BY C.M. MAYO — November 29, 2021 UPDATE: This blog was then entitled Madam Mayo (2006-2022).
This finds me working away on my Far West Texas book which, unavoidably, concerns Mexico. Meanwhile, it’s time for the fifth-Monday-of-the-month newsletter and cyberflanerie, Mexico edition.
Delightful Mexico-related items have been landing in my mailboxes— both email and snailmail! First of all, the pioneering consciousness explorer and interviewer Jeffrey Mishlove has won the Bigelow Prize of USD $500,000—you read that right, half a million dollars— for his essay, “Beyond the Brain: The Survival of Human Consciousness After Permanent Bodily Death.” The news relevant to Yours Truly and Mexico is that, in this essay, Mishlove mentions mywork about Francisco I. Madero, the leader of the 1910 Mexican Revolution, who also happened to be a Spiritist medium. A few years ago in Las Vegas, I was also greatly honored when Mishlove interviewed me at length for his show, New Thinking Allowed.
You can read Mishlove’s award-winning essay “Beyond the Brain” in its mind-blowing entirety for free, and read more about the impressive panel of judges, and the also impressive runners-up for the Bigelow prize at this link.
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Another delightful item to land in my mailbox in this drizzly-gray season was the pristine copy of Lloyd Kahn’s 1999 newspaper, El Correcaminos, Vol. 1. No. 1, Los Cabos, Baja California Sur. In the photo below, my writing assistant, Uli Quetzalpugtl, lends his presence to the wonderfulness! Gracias, Lloyd!
I’ve been a big fan of Lloyd Khan’s many endeavors (including this one) for some years now. Among other things, Kahn is the editor-in-chief of Shelter Publications. Check out his website and blog.
For me, reading this first 1999 issue of El Correcaminos was like stepping into a very personal time machine, for that was the year that, having concluded several years of intensively traveling and interviewing in and researching about that Mexican peninsula, I started polishing my draft of the manuscript that would appear as Miraculous Air: Journey of a Thousand Miles through Baja California, the Other Mexico (University of Utah Press, 2002).
Here’s a photo of El Correcaminos’ page of recommended books— ah ha! Anne Zwinger’s A Desert Country Near the Sea, Graham Mackintosh’s Into a Desert Place; Walt Peterson’s The Baja Adventure Book: These are some of the books I’d kept on my desk, and even carried with me on my travels. I’m smiling as I write this. How books can be like old friends! And sometimes their authors can become friends, too! (Hola, dear Graham!)
More Mexico news from Denver, Colorado: My amiga Pat Dubrava reads her translation of “The Magic Alphabet,” a short story by Mexican writer Agustín Cadena for Jill!
Dubrava and I both translate Cadena— he’s vastly under-appreciated in English, and we’re aiming to change that.
Another big part of the wonderfulness of Mexico City is its Centro de Estudios de Historia de México (CEHM) in the southern neighborhood of Chimalistac. Its director, historian Dr. Manuel Ramos Medina, reads a letter from the Empress Carlota to Señora Dolores de Almonte—this being one from the vast cornucopia of treasures in the CEHM’s archives. For those of you who speak Spanish and have an interest in Mexican history, check out the website for information of the innumerable free online lectures they offer.
His wife, my amiga Araceli Ardón, a writer I have long admired and some of whose fiction I have translated, is offering a free series of outstandingly good lectures on Mexican literature and on her Ardón method of creative writing— in Spanish. Highly recommended.
For me literary translation is a yoga, a labor of love, and a form of homage to both individual writers and poets and to Mexico, the country where I have lived for most of my life. For many years now, with one exception, and not counting the work of editing a magazine and an anthology, I’ve focussed on translating Mexican contemporary poems and short fiction that, with a bit of effort (and on occasion, by synchronistic magic) end up in literary magazines and small press anthologies. Payment usually: two copies of the publication. News flash: Not a way for anyone to make a living. But it is a wonderful thing to do, and I sincerely encourage writers and poets– most especially poets– to give translation a go. You don’t need to speak the original language fluently (though I do, in fact, speak Spanish fluently). The important things are firstly, getting permission (usually not a problem); secondly, a willingness to make the dedicated effort to understand the original (which may require a dictionary and the help of a native-speaker); and thirdly, an ability to render the work with equivalent art in one’s own language. This is why poets so often make the best literary translators, even when they cannot speak the original language.
Our world needs translation. It’s such fun to be able to share a discovery. Sometimes in undertaking a translation one makes a new friend–or deepens an already existing friendship. And from a purely selfish point of view, for the translator it can be a most stimulating and refreshing exercise in wrestling with the languages– the original language and one’s own. As an artist, translation shakes me up, it keeps my own writing and poetry fresh.
I’ve got a long list of translation projects… many to be aimed at literary magazines, and a few with more commercial possibilities…. right now, however, I’m still working on my Far West Texas book and, relatedly, the 22nd podcast for the Marfa Mondays series, which I hope to be able to post this month. But next month at the American Literary Translators Association (ALTA) virtual conference I will be back on Planet Translation, albeit briefly, to read an excerpt from a short story by Mexican writer Rose Mary Salum. Apropos of that upcoming powwow, here’s a post from the archives about my reading of a poem by Agustín Cadena at that same conference in 2015. I’m not Cadena’s only English language translator, by the way– my dear and esteemed amiga poet and essayist Pat Dubrava has also translated a large batch of Cadena’s short stories. They are brilliant. She’ll be reading some Cadena at this next ALTA.
Café San Martín: Reading Mexican Poet Agustín Cadena at the Café Passé in Tucson, Arizona
Originally posted on Madam Mayo blog December 14, 2015
Agustín Cadena
Sparkling sky and only a jeans jacket on the night before Halloween, University of Arizona students everywhere, in witches’ hats and zombie makeup: that’s how it was in Tucson when, as part of the American Literary Translators Conference “Café Latino” bilingual reading fiesta at Café Passé in Tucson, I read my translation, together with the Spanish original, of Mexican poet Agustín Cadena’s poem “Café San Martín.” That translation appears in poet Sarah Cortez’s recent anthology, Goodbye Mexico (Texas Tech Press).
Alas, Cadena could not be in Tucson because he lives in Hungary, where he teaches Latin American Literary in Debrecen. Follow his blog, El vino y la hiel.
Cadena’s name and many works — he is incredibly prolific and writes in almost every genre–were mentioned many times over the course of this year’s ALTA conference. My dear amiga Patricia Dubrava, who also translates Cadena’s poems and short fiction, shared a panel with me on the following day.
And a very special thank you to Alexis Levitin, my favorite Portuguese translator (and, by the way, editor of Brazil: A Traveler’s Literary Companion), who organized and MC’ed the reading.
After a battle with brain cancer, my dear amigo Bill Gruben has passed onto new and surely most wondrous adventures. He had such a good heart and a brilliant, wildly whimsical sense of humor. I will miss him more than I can say.
I met Bill some 30 years ago when I was working as an economist in Mexico City and he as an economist with the Dallas Fed. New flash: Not all economists are just economists! Bill, who spoke fluent Spanish and knew more about Mexico than most Mexicans, had written jokes for Joan Rivers and Phyllis Diller and published some of his brilliant comedic essays about Texas in no less a venue than The Atlantic Monthly. I was then already writing poems and short stories, and translating Mexican poetry. Later, when I got the notion to publish Tameme, a bilingual literary journal that brought together writers and poets from Canada, the US, and Mexico in bilingual English/ Spanish format, I asked Bill if he would contribute something to the first issue. I was immensely honored and quite tickled when he sent me “Animals in the Arts in Texas.” It was translated into Spanish by the splendid Mexican poet and novelist Agustín Cadena. In Bill’s memory, herewith that piece from Tameme, originally published in 1999:
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From the Dallas Morning News, March 29, 2020: William Charles Gruben III died peacefully at his Dallas home on Tuesday, March 17th, 2020, at the age of 76, due to complications from an inoperable glioblastoma. Husband, father, economist, polymath, polyglot, musician, humorist, prankster, Bill was a classical thinker, a Medieval scholastic, a Renaissance man, a modern theorist, a postmodern ironist, and, above all else, a true soul of The Enlightenment, in that his whole life was a determined, joyous pursuit of knowledge fueled by the power of human reason and an endless supply of jokes.
Born on September 29th, 1943 in Sacramento, California, Bill was a conscientious and devoted older brother (one not above launching a younger sibling down the occasional laundry chute) during a childhood of multiple family moves: from Illinois to rural Texas, San Antonio, Houston (where he swam the bayous, alligators included) and suburban Dallas. He was an enthusiastic cadet in the Junior Yanks in the mid-50’s, and spent a few weeks every summer at his grandparents’ cotton farm in West Texas. As a high school student he mastered the guitar and the trombone, earning spending money gigging with a Dixieland band. Later in life, he learned to play a mean and somewhat soulful didgeridoo.
A graduate of Richardson High School, SMU, and The University of Texas, where he earned a doctorate in economics, Bill’s working life was a paradox. He spent the better part of his career at The Federal Reserve Bank of Dallas, where he specialized in practical applications of economic theory and the then emerging Mexican and Latin American markets, and where he co-created The Center for Latin American Economics. But Bill’s relationship to “The Dismal Science” was anything but. He understood that at the root of economic study was both the human and the quite-possibly marvelous: that economies were more than diminishing marginal return curves and income elasticity, but places where our desires and dreams collide with reality in all kinds of fascinating and exhilarating ways. An inspiration to colleagues and mentees alike, Bill’s favorite rejoinder while crunching data or preparing a paper or presentation was always, “Do you believe we get paid to do this?!” followed by another one of his brilliant one-liners. For, much as he found joy in Peso stabilization forecasts and comparative GDP analyses, Bill Gruben found hilarity in everything else.
In the 1970s, he, along with his brother, wrote, produced, and hosted a 30 minute comedy show on KCHU called “Dallas Arcade.” In the 80s, he published pieces in The Atlantic that satirized the excesses of oil-boom Texas. He wrote jokes for Joan Rivers, who used some on The Tonight Show, and for Phyllis Diller, who tried to persuade him to dump economics, move to Hollywood, and write comedy full time. Bill Gruben was too good an economist to take her suggestion. But he was terribly flattered.
Upon his retirement from The Dallas Fed, Bill spent his time among homes in Dallas, Laredo, and Monterrey, Mexico. From 2008-2014, at Texas A&M International University, he was Director of the Ph.D. Program in International Business at the University’s A.R. Sanchez, Jr. School of Business, and a Radcliffe Killam Distinguished Professor of Economics; from 2013-14, he directed The Center for Western Hemispheric Trade.
Upon his second retirement, Bill transferred his creative energies from the literary to the visual arts. His last series of canvasses depict the suffering of narcos tormented by comically enraged demons. And even this past January, when he struggled to walk and eat, he insisted on going to Fort Worth to see the Renoir show. He spent two hours on his feet looking at every painting.
Bill is preceded in death by father WIlliam Charles Gruben II, mother Virginia Dorothy Anderson Gruben, and wife, the artist Marilu Flores Gruben. Bill is survived by beloved spouse Nieves Mogas, daughters Adrienne Gruben, a film executive and documentarian, and Anna Gruben Olivier de Vezin, a non-profit director, sons-in-law David Goldstein, a technical director for live broadcast events, and Charles Olivier de Vezin, a screenwriter and film editor, grandchildren Maria Francisca Goldstein and Manel Olivier de Vezin, sister Patricia Gruben, brother Roger Gruben, and a host of adoring nieces, nephews, and cousins. The family expresses its deep gratitude to caregivers Penelope Clayton-Smith, Dario Delgado, and Frank Aven. Due to the coronavirus pandemic, services are on hold, but there will be a virtual service in mid April.
In lieu of flowers, the family welcomes contributions in Bill’s name to The Latin American and Caribbean Economic Association or to El Instituto de Atención Integral Discapacitado Retos, A.B.P.
This year the second Monday is dedicated to a post for my writing workshop students, except when not. This post is a “not”– or rather, not exactly; I would hope that my workshop students, and indeed any and all English-language readers, may find it of interest.
This interview was an honor, and a most welcome opportunity to say some things that have been looming ever larger in my mind.
MEXICAN WRITER LUIS FELIPE LOMELÍ ASKS QUESTIONS IN ENGLISH; LA ESCRITORA ESTADOUNIDENSE C.M. MAYO CONTESTA EN ESPAÑOL
DECEMBER
2018
LUIS
FELIPE LOMELÍ: Where you were born and where have you lived?
C.M. MAYO: Nací en El Paso, Texas, en la frontera, pero crecí en el norte de California, la parte ahora conocida como “Silicon Valley.” He vivido en Chicago, Washington DC, y otros lugares pero puedo decir que he pasado el mayor número de años de mi vida en la Ciudad de México.
[I was born in El Paso, Texas, on the US- Mexican border, but I grew up in northern California, in what is now “Silicon Valley.” I’ve lived in Chicago, Washington DC, and other places, but at this point I have lived more years of my life in Mexico City than anywhere else.]
LFL:
Your profession?
CMM: Soy novelista, ensayista, poeta y traductora literaria.
[I am a novelist, essayist, poet, and literary translator.]
LFL:
What drove you to Mexico, to live in Mexico (where and for how long) and to
write about Mexico, to embrace Spanish as part of your culture?
CMM: ¡El amor! Me casé con un mexicano, un compañero de la
Universidad de Chicago, y recién casados vinimos a vivir a la Ciudad de México.
Han sido 32 años, la mayoría de ellos en la Ciudad de México.
[Love! I married a Mexican, a classmate at the University of Chicago, and directly after we got married we came to live in Mexico City. We’ve been married 32 years now, and most of these years we have been in Mexico City.]
LFL:
What do you think about U.S. immigrants that live in Mexico, what do they do
there, why are they there? Do they chose particular places to live?
CMM: Conozco mucha gente como yo, que venimos a residir en México por motivos personales. Otras también han venido por motivos profesionales, por ejemplo en la academia, en los artes y en las actividades empresariales, en todo tipo de empresas. Por supuesto allí están las comunidades de jubilados y artistas, en lugares tales como San Miguel de Allende, Ajijic, Los Cabos, y demás. A mí me parece que les ha convenido venir a México porque el clima invernal es más suave, el costo de vivir es menor que en Estados Unidos, y también por la aventura. ¡Algunas personas tienen mayores aventuras que otras!
[I know many people such as myself, who came to Mexico for personal reasons. Many also come for professional reasons, especially in academia, the arts. And others for business, all sorts of businesses. Then there are of course the retirees and artists living in San Miguel de Allende, Ajijic, Los Cabos, and so on, and it seems to me that most of them have come south because the winter weather is better, it’s cheaper to live there than the U.S., and for the adventure. Some have more adventures than others!]
Los norteamericanos han estado viniendo a vivir en México desde hace mucho más de un siglo. En los 1840s empiezan a llegar algunos comerciantes a través del Santa Fe Trail, el camino que conecta la ciudad de St Louis, Missouri con el Camino Real de Tierra Adentro, esto es, el camino real desde Santa Fe hacia a Ciudad Chihuahua, Durango, Querétaro, y la Ciudad de México. Y después, en la segunda mitad del siglo 19, por ejemplo, muchos ingenieros estadounidenses vinieron a México, ingenieros de minas, de ferrocarriles, de petróleo. Periodistas, rancheros, hacendados, novelistas, hoteleros, misioneros. Y aún mercenarios. Por ejemplo, muchos estadounidenses lucharon en varias facciones de diversos conflictos en México, incluyendo en la Revolución. Y en algún momento inmigró un grupo de mormones. Otro de menonitas.
[Americans have been coming to live in Mexico for well over a century. We start to see a few traders coming to live in Mexico in the 1840s, coming down on the Santa Fe Trail, connecting St Louis, Missouri with the Camino Real de Tierra Adentro, that is to say, the old royal road down to Ciudad Chihuahua, Durango, Querétaro, Mexico City. And later, in the second half of the 19th century, many U.S. engineers came to Mexico—mining engineers, railroad engineers, petroleum engineers. Journalists, ranchers, planation owners, novelists, hotel owners, missionaries. And even mercenaries. For example, many Americans fought in conflicts in Mexico, including in the Mexican Revolution. At one point Mormons migrated into Mexico. And Menonites.]
Uno de los personajes de mi novela está basado en Alice Green,
la hija de una familia prominente de Washington DC. Su abuelo fue un ayudante
del General Washington en la Guerra de Independencia. En Washington ella se
casó con un diplomático mexicano, Angel de Iturbide, quién era de casualidad el
segundo hijo del emperador de México, Agustín de Iturbide. Ella y su esposo
vinieron a residir a la Ciudad de México en los 1850s.
[One of the characters in my novel is based on Alice Green, who was the daughter of a prominent family in Washington DC. Her grandfather was an aide-de-camp to General Washington in the American Revolution. In Washington she married a Mexican diplomat, Angel de Iturbide, who happened to be the second son of Mexico’s Emperor, Agustín de Ituride. She and her husband came to live in Mexico City in the 1850s.]
Otra historia del siglo 19, muy diferente, sobre la cual estoy escribiendo actualmente, es la de los negros seminoles, quienes eran los esclavos de los indígenas Seminoles, originalmente de Florida. Pues si, es poco conocido pero algunos indígenas tenían, compraban y vendían esclavos de descendencia africana. Poco después de que el gobierno de Estados Unidos obligó a los Seminoles a mudarse a Territorio indio, los negros seminoles se escaparon, caminando a través del desierto de Texas hacia México. El gobierno mexicano les otorgó terreno en cambio de que los hombres ayudaran al ejercito mexicano en la persecución de los apaches y otros indigenas nómadas en el norte de México. Con la conclusión de la Guerra Civil en Estados Unidos y la Emancipación de los esclavos, muchos de los seminoles negros migraron de regreso a Texas para hacer lo mismo, ayudar al Ejercito de los Estados Unidos en cazar a los apaches, comanches y otros indigenas nómadas en las Guerras Indias. Todavía existe una comunidad de los descendientes de los negros seminoles en Brackettville, Texas y otra en el norte de México.
[Another very different story, one I’m writing about now, is that of the Seminole Negros, who were the slaves of the Seminole Indians, originally in Florida. It’s little known but it’s a fact, some Indians kept and bought and sold slaves of African descent. Soon after the U.S. government forced the Seminoles and their slaves to Indian Territory, the Seminole Negros fled, trekking from Oklahoma over the Texas desert, into Mexico. In exchange for land, their men worked as scouts for the Mexican Army, which was hunting down Apaches and other nomadic indigenous peoples in northern Mexico; and after the U.S. Civil War, with Emancipation, many Seminole Negroes migrated back into Texas, to do the same work for the U.S. Army, in the Indian Wars. There is a community of the descendents of the Seminole Negroes in Brackettville, Texas, and another in northern Mexico.]
La inmigración de estadounidenses hacia México es una historia
extraordinariamente rica y compleja, pues cada persona, cada familia tiene su
propia historia. Es más, en México hay inmigrantes de varias partes del mundo.
[U.S. immigration to Mexico is an extraordinarily rich and complex history, or rather, many histories, for each person, each family has their own. Moreover, Mexico has immigrants from many parts of the world.]
LFL:
What is your impression and/or conception about this cultural exchange?
CMM: En cuanto la comunicación intercultural entre Estados Unidos y México, yo diría que hay muchos enlaces, muchos acercamientos, mucho que tenemos en común, mucho que podemos celebrar, pero no es lo que podría ser. Creo que algunas razones de eso—algunas—tienen sus raíces por allá en el siglo 16, en la rivalidad entre la España católica y la Inglaterra protestante.
[As for US-Mexico intercultural understanding today, I would say there are many connections, many bridges, much that we all have in common, and can celebrate, but it’s not what it could be. I acually believe that some reasons for this—some— have their roots all the way back in 16th century, to the rivalry between Catholic Spain and Protestant England.]
Pero enfocamos en cuestiones literarias. Hoy, un elemento, el
cual es tanto una causa como un síntoma de la falta de comunicación
intercultural, es que relativamente pocos libros se traducen del español al
inglés o del inglés al español. Como porcentaje de libros publicados es
minúsulo. Como resultado, muy, muy pocos escritores mexicanos se conocen en
Estados Unidos. Octavio Paz, quién ganó el premio Nobel. Carlos Fuentes… quizá
Juan Rulfo… algunos pocos lectores en inglés han oído de Carlos Monsiváis,
Elena Poniatowska, Angeles Mastretta, Ignacio Solares, para nombrar unos de los
distinguidos escritores contemporáneos mexicanos cuyos libros han sido
traducidos al inglés. La lista de nombres conocidos disminuye en un parpadeo.
[But to focus on literary questions. Today, one factor, which is both a cause and a symptom of problems with intercultural communication, is that relatively few books are translated from Spanish into English, or from English into Spanish. As a percentage of what original work is published it’s minuscule. As a result, very, very few Mexican writers are known in the US. Octavio Paz, who won the Nobel Prize. Carlos Fuentes…maybe Juan Rulfo… a very few will have heard of Carlos Monsiváis, Elena Poniatowska, Angeles Mastretta, Ignacio Solares, to name a few of Mexico’s distinguished contemporary writers who have had books translated into English… The list of recognizable names dwindles in a blink.]
Y por cierto un escritor mexicano destacado quién debe de ser más conocido en inglés es Luis Felipe Lomelí.
[And by the way, an outstanding Mexican writer named Luis Felipe Lomelí should be much better known in English.]
En México cuando voy a una librería mexicana, en cuanto a libros
de literatura traducidos del inglés, por lo general encuentro best-sellers,
Harry Potter, y así, y quizá algunos clásicos. Shakespeare, por ejemplo. Ay,
acabo de mencionar dos obras británicas. Edgar Allen Poe. Ernest Hemingway.
Ahora que lo pienso, conozco un par de poetas mexicanos quienes les encantan
los Beats, William Burroughs, Jack Kerouac. El último grito en los 1950s. Hay
muchos ejemplos per, a grandes rasgos, así es la situación.
[In Mexico when I go into a Mexican bookstore, as far as books of serious literature translated from the English, I generally find best-sellers, Harry Potter, and the like, and a few classics. Shakespeare, for example. Ha, I just mentioned two British works. Edgar Allen Poe. Ernest Hemingway. Now that I think about it, I know a few Mexican poets who love the Beats, William Burroughs, Jack Kerouac. Hot stuff in the 1950s. There are many more examples but, in general terms, this is the situation.]
Podemos señalar el prejucio, la ignorancia, el conservativismo
de los editores, pero podemos avanzar más por el camino de la comprehensión en
reconocer, primeramente, que lectores—en todo el mundo—prefieren leer libros
originalmente escritos en su propio idioma. Segundo, reconocer el gran sapo
gordo del hecho de que la traducción literaria es cara. Y así debe ser, puesto
que traducir todo un libro es una labor que requiere muchos conocimientos y
mucho tiempo. Aún así, los traductores literarios ganen muy poco. Cuando
traduzco poemas y cuentos cortos para revistas literarias, como la mayoría de
los traductores literarios, no cobro, o más bien no recibo nada más que dos
ejemplares de la revista. Lo hago como labor de amor, por lo general. Existen
becas y otros apoyos, pero son escasos.
[We could point a finger at prejudice, at ignorance, at publishers’ conservativism, but we can go further down the road towards understanding by acknowledging firstly, that readers—all over the world— prefer to read books originally written in their own language. Secondly, there is the big fat toad of a fact that literary translation is expensive. And rightly so, because it takes a of skill to translate a book, and it takes a lot of time. Even still, translators are poorly paid. When I translate poems and short stories for literary magazines, like most literary translators, I usually do it for free, or I should say, I don’t receive anything other than a couple of copies of the magazine. I do it as a labor of love, usually. There are grants for literary translators, for publishing literary translations. But these are few.]
Sor Juana Inés de la Cruz. Para mí, ésta historia nos dice todo:
Tengo entendido que “Primero Sueño,” el magnum opus de Sor Juana Inés de la
Cruz, la gran poeta mexicana del barroco, una monja quien fue una figura
literaria monumental en las Americas del siglo 17, se traduce al inglés por
primera vez hasta 1983. Afortunadamente fue hecha por John Campion, un
traductor y poeta excelente. El libro está agotado no bastante puedes
Googlearlo y leerlo en su página web, worldatuningfork.com. John Campion, Sor
Juana Inés de la Cruz.
[Sor Juana Inés de la Cruz. For me, this sums it up: “Primero Sueño,” the magnum opus of Sor Juana Inés de la Cruz, Mexico’s great poet of the Baroque, a nun who was a monumental literary figure in the Americas, was first translated into English only in 1983. Fortunately it was by John Campion, a fine translator and a poet himself. The book is out of print but you can Google that up and read it on his webpage, www.worldatuningfork.com. John Campion, Sor Juana Inés de la Cruz.]
Mi mensaje para las escuchas de esta entrevista es que una manera en que tú, como lector, puedes mejorar la comunicación intercultural, es buscar libros más allá de los best-sellers, más allá de los libros que todo el mundo lee, y en especial, buscar traducciones. Por lo general las traducciones se publican por editoriales pequeñas quienes no cuentan con muchos recursos para hacer mercadotécnia. Si no tienes el dinero para comprar un libro, es probable que la biblioteca de tu escuela o universidad o tu biblioteca pública pueda conseguirte un ejemplar. Si no lo ves en su catálogo, no seas tímido, pregúntale al bibliotecario si lo puede conseguir mediante préstamo interbibliotecario o comprarlo para la biblioteca. No pierdes nada en preguntar. Podrías ser felizmente sorprendido.
[My message for those of you listening to this interview is that one way that you, as a reader, can help improve intercultural communication is to look beyond the books on the best-seller table, read beyond the books everybody else is reading, and in particular, hunt for translations. Translations are often brought out by small presses that don’t have much marketing muscle. If you don’t have the money to buy a book, your school, university, or public library can probably get you copy—if you don’t see it in their catalogue, don’t be shy about asking the librarian to get you a copy on interlibrary loan, or even to buy it for the library. It doesn’t hurt to ask. You might be happily surprised.]
Y si tienes ganas de hacer una traducción, que sea al inglés o
al español ¡házla! Por supuesto, si la obra original se encuentra en copyright
y quieres publicar tu traducción, es necesario conseguir el permiso.
[And if you feel moved to translate a text, whether into English or into Spanish, give it a try! Of course, if the original work is still in copyright and you want to publish it you will need to get permission.]
Como lector, tus esfuerzos son importantes. No todo el mundo lee
libros, así que para mucha gente la lectura no les parece una actividad
importante. Pero los lectores tiendan a ser gentes pensantes y de acción. Un
libro, aún leído por poca gente, aún por una sola persona, tiene el
potencial—el potencial— de un poder enorme. Un poder para cambiar el mundo. No
exagero.
[As as reader, your efforts matter. Not everyone reads books, so it might not seem all that important an activity. But those who read books, they tend to be thinkers and doers, so a book, even if read by a few people, even by one person, holds the potential—the potential— for enormous power. Power to change the world. I do not exaggerate.]
En esencia, un libro es un pensamiento grande y complejo
empaquetado en un recipiente hiper-eficiente capaz de llevarlo a través del
tiempo y del espacio.
[A book is, essentially, a large, complex thought packed into a hyper-efficient vessel that can carry it across time and space.]
Déjenme regresar al ejemplo de Sor Juana Inés de la Cruz. Si no
has oído de esta monja del siglo 17, en este instante a través de tu laptop o
smartphone, o aún mejor, yendo a la biblioteca, lee tantito sobre su vida,
algunas líneas de su poesía. Con este pequeño esfuerzo, yo creo que cambia tu
concepto de México, de mujeres y del mundo. Vas a llegar a tus propias
conclusiones, por supuesto, pero tu mundo será ya diferente.
[Let me return to the example of Sor Juana Inés de la Cruz. If you have not heard of this 17th century nun, and you take a moment on your laptop or smartphone, or better yet, to go the library and read up a bit, and you read some lines of her poetry—just that little—I think your whole view of Mexico, of women, and of the world will change. You will draw your own conclusions, of course, but your world will be changed.]
LFL:
And what was your intention or the goal you pursued in editing the Mexico: A
Traveler’s Literary Companion?
Mexico: A Traveler’s Literary Companion, edited by C.M. Mayo. Visit the book’s webpage here.
CMM: Es un retrato de México a través de la ficción y prosa de 24
escritores mexicanos, muchos en traducción por primera vez. No es un Who’s Who,
un Quién es quién de los escritores mexicanos, aunque de hecho incluye
varios escritores muy distinguidos. Más bien ofrece a los lectores en
inglés una introducción a la deliciosísima variedad de la literatura mexicana y
en México mismo: desde los puntos de vista cultural, social, regional. La meta
fue ir más allá de los estereotipos.
[This is a portrait of Mexico in the fiction and prose of 24 Mexican writers, many in translation for the first time. It’s not meant to be a Who’s Who of Mexican writers, although it does include some distinguished writers, but rather, to provide for English-language readers an introduction to the delicious variety in Mexican writing and Mexico itself: cultural, social, regional. To blast beyond clichés!]
Armar el tomo fue para mí un reto nada fácil puesto que la mayor
parte de la literatura mexicana contemporánea, por cierto la más visible,
proviene de la Ciudad de México. No obstante, encontré varias obras
espléndidas, por ejemplo, “La Dama de los Mares” por Agustín Cadena, un relato
ubicado en la costa de Baja California, “Día y noche” por Mónica Lavín en
Cuernavaca, y el relato de Araceli Ardón “No es nada mío” de Querétaro. Les
invito a leer más en mi página web, www.cmmayo.com
[This was quite a job for me as editor because much of contemporary Mexican literary writing, and certainly the most visible, comes out of Mexico City. But I did find many splendid pieces, for example, Agustín Cadena’s “Lady of the Seas,” set in Baja California, Mónica Lavín’s “Day and Night” in Cuernavaca, and Araceli Ardón’s “It Is Nothing of Mine,” set in Querétaro. I invite you to read more on my website, www.cmmayo.com.]
Delighted to announce that my translation of the short story by Agustín Cadena, “The Apaches of Kiev,” appears in the very fine U.S. literary journal, Tupelo Quarterly. It’s a story at once dark and deliciously wry. It caught my attention because, well, everything Cadena writes catches my attention– he is one of my favorite writers in Mexico, or anywhere– and he happens to be living in Hungary, so the Eastern Europe angle is no surprise. In all, Cadena’s is a unique and powerful voice in contemporary fiction, and I hope you’ll have a read.
THE APACHES OF KIEV BY AGUSTIN CADENA (Originally published in Spanish on Agustín Cadena’s blog, El vino y la hiel) Translated by C.M. Mayo
The story about the body they found in the Botanic Garden came out in the newspapers and on television. The Kiev police identified it immediately: Dmitri Belov, reporter and political analyst known for his scathing criticism of President Poroshenko’s administration. Presumably it was a suicide, but until they could confirm this verdict, the police had been ordered to put all resources to work.
Among the underemployed— peddlers and prostitutes— who roamed the Botanical Garden, very few were aware of this. So how was anyone else to find out? They didn’t have televisions and they didn’t spend their money on newspapers. Understandably, those who knew about the body avoided that area. They knew there would have been a commotion, and especially if the body belonged to someone important. The police would go around searching for possible witnesses to interrogate, and by the way, shake them down on other charges. It wouldn’t do any good to explain to the police what they already knew: that every week all of these underemployed people paid a bribe to be left in peace.
Ignorant of everything, three men of approximately 40 years of age, exotic-looking, dressed like Apaches in a Western movie, appeared after 11 in the morning. They were Ernesto Ortega, Gonzalo Acevedo and Milton Guzmán: Mexican, Salvadorean and Venezuelan, respectively. The three of them dressed identically: a headdress of white feathers that went from their heads down to their waists, jacket and trousers of coffee-colored leather with fringe on the sleeves and the back, moccasins, and ritual battle makeup. They carried assorted musical instruments and they took turns playing Andean music: “El cóndor pasa,” “Pájaro Chogüi,” “Moliendo café,” etc. They knew the music did not go with the costumes nor the costumes with their ethnicities, but this strange combination was what worked for them commercially. Americaphilia was at its height in Kiev, and passersby were happy to give money to these “North American Indians” who played the music “of their people.” Perhaps the happy notes of “La flor de la canela” led the Ukrainians to imagine the beauty of life in teepees, among the buffalo, wild horses, mountain lions, and bald-headed eagles. The fact is, in addition to playing and signing, the “Apaches” also sold their CDs of this same music, displayed on a cloth spread on the ground. [… CONTINUE READING]
P.S. My amiga the poet and writer Patricia Dubrava also translates Cadena. Check out some of her excellent translations at Mexico City Lit. [Alas, as of 9/2019, that link went dark.]
#
This past Saturday I had the good fortune to be able to attend Cadena’s book presentation in one of my favorite Mexico City bookstores, the FCE Rosario Castellanos in Condesa. (Here is where I interviewed Michael Schuessler about his biography of Pita Amor, among other works.) Cadena was presenting a novel for young readers, La casa de los tres perros (The House of the Three Dogs) and along for the ride came a group of Mexican writers who have stories in his latest anthology, Callejeros, cuentos urbanos de mundos soñados (my rough translation of that might be, Street People: Stories of Urban Dreamworlds). Happily for me, this also meant a chance to visit with my friend the Mexican novelist and historian Silvia Cuesy. Here we are with Agustín Cadena:
C.M. Mayo, Agustín Cadena, Silvia Cuesy at the Rosario Castellanos FCE Bookstore, Mexico City
Mexican writers in Agustín Cadena’s anthology, Callejeros. Front row: León Cuevas, Sandra Luna, Agustín Cadena. Back row: Eduardo islas, Cristina Manterola, ?, ?, José Antonio Bautista, Silvia Cuesy.
Cadena, right in white hat, presenting his novel for young readers. La casa de los tres perros, in the FCE Rosario Castellanos bookstore in Mexico City, August 5, 2017.
Putting on my armchair-sociologist sombrero now: Aside from its high quality (both its literary content and as an object), what is especially interesting about Callejerosis that the editor lives abroad and the publisher is based in a provincial town– Pachuca, in the state of Hidalgo. Mexican literary culture and publishing has long been overwhelmingly concentrated in Mexico City, but with the digital revolution it seems this is opening up quickly. I talked a bit about this in my talk for a 2015 American Literary Translators Association panel I chaired:
P.S. I mention both this wondrous Mexico City FCE bookstore and Cadena in my longform essay now available on Kindle, “Dispatch from the Sister Republic or, Papelito Habla,” an overview of the Mexican literary landscape and the power of the book.
Sparkling sky and only a jeans jacket on the night before Halloween, University of Arizona students everywhere, in witches’ hats and zombie makeup: that’s how it was in Tucson when, as part of the American Literary Translators Conference “Café Latino” bilingual reading fiesta at Café Passé in Tucson, I read my translation, together with the Spanish original, of Mexican poet Agustín Cadena’s poem “Café San Martín.” That translation appears in poet Sarah Cortez’s recent anthology, Goodbye Mexico (Texas Tech Press).
Alas, Cadena could not be in Tucson because he lives in Hungary, where he teaches Latin American Literary in Debrecen. Follow his blog, El vino y la hiel.
Cadena’s name and many works — he is incredibly prolific and writes in almost every genre–were mentioned many times over the course of this year’s ALTA conference. My dear amiga Patricia Dubrava, who also translates Cadena’s poems and short fiction, shared a panel with me on the following day.
And a very special thank you to Alexis Levitin, my favorite Portuguese translator (and, by the way, editor of Brazil: A Traveler’s Literary Companion), who organized and MC’ed the reading.
In the audience: several very distinguished literary translators (lotus petals upon y’all). The Q & A was extra crunchy, and in true ALTA fashion, in the sweetest way.
(Seriously, literary translators, and especially the crowd that regularly attends ALTA conferences, are angelically generous and encouraging. If any of you reading this have ever thought of trying literary translation and/or attending a literary translator’s conference, my recommendation is, YES!)
LAS TRES AMIGAS: Yours Truly, Clare Sullivan, and Patricia Dubrava.
Jeffrey C. Barnett, C.M. Mayo, Patricia Dubrava
Transcript of C.M. Mayo’s Remarks for the panel on
Translating Contemporary Latin American Poets and Writers: Embracing, Resisting, Escaping the Magnetic Pull of the Capital
ALTA, Tucson, Arizona, October 31, 2015
I started translating in Mexico City in the early 1990s. Mexico City is Mexico’s capital, but it’s not analogous to Washington DC or, say, Ottowa, Canada. The megalopolis, “the endless city,” as Carlos Monsivaís calls Mexico City, is like Washington DC, New York, Boston, Chicago, Miami and Los Angeles, all piled into one. In other words, its the political capital, financial capital, publishing capital, cultural capital, and television and movie capital. Oh, and business capital, too. Yes, there are other important cities in Mexico, and they have become more important in many ways, and some of them have some excellent writers and poets. But Mexico City is MEXICO CITY.
Back in the early 1990s, the ruling party, the PRI or Partido Revolucionario Institucional or Institutional Revolutionary Party was in power, about to enter the last decade of its more than 70— yes, 70—years in power. How did it last so long? There are many answers to that question but the main one relevant for our topic at hand is that the PRI attempted to bring everyone, whether farmers, campesinos, industrialists or intellectuals, and that would include poets and writers, under its own big tent. It had its ways. Stick and carrot— or bone, as Mexicans like to say.
You may be aware that after two consecutive presidential administrations under the PAN or the Partido Acción Nacional, over the past decade, Mexico’s Presidency has since returned to the PRI. But it’s not exactly a return to the past. Not exactly.
I’m not going to get all political on you, I simply want to underline the fact that back in early 1990s, the Mexican literary establishment, concentrated in Mexico City, was heavily influenced by and subsidized by the PRI government. Just to give you a notion of this: If you were to go into a library and look at some back issues of the leading Mexican literary and intellectual magazine of the time— of course that would be Octavio’s Paz’s Vuelta— you would see a large number of advertisements from government-owned entities and Televisa, the party-allied television conglomerate. There were literary gatekeepers, as there are everywhere in this world, but in Mexico City at that time, they were very few and ginormously powerful. Octavio Paz was king.
Though Octavio Paz met his maker some years ago, in some ways things remain the same. Mexico City is where it’s at. The government still plays an important, although lesser role. Letras Libres, successor to Vuelta, remains a leading magazine of influence, and in fact it does publish some of the best writing you’ll find anywhere.
But since the early 1990s there have been political and economic sea-changes in Mexico. Power is more dispersed. Other political parties have become far more powerful. On the right and the left they rival the PRI and on many an occasion, beat the PRI at the ballot box.
And even more than the political and economic changes, the technological changes have been sea-changes. I’m talking about the rise of digital media, from blogging to YouTube, podcasting, Tweeting, FaceBooking, and publishing— and by the way, amazon is now in Mexico with www.amazon.com.mx.
To find a Mexican writer to translate, you no longer have to travel to Mexico City and get chummy with the powers that be who can make recommendations and, perhaps, invite the anointed to tea. Now, say, from Boston or Hong Kong or Cleveland, you can follow any given Mexican writer’s blog, and comment thereupon. Or, say, send her a Tweet!
I would love to tell you the story of how, in the late 1990s, I started my bilingual magazine, Tameme, which published many Mexican writers, and my experiences with putting together the anthology, Mexico: A Traveler’s Literary Companion— no easy task, since the idea of the TLC series is to provide writing about the whole country— and that would include writing from and about Baja California, Yucatan, Chiapas, Chihuahua…
At present I am translating short stories by four Mexican writers: Ignacio Solares, a novelist born in Ciudad Juárez, long based in Mexico City; Agustín Cadena, who was born in the state of Hidalgo and is living in Hungary; Araceli Ardón, who was born in San Miguel de Allende and lives in Querétaro; and yet another, Rose Mary Salum, who is from Mexico City and is now based in Houston, Texas.
But I don’t want to take time from my fellow panelists and what I hope will be a rich question and answer session. The main thing I want to emphasize is that, as literary translators, we can play a powerful role in influencing who is and who is not read in English.
Whom to translate? It’s good to ask for advice from the powers that be of the literary establishment in, say, Mexico or Cuba or Chile, and maybe even choose to translate one of them. They might be blast-your-wig-to-the-asteroid-belt fabulous! But we also have to recognize that there are power structures in literary communities, some of them entangled with political structures, and we need to acknowledge and examine, in our own minds, and our own hearts, what part we play in that or choose not to play. And why.
C.M. Mayo and Wendy Burk at the “Translating the ther Side” panel American Literary Translators Association (ALTA) conference, Tucson, 2015. Mark Weiss, chair of the panel, is in the back on the right.
American Literary Translators Association (ALTA) Conference 38, Tucson, October 29, 2015 Panel: “Translating the Other Side” Moderator, Mark Weiss Panelists: Wendy Burk, Catherine Hammond, C.M. Mayo
Edited Transcript of Talk by C.M. Mayo
Muchísimas gracias, Mark Weiss, and thank you also to my fellow panelists, it is an honor to sit on this dias with you. Thank you all for coming. It is especially apt to be talking about translating Mexican writing here, a jog from the Mexican border, in Tucson—or Tuk-son as the Mexicans pronounce it.
I grew up in Northern California and was educated in various places but mainly the University of Chicago. As far as Mexico went, until I was in my mid-twenties, I had absorbed, to use historian John Tutino’s term, the “enduring presumptions.” Translation: I had zero interest in Mexico.
You know that old saying, if you want to make God laugh, tell her your plans?
What brought me to translating Mexican poetry and literary prose was that I married a Mexican—my fellow graduate student at University of Chicago— and we moved to his hometown, Mexico City, in 1986. I am happy to say that we are about to celebrate our 30th anniversary.
For me, as a writer, and as a translator, these decades, mainly spent in Mexico City, have been a grand adventure in learning and exploring the cultures, histories, and geography of Mexico and of course, learning Spanish. I cannot claim that I speak and write Spanish like a native—I started learning Spanish when I was 24 years old. But after three decades in Mexico… well, after three decades of living in any country, if you haven’t learned the language, at least to level of conversation and daily business… I was about to say something unkind.
My husband has his own and very distinguished career as an economist but I call him my Translation Assistant. Although I would say I am fluent in Mexican Spanish, as all of you well know, literary translation can be fluky-tricky. Many a time he has rescued me from what would have been toe-curling embarrassment. May we all have our translation assistants.
Includes my translations of work by T. López Mills
It was back in the early 1990s, when I started writing my own poetry and short fiction, that I had two epiphanies. First epiphany: I could do this! I mean, I knew some Spanish and at the same time, I could write literary fiction and poetry myself. I was beginning to get my own stories and poems published in well-regarded literary journals, such as the Paris Review, The Quarterly, Southwest Review. That gave me a shot of confidence. To this day, I really believe that the best literary translators are not necessarily the most fluent, the most perfectly bilingual, but rather, those who can render the work into the same literary level in the target language.
And the second epiphany was that appallingly little Mexican work was being translated into English.There were some books, mainly from university presses, the occasional anthology, and here and there, a poem in a literary magazine, but I was in Mexico City, in Coyoacán, I could see what was going on, the rich, flourishing literary culture. It was obvious to me that this was not registering in the literary communities north of the border, not the way it should.
Includes my translation of a story by Alvaro Enrigue
For me, getting to know Mexican poets and writers was not difficult. Back in those days of yore, before the Internet … well, one important poet, Manuel Ulacia, was my neighbor. We would often see each other out walking our dogs.
But let me back up for a broader perspective.
Mexico shares a 2,000 mile border with the United States, spanning the southern borders of California, Arizona, New Mexico, and the greater part of Texas. And Mexico has some of the richest literary traditions in the world.
It starts with the codexes of the Maya and the Aztecs, and others—and as a quick side note, there is a book forthcoming in 2016 from University of Texas Press by archaeologist Dr. Carolyn Boyd, in which she argues that the White Shaman rock site near the U.S.-Mexico border in the Lower Pecos Canyonlands, which is thousands of years old, is actually a codex— and basing some of her arguments on the work of Mexican anthropologists, Dr. Boyd has decoded it. It tells the story of creation. And so we can think about “White Shaman” as the first known book in North America. North America, of course, includes Mexico. And the Texan side of the Lower Pecos Canyonlands was once part of Mexico.
And speaking of books, you may recall the hullabaloo about the 14.2 million dollar sale of a copy of the first English language book printed in the New World, The Whole Booke of Psalmes of 1640. Well, that was more than one hundred years after the first Spanish language book was printed in Mexico City. That was Breve y más compendiosa doctrina Christiana en lengua Mexicana y Castellana, printed in 1539. And there may have been an even earlier book printed in 1537, Escala Espiritual par llegar al cielo, but no known copies survive.
My anthology of 24 Mexican writers on Mexico. Read more about this book, including excerpts, here.
In the prologue to my anthology of 24 Mexican writers, Mexico: A Traveler’s Literary Companion, I write, “Mexican literature—a vast banquet—is one of the greatest achievements if the Americas. And yet we who read in English have gone hungry, for so astonishingly little of it has been published.”
Mexico: A Literary Traveler’s Companion was published in 2006 and although I know many of you and other members of ALTA, and other translators, have since then published many Mexican works in translation, and anthologies, this scarcity, this appalling scarcity of translations of works from our neighboring country, continues.
I could go on with names, book titles, and numbers from the publishing industry, but it would be too sad. To give you the simplest and most concrete sense of how sad this situation is, when the sales team asked for blurbs for Mexico: A Traveler’s Literary Companion, I really had a problem. Of course there are many anthologies of English language writing about Mexico. But Mexicans writing about Mexico? I would have to ask a Mexican for a blurb. But what Mexican?
Octavio Paz? Yes, he won the Nobel Prize. But he was dead.
Carlos Fuentes? He was in the anthology himself, so asking him for a blurb would have been awkward. Anyway, he wasn’t answering his email.
Sales reps and bookstore buyers, for the most part, did not recognize the name of any Mexican writer.
Salma Hayek? I suggested.
The sales rep answered, “WOW! That would be AWESOME!”
(No offense intended to Ms Hayek, an accomplished Mexican actress and producer. But methinks a blurb from her, had I been able to wrangle one, would have carried about as much clout as that of, say– to scramble it into Texanese, porquois pas– a rodeo barrel racing champion opining on the national polo team.)
We ended up using a blurb that Isabelle Allende had provided for the Traveler’s Literary Companion series itself—a series from Whereabouts Press that includes many countries, among them, Chile, Costa Rica, Cuba, and as far afield as Australia and Viet Nam.
And I managed to wrangle a blurb from Isabelle Allende’s translator, a translator who is a queen among us—I know many of you will recognize her name—Margaret Sayers Peden. She wrote:
“This delicious volume has lovingly gathered a banquet of pieces that reveal Mexico in all its infinite variety, its spendid geography, its luminous peoples. What a treat!”
Apart from the anthology and various
contributions to other anthologies and literary magazines, for a few years I
founded and edited Tameme, a bilingual
literary journal of new writing from Canada, the US and Mexico. That was a
project I did with my dad, Roger Mansell,
who had 25 years of experience in the graphic arts and printing business in San
Francisco. So if I do say so myself, the three issues of Tameme and two
chapbooks were quite beautiful and they should be collector’s items.
Unfortunately my dad passed away, and with my own books to write, Tameme
was more than I could handle.
Apart from Tameme, the largest translation
project I have undertaken to date is a strange one, and I bring it up because I
know that for many of you the question of rights is a concern. A book that is
out of copyright, you can grab that, you can translate that. Go to it!
Francisco Madero was the leader of Mexico’s 1910
Revolution and President of Mexico from 1911 to 1913, when he was overthrown in
a coup d’etat and murdered. Madero was a Spiritist medium, that is, he believed
he could communicate with the dead—and so can you! His secret book, Spiritist
Manual, written in 1910—the year he launched the Revolution—and published
under a pseudonym when was president elect in 1911, is… all about that. And I
translated it because nobody else had.
As I said in my panel talk last year,
I cannot deny other motives and the millions of other participants in that Revolution of 1910. But its spark, and the way it played out, and, I believe, Madero’s murder, become a radically different story once we take into account his Spiritism.
My aim with my book and my translation of Madero’s book is to deepen our understanding of Madero, both as an individual and as a political figure; and at the same time, deepen our understanding of the rich esoteric matrix from which his ideas sprang, in other words, not to promote his ideas nor disparage them, but explain them and give them context.
It is also then my aim to deepen our understanding of the 1910 Revolution and therefore of Mexico itself, and because the histories are intertwined, therefore also deepen our understanding of North America, Latin America, the Pacific Rim, and more— for as long as a book exists, should someone happen to read it, it can catalyze change in understanding (and other changes) that ripple out, endlessly.
Such is the wonder, the magical embryonic power of a book, any book, whether original or in translation: that, even as it rests on a dusty shelf for a hundred years, or for that matter, an unvisited digital “shelf,” if it can be found, if it can be read, it holds such potential.
To conclude: I mainly translate contemporary Mexican
short fiction and poetry. It is a labor of love and, as an English language
writer who lives in Mexico City, a way for me to engage with Mexico and with my
Mexican colleagues. And finally, translating is a way to bring what I can,
whether it be a monster on a platter or algún taquito sabroso, to the
literary banquet.
To quote myself again from the prologue of Mexico:
A Traveler’s Literary Companion, “Throughout Mexico there are so very many
writers whose work has yet to be translated, or, though translated, deserves a
far wider readership in English.”
Any and all of you who have an interest in
translating Mexican literature— know that you have my heartfelt good wishes.
