Blog

Encounter at the crossroads of Europe

Will Stone, translator of Stefan Zweig‘s Nietzsche [a gorse read of 2013], on Zweig and Emile Verhaeren.

In Berlin, apart from his studies and bohemian indulgences, Zweig sought a more expansive freedom in literary terms, and caught the bug of translation. He began to explore further afield, even translating poets such as Keats and Yeats and producing with other translators a collection of Verlaine’s poetry to which he added a critically acclaimed introduction. But all the time he was moving closer to Belgium, drawn by the rich crop of its home grown artists and writers who seemed to integrate their works in fresh and creatively productive ways. So in the summer break of 1902, long anticipating a visit to the ‘little land between the languages’, Zweig made his move.

[..]

The vital importance of Zweig’s meeting with Verhaeren in relation to his ensuing career as a writer, emissary of humanism and key proponent for the higher ideal of a Europe of cultural unity, cannot be underestimated. The contrast between Verhaeren’s openness, curiosity, vitality, not to mention the explicit visionary credentials he held, and the self conscious dandified Viennese poetry circles Zweig had moved within was extreme. It was if Zweig himself had suddenly been released from a reserve of pampered elites into the rawness and unpredictability of the wild and could finally breathe real air, taste real food and appreciate the creative potential of risk and unpredictability. In Verhaeren’s verses he saw bold new vistas opening up which seemed to strike a necessary chord with the rapidly transforming epoch, as the fabled ‘golden age of security’, guarded by the Hapsburg realm unceremoniously gave way to something far more restless, ominous and uncertain.

Show not tell

Calum Marsh’s Notes on adapting J.G. Ballard for Paris Review.

When a literary work is adapted as a film, the specificity of the art must be translated: it may be about the same thing, but, to paraphrase Roger Ebert, how it’s about what it’s about needs to be reconceived. Now, a variety of screenwriters and directors have sought to realize a film version of High-Rise since its publication in 1975, including Paul Mayersberg, Nicolas Roeg, and, much more recently, Canadian filmmaker Vincenzo Natali, whose take came perhaps the closest to fruition. Only now has it finally seemed underway: British director Ben Wheatley, the radical auteur responsible for Kill List and Sightseers, has been confirmed as the project’s new lead and is set to begin shooting in early 2014. We will learn soon enough how he has dealt with the issues of translation.

The prospect is doubtless intimidating. Ballard’s prose resists translation: its hard to account for its almost poetic sense of rhythm and meter, for the elasticity of the sentences, for the density of the page. What are you going to do, shoot a writhing mass of ex-bourgeois maniacs in the corridors of an oversized apartment? How painfully literal. Certainly the images are there in the work—the garbage-piled elevator shafts, the smears of blood and graffiti along the inner hallway walls, the half-drained pool with its acrid-yellow water. This is stuff you can film. But what about the pungency of the air, the encroaching lunacy of the mind? What about that crucial later: How do you begin a film with something as succinctly remarkable as the novel’s first sentence, without recourse to the artlessness of a solitary title card?

There isn’t much time now

We are pleased to announce the contents of gorse and details of how to pre-order. Have a goo.

We’re also accepting donations, named for Irish writers, that come with various rewards.

Reads of 2013

Exciting that three of the novels on our list are a) written by Irish authors (Alan Cunningham, Eimear McBride, Philip Terry), b) experimental, c) published by independent publishers. A pity they’re exiled. (And we have more to say on this in our editorial in issue one.) Anyway… our favourite novels and non-fiction reads of the year.

Writing from Oulipo

December’s Words Without Borders is an Oulipian special. Daniel Levin Becker introduces the issue:

The Oulipo — ouvroir de littérature potentielle, or workshop for potential literature, a Paris-based literary collective dedicated to exploring how literature might arise from structures, rules, and constraints borrowed from linguistics or mathematics or parlor games — presents an uncommonly acute challenge to that expectation. To write an Oulipian text is both to draw a picture and to solve a puzzle, and more often than not these two missions blur together to the point where it becomes impossible to discern where the language ends and the meaning, such as it is, begins.