John Gardner on moral art

The premise of moral art is that life is better than death; art hunts for avenues to life. The book succeeds if we’re powerfully persuaded that the focal characters, in their fight for life, have won honestly or, if they lose, are tragic in their loss, not just tiresome and pitiful.

from Small Memories by Jose Saramago #2

The rain is pouring down, the wind is shaking the leafless trees, and from times past comes an image, that of a tall, thin man, an old man, I realise, now that he draws nearer along the sodden track. He is carrying a crook over his shoulder and wears an ancient, muddy cape from which drip all the rains of heaven. Before him go the pigs, heads down, snouts to the ground. The man approaching, blurred amongst the teeming rain, is my grandfather. He looks weary. He bears on his back seventy years of a hard life full of privations and ignorance. And yet he is a wise man, taciturn, one who opens his mouth to speak when necessary. Indeed he speaks so little that we all fall silent to hear him when a kind of warning light illuminates his face. He has a strange way of gazing into the distance, even if the distance is only the wall in front of him. His face, fixed but expressive, seems to have been carved out by an adze, and his small, sharp eyes shine sometimes as if something he had long been pondering had finally been understood. He is a man like many others on this earth, in this world, perhaps an Einstein crushed beneath a mountain of impossibilities, a philosopher, a great illiterate writer. Something he could never be. I remember those warm summer nights, when we slept under the big fig tree, I can hear him talking about the life he’s led, about the Milky Way, or the Road to Santiago as we villagers still called it, that glowed above our heads, about the livestock he reared, about stories and legends from his remote childhood. We would fall asleep late, well wrapped up in our blankets against the dawn chill. But this image I can’t shake off at this melancholy hour is of that old man advancing beneath the rain, stubborn, silent, like someone fulfilling a destiny nothing can change, except death. This old man, whom I can almost touch with my hand, doesn’t know how he will die. He doesn’t know yet that a few days before his final day, he will have a presentiment that the end has come and will go from tree to tree in his garden, embracing their trunks and saying goodbye to them, to their friendly shade, to the fruits he will never eat again. Because the great shadow will have arrived, until memory brings him back to life and finds him walking along that sodden path or lying beneath the dome of the sky and the eternally questioning stars. What word would he utter then?

translated by Margaret Jull Costa

from Small Memories by Jose Saramago

There you were, grandma, sitting on the sill outside your house, open to the vast, starry night, to the sky of which you knew nothing and through which you would never travel, to the silence of the fields and the shadowy trees, and you said, with all the serenity of your ninety years and the fire of an adolescence never lost: “The world is so beautiful, it makes me sad to think I have to die.” In those exact words. I was there.

translated by Margaret Jull Costa

ABRI: COTE D’AMOUR by Paul Blackburn

I am an unquiet bird
My head falls forward with fatigue at evening
wings folded
several successes several failures, yes
it’s been a long loveless day

If I’d hunted the stones to the south

. .(the stone outside us is beauty
I might have done better
Well
tomorrow,
no matter, tomorrow. . .
. .(and the stone within us is love
. . . .both

stone will bust the beak
or break the foot or the wing
there is no other way to live

I suppose we are all Orpheus if we would

. .No, I’m not
dozing or dreaming of home
. .I am home.

Isaac Bashevis Singer on translations

But as far as translation is concerned, naturally every writer loses in translation, particularly poets and humorists. Also writers whose writing is tightly connected to folklore are heavy losers. In my own case, I think I am a heavy loser. But then lately I have assisted in the translating of my works, and knowing the problem,I take care that I don’t lose too much. The problem is that it’s very hard to find a perfect equivalent for an idiom in another language. But then it’s also a fact that we all learned our literature through translation. Most people have studied the Bible only in translation, have read Homer in translation, and all the classics. Translation, although it does do damage to an author, it cannot kill him; if he’s really good, he will come out even in translation. And I have seen it in my own case. Also, translation helps me in a way. Because I go through my writings again and again while I edit the translation and work with the translator, and while I am doing this I see all the defects of my writing. Translation has helped me avoid pitfalls that I might not have avoided if I had written the work in Yiddish and published it and not been forced because of the translation to read it again.