Stretches of Time

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It is good to have these stretches of time–to work on projects, go out on the bike, play cello, think about things. It is often said that humans are social beings. This is true, but we are solitary too; each of us has a different combination of the two, and in each of us, the combination changes. Somehow we are led to believe that we aren’t supposed to be alone–but certain projects, even ways of thinking, require a good bit of aloneness. This isn’t the same as being isolated or detached; it can lead to better company, since you have done your work (or part of it) and can enter clear and rich conversation.

Thanks to the streches of time this past week, I have been able to accomplish a few things. I finished the entire first draft of the translation of Kata Bajnai’s Farkasok, the first draft of a review of John Wall Barger’s The Mean Game, and the first draft of a translation of a poem by Gyula Jenei–the tenth that I have translated so far of his poems. I intend to revise all of these and translate two more poems in the next week–and then, by the end of the month, write the paper that I will present at the ALSCW Conference. There will be lots else to do this month–getting ready for teaching, going on a faculty trip to Serbia, etc., but all of this will be possible now. The projects have been enjoyable in themselves, and the focus only made them more so.

The fall is full of commitments and projects–including teaching, serving as vice form teacher–not the official form teacher, but rather the support person–for the incoming ninth grade bilingual class, leading services (about once a month, in addition to Rosh Hashanah and Yom Kippur) at Szim Salom, participating in the ALSCW conference, going with my colleagues Gyula Jenei and Marianna Fekete to Dallas at the end of October (see the event descriptions here), and translating some poems by Tomas Venclova, whose work I translated in the past. In addition to that, I want to take some new steps with my writing and music–and bring my Hungarian to a much higher level.

And to ride the bike, too; the fall is my favorite time for that. Last week I bicycled to Besenyszög–not an especially long ride, but long enough in the heat. (Tonight and tomorrow’s rains should bring the temperatures down; there’s already a vigorous breeze.) I took the photos on the road. In the sunset photo, I like the way the grass picks up a tinge of the pink and orange of the sky. The farm machines are beautiful too. How much work gets done, and how many ways there are to do it, beyond anyone’s individual knowledge? Work of the mind, work of the fields, work of the stage, work of the bakery–wherever we go, there is some work that requires someone’s work; much of the time, we have only a fragmented idea of it, if even that much.

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Translations from the Hungarian

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I woke up too early, but with good reason: some of my first translations from the Hungarian have been published in Literary Matters, a superb online literary journal! You can now read Gyula Jenei’s “Standing Point” (“Ahol állnék”) and “Chess” (“Sakk”) in English translation, as well as Marianna Fekete’s essay “A Crack in Eternity? Béla Markó’s Grass Blade on the Rock.” The latter quotes 21 haiku poems, which I translated as haiku. I hope you enjoy them! There will be more.

A Perfect Imperfection

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The Veszprém drama festival and the surrounding trip still fill the air; we will be thinking about them, talking about them, resting from them for a while. In the meantime, my thoughts amble back to translation.

Last fall, whenever I had a substantial break in the day, I would go to a quiet café, take out the book, notebook, and thick dictionary, and work on the first draft of a translation (of poems and prose). Over the following weeks, I would revise the translation and begin new ones. The poems are by one of my colleagues, the poet Gyula Jenei; the prose, an essay–about Béla Markó’s haiku, with 21 haiku poems quoted–by my colleague Marianna Fekete. I undertook this project because I admire their work and understand what is involved. In the past I translated many poems of Tomas Venclova; those poems appear in two books, Winter Dialogue and The Junction.

Now the Jenei/Fekete translations, or most of them, are on the brink of publication! My translations of Gyula’s poems “Ahol állnék” and “Sakk,” and of Marianna’s essay, will appear in the spring issue of Literary Matters (in June); three more translations (of “Temető,” “Teasütemény,” and “Zongora”) will appear in the fall issue. These will be my first published translations of Hungarian poetry and prose.

I intend to continue translating Gyula’s and Marianna’s work–and to take on a new project as well. Over the summer, I plan to translate Kata Bajnai’s play Farkasok, with hopes that it will be performed at the Veszprém festival next year.

To translate is to seek out a perfect imperfection. You can’t convey the work exactly, so you work with approximations–but these have to sing. You must immerse yourself in the original work: listen to it, read it over and over, and come to know its rhythms and tones. You must be bold and shy: bold enough to undertake the project, take risks with it, and see it through to the end; but shy enough to hesitate, correct yourself, and return again and again to the listening. In that sense, translating is like playing music. You live out the sounds.