations, Peacock Journal published another one last year, “The Enchanted Ring”.
Presently I’m waiting for a number of my translated stories to come out. Progress in the publishing of even one short story can be truly glacial, so I was surprised at the result of my experiment last week with Amazon’s Kindle Direct Publishing (KDP); in just a few days a book (or rather novella) I had translated years ago, and had unsuccessfully proposed to many publishers, had become a published e-book. Reading other literary translators’ reports of positive experiences with self-publishing convinced me to give it a go.
The novella that I think is worth the risk is Winter Tales by the French author Eugène-Melchior de Vogüé, a small collection extracted from a larger book of stories, Cœurs russes (Russian Hearts). If you’re a lover of Russian novelists like Turgenev and Dostoevsky, then you’ll enjoy these 19th-century tales set in Russia. This is the first English translation in 123 years.
Winter Tales is a little like a Russian doll: there’s one main story with several smaller stories tucked inside. The narrator visits a former serf owner who tells of the ups and downs in the lives of individual peasants struggling to live freely after serfdom is abolished.
Various publishers and one agent had said they liked it, but didn’t think it would be profitable enough to publish. The stories are old, a wee bit quirky, and one is quite grim. But I feel the novella hasn’t been totally rejected, and so to fill in time while I wait for my work to appear in traditional journals and books, I’ve learnt the ropes of KDP. And now it’s out there. I published it a few days later again with Kobo. Self-publishing is free with both KDP and Kobo.
The experience on these platforms was not too draining. I began on Wednesday and by Saturday night Winter Tales was there on the Amazon web site, and then I repeated the process on Kobo. For Kindle I simply had to upload my story prepared with Word, format it into a book with their user-friendly styling buttons, have fun making a cover, give Amazon some account details, and press ‘Publish’. Kobo didn’t have the cover-making facility so I re-used the one from KDP.
There’s a feast of images on Creative Commons that suited my theme of a Russian winter, and when choosing a 19th-century painting I was like a girl in a French chocolaterie. At last I settled on the cover image you see above because of the vast sky where I could put the title and the snowy ground for the author’s name. Not to mention the peasants and ox cart in winter, a scene that could have come from one of Vogüé’s stories.
You can read a Kindle preview here. The preview is not as bookish as the actual e-book, but the words are the same.
May I encourage you to leave a review on Amazon or on my blog if you read Winter Tales?
For the challenge by Booksaremyfavouriteandbest to find six degrees of separation between books, this month’s starting point is The Outsiders by S.E. Hinton.
1. At first I thought it was The Outsider (singular), one of the English titles given to Albert Camus’ L’Étranger. But reading the author’s name made me look again. I noticed the plural in Hinton’s title and recalled my sons reading this book at high school and then reading it myself. However, I had immediately thought of Camus’ book and its opening line, ‘Aujourd’hui maman est morte’, much discussed by translators. In Stuart Gilbert’s translation, The Outsider, it becomes ‘Mother died today’.
2. This led me to think of another opening line disputed and revised by translators, the first line of Swann’s Way by Marcel Proust, translated by C. K. Scott Moncrieff: ‘For a long time I used to go to bed early.’ So many ways to say this.
3. And the first line of Anna Karenina by Tolstoy, translated by Constance Garnett: ‘Happy families are all alike; every unhappy family is unhappy in its own way.’
4. And from there my mind went to Tolstoy’s War and Peace, currently showing as a TV serial. I have the book, a gift from my daughter-in-law who works in a bookshop, but I haven’t tackled it.
5. However, I have decided to tackle another hefty Russian novel, Dostoevsky’s Crime and Punishment, only because I found a pocket-size edition in a 2nd-hand shop.
6. I took a break from Crime and Punishment after a few chapters and picked up a shorter novel, Sweet Water – Stolen Land by Philip McLaren. What surprised me after reading a description of a gruesome murder in Dostoevsky’s novel was to read a number of such scenes in McLaren’s.
Of these six books I’ve read three wholly and three in part, but enough to remember them.
My father died eons ago, but I’ll post one of his poems today, Father’s Day, to thank him for volunteering to join the army to go the Middle East back in the 40s.
I get the feeling from this poem that as he was thinking and writing, he was probably regretting his decision to go so far from home, but at last he was coming back and couldn’t wait to get off the ship he had sailed on for weeks, the Duntroon. I also get a sense of appreciation for the hard-working nurses who attended him in Kantara Hospital, Egypt, and now on board this ship.
As I lie in my bed and gaze around,
I long for the day they set me aground,
My mind wanders back to my hometown
For this goddamned ship is getting me down.
I think of the fun and the times I’ve had
I think of my Sweetheart, my Mum and Dad,
I wish for the places I’m longing to see,
I wish for the faces of those dear to me.
You see, I’m in dock, on board this fine ship,
And I’m anxiously waiting the end of this trip.
I watch all the faces, the expressions they wear,
Some fat, some thin, and some have no hair.
Then there’s the Sisters in capes coloured red,
As they carry the medicine to ease a sick bed,
Their hours are endless, thanks often nil,
I’ve ne’er heard one grumble
And p’raps never will.