{"id":154091,"date":"2021-08-17T17:35:51","date_gmt":"2021-08-17T21:35:51","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=154091"},"modified":"2021-08-17T17:52:35","modified_gmt":"2021-08-17T21:52:35","slug":"redux-some-instants-are-electric","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/08\/17\/redux-some-instants-are-electric\/","title":{"rendered":"Redux: Some Instants Are Electric"},"content":{"rendered":"

Every week, the editors of\u00a0<\/em>The Paris Review\u00a0lift the paywall on a selection of interviews, stories, poems, and more from the magazine\u2019s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by\u00a0signing up for the Redux newsletter<\/a>.<\/em><\/p>\n

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Margaret Jull Costa. Photo: \u00a9 Gary Doak \/ Alamy Stock Photo.<\/p><\/div>\n<\/div>\n

This week at\u00a0The Paris Review<\/em>, we\u2019re highlighting women writers and translators from around the world in honor of Women in Translation Month. Read on for Margaret Jull Costa\u2019s Art of Translation interview<\/a>, Hiromi Kawakami\u2019s short story \u201cMogera Wogura<\/a>,\u201d Claribel Alegria\u2019s poem \u201cSumming Up<\/a>,\u201d and Svetlana Alexievich\u2019s work of nonfiction \u201cVoices from Chernobyl<\/a>.\u201d<\/p>\n

If you enjoy these free interviews, stories, poems, and works of criticism, why not\u00a0subscribe<\/a>\u00a0to both\u00a0The Paris Review<\/em>\u00a0and\u00a0The New York Review of Books<\/em>\u00a0and read both magazines\u2019 entire archives?<\/p>\n

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Margaret Jull Costa, The Art of Translation No. 7<\/a>
\nIssue no. 233 (Summer 2020)<\/em><\/p>\n

Translating is writing, and I see no distinction, really, between being a writer and being a translator, apart from the very major distinction that I don\u2019t start with a blank page but immerse myself in another writer\u2019s words and transpose them into my own language. People often ask if I don\u2019t yearn to write my own novels, and I don\u2019t. I don\u2019t have that kind of storytelling imagination. Just as actors don\u2019t all yearn to write plays or musicians to compose symphonies, I enjoy the process of interpretation and performance, of conveying someone else\u2019s words and ideas to a new audience. Not that I\u2019m a neutral voice, that\u2019s not possible, but, if all goes well, I\u2019m the writer\u2019s voice with a different cadence.<\/p>\n

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Mogera wogura by Coenraad Jacob Temminck, 1842, via Wikimedia Commons.<\/p><\/div>\n

Mogera Wogura<\/a>
\nBy Hiromi Kawakami, translated by Michael Emmerich
\nIssue no. 173 (Spring 2005)<\/em><\/p>\n

Every morning, I go around and give each human a few soft pats on the shoulder. First, this allows me to make sure they\u2019re still alive. Second, it gives me a chance to find out if they want to leave immediately, or if they\u2019d prefer to stay a little longer.<\/p>\n

I drag the dead ones out of the house and drop them down a hole that has been dug outside, even deeper into the earth. The hole extends more than a hundred meters below the surface. I didn\u2019t dig the hole. Neither did my wife. It took our ancestors generations to dig it, working at their own pace.<\/p>\n

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Rotary dial phone by Berthold Werner, via Wikimedia Commons.<\/p><\/div>\n

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Summing Up<\/a>
\nBy Claribel Alegria, translated by Darwin T Flakoll
\nIssue no. 108 (Fall 1988)<\/em><\/p>\n

In the sixty-three years
\nI have lived
\nsome instants are electric:
\nthe happiness of my feet
\njumping puddles
\nsix hours in Machu Picchu
\nthe buzzing of the telephone
\nwhile awaiting my mother\u2019s death
\nthe ten minutes it took
\nto lose my virginity
\nthe hoarse voice
\nannouncing the assassination
\nof Archbishop Romero \u2026<\/p>\n

\"\"<\/a>

Aerial view of Chernobyl nuclear power plan by Vadim Mouchkin \/ IAEA, via Wikimedia Commons.<\/p><\/div>\n

Voices from Chernobyl<\/a>
\nBy Svetlana Alexievich, translated by Keith Gessen
\nIssue no. 172 (Winter 2004)<\/em><\/p>\n

There\u2019s a fragment of some conversation, I\u2019m remembering it. Someone saying: \u201cYou have to understand: This is not your husband anymore, not a beloved person, but a radioactive object with a strong density of poisoning. You\u2019re not suicidal. Get a hold of yourself.\u201d And I was like someone who\u2019d lost her mind: \u201cBut I love him! I love him!\u201d He\u2019s sleeping, and I\u2019m whispering: \u201cI love you!\u201d Walking in the hospital courtyard, \u201cI love you.\u201d Carrying his sanitary tray, \u201cI love you.\u201d<\/p>\n

If you enjoyed the above, don\u2019t forget to\u00a0subscribe<\/a>! In addition to four print issues per year, you\u2019ll also receive complete digital access to our sixty-eight years\u2019 worth of archives. Or,\u00a0choose our new summer bundle<\/a>\u00a0and purchase a year\u2019s worth of\u00a0<\/em>The Paris Review\u00a0and\u00a0<\/em>The New York Review of Books\u00a0for $99 ($50 off the regular price!).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on Margaret Jull Costa\u2019s Art of Translation interview, a story by Hiromi Kawakami, a poem by Claribel Alegria, and Svetlana Alexievich\u2019s report from Chernobyl.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[31006],"tags":[],"class_list":["post-154091","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Some Instants Are Electric by The Paris Review<\/title>\n<meta name=\"description\" content=\"August 17, 2021 \u2013 This week, we\u2019ve lowered the paywall on Margaret Jull Costa\u2019s Art of Translation interview, a story by Hiromi Kawakami, a poem by Claribel Alegria, and Svetlana Alexievich\u2019s report from Chernobyl.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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