—We simply must get a band in to play at the women’s section of the party. A party’s nothing without drumming and dancing.
—If my first wife demanded that of me, I would never have granted her wish. But you…you know the place you have in my heart.
Nuwara was twenty-two years old, slight, and a little snub-nosed. What made up for that, however, was the rosy bloom of her cheeks and the existence of that exquisite mole between her left cheekbone and her nose. And although her clothed body didn’t stand out as anything special, when she was naked and in the hands of a man, she became a real woman. She was tastier than any fantasy, as sweet as a ripe fruit out of season. Any man could see that. That’s why Ahmed was saying to her now:
—You know I give in to all your demands. But a male band performing to a group of women? I can’t imagine that.
Mariangela Gualtieri is a poet of great incandescence. Whether confronting existential questions or questions of daily existence, she writes with searing honesty and compassion. A veteran of the theater, Gualtieri’s voice can be thunderous and oracular, but also painfully intimate.
These poems and versions are from Claudia Prado’s El Interior de la Ballena (Editorial Nusud, 2000), a novel-in-verse based on Prado’s agrarian family legacy in Patagonia. Prado is an Argentinian poet and filmmaker known for making groundbreaking, socially progressive art. El Interior de la Ballena was her debut, a poetry collection that received the bronze Concurso Régimen de Fomento a la Producción Literaria Nacional y Estímulo a la Industria Editorial del Fondo nacional de las Artes (this is the third place award for the biggest literature prize in Argentina). Mixing fiction with oral history, Prado imagines her ancestors’ 19th century migration from the Basque Country into Argentina and, ultimately, southward into the oceanic desert. These poems offer a rare look at the Patagonian plateau between 1892 and 1963, years of intense immigration and population growth, written through a feminist lens. In addition to poems written in the poet’s own voice, the book also makes wide use of monologue and persona techniques, weaving together this intergenerational story through a multiplicity of voices: here speaks a woman who, against her will, is taken to that desert; here is revealed the thoughts of an orphan laborer; here, a chicken thief celebrates his sad prize. In El Interior de la Ballena, Prado uses her page to privilege the often unseen and unheard, composing in silence as much as sound, and in so doing creates a poetics of Patagonia itself. When read together, the poems quilt a place, time, and lineage through a story of strong women, wounded and wounding men, and a rural and unforgiving landscape from which hard-scrabble labor is the origin of survival.
Like many translators, I grow weary of talking about “faithfulness” and “betrayal,” about whether it’s “possible” to translate poetry, about what gets “lost” in translation. These queries quickly become platitudes, and platitudes are tiresome. But what’s always relevant, always urgent, and always exhilarating to me about translation is the idea of respect. The practice of care. One of my favorite translators, Sophie Hughes, recently said in an interview: “I approach a text that is already complete, mature, sure of itself, and it’s my responsibility to look after it, to respect it for what it is (its nature or essence), whilst protecting it from linguistic butchery, from translationese, from too many mistakes or outlandish mis- and reinterpretations.” And how can we respect anything for what it is until we truly listen to what it has to say about itself and how it sees the world?
Stand in front of the window of your kitchen refuge and prepare the following ingredients:
A welcoming, empty green glass.
A bottle of cold, fresh milk.
An orange and brown tin of Cadbury’s Cocoa.
The two large tablespoons locked in an embrace in the drawer (possibly because of your awful dishwashing skills), which have triggered your loneliness. Use them as they are; do not expend any emotion separating them.
Book by TEFFI (Translated from Russian by ROBERT and ELIZABETH CHANDLER, ANNE MARIE JACKSON, and IRINA STEINBERG) Reviewed by OLGA ZILBERBOURG
Teffi, nom de plume of Nadezhda Lokhvitskaya, was born in 1872 into a prominent Russian family. Following in the footsteps of her older sister Maria—poet Mirra Lokhvitskaya—Teffi published poetry and prose from the age of 29. She soon rose to fame by practicing a unique brand of self-deprecating humor and topical social satire. In her 1907 hit one-act play The Woman Question, subtitled A Fantasy, Teffi imagined a world in which a women’s revolution against men achieves a full role reversal. Women come to occupy the prominent political, military, academic, professional, and bureaucratic roles, while men are subjugated to the childcare and household management tasks. Though the play’s ending largely dismisses this scenario and trivializes the feminist cause, through humor, the piece makes the point that bad behavior—infidelity, sexual harassment, excessive drinking, pettiness—is a function of social status rather than of biological sex.
There once was a man who left his home every morning at about six or six-thirty after shaving his face. He sprinkled heavy golden droplets of cologne onto his palm and then patted his cheeks. His cheeks tingled, and he experienced the subtle scent of lemon. The sting and aroma made him feel as if he were passing by a fruit orchard whose scent was dispelled in the air. Next, he put on a clean pair of shoes, one that he had polished as the final chore of the previous day, just before going to bed. He quietly stepped out of the house. In wintertime he encountered the first beams of the rising sun. In summertime, everything was lit already. He picked up a pebble from the sidewalk nearby. He used to choose one carefully, scooping up and inspecting a handful until one special pebble called out to him and his heart was pleased with it. Now he automatically put a pebble in the pocket of his pants, feeling it from time to time. The mute texture gave him comfort, and the solid roundness made him feel that he was carrying something unique and precious, something whose value was not diminished by the fact that it was picked up from the sidewalk.
Memory and pain are partners in crime. You will kill pain only by killing memory!
I sit facing the coast in a place where I can see the route by which I came. I stand and try to allow the burdens of memory to fall away. I start to slowly raise my hands as if to drag these burdens off me and throw them into the sea.
These days, I can’t seem to hold on to anything, and yet the screeching of battle takes hold of my mind, my fantasies, and my thoughts. The trainer yelling and the bullets flying were the sounds that pushed me to kill so many of my countrymen. I was led by the lust of my budding virility and my idiotic youthful pride. I was nothing but a fool. The war tricked me and played me like a fiddle. The shouts of Abdel Nasser, and wounded Palestine, and crazy Lebanon—my mind kept an account of them all.
Avenue Mohammed V is silent and desolate this late at night, empty apart from a few stray cats meowing like newborn babies; it’s a creepy sound. Then a she-dog ambles up, stops in front of me, and raises her tail at a black male dog limping past. A single bark of seduction from her and he’s mounting her. They’re cleaved to each other, clinging on, and she shuts her eyes in ecstasy, surrenders to his movements. A delicious tingle runs through me. How lucky they are! They do it in public. They’re shameless—as the saying goes, “Not only God sees them but his servants do too.” They don’t have to worry about a police patrol, or about what people will say.