Tag Archives: Sinéad Crowe

Women in translation 2020: my literary picks for the year that was…       

I had intended to post this piece in December, but the end of the year brought some unexpected challenges and I had to delay it until the new year. So although you may have left 2020 behind with relief, I hope you’ll still be willing to travel back there with me in books: 2020 will be remembered for many things (okay, mostly for one thing), but here’s a reminder of some of the great books that were released in a year none of us saw coming.

It feels strange now to look back on the post I wrote a year ago about the books I was excited to read in 2020. Throughout the year, I didn’t read as much as usual. The reasons are probably obvious: the concept of “free time” shifted radically with the lockdowns and restrictions. I read a total of 56 books, and there were quite a few I didn’t really connect with – I don’t know whether this is partly to do with the circumstances, or whether 2020 just wasn’t the year for me in terms of new releases – but it does mean that the ones I really, truly loved were very easy to pick. I’ve gone for a “top nine”, which I know is a little irregular, but these were the ones I didn’t hesitate about when I came to pick my favourite books from this strangest of years…

Fernanda Melchor, Hurricane Season, translated from Spanish (Mexico) by Sophie Hughes (Fitzcarraldo Editions)

Hurricane Season was the second book I read in 2020, and it set the bar. I felt a little sorry for everything I read in the weeks after this, as there was just no way anything could come close for me. Hurricane Season opens with a rotting corpse found floating in an irrigation canal: the Witch is dead. A torrential vision of people on the margins of society, and a rage against a world that abandons them there, Hurricane Season is a linguistic and emotional whirlwind. Bewitching and almost unbearably addictive, the translation by Sophie Hughes is astonishing: if I had to pick just one book for the year, this would be it. Full review

 

Mieko Kawakami, Breasts and Eggs, translated from Japanese by Sam Bett and David Boyd (Picador Books)

Natsuko longs for a child of her own, while her sister Makiko thinks life will be better if she has breast enhancement surgery and her niece Midoriko has taken a vow of silence. All three women are trapped in social conventions, and Breasts and Eggs is a delicate exposition of what it is to be in a woman’s body when that body is eternally viewed as either a commodity, a conduit for male pleasure, or a reproductive vessel. Bursting with the quiet tragedy of unfulfilled hopes, daily life for those without means, and longing for a person never met, this is a novel that both reflects on the life of ordinary people and thrums with their expectations and disappointments. Full review

Margarita García Robayo, Holiday Heart, translated from Spanish (Colombia) by Charlotte Coombe (Charco Press)

I’ll be honest: Charco had me at “new Margarita García Robayo novel in 2020”. In Holiday Heart, García Robayo’s talent for blending tragedy with humour and offering a fresco in a snapshot were in full force. The characters always disappoint: Lucía and Pablo are middle-aged, middle-class and mediocre, stagnating in their location, their social status, and their marriage. They left Colombia to move to the US in pursuit of the American Dream, but they are outsiders there and now belong nowhere: they have rejected their working class origins, but never ascended the social ladder in the way they hoped. This is an uncomfortable story, and García Robayo excels at depicting a seemingly simple situation which belies deeper emotions and greater complexities that we are invited to scrutinise, however uncomfortable it makes us. Full review

 

Lucy Fricke, Daughters, translated from German by Sinéad Crowe (V&Q Books)

Hilarious and emotional madcap road trip through Western Europe. Sold? You should be. Daughters was an outstanding release from new imprint V&Q Books, in which best friends Martha and Betty embark on a car journey to Switzerland to accompany Martha’s father to his appointment with euthanasia. Or so they think – a detour reveals a hidden agenda, and they never make it to Switzerland. There are losses, reunions, an accident, romantic intrigue, and the reappearance of someone long presumed dead… The storytelling of this fast-paced and eventful journey switches effortlessly between grief and humour, both of which are superbly communicated in Sinéad Crowe’s energetic translation. Full review

 

Claudia Hernández, Slash and Burn, translated from Spanish (El Salvador) by Julia Sanches (And Other Stories)

Slash and Burn follows the life of a Salvadoran woman who fought in her country’s civil war, and who struggles to keep her fragmented family together years later. Her first baby was taken from her during the war, and years later the spectre of the lost child hangs over the rural family life and its daily difficulties. Two family stories unfold simultaneously: the mother’s attempt to connect with her lost first child, and her efforts to keep together a slowly unravelling family back home. This simmering narrative is a story of resistance and resilience, quiet losses and enduring love, and is translated with great sensitivity by Julia Sanches. Full review

 

Négar Djavadi, Arène, Éditions Liana Levi (French; as yet untranslated)

Négar Djavadi’s second novel came out in French in the autumn, and it is magnificent. If you don’t read French, I highly recommend starting with her first novel Disoriental (tr. Tina Kover, Europa Editions), and then crossing your fingers that this one will be picked up for translation before long. The arena of the title is Paris: in a Belleville bar one night, a young man from a deprived housing estate knocks into the head of the biggest media streaming platform; neither of them are aware that this chance collision will draw them and everyone around them into a maelstrom of violence. Yet Arène is not just about the tragedy that unfolds, but also the chain of barely perceptible events that led there. Djavadi eschews facile stereotypes, and in a linguistically sumptuous narrative invites us to understand what lies behind our quick assumptions about power, race and relationships.

 

Europa28, edited by Sophie Hughes and Sarah Cleave (Comma Press)

2020 wasn’t just the year of Covid-19, but also the year the UK left the European Union. In response, Comma Press teamed up with Hay Festival and Wom@rts to commission Europa28, a ground-breaking anthology of women’s voices from across Europe. In this visionary project, editors Sophie Hughes and Sarah Cleave have brought together a fascinating and diverse collection of expositions on what Europe can, could, or should mean: from the personal to the allegorical, the real to the fantastic, this collection is by turns gentle and fierce, witty and emotional, bringing together 28 very different stories with a common purpose of discussing Europe in all its diversity, complexity, beauty and fallibility. Full review

 

Salma, Women Dreaming, translated from Tamil by Meena Kandasamy (Tilted Axis Press)

This beautiful story of a community of women in a small Muslim village in Tamil Nadu is exquisite in its style, pace, and depictions of the reality of life for women who have no real autonomy. When Mehar’s husband Hasan takes a second wife, she exercises her legal right to divorce him, and finds herself ostracised by the community. Goaded by Hasan’s righteous wrath and no longer able to bear her mother’s constantly-voiced fears for her future, Mehar marries again in order to regain her status, but she loses her children in the process. Eloquent, emotional and powerful, Women Dreaming is essential reading, in a dynamic yet delicate translation by Meena Kandasamy.

 

Yan Ge, Strange Beasts of China, translated from Chinese by Jeremy Tiang (Tilted Axis Press)

The final offering from Tilted Axis in 2020 is astonishing – possibly my favourite Tilted Axis book of all time. I had already read and loved Yan’s The Chilli Bean Paste Clan, translated by Nicky Harman for Balestier Press (and reviewed here), so I was excited to read this earlier work. Yet I wasn’t quite expecting to be so moved by this tale where humans and fantastical beasts co-exist (unharmoniously) in a Chinese city, trying to ignore the reality that sometimes the beasts are more human than the people and the humans more monstruous than the beasts. Though there is plenty of allegory in Strange Beasts of China, I just loved it for its compelling storytelling, the mystery at its core, and the heart of all the characters – whether human or beast. The translation by Jeremy Tiang is outstanding; I kept pausing to admire a turn of phrase, a beautifully crafted sentence, or a sensitivity to register.

 

 

So that’s my slightly belated round-up of my favourite releases of 2020. I hope there’s something in here that will pique your interest, and offer a small ray of joy from a challenging year. Happy New Year to all friends of Translating Women, and thank you as always for reading!

Review: DAUGHTERS by Lucy Fricke

Translated from German by Sinéad Crowe (V&Q Books, 2020)

The new English-language imprint of V&Q Books offers another belter for its launch: following on from last week’s review of Paula (Sandra Hoffmann, translated by Katy Derbyshire), today I’m looking at Lucy Fricke’s Daughters, a book that manages to switch effortlessly between grief and humour and which, in a superb translation by Sinéad Crowe, is one of my favourite books so far this year.

Meet Betty. She’s a writer, recently turned 40, single, grieving, recovering from depression but clear-sighted enough to know that she won’t give up alcohol and adventure to aid her recovery. Betty is our narrator, and one of the most riotously caustic literary companions you’re likely to meet. Betty is best friends with Martha, who is a few years younger and desperately trying to have a baby with her husband Henning (who Betty thinks is the best thing to happen to Martha, though Henning himself considers Betty to be a nefarious influence on Martha). Betty and Martha are going to take us on a madcap road trip through Western Europe, for reasons that start out seeming fairly clear and become more complex as the story unfolds.

As well as a common loss that recurs as a leitmotiv through the narrative, Betty and Martha have another significant connection: they both have disappointing, absent, and pretty useless fathers. More than that: they are both still helplessly bound to those fathers – whether by a sense of duty or by genuine affection – and it is the fathers who become both the instigator and the destination of the daughters’ journey.

The journey itself originally comes about because Kurt, Martha’s terminally ill father, announces that he has booked himself into a euthanasia clinic in Switzerland, and his last request is that Martha take him there because, as Martha puts it, “it’s not enough to get his own daughter to pay for him to die, but he expects me to drive him there too.” Still reeling from a recent accident, Martha feels unable to drive herself, and so ropes in Betty to act as chauffeur and chaperone for a journey that should be morbid but is truly hilarious.

The gang never make it as far as Switzerland. There’s a detour (romantic intrigue and promises broken), an accident, and a clue to the whereabouts of another father long presumed dead. Daughters is a fast-paced and eventful journey that packs an emotional punch, but tragedy is always underscored with humour: for example, of Kurt’s final trip, Betty’s stance is that “the thought of making one’s final journey in a Golf depressed me. I ordered a second pint and a shot”; faced with a set of tall bronze doors, she reflects that “if the doors of heaven are anything like that, I’ll never get in”, and of desperate new beginnings she opines that “At every new stage of life you end up back at Ikea, where every hope begins and ends.”

With two forty-ish women falling apart and taking to the open road, this book could very easily have fallen into tropes of gender and facile stereotypes (there is even an overt reference to Thelma and Louise), but the beauty of Fricke’s narrative direction is that it sidesteps all such conventions. Yes, there is an almost-final scene that could have felt contrived in other hands, but Fricke brings together her various narrative threads so skilfully, and smashes the picture-perfect ending so deftly, that she is always one step ahead of expectation. The friendship between the two women is multi-dimensional: they have a quiet complicity as well as a common grief; each is the only one the other can count on to offer unconditional support, yet they are fully aware of one another’s flaws (Betty is selfish, sensitive only in matters that concern her, whereas Martha “had a tight grip on herself … so tight that she was in danger of strangling  herself”). Above all, their bond is very human: Betty says of Martha that “There was no one else in the world with whom I could laugh so uproariously at misfortune” (as literary companions go, one could say the same of Betty herself).

Sinéad Crowe’s translation is edgy and full of verve, and nowhere more so than in the range of lexical expression she uses to reproduce Fricke’s humour: Betty is a “left-eyed bawler”, dangling in Kurt’s car is “a fir-shaped air freshener that had given up the ghost long ago”, and teenage dreams come to an abrupt end with the realisation that “we’d wanted to be champion race-car drivers, and now, twenty years later, we couldn’t even get out of a northern Italian car park.” Crowe excels in communicating Fricke’s sardonic wit, but also allows the pathos to come through in plaintive sentences such as “I had no idea how tenacious grief can be”, “neither of us talked any more about the powerlessness and unhappiness that hounded us every day and were slowly eating away at us”, or the one that most moved me: “Love began with you.”

I love the translator’s notes at the back because, as with Paula, it is revealed after the fact that this seemingly effortless prose is the result of much deliberation. It’s not that I (ever) want the translator to be invisible – hence my love of translator’s notes, and joy every time I see a translator’s name on a book cover – but rather that I prefer it if the process of translation – the brow-furrowing, synonym-searching, come-back-to-it-later or try-it-out-loud to see how it sounds and all the other countless demands that getting to grips with writing a text in another language entails – doesn’t jump out at me as I read. To me, the magic of a great translation (and a great translator) is making a complex task appear effortless. Both Katy Derbyshire with Paula and Sinéad Crowe with Daughters pull that off; I highly recommend that you give V&Q’s new women in translation a whirl.

Review copy of Daughters provided by V&Q Books