All posts tagged: Spanish Translation

Playing Chicken

By MAR GÓMEZ GLEZ

Translated from the Spanish by SARAH THOMAS

Translator’s Note:

In the two decades that I have known Mar Gómez Glez, she has established herself as one of the most memorable and unique voices of her generation of Spanish writers. Mar’s output is impressive in its creativity, complexity, and the diversity of its genres and subjects: three novels, more than twice as many plays, a children’s book, and two non-fiction books (a study of Saint Teresa of Ávila and a cultural history of blood). These works treat a wide variety of topics ranging from pressing political themes to the deeply personal autobiographical content of her novel in vignettes La edad ganada, from which this text is drawn. What all her work shares in common is a deep ethical concern with human experience, the connections forged and broken between us, and our responsibility to others. 

Among these diverse works, La edad ganada is one of the most experimental and personal. It brings fresh form to the bildungsroman: standalone chapters offer snapshots of an unnamed protagonist’s coming of age from two to thirty, their sequential numeric titles indicating her age (in the original, this text is titled “veinticuatro” or “twenty-four”). Across the stories, the narrative point of view constantly shifts, at times in daring or surprising ways, but the protagonist’s experience and voice remain at the center of the text. While deeply personal, the work also speaks to deeper ethical and relational imperatives. This chapter, which I have called “Playing Chicken” in the translation, is rooted in cultural specificity—the bureaucracy of Spanish universities, the classic winter stew cocido madrileño—but also explores a story that is all too familiar and universal: of power imbalance, the unspoken expectations articulated just below the surface of what is explicitly said, and the potentially devastating consequences of playing along.

—Sarah Thomas

 

Playing Chicken

They had arranged to meet in the park at 2 pm sharp. The student arrived at quarter to, and sat on a bench, watching the children play to entertain herself. The air was strangely cold, a springtime chill that came and went.

Playing Chicken
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For A Secret Grievance…

By EMILIA PARDO BAZÁN
Translated from the Spanish by ALANI HICKS-BARTLETT

The piece appears below in both English and the original Spanish.

 

Translator’s Note

Emilia Pardo Bazán’s short story “A secreto agravio…,” which I have translated here as “For A Secret Grievance…,” emerges, in part, from Pardo Bazán’s vibrant and perspicacious reimagining of another important work: “A secreto agravio, secreta venganza” [“For a Secret Grievance, a Secret Vengeance”], an Early Modern play written by the Spanish playwright and priest, Pedro Calderón de la Barca (1600-1681), and printed in 1637. Calderón’s tragedy, one of an unfortunate “trilogy” of wife-murder plays he authored featuring a fatal confluence of jealousy, suspicion, and problems of fidelity that led to the wife’s unjustifiable death, was hugely popular on the premodern stage while also being in dialogue with a wider genre of plays featuring uxoricide and conflicts of honor and faith (we might think of “Othello,” for example).

For A Secret Grievance…
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Translation: Poems by Elvira Hernández

Poems by ELVIRA HERNÁNDEZ

Translated from the Spanish by THOMAS ROTHE

Poems appear in both Spanish and English.

 

Translator’s Note

When Elvira Hernández began publishing poetry in the 1980s, the few pictures that appeared of her in literary supplements never revealed her entire face. A hand, an arm, a post, a leaf, a slightly out-of-focus photograph would interrupt the frame to conceal her identity. Whereas some of Chile’s most renowned poets—Gabriela Mistral, Pablo Neruda, Pablo de Rokha—chose unique pseudonyms difficult to forget, Hernández, whose birth name is María Teresa Adriasola, adopted a pen name that could easily get lost among the crowd. Far from an artistic pose or esoteric performance to gain attention, Hernández’s decision to remain unrecognizable speaks of the very real political persecution that swept through Chile and the Southern Cone during the 1970s and 80s. To write or make art in the asphyxiating environment of Pinochet’s 17-year dictatorship, in the midst of disappearances and exile, media complicity and a cultural blackout, implied an act of resistance, a conscious decision, despite the risks involved, to create dangerously, as Albert Camus and, later, Edwidge Danticat would say.

Translation: Poems by Elvira Hernández
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Translation: “The House” by José Ardila

Story by JOSÉ ARDILA 
Translated from the Spanish by MATTHEW SHORTER 

Story appears below in both Spanish and English. 


Translator’s Note

In common with the other tales in his Libro del tedio (The Book of Tedium), José Ardila performs in “The House” a kind of alchemy with his autobiography, taking inspiration in childhood events and feelings, but stripping them of their specificity to conjure an alternative reality in which the contours of the particular give way at once to the schematic clarity of myth and to the uncanniness of dream.

The story carries what seem to me unmistakeable echoes of One Hundred Years of Solitude both in the inexorable descent of its narrative arc and the subtle magical realism that inflects it, and reminders (the flood, the chaotic fecundity of the vegetation, the demotic rough and tumble of family relations and of course the gallows humour) of its Colombian setting. And yet, shorn of clear markers of time and place and (largely) of names, both the eponymous house and the anxieties of its unnamed narrator become universal.

Translation: “The House” by José Ardila
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