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, I had decided 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 Tolstoy, 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 19th-century, 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 made on 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 from one of the stories.
You can read a Kindle preview here. The preview is not as bookish as the actual e-book which will cost you three or four dollars, depending on your country, but the words are the same.
May I encourage you to leave a review on Amazon, or here on this 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.
Today my translation of Théodore de Banville’s ‘La Lydienne’ (The Lydian) was published by Black Sun Lit on their web site.
The Lydian is a statue of Queen Omphale, queen of Lydia in Greek mythology. Théodore de Banville’s story is about a sculptor who creates a marble statue of her and falls in love with it. With her. His love is so powerful that she comes to life…
There are a few real sculptures of her in the world and even more paintings, particularly accompanied by Hercules who was her slave for a year. This sculpture by Constantin Dausch is my favourite of all those I’ve seen online:
It’s been more than a year since I’ve had any of my translations published, so I’m having a very good day.
The original was written in 1882. For me the second half of the 19th century was one of the greatest eras for literature. If you too enjoy fantasy and “art for art’s sake” (Banville’s literary philosophy), this story will be a good one for you.
Apparently, it’s good for writers to write reviews of other writers’ work. I’ve never done it and never wanted to, till now.
I had a great morning walking round some natural ponds and listening to hundreds of frogs croaking among reeds, all thanks to one small book: Walking Canberra by Graeme Barrow, self-published in 2014. So I feel compelled to share this pleasure with anyone who might be contemplating a walk in our beautiful bush capital. Here goes my first book review…
Waiting to be served at my local newsagent, my eyes fell on this little book propped up among the sweets at the counter. The full title held my attention: Walking Canberra: 101 ways to see Australia’s national capital on foot. I’d long been considering how to get some exercise and at the same time discover some of the unknown treasures and pleasures in our world, and this title promised to deliver exactly that.
Walking Canberra is nothing like the stuff I work on as a translator, it’s neither a fairy tale nor a New Caledonian drama, yet it’s currently a favourite book that I’ve been referring to for the past four weeks. I’ve heard there aren’t many copies left because it’s going out of print. Graeme Barrow self-published his books through his own business, Dagraja Press. He was a Canberra journalist who wrote books on bushwalking in this region, as well as a few local histories. He died in May last year, so here’s hoping that someone else will take on the project of updating his advice on walking in Canberra’s parks and bushland as the city changes and grows and old paths and landmarks are moved or removed.
Barrow wrote like a friend to friends. The information and instructions are clear as a bell, and though he published it in 2014, I’ve found that the details (in the walks I’ve taken so far) are still correct. There are small maps on each page, and a description of what to see along the way, an outline of where to turn, where to linger and what to avoid.
Last weekend and this, my husband and I walked the Gungaderra Creek Circuit, chosen by me because of its level of difficulty: “Easy”. The local government has created a series of ponds instead of the usual concrete stormwater drains, and these ponds attract water birds and frogs frogs frogs which are invisible among the reeds but loud! There are no frogs in my suburb so this sound was a surprise.
While walking in what is essentially still suburbia, there are reminders here and there of human slips in the design: a thorny rosebush growing as though grafted onto a young eucalypt, a pink soccer ball fallen into the dense reed bed…
… and there’s the street beside Gungaderra Creek that was named and renamed after two Australian authors…
Minnie Bruce was the author Mary Grant Bruce, famous for her Billabong series, who was granted a street name in a suburb (Franklin) where Australian authors were the theme. Ten years ago her family asked for the name to be revoked since her mother was known as Minnie, and Mary was known as Mary (despite being named Minnie at birth). So, Morris West, another Australian author, was given the street. West was famous for many novels but particularly his first, The Devil’s Advocate, which has been reprinted more times than any other modern Australian novel. Now there’s a claim to fame that deserves its own street!
Out of the 101 ways to see Australia’s national capital on foot I’ve already done about 47 by dint of having lived here for 21 years. I’m thrilled to have found this special book that gives me ideas for filling my free days for the next 21 years.
In the past few months I’ve had four translated stories accepted by journals. In my last post I lamented the silence of two of those journals, but, good news!, one has announced the story will be published in September. And two more have promised to publish another couple of stories, so I’m hoping that all will go well for those journals.
As a lover of Great Opening Lines, I thought I’d include their first lines here as excerpts from the three forthcoming stories.
Hiding behind the hedge, the wolf was patiently watching the house.
Opening line, ‘The Wolf’, Marcel Aymé, translated by me, forthcoming in ‘Delos Journal’
A story for children and adults about a wolf that wants to be good and kind but deep down he’s still an animal …
Not long ago and not far away, a sculptor in love with his statue as in the days of Pygmalion the King of Cyprus, reproduced the same miracle and brought her to life, transforming the marble into living flesh through which glorious blood flowed by his will and the force of his overpowering desire.
Opening line, ‘The Lydian’, Théodore de Banville, translated by me, forthcoming in ‘Black Sun Lit’
The Lydian is the mythological Queen Omphale who was given Hercules as her slave for a year (his punishment for a murder). She wore the skin of the lion he had killed, and carried his club. Banville’s story tells of a sculptor who produced a statue of Omphale that came to life. He thought his dreams had come true…
Once when the valiant knight Roland was returning from fighting the Moriscos, he was letting his horse catch its breath in a Pyrenean pass when he heard a shepherd tell of an enchanter, not far from there, who was making himself odious to the whole country by his tyranny and cruelty.
Opening line, ‘Tears on the Sword’, Catulle Mendès, translated by me, forthcoming in ‘The Clarion Call’ anthology
A fantasy about the French medieval hero, Roland, who revels in fights with lances and swords but now must defend his country against a sorcerer who has invented a diabolical weapon that allows cowards to kill from afar.
Keep checking back to this blog to hear news of the stories making it into print.