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Felipe Martinez: from "Grand Sertão: Veredas" by João Guimarães Rosa
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<p>Excerpts from <i>Grand Sertão: Veredas</i><br />
By João Guimarães Rosa
Translated from the Portuguese by Google<sup>TM</sup></p>

<p><u>I.</u></p>

<p>There is no devil. Neither spirit. I've never seen. Someone ought to see, so it was myself, this your servant. Would tell you ... Well, the devil regulates its black state, the creatures, women, men. Ate: children - I say. Well, not saying "boy - train the devil"? And the uses in plants, the waters, on land, wind ... Manure. ... The devil in the street in the middle of the whirlwind ... </p>

…"
felipemartinez  guimarãesrosa  joãoguimarãesrosa  grandesertão  grandesertãoveredas  translation  googletranslate 
april 2014 by robertogreco
Campanha | Makely Ka
"Percorrer de bicicleta os caminhos do personagem Riobaldo Tatarana no Grande Sertão desde seu encontro com Diadorim às margens do córrego do Batistério até a batalha fatal com o Hermógenes no Paredão de Minas.

 Durante a trajetória registrar em gravações de audio, video e fotos as paisagens sonoras e visuais, que serão posteriormente trabalhadas no disco e no show Cavalo Motor.

 Produzir textos (relatos, poemas e transcrição de falas) durante a viagem e alimentar o site e o aplicativo para celulares com esse material sempre que houver sinal de telefonia móvel disponível.

Utilização de uma bicicleta que gera a partir das pedaladas a energia necessária para carregar os equipamentos eletrônicos para o registro e a transmissão das informações durante o percurso.

A ideia é utlizar durante toda a viagem, prevista para durar aproximadamente trinta dias, prioritariamente a energia elétrica proporcionada pela bicicleta."



"A partir do “Grande Sertão: Veredas” identifiquei o percurso do jagunço Riobaldo Tatarana pelo sertão mineiro, atento aos saltos e reviravoltas da narrativa não-linear. Com efeito Riobaldo, o narrador personagem, vai e volta no tempo acompanhando o fluxo natural de sua memória, o que torna o traçado de seu percurso uma tarefa meticulosa, uma espécie de quebra-cabeças cartográfico. Uma grande contribuição nesse sentido foi o livro “Itinerário de Riobaldo Tatarana” do pesquisador Alan Vigiano, que nos anos 60 fez um levantamento e identificou centenas de topônimos encontrados no romance; outro livro fundamental foi o “Boiada”, edição fac-similar da caderneta de anotações do próprio João Guimarães Rosa, escrita durante sua viagem com a comitiva de Manoel Nardy em maio de 1952 conduzindo uma boiada pelos campos gerais.

Com essas referências estabeleci um roteiro junto com dois colaboradores ( um designer e um geógrafo) transpondo para o sertão real o que foi possível transpor, ou ainda, o que restou do sertão imaginário do romance. É certo que localidades mudaram de nome dos anos 50 para cá, alguns lugarejos, fazendas e veredas desapareceram. Não há dúvidas também que muitos nomes foram trocados ou criados pelo escritor. Muitos dos locais por onde Riobaldo andou, todavia, puderam ser identificados, e é por essas trilhas que resistem no sertão que pretendo passar."
grandesertãoveredas  grandesertão  audio  music  makelyka  joãoguimarãesrosa  guimarãesrosa  riobaldotatarana  bikes  biking  brasil  brazil  maps  mapping  poty 
april 2014 by robertogreco
The ambassadors of the hinterlands [Diplomacy influenced the literature of Vinicius de Moraes, Guimarães Rosa and João Cabral] | Revista Pesquisa FAPESP
"If there are differences among the authors, there is, nevertheless, one similar point: the three were diplomats. “More than a coincidence, diplomatic work, which entails coming into closer contact with the exterior aspects of a system, an opening to a set of differences in social, cultural and political life, enabled the articulation of the extremely heterogeneous projects of all three of them, with different esthetic pathways, but sharing a single concern: the tension between the line of discourse of the development-oriented Brazil of the elite and the line of discourse of the archaic and needy Brazil, whether rural or urban,” notes Menezes. These writers-diplomats corroded the notion of a closed, toughened regionalism, alien to any connection with the external world. At the same time, they go against the pretenses of a development-oriented State focused on the idea of national unity. Their texts emphasize the diverse identities of the country, Brazil’s multiplicity of cultures and of social needs,” he analyzes. Just as the movement of diplomatic writing is underscored by “de-territorialization.”

These writers-diplomats were travelers in a Brazil lost in the labyrinths of modernization. “The tension created in the spirit at the same time bureaucratic (they were civil servants) and also as travelers casts a piercing look upon those native ‘foreigners’ that wander around their country like the mass of post-war refugees seeking a home. The dislocation, the exile, the complex adaptation to different lands, which are part of the life of diplomats, contributed to the de-territorialization of their thinking,” assesses the researcher. The social reality revealed in their texts is addressed from an overseas viewpoint.

“Diplomatic writing is suspicious of a limited link with places. Cabral, Rosa and Vinicius know that they cannot write ‘from within,’ as they lack the speaking style of the peasant or the inhabitant of the shantytowns. That is why they created ‘spaces from without,’ in which they have voices that resonate from ‘within’. This boundary-based perspective, that comes neither within nor from without, pursues a constant dialogue among various propositions, giving rise to new reflections, new esthetic configurations,” notes Menezes.

On the itinerary of the reverberations of the writer diplomats, approximations and translations among the cultural production of several parts of the world arise, precisely during times when the country was experiencing its belated modernity, when local production was articulating itself with foreign manufacturing and the concepts of dependence started to be influenced by the concepts of cultural simultaneity, even though the idea of modernity in Brazil arose before the modernization process. Brasilia is a symbol of this, as the capital of an “avant-gardist” state in a nation in which many modernity values had not yet even been assimilated. “In this, the three writers were wise to resort to diplomatic writing, in particular to the use of affection for the ‘other’ in the acknowledgement of foreignness in relation to established places,” analyses the researcher.

Diplomatic work functions like an allegory of the process of literary creation that involves writing as a type of relation with otherness. Hence the empathetic image that the authors reflect about these “foreigners” to modernity moving about Brazil’s territory."



“The writer-diplomats, when dealing with the politics of writing, know that the most important political work is not tied to the visible physical frontiers, but to the means of separating the invisible lines of prejudice, of discrimination,” states Menezes. It is in this “minor place” that they try to corrode separation and exclusion. “In official diplomacy, the work is carried out via the political, legal and economic institutions. In ‘minor diplomacy,’ it is conducted, for example, by the representation of the simple folks exposed to the cruelty of reality, by their way of dealing with biopolitics, with the limits that they must cross every single day in order to survive,” he observes. “Translating internal needs into external possibilities to expand the power of control of a society over its destiny is, to my mind, the task of foreign policy,” wrote the diplomat and University of São Paulo professor Celso Lafer in O Itamaraty na cultura brasileira [The Brazilian Foreign Office in Brazilian culture] (Instituto Rio Branco, 2001).

“Rosa’s ability to use various linguistic registers was, on the literary plane, the perfect correlate of the first item on any diplomatic agenda: the establishment of borders, the basis of foreign policy, which assumes that there is a difference between that which is ‘internal’ (the national space) and that which is ‘external’ (the world),” Lafer analyzes. “He translated in his literature one of the basic principles of Brazilian diplomacy, a line of action geared toward transforming our borders from classical, separation borders into modern cooperation borders,” he assesses. Unlike Rosa and Cabral, who experienced the hinterlands during their childhoods, Vinicius only gets to know the North and the Northeast of the country at the age of 29, in 1942. He joined the foreign office when he was discovering the country and internalizing his new ‘Brazilianness’ and, as a result, his artistic production started being influenced by the social reality of Brazil and popular culture."



"“The writings of the trio are not based on class struggles, parties or power, but on mediations, on negotiations,” observes Menezes. In the text of the three diplomats, a number of uncomfortable images arise that clash with the discourse of the development-oriented nation symbolized by Brasilia, which the trio, each in his own way, was able to admire and to criticize.

“During a time when the country wanted to join the concert of nations, investing in modernization and in progress, they trusted in the future, but mistrusted the processes employed to lead the country into this new political and economic stage,” notes the researcher. So they ventured into the hinterlands, hills and to the outskirts of the cities, in an attempt to acknowledge the value of the popular culture and creations. “The ‘minor diplomacy’ and the ‘frontier poetics’ had to find something capable of forcing thinking to emerge from its interiority. “The movement toward the exterior of conventional places contributed to the development of the imagination and to the authors’ critical view,” says Menezes."
diplomats  diplomacy  writing  interstitialspaces  outsiders  joãoguimarãesrosa  guimarãesrosa  joãocabraldemeloneto  viniciusdemoraes  2012  translation  literature  otherness  brasil  brazil  borders  sertão  hinterlands  culture  prejudice  discrimination  separation  exclusion  biopolitics  celsolafer  carloshaag  mediations  negotiations  modernism  modernization  progress  ronieremenezes  interstitial 
january 2014 by robertogreco
OUTWARD FROM NOTHINGNESS » Interview: Felipe W.Martinez On Translating Joao Guimarães Rosa
"Translation is a utopian concept. In truth, all translation is impossible. This is even the case with translations that are generally accepted as “definitive” (for the time). Chapman’s 17th century translation of Homer’s Iliad was once the definitive English translation, but was replaced a hundred years later by Alexander Pope’s translation. Of course, this provisional nature of the product of translation is no reason to throw our hands up and say enough! –Which is what’s seemed to happen with the work of Guimarães Rosa in many cases, it’s been largely absent from the English language for decades now.

When I said just now that Translation is impossible, I mean the utopian concept of translation is impossible. Just as determining an ideal reader is impossible, and, essentially, communication, in many ways, is impossible. Walter Benjamin asks: “what does a work of Literature really say? A work of literature tells very little to those who understand it–even they must grapple to “understand” the work. Ultimately it is the work of effort that matters, the willingness of the translator to approach Guimarães Rosa. The process. The toil, the struggle, the attempt to point in the direction of art."



"I learned Portuguese for a year before I began the translation, not because I thought I could translate Grande Sertão: Veredas, but just because I wanted to be able to read Grande Sertão: Veredas. As I learned the language, I inched closer and closer to being able to read the original. Once I could, I realized I could record what I was reading, and that, with research and the right dictionaries, I could even translate. What are translators after all but readers who write what they read? The renowned translator, Gregory Rabassa, translated One Hundred Years of Solitude as he read the work for the first time. I’m following his lead in this translation. I’m discovering the work and translating it at the same time."



"I think Guimarães Rosa once said something to the effect of You can tell a man by the way he tells his stories, the words he uses. I’m paraphrasing. So, man creates himself through his language, and that language gives shape to his world. The only way to change himself and the world, is to change his language. Essentially: the words make the man. But Guimarães Rosa’s neologisms were not invented merely to complicate the work. True, a single neologism might be made up of three similar words, from three different languages, with two or three possible meanings–but, he knew what he was doing. He was drawing life out of every language he could touch upon, modern and ancient, present and lost, new and, sometimes, invented, all in attempt to more fully translate the world around and inside of him. This does complicate the translation process, but only to the extent that we can’t ever be certain we’ve grasped the author’s complete intention. I consult an array of dictionaries when translating. To translate a fragment of the author’s intention, I think, can be just as amazing as anything we might expect from a perfect/complete translation. The Brazilian poet, Haroldo de Campos, quotes Goethe in an epigram to one of his poem: “Every entelechy is, namely, a fragment of eternity.” I always think about this."
felipemartinez  2013  guimarãesrosa  joãoguimarãesrosa  brasil  brazil  translation  portuguese  walterbenjamin  goethe  haroldodecampos  neologisms 
december 2013 by robertogreco
HAVE YOU SEEN THIS MODERNIST?: JOÃO GUIMARÃES ROSA | HTMLGIANT
"This is the story: in 1956, in Brazil, a forty-eight year old Brazilian diplomat published a singular novel entitled Grande Sertão: Veredas, a 500-page monologue, set in the North-Eastern Backlands of Brazil (a stark contrast to the stereotypical and often sought after clear-watered beaches of Rio de Janeiro, home to Carnival). The novel follows the exploits of a bandit for hire, Riobaldo, as he questions the existence of the devil and his love for a fellow bandit. Deemed one of the most important works of modernist literature in Brazil shortly after being published there, Guimarães Rosa was elevated to stand beside Clarice Lispector as one of the two most important Brazilian writers since Machado de Assis. With the onset of the Latin American Boom in the U.S. in the early 1960s, and with the success of another Brazilian writer, Jorge Amado, in translation in the U.S., publisher Alfred A. Knopf set its sights on Guimarães Rosa and Grande Sertão: Veredas. In 1963 an English translation of Grande Sertão: Veredas was published in the U.S. It’s English title: The Devil to Pay in the Backlands. The translator: Harriet de Onís, a very reputable translator of Spanish and Portuguese, but no match for Guimarães Rosa. The Devil to Pay in the Backlands was deemed a sham for its strategic attempt to achieve readability over anything else—which meant eliminating Guimarães Rosa’s linguistic innovations, one of the most significant marks of the novel. You see, Guimarães Rosa had a working knowledge of something like twelve languages, and was as erudite as Jorge Luis Borges. He spun the Portuguese language like Joyce did English, and incorporated everything from the archaic to the invented… So, in the beginning-end, The Devil to Pay in the Backlands didn’t sell well. And since the point of literature for big publishers is the translation of literature into dollars, The Devil to Pay in the Backlands was never reprinted as such. What happened after that? It’s hard to say. The short of it: Guimarães Rosa and his work was relegated to American universities and rarely mentioned outside again. Now, in Brazil, for the last fifty years, Guimarães Rosa has been a pillar of modernist literature. In other parts of the world too, they know it. But in the U.S., us, we’re just now learning…this isn’t the whole story of course. Just pieces of it. Real stories don’t come clean."
felipemartinez  2012  guimarãesrosa  joãoguimarãesrosa  brasil  brazil  translation  language 
december 2013 by robertogreco
REAR VIEW MIRROR #1 | REAR VIEW MIRROR
"We can argue that an English translation is possible, only the decision to take up the task has not yet been made. And it is in the light of this brilliant idea that I revisit the history, life and afterlife of Joao Guimarães Rosa’s work, with the hope that new generations of readers will expand their reading, thoughts and work beyond the political, geographical, cultural, and linguistic borders set by the narrow belief that we can learn only from that which falls within the scope of our own language.

I submit to the English reader that we should read João Guimarães Rosa now, especially now, when we live during a time in which we tout such words as globalization, hybridization, hyperconnectivity, and experimentalism . . . our goal: to ensure these terms are deeply reflected, through translation, in our new culture, which is, just as was Rosa’s world, constantly changing."
felipemartinez  2012  guimarãesrosa  joãoguimarãesrosa  brasil  brazil  translation  language 
december 2013 by robertogreco
The final sentence.
Crossing.

— João Guimarães Rosa, from The Devil to Pay in the Backlands
joãoguimarãesrosa  finalsentences  literature  grandesertão  guimarãesrosa  grandesertãoveredas 
december 2013 by robertogreco
Grande Sertão: Veredas by João Guimarães Rosa | W.Martinez | continent.
"What is a translation that stalls comprehension? That, when read, parsed, obfuscates comprehension through any language – English, Portuguese.

It is inevitable that readers expect fidelity from translations. That language mirror with a sort of precision that enables the reader to become of another location, condition, to grasp in English in a similar vein as readers of Portuguese might from João Guimarães Rosa’s GRANDE SERTÃO: VEREDAS.

There is the expectation that translations enable mobility. That what was written in one language be accessible in another. And that a translator is to serve as a mediator, acting ultimately in service to ideas within the source text. To disperse them.

However, this notion of translation is partly antithetical to the ideas in Rosa’s work. Or, alternately, to convey the despair of terrain slipping beneath one’s feet, and to encounter the heightened suspense of magic, the translation, as part of its strategy, cannot devotedly rely on its original language, not as its source text.

The work undertaken by Felipe W.Martinez is a new form of translation that risks everything in order to encounter the same treacherous knowing Rosa had traversed. And it takes its risks by not taking risks: by being, almost word for word, a literal translation. This is an approach that reductively converts, as opposed to translates. The idiomatic differences between English and Portuguese are not accented. The syntax is not finessed.

Liberties are not assumed on account of improving readability. What stands, resoundingly amid such absences, is the awakened challenge of reading. The genuine peril of not knowing.

That is, this translation, one that purports to know nothing, creates access into the guileful world Rosa had created in Portuguese. But not by translating.

If anything, GRANDE SERTÃO: VEREDAS is speaking a cosmic language through a linguistic one. And W.Martinez does us the service of recognizing this, as what configures the shapes of words and sentences is not as simple as neologisms, portmanteaus, and digressions, but as terrifying as the path the fool traverses: all paths.

As such, this translation doesn’t speak English, just as the original does not speak Portuguese. It is the assemblage of paradox as a new logic that can be navigated, if only one could suspend the comfort of readability, of expectation. If one could descend a mountain in the pitch dark of night, each step shocking the body, unable to acclimate to the unleveled heights.

Without a doubt, the translation is incongruous to the Portuguese. Taking a small excerpt to compare:
Eh, well, thereafter, the rest the Sir provide: comes the bread, comes the hand, comes the god, comes the dog.


What is striking is the interplay between “god” and “dog”. To most English speakers, this anagram is a familiar one. But in Portuguese the words god (“deus”) and dog (“cão”) are not so closely linked. In fact, there is no direct mention of “deus” in Rosa’s text:
Eh, pois, empós, o resto o senhor prove: vem o pão, vem a mão, vem o são, vem o cão.


Both are fascinating. In Rosa’s excerpt, the rhythm is unmistakable and precise, despite, of course, the indices of hesitation: the commas, the Eh, the uncomfortable way of searching through prolongation and wait. This is the sort of paradox Rosa can engage within a sentence. W.Martinez’s does this as well, at a scale that reverberates beyond the sentence, and with one noticeable addition: deus.

What may appear to be an overstep, to add such a weighted word that draws out wordplay but is, nevertheless, not in the source text, is exemplary of risk. The translation buzzes because of it. This is because throughout the text we encounter dogs frequently, as some primal beast on par with humans. The dog is one that masters and can be mastered. A creature that is at times its face, and at others a mask. It is a powerful presence. For the translator to be attuned to the reverent undercurrent attributed to this animal, and create within the translation such charged play in English from what was only an implication in Portuguese, is in tribute to the grand beauty within dissonance.

What aberrant modes of writing and translation can teach us most assuredly, is that things, words, are not in states of rightness or wrongness, but of oscillation. This isn’t so different from what Rosa says himself:

The Sir look…see: the most important and beautiful, of the world, is this: that the people are not always same, still were not completed — but that they go always shifting. They tune or detune.

We find this so readily in W.Martinez’s translation, this tuning and detuning."

[Long sample of the translation with original Portuguese]

"INTERVIEW: FELIPE W.MARTINEZ (Interviewed by Ben Segal)


1) How did you come to be interested in João Guimarães Rosa?

While I was studying Literature & Writing at UC San Diego, a friend produced and surprised me with a wonderful and mysterious xerox copy of The Devil to Pay in the Backlands, the so-called failed, 1963 English translation of Grande Sertão: Veredas. The book, as a book and not a translation, to me was outstanding, and struck me as magnificently as had other works I was encountering at the time, by writers like James Joyce, Juan Rulfo, Samuel Beckett, and William Faulkner, among others.

When I finished reading the Devil to Pay in the Backlands, I took to the business of seeking out more work from the author. It was then that I learned that Guimarães Rosa was not like the other authors I mentioned, insofar as no one I knew had read anything by him, and very few people (outside of

University departments of Spanish & Portuguese) were talking about him. This led to the realization that none of his books were for sale, and hadn't been in decades.


2) Can you talk about the history of the book's reception in 1963 and its bizarre history of failed English translations?

In 1963 the North American publisher, Alfred A. Knopf--after rejecting publishing deals with many other soon-to-be rising stars of the Latin American Boom (including Jorge Luis Borges and Julio Cortázar)--decided to undertake what is today considered by many to be the most complex, Post-World War II novel in all of Latin America: João Guimarães Rosa’s Grande Sertão: Veredas. The English translator, Harriet De Onís, was no match for Rosa’s linguistic ingenuity and vast erudition. Her experience was in translation from Spanish, and while her willingness to undertake the task was commendable, it was flawed from the outset. She opted to make the text approachable to English readers, whereas it was nowhere near approachable for Brazilians in the original Portuguese. Imagine: Finnegans Wake translated into plain English for the general reader. Well, no one would like it, and so was the case with The Devil to Pay in the Backlands. Brazilianist scholars called it a sham, a completely deficient simplification of a masterpiece. General readers were either unimpressed or not reached. Sales of the translation declined continuously after the initial launch, and after that, the text was never published again. Some amazingly qualified translators have tried to retranslate Grande Sertão: Veredas since 1963 to no avail. Subsequently, Knopf translated two more works by Guimarães Rosa, two collections of short stories. Neither was published beyond the initial run.


3) To a reader unfamiliar with GR's work, the original English translation appears much more fluid than your version. You've explained why that fluidity is in fact a problem in the HDO translation. Can you talk a little bit about how difficult this is even for readers of Portuguese and the ways in which this is a highly disrupted and jarring text.

The novel in the original Portuguese is so disjointed, fragmented and seemingly desultory, both on a narrative and linguistic level, that both practiced and unpracticed readers alike initially struggle to gain, and then are rarely able to maintain their footing on first read. In this sense the common analogy drawn between GS: V and Ulysses by James Joyce is justifiable: it's a masterpiece of its language, though relatively few native speakers are able to understand it. This is in large part due to the fact that Guimarães Rosa was not only extremely erudite, but he had travelled much, and, from as early as the age of six, studied languages. He spoke six and read in fourteen others. His work is artfully overrun by neologisms, portmanteaus, words colloquial and archaic, many altogether invented, rearranged syntaxes, digressions, meanderings, illusions, recollections, etc. Another novel one might think of is Gravity’s Rainbow by Thomas Pynchon. On several planes, Pynchon is the closest thing to a North American Guimarães Rosa.


3b) Can you talk about some of the strategies you've employed in order to create awkwardness and difficulty, and how that difficulty might be different in the English version from in the original Portuguese?

Guimarães Rosa said of his work that he didn’t wish to let the reader rely on clichés, that he wished to shock the reader at every moment, just like life. He considered this in every sense. No cliché words, phrases, grammars, or plots. This was not to be difficult, but to create at every word and turn of phrase, something the reader had not read or experienced before, yet could comprehend or intuit.
I tried to follow in this lead and before I began, I established these rules for myself:

● translate all neologisms into English (in the De Onís translation, neologisms were in many cases omitted; invented words replaced with standard words they signified)

● syntax remains faithful to the original (this in an attempt to see that the English language and its readers adapt to the Portuguese structures of signification rather than the other way around)

● punctuation remains unchanged

… [more]
translation  joãoguimarãesrosa  brasil  brazil  literature  nancyfumero  2013  portuguese  bensegal  grandesertão  guimarãesrosa  felipemartinez  flow  fluidity  grandesertãoveredas 
december 2013 by robertogreco
Paris Review - The Art of Fiction No. 120, Mario Vargas Llosa ["I realized then that we [Latin Americans] have extremely interesting writers—the novelists perhaps less so than the essayists or poets.…]
"…Sarmiento, for example, who never wrote a novel, is in my opinion one of the greatest storytellers Latin America has produced; his Facundo is a masterwork. But if I were forced to choose one name, I would have to say Borges, because the world he creates seems to me to be absolutely original. Aside from his enormous originality, he is also endowed with a tremendous imagination and culture that are expressly his own. And then of course there is the language of Borges, which in a sense broke with our tradition and opened a new one. Spanish is a language that tends toward exuberance, proliferation, profusion. Our great writers have all been prolix, from Cervantes to Ortega y Gasset, Valle-Inclán, or Alfonso Reyes. Borges is the opposite—all concision, economy, and precision. He is the only writer in the Spanish language who has almost as many ideas as he has words. He’s one of the great writers of our time." [That's just a snip. There's lots more inside.]
mariovargasllosa  latinamerica  literature  borges  sarmiento  facundo  interviews  fscottfitzgerald  dospassos  writing  reading  perú  victorhugo  floratristan  guimarãesrosa  sartre  dostoyevsky  balzac  flaubert  tolstoy  nathanielhawthorne  charlesdickens  hermanmelville  gabrielgarcíamárquez  gabo  cervantes  spain  spanish  español  language  history  politics  ideology  happiness  unhappiness  parisreview  depression  josélezamalima  hemingway  joãoguimarãesrosa  españa  williamfaulkner  jean-paulsartre 
october 2010 by robertogreco
A Conversation With Dr. David Treece « On The Devil To Pay In The Backlands, or Grande Sertão: Veredas
"I think what happens is that the translators who have translated Guimarães Rosa so far, somehow felt compelled to consciously or unconsciously tame the wildness of his writing, which is very unorthodox, which is very poetic in the end, it’s a prose that’s very close to the volatility of poetry, poetic language, and that’s what makes it extraordinarily unique. It’s pushing at the boundaries of what you can say in prose. What happens in the translations of the short stories, and probably what happens in The Devil to Pay in the Backlands, is that the poetry is transformed into prose, so that the sense of a world in transformation as a kind of magical, transformative experience, is lost and we’re left with the events, which sometimes are powerful enough to have some effect, but which, linguistically, at the level of the narration itself, the guts are taken out of it."

[See also: http://thedeviltopayinthebacklands.wordpress.com/2010/05/01/a-conversation-with-dr-luiz-f-valente/ alt link http://amissingbook.com/2010/05/01/a-conversation-with-dr-luiz-f-valente/ ]
guimarãesrosa  translation  davidtreece  joãoguimarãesrosa  felipemartinez 
july 2010 by robertogreco
A Journey Round My Skull: Joao Guimaraes Rosa, Third Bank of the River, Flaps
"No actual credit is given for these images. The flap says "Front of jacket illustration by David Holzman, flaps adapted from the Brazilian edition." I haven't been able to find a scan of the 1962 Brazilian edition, but here is one from the 70s, and I assume its illustrations come from the '62 (first) edition:"

[See also: http://ajourneyroundmyskull.blogspot.com/2008/03/joo-guimares-rosa.html AND http://ajourneyroundmyskull.blogspot.com/2008/01/devil-to-pay-in-backlands.html ]
guimarãesrosa  books  drawings  illustrations  pimeirasestórias  joãoguimarãesrosa 
july 2010 by robertogreco
Entrevista: João Guimarães Rosa, por Lenice Guimarães de Paula Pitanguy
"Guimarães Rosa, por hábito, não concedia entrevistas. Era contrário a este tipo de "ostentação". Fez, entanto, pelo menos uma exceção, por motivo de afeto. Sua prima, Lenice Guimarães de Paula Pitanguy, menina, enviou-lhe um questionário, como razão de tarefa escolar. As perguntas foram respondidas por carta, aqui reproduzida com a autorização da destinatária, mantendo-se a sua grafia original. [Silvana Guimarães]"

[via: http://thedeviltopayinthebacklands.wordpress.com/2010/06/24/school-assignment/ (translation there) alt link: http://amissingbook.com/2010/06/24/school-assignment/ ]
guimarãesrosa  interviews  brasil  literature  joãoguimarãesrosa  brazil 
july 2010 by robertogreco
On The Devil To Pay In The Backlands, or Grande Sertão: Veredas
"My name is Felipe Martinez and I am an independent researcher from San Diego, California. I am investigating the absence of Brazilian author João Guimarães Rosa (1908-1967) in the English-speaking world. This investigation aims to acquaint the reader with a novel counted as one of the greatest of the twentieth century. I welcome any and all inquiries, submissions of articles, essays, translations, etc. concerning João Guimarães Rosa. I may be contacted at AMISSINGBOOK@gmail.com."
guimarãesrosa  grandesertão  literature  translation  english  brasil  portuguese  joãoguimarãesrosa  brazil  felipemartinez  grandesertãoveredas 
july 2010 by robertogreco
Grande Sertão: Veredas « Binary|Simulacra
"João Guimarães Rosa’s great novel, Grande Sertão: Veredas [The Devil to Pay in the Backlands], was originally published in 1956 in Brazil. Apparently a translator’s enigma due to its highly idiosyncratic Portuguese text, the only English translation of the novel was published in 1963 by Knopf; it is currently out of print." [links to full text on Scribd]
brasil  literature  guimarãesrosa  grandesertão  joãoguimarãesrosa  brazil  grandesertãoveredas 
july 2010 by robertogreco
Guimarães Rosa
"Não nasci para isso, penso. Não é esta, digo como dizia Don Juan, sempre 'après avoir couché avec...’ Primeiramente, repugna-me qualquer trabalho material só posso agir satisfeito no terreno das teorias, dos textos, do raciocínio puro, dos subjetivismos. Sou um jogador de xadrez nunca pude, por exemplo, com o bilhar ou com o futebol."

[Update: 19 July 2010: Looks like this page is dead, try: http://www.releituras.com/guimarosa_bio_imp.asp OR http://www.revistasagarana.com.br/revista31/sertaodasgerais.htm ]
guimarãesrosa  brasil  literature  novels  books  joãoguimarãesrosa  brazil 
october 2007 by robertogreco
The Devil to Pay in the Backlands - Wikipedia
"Most of the book's spirit is however lost in translation, as the Portuguese original is written in a register that is both archaic and colloquial, making it a very difficult book to translate. The combination of its size, linguistic oddness and polemic themes caused a shock when it was published, but now it is considered one of the most important novels of South American literature."
guimarãesrosa  brasil  literature  novels  books  joãoguimarãesrosa  brazil 
october 2007 by robertogreco

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