Posts Tagged ‘Flaubert’
September 6, 2011 | by Sadie Stein
It avails not, neither earthquake nor hurricane nor suspended subway service— The Paris Review comes out on time. It’s a doozy, if we say so ourselves, and not to be missed. Subscribe now, or renew, and receive a limited-edition Paris Review café au lait cup. You can sip in style while you enjoy a full year of fiction, poetry, and prose.
In the fall issue:
Nicholson Baker discusses the pleasures of writing smut:
Sexual arousal itself is a kind of drug. It has also turned out to be one of the few plots I can actually handle. If I imagine a man and a woman talking, and I know that later on they’re going to be taking some of their clothes off, that pulls me merrily along ... The basic boy-meets-girl plot in which they talk a little bit and then they have some kind of slightly bizarre sex—that plot I can do. Other plots are harder.
So many children—most of them obnoxious-looking. It’s a fact: 99 percent of all photographs ever taken have little brats in them. Mugging, leering, pushing one another. Wielding fearsome Betsy Wetsy 147 dolls. Pouting in pajamas on the floor over unsatisfactory Christmas presents. Prancing egotistically. The sort of kids that Wittgenstein, back when he was a mean, half-demented schoolmaster in the Austrian Alps or wherever it was—long before Cambridge and the Tractatus—would have walloped upside the head and thrown in the snow. How is it, indeed, that I have so many of them? More, even, than Joyce Carol Oates has written novels. And not one, needless to say, did I get for free.
Geoff Dyer on Tarkovsky. Lydia Davis on translating Flaubert. The Dennis Cooper interview. Fiction by Roberto Bolaño and newcomer Kerry Howley. Poems by Sharon Olds, Brenda Shaughnessy, Constantine P. Cavafy, Paul Muldoon, Jeff Dolven, Meghan O’Rourke, and Forrest Gander.
September 2, 2011 | by Lorin Stein
Dear Mr. Stein, May I take advantage of the hospitality of your letters column to ask if you or your readers can help me to solve a small puzzle? I have come across an epigraph ascribed to Proust that heads the first chapter of Hamish Miles’s English translation of Édouard VII et son temps by André Maurois (King Edward and His Times, London: Cassell, 1933, p. 1). It reads: “Every social status has its own interest, and to the artist it can be just as compelling to show the ways of a Queen as the habits of a dressmaker. —Marcel Proust.” An excellent colleague of mine remarks that this certainly sounds genuine, and he even wondered if the aperçu came from the bit in Le Côté de Guermantes where Proust talks sniffily about grocers writing aristocratic novels, but I am afraid it is not there. Now we find that the epigraph is nowhere to be found in Maurois’s original French text, so the plot thickens. Much as I am tickled by the idea of an industrious and I daresay underappreciated translator recklessly concocting a spurious epigraph for the purpose of self-promotion, or worse, something tells me that there is an alternative explanation. So can anyone, do you think, identify these lines about “the ways of a Queen” and “the habits of a dressmaker,” and pin them on Proust? Thank you, Angus Trumble
We all hoped it was made up. But no. The epigraph comes from “An Historical Salon,” an essay—really, a celebrity profile—that Proust wrote for Le Figaro in late 1902. His subject is the Princesse Mathilde Bonaparte, a niece of Napoleon’s and the last Bonaparte to remain in Paris after the fall of the Second Empire. She was known for her literary salons, which included Mérimée, Flaubert, and the Goncourts. In the sentences you quote, Proust has just finished his you-are-there description of one of the princess’s soirées and he’s gearing up for the mini bio (which, in the case of Princesse Mathilde, is slightly delicate, since she left her first husband, a Russian tycoon, for another man, with the connivance of yet another uncle: Czar Nicholas I; it's good to know people).
As translated in F.W. Dupee’s edition of Pleasures and Days, the entire paragraph reads:
An artist will serve the truth only, and have no respect for rank. In his portrayals he will take rank into account as a principle of differentiation like nationality, race, or environment. All stations in society have their interest for an artist, and it is as exciting for him to picture the ways of a queen as the habits of a dressmaker. Read More »
October 4, 2010 | by Lydia Davis
I wrote the first draft of Madame Bovary without studying the previous translations, although I gathered them and took the occasional peek. Up to the front door would come Andy, our cheerful rural mail carrier, with yet two more packages—this time, Alan Russell’s Madame Bovary (a British Penguin Classic from 1950) and the volume of Flaubert’s letters that covered the period in which he was writing Madame Bovary. Reading the letters was a bright wide-open window on Flaubert the man—far better than any biography. I read them to know him better and to hear him grumble, usually, about the novel and the experience of writing it. Most of his letters were to his lover, the poet Louise Colet, and it was really too bad for all of us when they broke up two-thirds of the way through the writing of the book.
I did not study the other translations during my first draft because I had to establish my own style and my own understanding of what I was reading before I could risk the rhythms and eccentricities of the others striking my ear and possibly creeping into my prose. (As in translating Proust Swann’s Way and most of the previous books I had done, I also did not read ahead more than a paragraph or at most a page, so that the material would be a surprise to me, and fresh.) Then, in the second draft, as I revised what I had written, I looked again and again at the previous translations—sometimes at all of them, in the case of a particularly sticky problem, but usually at five or six that were proving useful in different ways. Over time, I began inevitably to imagine the translators.
The Joan Charles translation (an abridged Garden City Book Club edition from 1949) follows the original very closely—she wouldn’t dream of adding or omitting material with the self-confident and rather presumptuous writerly flair of, for instance, Francis Steegmuller (American, 1957) or Gerald Hopkins (English, 1948), authors of the two “classic” and popular translations of Madame Bovary—one for each side of the Atlantic. Nor does she rearrange the sentences much.
For a while I liked Joan Charles—I saw her as prim, correct, neat, sober, honest, frank, clear-eyed. I thought of her as a sort of ally in what I was trying to do. I thought she was unjustly ignored and passed over by the later translators, who didn’t mention her. Then I became somewhat disillusioned, as she made the occasional mistake and tended to lapse into a rather wooden style. Eventually I came to see her as tight, humorless, thin as a rail. She must have lived through World War II in England, was perhaps in London during the Blitz, endured food rationing, etc. She was perhaps not very attractive, perhaps horsey? Bad teeth? Always in a cardigan sweater, putting shillings in the gas meter? Then again, this may be unfair—she may have been lovely. Read More »