When
translating Jonathan Littell’s
The Kindly Ones ( Les bienveillantes ) into Hebrew
I kept a translator's diary, which I am currently working into a book. I wanted
to share with you two extracts from it, which were
translated into English to make them more accessible. I originally wrote them in
Hebrew.
Here is the first extract.
From January
2008.
No sunny days
are more beautiful than those of a Tel-Aviv winter; they are well worth the
unbearable heat of the rest of the year. For once the sun doesn’t attack you,
and on the other hand it is not the misleading sun of a clear winter day in Europe. It is a humane sun. After a few days of rain and
cold it bathes the boulevards and the balconies in a soft warmth which makes
the skin itch with pleasure.
You cannot stay at home in such a
day. I would make photocopies of my daily 6 pages and go work in a café
terrace, or take a bus to the southern quarters of the city, near Jaffa, or just take a
towel and a notebook and the
Robert Micro dictionary and walk to the
beach.
I always like to add a physical
décalage
to the linguistic one. To contrast the Haussmannian facades of the text
with the white Bauhaus buildings of Tel Aviv. To drink freshly squeezed orange
juice while the personage drinks cognac. To bask in the sun while working on a
passage about freezing in the snow. This is one of the things I like about
translating literature. Mixing the worlds makes my head turn in a pleasant way,
gives me a feeling of floating, of no longer knowing where I am.
While working on the
Bienveillantes,
this distance put between text and immediate reality also served as a defense
mechanism. I could be inside, immersed in the words and the phrases, yet stay out
of the cloudy, anguishing atmosphere, protected by the sounds of the café and
the commotion of the street. Once I found myself in a café terrace, eating a
copious lunch to the sound of some bossa-nova music which was playing, while
working on one of those interminable passages dealing with the food rations
given to prisoners in Auschwitz. My first
reaction when realizing the absurdity of the situation was to feel shame,
sacrilege even, but after a few seconds I told myself that on the contrary,
this is a good thing, it is a sign of mental health that I am now instinctively
able to distinguish the text from what it describes, to remember that this is
the literary representation of the thing and not the thing itself.
This is, of course, precisely the
danger of this book. By phrasing the horror in such detail and length, and in
such an explicit way, it paradoxically makes the reader forget the horror
itself. One Israeli critic wrote that he had read the book with the photo of an
executed Jew in front of him, so that he will not forget for a single moment
what
they really did. (Needless to say, this critic detested the book and went
as far as saying that reading it is serving as an accomplice to Holocaust
deniers, if not to the Nazis). Yet the same effect is experienced by Max Aue
himself, and you cannot understand him – and through him the mechanism of a
mass-murderer’s mind – without understanding, and to a certain extent
experiencing (because this books works through experience rather than
understanding), this effect. Yet for me, in the café terrace, it was much
simpler than that. It would be darkly tempting to say that I experienced in my
work what Aue experienced in his; but it would be completely falsifying the
truth. After all, I was only translating a book. And I kept reminding myself
that.
At the beach I felt even more
invulnerable. There is something funny about the Tel Aviv beach, it is sort of
hidden from the city behind its grand hotels, the main boulevards are parallel
to it and the streets leading to it end up in all sort of obstacles, parking
lots or hotels or elevated concrete piazzas, so you can spend weeks on end
without seeing it, and in fact many Tel-Avivians have to remind themselves from
time to time that the Mediterranean is just a 15 minutes walk from their place.
So when you do get there it is a bit like a miracle, this blue vastness that
was there all the time, these kilometers of sand where a city which tries to
keep up an American pace reveals its real character and ends in sweet shameless
laziness. Lying on the sand, under a blissful January sun,
Le soleil qui
rend les gens intelligents as someone once said, I laughed at Max Aue, at
his pathetic erotic urges, I felt eroticism all around and inside me and it had
nothing to do with those obscure, perverse, narcissistic fantasies of his, the
pen ran almost automatically on the paper, from time to time I raised my eyes
to look at the blue sea and the beautiful girls sunbathing, let poor Max run
around naked in the snow and masturbate in the empty rooms of his sister’s
Pomeranian manor, I smiled while translating that ridiculous, pompous
“auto-erotic” stuff; I felt health – mental and physical and sexual – like a
shield around me, as palpable as the warmth of the sand.
After a siesta on the beach and a
fresh melon-pineapple juice at the juice kiosk, having done my day’s work, I
returned home to Eyal. I played with him all afternoon, took him out to the
park, gave him his evening bath and after he went to sleep sat by the computer
to type and perfect what I have written in the notebook the previous day. There
was the word
mutilé for which I hesitated between several translations,
the immediate Hebrew translation did not exactly match the context and I needed
to find another one, and suddenly I felt sadness come at me, like slowly rising
water, I may have developed good defense mechanisms that enabled me to think
about the word
mutilé without really thinking about it, the holes in the
shield were small enough to stop horror from passing, but sadness did pass
through, a poisoning melancholy which dripped constantly and submerged me at
the silence of the end of the day.
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