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Friday, July 11th, 2008
  I just found a interesting article by Margaret Jull Costa, who is Saramago's translator, on Translating Pessoa, with an exercise in translating a passage from his Book of Disquiet.
Fernando Pessoa is a 20th-Century Portuguese poet who assumed a number of different identities in his poetry and prose writing. Another interesting exercise is here: Thirteen ways of looking at "Autopsicografia".
posted morning of July 11th, 2008: 2 responses
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Thursday, July 10th, 2008
That was when Cipriano Algor said, Don't worry, we'll get there on time, I'm not worried, replied his son-in-law, only just managing to conceal his anxiety, Of course you're not, but you know what I mean, said Cipriano Algor. ...Cipriano Algor started up the van. He had got distracted by the buildings under demolition and now wanted to make up for lost time, a ridiculous expression if ever there was one, an absurd idiom with which we hope to disguise the harsh fact that no time once lost can ever be made up or recovered, as if we believed, contrary to this evident truth, that the time we thought forever lost might, after all, have decided to hang back and wait, with the patience of one who has all the time in the world, for us to notice its absence. The Cave has been sitting on my shelf for a little while now begging to be read; finally this afternoon I heeded its call and brought it along, on the train ride to the city. (I met Sylvia and Ellen to listen to Deedee reading some wonderful, funny memoirs.)Saramago's prose pulls me along like nothing else -- the onrush of words won't let me go. It reminds me a little of Gaddis' style, except I think Saramago does it much more successfully than Gaddis. The length of sentences forces you as a reader to keep more context in mind at any moment; but it is not a brute-force thing. The timing is just exquisite, the way each sentence moves through phases: building, droning, falling, building, and the sudden surprising punch of the period. (This is of course partly a testament to the abilities of the translator, Margaret Jull Costa.) Also: I'm pretty sure I've said this before, but I'm really taken with Saramago's ability to transform clichéed adages into profound, surprising truths, simply by exploring their implications.
posted evening of July 10th, 2008: Respond
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Monday, June 30th, 2008
 I met Ellen and Sylvia for dinner this evening in Montclair -- Sylvia started art camp at the Montclair Art Museum today, where she is happily learning how to draw animals. In one of her classes they are doing a group project, a sculpture of Huckleberry Finn -- Sylvia has never read it, so while we were eating we decided to swing by our favorite bookstore and pick up a copy... of course it is hard to leave there without a bunch of books. Our haul:
- Huckleberry Finn
- Tom Sawyer -- nice to have this on hand for when she's read Huck Finn -- it is a lesser book of course, but I remember it being a fun read.
- The Prince and the Pauper, to round out the kid-friendly Twain selections.
- The Golden Compass -- people keep recommending this to me; I should take a look. Sylvia is loving the Harry Potter books these days, and this seemed like it would be in a similar vein.
- Teddy Roosevelt -- Sylvia's pick (after she found out that no, we're not buying Dragonology today), from a series of biographies of important Americans. Teddy Roosevelt is, she explained, her favorite president: I'm not totally clear on whether this is because 26 is her favorite number, or vice versa.
- The Cave -- my pick.
posted evening of June 30th, 2008: Respond
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Saturday, June 21st, 2008
I've really enjoyed Dr. Holbo's couple of recent posts about Plato's cave allegory, and I was happy to read today that Saramago has a novel about (or "which touches on") the allegory -- it is his The Cave, translated in 2002.
posted evening of June 21st, 2008: Respond
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Friday, May 16th, 2008
Looks from this article like the movie Blindness is going to be really dreadful. That's so disappointing! The book could absolutely be made into an excellent movie -- it is "cinematic", visual detail is such a key part of it. But Dargis' description gives me a sense of exactly how Blindness should not have been made into a movie -- with overt concentration on the allegorical aspects of the story. Saramago really played this down, except for the cathedral scene and a couple of spots while the characters were interned, and of course the very end -- but the end should be surprising, should take your breath away. If Meirelles is using blinding light effects throughout the movie, I can't imagine the end is going to feel meaningful at all.
posted evening of May 16th, 2008: 1 response
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Friday, March 21st, 2008
No need to read Ibn Khaldun; those charged with this task would quickly guess that the only way forward was to rip away our memories, our past, our history, leaving us with nothing but our misfortunes.... But later on, the Western bloc's "humanitarian wing" had declared this reckless initiative too dangerous...and switched to a gentler approach that promised longer-lasting results: the new plan was to erode our collective memory with movie music.Church organs, pounding out chords of a fearful symmetry, women as beautiful as icons, the hymnlike repetition of images, and those arresting scenes sparkling with drinks, weapons, airplanes, designer clothes -- put all these together and it was clear that the movie method proved far more radical and effective than anything missionaries had attempted in Africa and Latin America. (These long sentences of his were well-rehearsed, Galip decided. Who else had had to hear them, his neighbors? His colleagues at work? His mother-in-law? The people sitting next to him in a dolmuş?) It was in the Şehzadebaşı and Beyoğlu movie theaters that they set their plan into action; before long, hundreds of people had gone utterly blind. Viewers who sensed the terrible plot that was being perpetrated on them and rebelled with angry cries were quickly silenced by policemen and mad doctors. When the children of today showed a similar reaction -- when they were blinded by the proliferation of new images -- they were fobbed off with new prescription glasses. But there were always a few who refused to go away quietly. A while ago, he'd been walking through another neighborhood not far from here around midnight when he'd seen a sixteen-year-old boy pumping futile bullets into a movie billboard -- and immediately he'd understood why. Another time, he'd seen a man at the entrance to a theater with two cans of gasoline swinging from his hands; as the bouncers roughed him up, he kept demanding that they give him his eyes back -- yes, the eyes that could see the old images.... We'd all been blinded, every last one of us, every last one...
(Want to write about this quotation in a minute, but I am being called away by Sylvia to read Pippi Longstocking just at the moment. Back in a little while.)
 A few observations: Rüya's ex-husband's (I believe he has not been named, though a few of his aliases surfaced in a previous chapter) sort of anti-semitic rant weaves uncertainly between weird craziness and poetry -- reminds me in a way of the Islamicists in Snow. Galip's parenthetical aside is just masterful. (There is a similar aside a few paragraphs later where Galip describes the man as "sinking into the pages of his encyclopedic metaphor".) I like the coincidence here with Blindness -- I wouldn't necessarily give it a whole lot of weight but I think this passage might be a good one to have in mind when rereading Saramago. Also -- not sure if this is valid but I see vaguely a reflection of the remarks that Jeremiah Wright is being pilloried for these days.
posted evening of March 21st, 2008: Respond
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Wednesday, February 27th, 2008
...And I would be the proudest of wives, whispered his wife, slithering closer to him, as if touched by the magic wand of a rare brand of lust, a mixture of carnal desire and political enthusiasm, but her husband, conscious of the gravity of the hour and making his the harsh words of the poet, Why do you grovel before my rough boots? / Why do you loosen your perfumed hairs / and treacherously open your soft arms? / I am nothing but a man with coarse hands / and a cold heart / and if, in order to pass, / I had to trample you underfoot / then, as you well know, I would trample you underfoot, abruptly threw off the bedclothes and said, I'm going to my study to keep an eye on developments, you go back to sleep, rest. I am wondering who "the poet" is -- is this piece taken from a poem that exists outside Seeing? I notice that Margaret Jull Costa, translator of this book, spoke about translating Saramago at the occasion of his receiving the Nobel prize; a transcript is available online.  Later: well I sent Ms. Costa a letter c/o the publisher, inquiring about the source. Fingers crossed! I have not tried to contact a translator like this before. (Was going to ask Ms. Holbrook about the frontspiece to The White Castle, but the book ended up leaving me cold enough that I did not bother.)
posted evening of February 27th, 2008: 1 response
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They weren't conspirators, they were simply afraid.
The first half of Seeing is different from the rest of these two books in that it is not tightly focused on particular characters -- the events being related take place at large in the city. This portion of the book strikes me as broad political satire, and here is where the highest frequency of really hilarious punch-lines is to be found. Mixed naturally with frightening images like the detainees being interrogated about their conversations on election day. Saramago's punch-lines hit especially hard because of the rhythm of his voice -- the way he strings sentences together can become hypnotic, so as I'm reading along it's like listening to a chant recited -- then the punch-line breaks into that and snaps me out of the sing-song, and I laugh.
posted evening of February 27th, 2008: Respond
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I finished both books that I took along with me to read on the beach; each was in its own particular way, a satisfying, affecting read, and I want to post some of the notes I kept about them, particularly about Saramago's Seeing. This will take a few days to get done -- the notes are not in a particularly readable format right now but it's my hope that I can coax them into one. I want to retract my earlier suggestion that you ought to read Seeing whether or not you have read Blindness; I think that the two books are at their best when read in sequence and that while you could enjoy either one of them by itself, that would take away a bit from the great beauty of the pair. I was thinking while I read about various ways of arguing for one book or the other as the better of the two -- they are different from one another in such a way as to invite that kind of argument I think -- but in the end the only thing to say is that they complement and perfect each other. There is also a lot to say about Ishiguro's Never Let Me Go -- and that is the book that I find myself emailing and calling people to recommend -- I don't know how much of it I will be able to get down on paper before I read the book a second time. This book just sucked me in -- I found it completely impossible to put it down and take notes on what I was reading. I can't remember the last time I read a book that so strongly fit the term "page-turner".
posted evening of February 27th, 2008: 2 responses
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Sunday, February 17th, 2008
Taking two books along this week: Seeing and Never Let Me Go. As noted below, I won't be blogging; but I am hoping to take notes the old-fashioned way, and compose some good posts on my return.
posted morning of February 17th, 2008: Respond
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