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	<title>ambos &#187; Exile Editions</title>
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	<description>Québec literature in translation</description>
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		<title>Hollywood</title>
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		<pubDate>Tue, 16 Sep 2014 16:21:44 +0000</pubDate>
		<dc:creator>ambos</dc:creator>
				<category><![CDATA[Review]]></category>
		<category><![CDATA[Translation]]></category>
		<category><![CDATA[Exile Editions]]></category>
		<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Kathryn Gabinet-Kroo]]></category>
		<category><![CDATA[Leméac]]></category>
		<category><![CDATA[Marc Séguin]]></category>
		<category><![CDATA[Pablo Strauss]]></category>
		<category><![CDATA[published in translation]]></category>

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		<description><![CDATA[Marc Séguin vividly describes the mundane but germane moments of being that make up a life.]]></description>
				<content:encoded><![CDATA[<p style="font-size: 16px; font-family: Open Sans, sans serif; font-color: #000; font weight: lighter; letter-spacing: 0.18em; text-indent: 0em;">a review by Pablo Strauss</p>
<p><span class="dropcap">N</span>oted painter Marc Séguin’s first novel, <em>Poacher’s Faith</em> (<a href="http://ambos.ca/poachers-faith/" target="_blank">reviewed and excerpted here</a>), won the 2013 Prix des collégiens and was translated by Kathryn Gabinet-Kroo, who now brings us his second, <em>Hollywood: A New York Love Story</em>. Where <em>Poacher’s Faith</em> focused on a memorable protagonist, <em>Hollywood</em> is borne along by an ensemble cast. Most compelling is Branka, who lives through the Yugoslav wars only to be randomly gunned down by a stray bullet on a snowy Christmas Eve in New Jersey. Though she dies in the opening pages (no spoiler here), Branka’s sly observations and cynical yet spirited ways are brought to life through the memories of her lover, the novel’s unnamed narrator, as he wanders the streets of New York, drunken and grief-stricken, trying to make sense of it all. He is taken in by Henry and Sarah, an older couple living off-the-grid in a converted garage, whose backstory and tender way of living are quietly affecting. Perhaps the most mysterious character is Stan, an astronaut currently in orbit and the public eye, whose past is intertwined with both Branka’s and the narrator’s.</p>
<p><a href="http://www.labibleurbaine.com/litterature/hollywood-de-marc-seguin-un-roman-incontournable-de-la-litterature-quebecoise/" target="_blank">One glowing review (in French)</a> claims that <em>Hollywood</em>’s greatest strength lies not in the story but in the reflections peppered throughout; the book is “chock-full of touching passages which lead us to reflect on the various stages of our lives.” French-language novels generally tend to be much more abstract and discursive than those in the English “show, don’t tell” tradition. Where English readers are used to wading through paragraphs and often pages of people saying and doing things before the narrator serves up a flash of insight<em></em>, like a light dessert after a meal, in French-language fiction these proportions are frequently reversed. This difference can be one more layer of “foreignness” for readers and translators. As the language we speak determines not only the words we use but the very patterns and contours of our thoughts, so are novels in different languages shaped by factors more fundamental than settings and social mores. Not only the flesh but also the bones beneath are different.</p>
<p>Much of <em>Hollywood</em> – too much for this reviewer – is given over to philosophical discussion of the big questions: death, love, coincidence, finding meaning in an inscrutable world. The plot holding these discussions in place is intricate, hinging on coincidences that push the bounds of the probable. (But then again, doesn’t life?) What makes <em>Hollywood</em> a powerful, memorable novel are the characters. Séguin vividly describes the mundane but germane moments of being that make up a life – in childhood and adolescence, in the early days of coupledom and the peaceful maturity of marriage, in discovering and living in new cities where all is sparkling and new, for a while. Branka, Henry, Sarah: these characters breathe and eat and laugh and cry, and remain with us long after we have put down the book. ≈</p>
<p>&nbsp;</p>
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<p style="font-size: 75%; font-family: Open Sans, sans serif; font-weight: bold; letter-spacing: 0.18em;">IN TRANSLATION</p>
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<p style="font-size: 160%; font-family: Open Sans, sans serif; font-color: #000;">From <em>Hollywood: A New York Love Story</em></p>
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<p style="font-size: 85%; font-family: Open Sans, sans serif; font-color: #000; font weight: lighter; letter-spacing: 0.2em; text-indent: 0em;">by Marc Séguin<br />
≈ translated by Kathryn Gabinet-Kroo (Exile Editions, 2014)</p>
<p>&nbsp;</p>
<p><span class="dropcap">S</span>tanislas Konchenko died, suffocated to death by the cosmic void. Once he’d exhausted his supply of oxygen. A few billion of us had watched his fatal orbit on Christmas Eve, 2009. He died at the speed of 28,000 kilometres per hour, just over the Antarctic. An unquestionable Guinness record. All over the planet, amateur astronomers tried to see and follow him with their telescopes for a few seconds as he circled around the Earth. A satellite body visible from here below. Stan.</p>
<p>Nobody gave a damn about Chechnya. People talked only about this man in space who was going to die for a cause long forgotten. Proof once again that death eclipses the daily routine. We remember people who set themselves on fire or go on a hunger strike; we admire the act but quickly forget the reason for it. Oh, yeah! What was the reason, again? It was a spectacle. Unique. A first. Fuck the cause, but the form! The form was without precedent: the very first time ever that a man would die not on Earth. To forget that we’re starving for meaning. We would base works and chronicles on it. A man suffocated from lack of air circles around a planet that appears blue precisely because of the oxygen in its atmosphere. His body will never decompose. He will be embalmed by the vacuum and the cold. An eternal ellipse. Millennia. He has joined the tons of orbital trash that evolution and our conquests have produced. Like ideologies, like the one whose uniform he wore – a Ukrainian flag on the right shoulder and a Chechen flag on the left – and that he seemed to be trying to defend. Except that, back on Earth, ideas moulder after a few decades, after one or two successes and a handful of failures. He was still in love with a woman who hadn’t loved him for a long time. He would have liked to tell her in person, tell her first about the hate and then about the love. He had hoped to make amends. He had hoped for redemption and for all the words he had never managed to force from his mouth. Fragile and condemned. Horror and magnificence in the same body. The media’s attention was much more concerned with the first outer-space suicide than in the apparent political statements of a terrorist. Stan had had two appliqués embroidered to represent his origins: a Ukrainian flag for his father and a Chechen one for his mother. But the cameras had immediately focused on Chechnya, thinking they had found a critical explanation. They were wrong.</p>
<p>I often asked myself if it is easier to die during a settling of accounts. He had all the time in the world to shed his load as he floated, counting down the seconds remaining. Our youth in Saint-François-de-Sales. The years he spent in the Russian army, medical school, those few months in Sarajevo. Her. The years in Paris. The dream of becoming an astronaut. Then her once again.</p>
<p>It kept my mind occupied and even reassured me to know that a dead man was circling over my head. From that day on, there would truly be something up above us.</p>
<p>Stan Konchenko was my best friend when we were boys.</p>
<p style="text-align: center;">≈ ≈ ≈</p>
<p>In Saint-François-de-Sales, a small village fifty minutes south of Montreal, my friend Stanislas Konchenko was called Stan Kay. His parents had fled the USSR in the winter of 1969. His father, a weight-lifter, had won a silver medal in the 1968 Olympic Games in Munich and then took advantage of a competition in Italy a few weeks later to “jump the Wall.” He settled in Quebec because he’d seen images and a documentary on Expo 67. A farmer’s son on the Soviet Olympic team, he – with his wife, a Catholic nurse born in Chechnya – had decided to rebuild his life in Canada, where the land stretched out as far as the eye can see, just as it did in his homeland. This new country, brimming with hope, was an immense forest with fertile plains. He would manage. He would do what a man had to do: start a family, as men had done before him, and feed it. As honestly as possible. Tired each evening, resting on Sunday.</p>
<p>Stan was born on April 9, 1970. Nine months to the day after Neil Armstrong had walked on the moon. That’s not the kind of thing you can make up.</p>
<p>At night in bed, we’d talk by the light of a flashlight until his mother or mine came to tell us for the twentieth time that it was very late and that we should go to sleep. We were at that age where the hour has nothing to do with fatigue or sleep.</p>
<p>We built whole cities in the sand for our little cars, cities criss-crossed by roads, highways and tunnels. Several dozen Matchbox and Hotwheels cars. That was the theme of our play: cars. Later, we’d gather up these toys until our hands were full and to put them away, we’d hurl them pell-mell into the black plastic Sealtest milk crate. Where they stayed until we invented another world, the following day.</p>
<p>We built thousands of cities under a giant Manitoba maple, whose limbs we climbed and in which we could balance for long hours, hoping that Stan’s older sister would come home from school and decide to change her clothes in her room. Especially in summer, in the hope that she would put on a bathing suit. Through wear and tear and anticipation, our feet had rubbed the bark off the branches as we yearned for any stolen glimpse of flesh. A gift that became a magical memento, especially in bed at night, when fatigue does not always get the better of children.</p>
<p>We were in the same nursery school class, the only time we ever sat next to each other. It was a small village. Just one class for the first year of elementary school. The other years, when kids learn to read and write, the teachers separated us, as a precaution, they said. We used our scissors to carve cities and cars and airplanes and space shuttles into the varnished yellow wood of our desk tops. We were eleven years old when the space shuttle Columbia made its first flight in March 1981. Stan had been given a replica of it, a scale model to glue together, for his birthday. We assembled it on the kitchen table that same night, following the instructions to the letter.</p>
<p>We were always together. Playing marbles and dodge-ball, in the park, during vacations. We played hockey, like all good Russian and Canadian boys. His life was also my life. We lived through the same times. Frogs, grass snakes. Jumping our BMXs and Green Machines, putting nickels on the railroad track, the giant drain pipes into which we always went a little further, models to assemble, Lego blocks, sunburns, Kraft Dinner with hot dogs, a copy of Playboy, yellowed and creased. The summer we were fourteen, in 1984, his parents managed to get him a visa and bought him a plane ticket to go visit his grandparents in the USSR. The other end of the world.</p>
<p>That was the first time my heart was broken. Stan was going to experience things somewhere else without me. Everything had suddenly become too big, adults severe and unjust. And this Russia that was, at the time, still Communist and “evil.” We imagined it as grey and poor, with faces full of sad misery.</p>
<p>My parents had told me that the Russians lined up for a whole day to get toilet paper. Another whole day to get milk. And still another to get a dark-grey wool sweater. We made fun of Lada cars and a Belarusian farm tractor that a lowly neighbour had bought second-hand. Every time we saw it parked and at a standstill, we said that it must have broken down.</p>
<p>Stan returned at the end of the summer. But not completely, after all. He came back taken away from us. As in, my life here and the one over there. I know now that when you subtract all the lives you might have in a single life, the result is often a negative number. The connections we inherit are much stronger than the ones we build. Such ties are much easier to cut than to uproot.</p>
<p>Then one day like any other, three summers later, he told me he was going to continue his studies in the Soviet Army. We were seventeen. It was just before the Wall fell. The rules had been relaxed and the old countries welcomed their returning sons and daughters, no questions asked. I remember seeing heat lightning in the sky. Horizontal. We smoked a joint at the town rec centre, just next to the firehouse. He had repeated it: “in the army.” Since elementary school, he had wanted to be a fireman. It was agreed. I was mad at him.</p>
<p>And then he left. The hardest thing to understand was the difference that appeared where there had once been only perfect accord. Stan was brilliant. He would certainly become a doctor or a high-ranking officer. He had a kind of intelligence that few others possessed. He almost always understood everything immediately.</p>
<p>The Eastern countries, at that time, were the West’s third world. The official postcard for the absence of happiness: the meagre salary granted by the State, the total lack of culture, clothes all the same colour. That was how America pictured the other system. Serious, somber stares. The Coal Age.</p>
<p>Part of me envied him. All boys dream of the army. Soldier. It was an identity. One that takes many years to develop. I felt both admiration and a stab of contempt for the business of war. And a jealous desire. The best soldiers are the ones who always live on the ground floor of morality. And Stan was not a soldier. He was too smart to personally carry out this primary function. To me, it seemed to go against his nature.</p>
<p>When all the conditions come together, and we do not know why, a man’s true identity is always revealed to him. The milk left on the counter goes sour. Invariably. That’s what truth is: curdled milk.</p>
<p>We continued to write to each other. On paper. I kept all the green envelopes. Stamps with images of Leonid Brezhnev and Lenin. He completed medical school in four years. Then he decided the army was boring and asked if he could leave. Far from the stipulated number of days. The Iron Curtain had been torn down. The West had forced its way in. Stan didn’t want to become an officer in the military. He quit the official army. He wanted to get closer to the conflict. His mother was Chechen. We thought that he too was Christian Orthodox, and Stan never tried to refute the idea. His mother despised the Chechen rebels, who were all Muslims. He had wanted to go defend his mother’s religious values right away. Somewhere else.</p>
<p>Christians. Against Christians.</p>
<p>He ended up in Yugoslavia with Serbian soldiers, believing that he cared about an ethnic and moral conflict in a country with no natural resources. He joined up with the Serbs. Much more of a militia than an army. With a paycheque. A mercenary’s salary.</p>
<p style="text-align: center;">≈ ≈ ≈</p>
<p>The two of us had spent hundreds of hours together, firing at targets with the pellet guns we’d gotten for our tenth birthdays. We were normal boys. From apples, Seven-Up cans, aluminium pie plates, giant cucumbers and pumpkins in autumn, all the way up to twenty-five-cent coins at fifty metres. From a distance, Stan was a better shot than I was. We pretended that he was neutralizing the enemy at that distance while it was my mission to run toward the target and finish him off. We’d set up an over-ripe pumpkin or melon as a head atop a scarecrow that we’d made from worn-out, outgrown winter clothes stuffed with hay. Stan always hit the body. He could assess the effect of the wind on the projectile and make the necessary adjustments. Ballistic intelligence.</p>
<p>Of the former Yugoslavia, he knew only what the media had reported. A racial conflict based on religion. A real one. No fair play.With a more or less central command. Those are the worst wars. Dirty. Metastases scattered just about everywhere. Even to remote villages. Orders from headquarters were watered down along the too-long chain of command or were ignored. Factions formed, the social contract became the memory of an ancient and rather vague idea, and the distance from the centre revealed the unchanging nature of man, his violence.</p>
<p>Because of a jealous desire for happiness. Stan had chosen his camp.</p>
<p style="text-align: center;">≈ ≈ ≈</p>
<p>From the time we were five, Stan and I spent every day of our summer vacations playing together. At twelve, we had identical bicycles: two silver, five-speed Free Spirits. At dusk, we’d go to the sand pit, into the woods or to the houses under construction. Between the two-by-fours and the beams, in the framework structures. We felt good in these open places that had yet to be partitioned. The scent of spruce. We talked for hours. We used the pretext of action and games, but it was the thousands of hours of conversation that kept us together. That shaped us.</p>
<p>At the end of Rang Saint-Joseph was a pond a dozen metres wide, where as early as mid-July, the frogs were getting big enough for us to kill. Stan had come back from his vacation at Virginia Beach with some firecrackers. A true and precious treasure. Cherry bombs! Firecrackers were like naked girls: a gift you dared not hope for. Against all expectations, like a gold nugget or an old Playboy magazine, warped by years of humidity and found in an old abandoned barn.</p>
<p>The firecrackers came in packages of ten and we always calculated the best way to make use of them. No wastefulness. Some days we lit only one; on other, more extravagant days we lit up to three. We would catch frogs using a fishing line, a hook and square of red fabric for bait. Anything red: plastic, cardboard, a scrap of cloth, just so long as it was red. The frogs didn’t bite, but they were curious and would get close enough to a bit of cloth for us to catch them, yanking the line to catch them on the hook. Then we’d tie the firecracker to the frog with some baling twine, saying, “Ave, Caesar, your frog salutes you!” It made a sharp sound, the crack of a whip. Stan turned his back. He never went to see the casualties, whereas I found them to be half the attraction: I had to observe. We were normal boys in the face of death.</p>
<p>I no longer remember if we closed our eyes when the frog exploded. We probably did because I have no recollection of seeing it happen. Maybe we plugged our ears. A protective reflex. A brief second. Our brain is skilful. Clever, too. It usually manages to close itself off from anything that can damage it. That’s what we hope for. Or at least that we’re spared from as much harm as possible. Later, for adults, there’s also alcohol. Denial may be a survival reflex. A hypocritical survival. When we don’t want to believe in the atrocity of the moment, we first scream to ourselves words of disbelief: “Fuck, fuck, fuck!” An offence before taking the blow. Unless we’re a complete and utter victim, with the cold barrel of a gun jammed down our throat, we should never rely on resilience to bury things that are imposed on us against our will. Hope survives. “The right to vengeance should replace the right to equality in the Declaration of the Rights of Man.” Branka.</p>
<p>At night, when Stan and I talked for hours, we never mentioned the frogs we’d blown up.</p>
<p style="text-align: center;">≈ ≈ ≈</p>
<p>At Henry and Sarah’s.</p>
<p>The sofa-bed I was lying on must have been put into service on a thousand other nights. And on a few Christmas Eves. It had a thin mattress, with a hole in the middle so deep that I couldn’t turn over or sleep on my side. I was pretty pissed off at the person, man or woman, who’d left his imprint there. Through a skylight improvised from a piece of fiberglass, I saw the moon behind a veil of clouds. It had stopped snowing. Only once had I seen the sun and the moon at the same time. It was in the middle of the Saint Lawrence River, on an island in the Île-aux-Grues archipelago. Naturally, I was moved by the phenomenon. When we can find signs that interrupt everyday life, we get emotional. A simple unexplained coincidence is usually enough to make us feel special. Other civilizations consider lunar and solar eclipses to be sacred. Divine compensations.</p>
<p>And whom will we trust too easily? In what respect? Will they one day manage to prove that the Earth is not round and that it actually is at the centre of the universe. Nothing up to this point has been able to prove otherwise. My planet is the smallest known point at the centre of the entire universe. Our equipment simply can’t prove it yet. The failure of science.</p>
<p>Sarah collected dolls. I have always hated dolls. Stan and I hung his youngest sister’s in the stairwell at their house, across from the front door, so she’d see them when she came home from school. They all met the same fate: Raggedy Ann, Cabbage Patch, Strawberry Shortcake and all her friends, even the ones with porcelain heads. We made slip knots, put them around their necks and gently pushed them into the void. It made a snapping noise. Sometimes the head and the body came apart but their expression never changed. They had a factory smile or a hole to pretend they were drinking a baby-bottle, and it gave them a louche look at night. Dolls, each and every one of them, are always far too happy.</p>
<p>Sarah was born in Kansas. But her family moved to Missouri when she was five. Raised in Saint Louis, she had kept nothing of Kansas but her parents’ accent. In the early 1950s, French was taught as a second language in good American schools. She once met Cassius Clay. She had liked boxing ever since. She also liked to play cards, always with a magnifying glass that she waved before her eye, saying she was watching for cheaters. Even when she was playing solitaire. She must be funny. In the past, she never used to get out of a car before her man came to open the door for her. That was how it was. “A woman of principle,” Henry told me. Gloves, glasses, hands on the knees and a handbag that always matched the shoes, colours and textures.</p>
<p>And then one day, something broke.</p>
<p>Henry was born in Montreal. To a French-Canadian mother and an American father. He used his American passport to enlist in the army when he was eighteen and shipped out to the other end of the world, to Vietnam, to defend Liberty and kill “Chinese” communists. He left happy and proud, if a bit nervous as he faced the unknown since this was the first time he’d traveled. He did not return equal to what he’d been when he left. A shortage of humanity. And especially of faith. Not just the sort that inspires the pastor on Saturday but the kind that can mark the border between a before and an after, when men are roused by the profound and ancestral nature of war.</p>
<p>In one sense, this fissure is what made him interesting for most folks. In other people’s estimation, he had for years maintained the illusion of having existed because he’d gone to war. He had said, “Forget the jungle and the assault weapon; the biggest revolutions happened while I was sitting on a chair at home, silent, in love. Love rarely reveals itself, but leaves its traces, like bullet holes, and they bleed for a long, long time.</p>
<p>Henry and Sarah had written many letters to each other during the Vietnam War. Sarah’s letters had been anchors for Henry and Henry’s had been beacons for Sarah. The mailbox or the voice of the corporal who delivered the mail. Each time brought hope and anticipation of the invisible thread. Tied to each other.</p>
<p>Words had remained full of meaning and truth for the two of them. It is broken promises that kill. For years, Sarah had rewritten, in a little notebook whose pages she tore out, sentences that she had read here and there in newspapers, journals, magazines, essays, poems and novels. Like people who believe what they read. Then she glued these scraps of paper all over the place. On the metal cupboard above an old water trough once used to check tires for air leaks: A peacock has too little in its head and far too much in its backside. Or just above the garbage pail: Ignorance won’t kill you but it might make you sweat. She had been a subscriber to the New Yorker almost her entire life, up until 1980.</p>
<p>I had gotten up to piss. I repeated the phrase as I left the bathroom, to memorize it, because I was still feeling the effects of the alcohol and Henry had looked at me as he raised his eyes to the ceiling. Through this gesture, you could see that he still loved Sarah. It’s indifference that you should be wary of. My head slowly cleared. They were listening to both ABC and NPR. National Public Radio. They hated the religious stations. “Too busy with their debts and their fundraising.”</p>
<p>And I began to have regrets. Or rather, to suddenly understand the numbers. It was through this subtraction that I felt I had truly loved Branka. That was yesterday. Today was Christmas Day, the 25th. I believe I had told her so often enough. Why is it only through its absence that we understand the weight of a presence?</p>
<p>Too Much Drama. That was the title of a book left lying on top of the toilet tank.</p>
<p style="text-align: center;">≈ ≈ ≈</p>
<p>“At twelve, I understood that there was a ton of things we can never control,” Branka had said last fall when I’d asked her if she would have wanted to change the past. “The past is just a former present.”</p>
<p>I wonder if we can remake ourselves. I don’t know. Can we reconstruct ourselves after atrocities? Maybe vis-à-vis yourself, you can; it’s in the eyes of others that the tragedy remains one.</p>
<p>Henry had killed men that he did not know. Three. Three that he could remember. They had, however, been very far from him and had appeared tiny in his rifle’s telescope. The same screen effect that the television has. Men less real than if he’d had to look them in the eye and feel their strength. In his case, the war never embellished life or its history. Was it more real in the time of bayonets? The death of others had only punctuated his own life. First by simplifying it during the first few months: a medal and the very clear impression of having won the final round.</p>
<p>Obviously, between the soldier who lives and the one who dies, there is only the concept of war. But beyond the political conflict and the power struggle, Henry believed that he was justified in surviving. For something else. For several years at least, he’d told himself. And now there have been many years since that time. With Sarah, without whom the meaninglessness would have been increased tenfold. Henry would have had a thousand reasons to exaggerate reality, to fill a void, but he chose lucidity instead.</p>
<p>Henry was a sniper. He could hit a dime five hundred metres away. At that distance, the man you’re killing doesn’t exactly die instantaneously. When he’s shot, his chest is ripped to shreds, the flesh torn apart. The target becomes green, red and wet. The movement that animates the body evaporates within a few seconds. But the real death of a man, for the soldier-sniper Henry Joseph Kane, wouldn’t come until several years later, far from that other world, when he would tell Sarah why he had woken up in a sweat every night since his return from the war. And then began the healing that would never end. He would never fully recover, preferring to put a finger into the hole that would never close up again either. Beyond his strength. ≈</p>
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		<title>Hunting for a Purpose</title>
		<link>http://ambos.ca/poachers-faith/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=poachers-faith</link>
		<comments>http://ambos.ca/poachers-faith/#comments</comments>
		<pubDate>Tue, 08 Oct 2013 02:48:59 +0000</pubDate>
		<dc:creator>ambos</dc:creator>
				<category><![CDATA[Review]]></category>
		<category><![CDATA[Translation]]></category>
		<category><![CDATA[David Warriner]]></category>
		<category><![CDATA[Exile Editions]]></category>
		<category><![CDATA[Fiction]]></category>
		<category><![CDATA[Kathryn Gabinet-Kroo]]></category>
		<category><![CDATA[Leméac]]></category>
		<category><![CDATA[Marc Séguin]]></category>
		<category><![CDATA[published in translation]]></category>

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		<description><![CDATA[If you’re the slightest bit squeamish, or a lifelong vegan, you might find yourself skimming over a few sections of this novel. Then again, you might just end up being morbidly fascinated by how close it takes you to nature. <i>Poacher’s Faith</i> is a tale to be savoured.]]></description>
				<content:encoded><![CDATA[<p style="font-size: 16px; font-family: Open Sans, sans serif; font-color: #000; font weight: lighter; letter-spacing: 0.18em; text-indent: 0em;">a review by David Warriner</p>
<p><span class="dropcap">I</span>f you’re the slightest bit squeamish, or a lifelong vegan, you might find yourself skimming over a few sections of this novel. Then again, you might just end up being morbidly fascinated by how close it takes you to nature. <i>Poacher’s Faith</i> is a tale to be savoured, and once you’ve turned the last page you’ll want to go right back to the beginning again. It left me feeling like I’d been for a walk in the woods, wondering what a mouthful of black truffles would taste like.</p>
<p>Half Mohawk, half Caucasian, Marc Morris grew up on a reserve outside Montreal. He is on a quest, trying to find something. Will he find it through faith? Perhaps. He spends time in a seminary, befriends men of the cloth, and coins the idea of earning <i>Pope Miles</i>, yet questions organized religion. Notwithstanding faith, will love conquer all? It seems he’s looking in all the wrong places until destiny – if you can call it that – leads him to Emma, the mother of his child.</p>
<p><div class="simplePullQuote"><p>Marc spends his time searching, but he’s far from lost. At the wheel of his pickup truck, he criss-crosses borders just because he can. Borders that only exist in what we know today as North America, not in the land of his forefathers. He’s physically tracing out his disillusionment, driving the giant &#8220;Fuck You&#8221; he scrawled over a map of the continent in his second year of college.</p>
</div> <i>Poacher’s Faith </i> is not only a story about finding oneself but also a powerful social commentary on contemporary America’s love of guns and disconnection from nature.</p>
<p>Why is Marc a poacher, not a hunter? Because he’s a rebel. As he says himself, his nature requires him to break the rules others have made. He masterminds elaborate scams to harvest caviar from sturgeon in a Great Lakes wildlife reserve, labels it as Russian, and routes it through the Port of Montreal to world-class restaurants in the States, making a pretty penny along the way. He knows everything there is to know about extracting a bear’s gallbladder and selling it to the Chinese for its mythical aphrodisiac properties. But still, he has such a profound respect for nature and extraordinary culinary talent you can’t help but feel he’s a good guy.</p>
<p><i>Poacher’s Faith</i> manages to be profound, thought-provoking, and satisfying in one delicious mouthful. It has so many layers, it’s like a dinner menu with too many courses to digest in one sitting. There’s only one thing for it: to read it for yourself. Once as a main course, then another time for dessert. ≈<br />
<a name="translation"></a></p>
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<p style="font-size: 75%; font-family: Open Sans, sans serif; font-weight: bold; letter-spacing: 0.18em;">IN TRANSLATION</p>
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<p style="font-size: 160%; font-family: Open Sans, sans serif; font-color: #000;">From Poacher&#8217;s Faith</p>
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<p style="font-size: 85%; font-family: Open Sans, sans serif; font-color: #000; font weight: lighter; letter-spacing: 0.2em; text-indent: 0em;">by Marc Seguin<br />
≈ translated by Kathryn Gabinet-Kroo</p>
<p><span class="dropcap">I</span> knew the animal was huge as soon as I saw the thick black bulk of its body appear on the road. I was glad to see no one ahead of me and no one in my rear-view mirror. I don’t seek these things out, but they do happen to me, just like some people happen to love Proust and others happen to play the violin, or write, or learn a new language, I guess. It’s a talent or some kind of predisposition whose codes are still a mystery to me.</p>
<p>By locking the wheels with a calculated twist of the steering wheel, I slued the back of the pickup across the road in just the right way. In a split second, I was able to open my door with my left hand while with my right, I grabbed the gun lying on the floor in front of the passenger seat. The bear had stopped, curious like almost all wild animals – too curious. Bang. Gunned down on the spot.</p>
<p>I am a consequence of modern America, the America that gunpowder conquered and made a conqueror. Even if I am an intellectual product of the middle class, one half white and the other half American Indian. Still flowing through my veins are the motives of a predator. Or a “regulator,” as the biologists and hunters aware of hunting’s bad reputation would say. It should be called “removing the resource.” Bunch of hypocrites. I kill animals so I don’t kill men. Gives men a bit of a reprieve. When I can, I bring back part of the animal to eat and I make no effort to hide the body. A ton of other species in the food chain can make use of the carcass.</p>
<p>At best, I would get the bear out of plain sight, but that would only be to delay discovery of my misdeed. No question of bringing the whole thing back: it would be impossible to move. I don’t think I could even have lifted it the metre necessary to hoist it into the bed of the pickup. That settled it. Had it been a human, I would have had to camouflage the body because the root of that problem is frankly quite simple: no body, no crime. But here again, the weight was a burden. That is why killers, in the controlled perpetration of the act, carve up their victims. They’re thinking ahead.</p>
<p>The <i>Globe and Mail</i> said that, of course, the bear’s gallbladder was missing. No kidding. Someone paid me forty-five hundred dollars for that one gallbladder. In 1991, that was an incredible amount of money for an Institut d’hôtellerie cooking student. The bile alone is worth up to twenty times its weight in gold if you know how to prepare it. The recipe calls for the organ, which looks like a long dried-up crabapple, to be dried in total darkness, cut into three or four pieces and then marinated in several bottles of whiskey or scotch. “Seems it’ll cure what ails you, eh, my friend?” I had said out loud. I always talk to the animal I’ve just killed: it does help personalize the relationship of dominance.</p>
<p>A cold? Try a hot toddy made with bear-bile scotch. Erectile dysfunction? A shot of bear whiskey. The following year, in 1992, the American black bear would be added to the list of animals named in CITES, an agreement that prohibits the sale of organs removed from threatened or endangered species.</p>
<p>Asian prescriptions abound. But death? No one knows if that will cure what ails us. Not even the Chinese, and there are many more of them dying than there are of us.</p>
<p>As for the bear in Manitoba, he died dead in his tracks. If I had to calculate where it happened, the exact location of the stretch of dirt that ran through Riding Mountain National Park, I would say that it lay on the imaginary yellow line. “Bullet to the brain,” I’d whispered. Hit squarely in the head, a centimetre below the left ear. Even if animals had the ability to comprehend, he still would never have known he’d died. There was a neat little hole the size of a pea, almost invisible where it had entered, and a sticky black crater the size of an apple where it had exited. Eyes wide open. That’s how you know when an animal is dead. A human too, I suppose. Eyes closed, it’s still alive and you have to finish it off. Open eyes always add a little something extra, a knowing wink when you understand that you are right.</p>
<p>Big wet snowflakes, damp twilight. Loud music: Nirvana’s <i>Nevermind</i>. The war in Kuwait and Iraq had been over for several months, but the oil-well fires still burned each night on the news. I always loved filling up my tank and smelling the fresh odour of the gas. I could even close my eyes, like you do in a Pepsi challenge, and tell the difference between regular and super. I guess they’d call me a gasophile. “Smells like Teen Spirit.” The band had just released its second album and I listened to it in an endless loop, thanks to the replay button on the cassette player I’d stolen from a car parked on the former Dorchester Boulevard, a street whose name had been changed to Boulevard René-Lévesque in 1987 although Westmount refused to comply. I had taken it from a sky-blue Audi 5000 right in the middle of rush hour and no one had been the least bit surprised. Audi 5000s were so easy, with their little code that served as a key. You had to punch the numbers in to unlock it, but if you held down both the one and the five for eight seconds, you could open the door. One, two, three and the car was mine. Then all I had to do was slide the fingers of one hand behind the audio unit and push it gently toward me.</p>
<p>I had managed to flip the bear onto its back by pulling it to the edge of the ditch with the pickup. The two left paws were still attached to the bumper. I wondered how novelist Jean-Yves Soucy could have imagined the trapper-hero of <i>Creatures of the Chase</i> making love to a dead mother bear. Twisted. Had I been so inclined, I could easily have fucked my bear in the ass, considering how I had him tied up. But that shapeless mass aroused no desire.</p>
<p>You have to start cutting at the solar plexus. There is less fur on the belly, which my Buck 119 knife slit with precision. I am always surprised to find a real warmth inhabiting everything from the stones to the treetops there in the natural, perpetual chill of an October forest. The heat, dying. Life is hot and the bear’s slipped away in a cloud of steam. In physics, they say that sublimation is when a solid becomes a gas. I like to know the proper terms for things. In any case, my frozen hands were grateful for this small fortune of blood and steaming organs, which felt almost burning hot in contrast to my icy fingers. Once the bear’s skin has been slit to the genitals, which the knife must carefully skirt all the way to the anus, you have to cut the membrane containing the entire paunch and remove it completely to reach the liver. A beautiful web of lace, once used to make sausages and blood pudding.</p>
<p>A 350 kilo animal must have at least 50 kilos of stomach and intestine. It slips and slides and always has the same smell of hot blood: a metallic odour, not at all like perfume or flirtatiousness or baking. There were sucking noises like those you hear when making love, mixed with the sound of my breath, which I held and then released as I turned my head away.</p>
<p>At night, in my bed, when I was little, I tried to break records by holding my breath as long as I could: forty, fifty, sixty seconds. I once held it for over a minute. My stopwatch already registered 104 seconds. I exploded and caught my breath again, completely satisfied and fully convinced that I had won a battle against an imaginary enemy.</p>
<p>I managed to extract from the bear the soft, formless mass of the liver, which suddenly escaped from the belly and slid onto the ground. It was attached to the stomach and I remember smiling when I saw the little cream-coloured mound of the gallbladder attached to the liver. It was the size of a summer apple. I felt like preparing a bear stew with apples and peas. ≈</p>
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<p style="font-size: 90%; font-family: Open Sans, sans serif; font-weight: lighter;"><em>Poacher&#8217;s Faith</em> is available in bookstores or online from <a href="http://www.exileeditions.com/singleorders2013/poacher.html">Exile Editions</a>.<br />
Book cover image: i love america and america loves me &#8211; part 1, by Marc Séguin. Oil &amp; coyote on canvas. 2008.</p>
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		<title>Retranslating a Quebec Classic</title>
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		<pubDate>Sun, 25 Aug 2013 02:43:47 +0000</pubDate>
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				<category><![CDATA[Comment]]></category>
		<category><![CDATA[Translation]]></category>
		<category><![CDATA[classic]]></category>
		<category><![CDATA[Exile Editions]]></category>
		<category><![CDATA[Gérard Bessette]]></category>
		<category><![CDATA[published in translation]]></category>
		<category><![CDATA[Steven Urquhart]]></category>
		<category><![CDATA[translation practice]]></category>

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		<description><![CDATA[Translating is never easy. What about revising a much-loved translation that has become a classic in its own right? Steven Urquhart describes the balancing act.]]></description>
				<content:encoded><![CDATA[<p style="font-size: 16px; font-family: Open Sans, sans serif; font-color: #000; font weight: lighter; letter-spacing: 0.18em; text-indent: 0em;">an essay by Steven Urquhart</p>
<p><span class="dropcap">F</span>irst published in 1960 by René Julliard in France, Gérard Bessette’s <em>Le libraire</em> is a seminal work of Quebec literature, often compared to Camus’ <em>The Stranger</em>. The novel, which deals with censorship in pre-Quiet Revolution Quebec, was itself subject to indirect censorship: Quebec publisher Pierre Tisseyre initially turned it down to avoid confronting the moral authorities. While hardly scathing by today’s standards, <em>Le libraire</em> does paint an ironic portrait of the Church in Quebec through the observations of Hervé Jodoin, a former teacher who has moved to the rural town of Saint-Joachim to take a job in a bookstore. The first person narrative, presented as Jodoin’s journal, describes his arrival in Saint-Joachim, his daily drinking bouts in the local tavern, his confrontation with the local priest after selling a blacklisted copy of Voltaire’s <em>Essay on Morals</em> to a schoolboy, and his subsequent surreptitious departure.</p>
<p><em>Le libraire</em> was first translated in 1962 by Glen Shortliffe, a professor of French and the author’s colleague at Queen’s University. MacMillan published the translation that same year as <em>Not For Every Eye</em>. According to Bessette’s correspondence the publisher chose the English title, a euphemism used in the story by the parish priest to refer to blacklisted books. Though a far cry from the original, which translates as the “the bookseller,” the English title is an enticing reference to the novel’s overriding theme, censorship.</p>
<p>Changing the title was not up for discussion when Exile Editions, who had republished Shortliffe’s translation in the 1980s, decided to publish a revised translation in 2010. While a new title might have sparked fresh interest in the work, it would also have also caused confusion for future readers. Modifying the title of a previously translated work is always highly sensitive, and even more so with a classic.</p>
<p>I did consider changing the title but decided it was not worth it. I then set about rereading the English version carefully to check the accuracy and quality of Shortliffe’s work. The translation was very well done. The translator clearly had a thorough knowledge and deep appreciation of his friend’s novel. But when I reread the translation alongside the French, I felt that certain areas called for revision. As <em>Le libraire</em> was turning fifty, the time seemed right to revisit the translation.</p>
<p>One striking example was Shortliffe’s translation of the French word “capharnaum,” the bookstore owner’s name for the vault where he keeps his stock of blacklisted books, as <em>sanctum sanctorum</em>. This decision was understandable – the word capharnaum is rarely used in English, whereas in colloquial French it means a “a shambles” or “jumbled mess” – but also problematic. Since <em>Le libraire</em> first appeared critics have been examining and interpreting Bessette’s peculiar word choice, which refers to two different but related aspects of the novel. Capharnaum is the Greek name of Capernaum, a fishing village on the Sea of Galilee where Jesus exercised his ministry. It is also, in <em>Madame Bovary</em>, the name given the pharmacist’s medical cabinet where Emma Bovary finds the poison she uses to end her life. Bessette’s use of the term is in keeping with both the novel’s religious backdrop and the poisonous nature, in the eyes of the Church, of this secret space and the volumes it contains. A single word, yet its omission in the original translation glosses over both the term’s intertextual value and its contribution to the novel’s symbolic layers of meaning. “Capharnaum” is a proper name, and an intriguing word from both a phonetic and semiotic standpoint, one that absolutely needed to included in any new version of <em>Not For Every Eye</em>.</p>
<p>Having proposed minor changes to Shortliffe’s version, I found both small and more substantial revisions that could further improve the text.</p>
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<div class="simplePullQuote"><p>It struck me that Jodoin had been given a rather British voice. This may have been justified at a time when the British presence in Canada was still strong. Understandable, then, but problematic. Jodoin is not British; he is French Canadian.</p>
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<p>Does the device whereby the story is a presented as a Jodoin’s <em>written</em> journal explain this aspect of the translation? Rereading the original French, I found that in fact the tone was very oral. <em>Le libraire</em> feels more like a dialogue than a true stream of consciousness, as if Jodoin were ironically recounting his petty adventures to another person. Witty but not exactly charming, Jodoin is more like a disenchanted smart aleck who finds joy in talking about life’s irrationalities.</p>
<p>The distinction between these two discursive modes was subtle but, in my view, critical. To convey this difference I paid particular attention to the oral nature of the text, which includes countless passages of dialogue. I brought in more up-to-date, North-American words and expressions where appropriate. For example, the verb “guffaw” used to describe Chicoine’s boisterous laughter in reaction to Jodoin’s wit felt somewhat dated; it is rare in everyday conversation in North America. My strategy was to paraphrase such “proper” verbs, substantives, and similar expressions to give the translation a more conversational, down-to-earth feel.</p>
<p>But finding the register to capture the ambiguous, in-between nature of the text and its protagonist’s demeanor was not easy. A translator’s age, cultural and literary background, and own speech mannerisms are just a few of the factors that influence his or her understanding of the text. I was a new translator but an experienced French professor and long-time student of Bessette’s work.<br />
<div class="simplePullQuote"><p>I felt torn: between my age and that of the text, not to mention Jodoin’s; between the desire to improve the translation and respect for the fine work that had already been done; between the words on the page and their broader meaning in the context the novel.</p>
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<p>A case in point was the translation of the French expression “peu importe,” used repeatedly by Jodoin to express his disinterest in investing himself in any given situation and its ultimate inconsequence. Rendered as “no matter” by Shortliffe, the expression could have also been translated by the more flippant, modern “whatever.” After trying several other expressions, I decided to keep Shortliffe’s translation. “Whatever” seemed over-the-top and too strongly associated with younger people today. Jodoin may exhibit a certain childish playfulness but he is a mature, cynical, middle-aged man. Another option, “What does it matter?,” might have expressed Jodoin’s attitude toward and critical distance from life’s quirks, but it implies a sense of despair he does not possess. Jodoin may be negative but he never fully gives up on himself or life, and remains highly sensitive to the power of language. He is a man of few words, carefully weighed, especially when dealing with the priest. By unwittingly subverting what constitutes a censored book, and normal behaviour, Jodoin plays on relativism and the idea that words are always subject to context. Words do not always communicate precisely what they are intended to express, and so they are subject to interpretation. The linguistic sparring match between Jodoin and the priest evokes the question of translation as an interpretative gesture that must take into account a number of variables such as double entendres to determine the exact meaning, or meanings, of any given utterance.</p>
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<p><span class="dropcap">R</span>evising Shortliffe’s translation was daunting at first, especially given its excellence. But working with his text proved an interesting, fruitful experience. His translation served as a model against which to compare various ways of translating ideas and expressions, and a yardstick against which to gauge the consistency of changes I made to the text. Always an issue in translation, consistency is of paramount importance when revising a classic, because earlier translations affect how the new text is experienced. With <em>Le libraire</em> I constantly sought to understand where Shortliffe was coming from, in terms of the original, while attending to how his translation, and now mine, would affect both considered interpretations and superficial readings of the novel. When I encountered something significant and “untranslatable,” I opted for explanatory notes. Knowing that a novel is a translation does not detract from the work, to my mind; rather, it reminds readers that language constitutes and even shapes our thoughts.</p>
<p>Several people have asked me whether I would make the same choices if I had it to do over again. I believe I would. I understand people’s apprehensions about explanatory notes, or a hybrid version of a classic novel. But I cannot help but think ignoring Shortliffe’s work would not have produced a superior translation. Too many new translations seem undertaken in response to spurious critiques or without due recognition of previous versions. To revive classics or works that merit greater or renewed attention we must value the efforts of past translators while catering to contemporary readers. Should all translations be revised translations? Most certainly not. There are poor translations out there that are simply beyond repair.</p>
<p>In the case of the <em>Le libraire</em> I saw no need to censor Shortliffe’s efforts. Indeed, looking back, I see that further refinements could be made to the text. There is always room for improvement, in my own work or someone else’s. I like to think my revised version of <em>Not For Every Eye</em> builds on a solid foundation, and that my efforts coupled with those of Glen Shortliffe have yielded a translation that better captures the original French and the larger symbolic meanings contained in Bessette’s own words. ≈</p>
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<p style="font-size: 75%; font-family: Open Sans, sans serif; font-weight: bold; letter-spacing: 0.18em;">IN TRANSLATION</p>
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<p style="font-size: 160%; font-family: Open Sans, sans serif; font-color: #000;">From Not For Every Eye</p>
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<p style="font-size: 85%; font-family: Open Sans, sans serif; font-color: #000; font weight: lighter; letter-spacing: 0.2em; text-indent: 0em;">by Gérard Bessette<br />
≈ translated by Steven Urquhart</p>
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<p><span class="dropcap">I</span>’m aware that all these details are of no interest whatsoever. But no matter. The more I write, the more time I fill in. And can a Sunday ever be long! Especially as I wake up on that day just as early, if not earlier, since the taverns close right at midnight on Saturdays.</p>
<p>Once my breakfast is dispatched, (Bromo-Seltzer, <em>Safe-All </em>salts, tomato juice, and two bananas eaten in my room) I have nothing more to do. And so, I work on this journal. To think that it took four Sundays of nauseating boredom before this even occurred to me! But that&#8217;s over and done with. No point dwelling on it. So far, this journal has been effective. I only hope it keeps working and that I&#8217;ve got something to talk about&#8230;</p>
<p>That&#8217;s why I am in no great hurry to get rid of Mme Bouthiller when she knocks on my door at about eleven o&#8217;clock upon her return from Mass. I won&#8217;t say her visits please me a great deal, but they don&#8217;t annoy me, either. Besides, she never stays long because I never invite her to sit down. She stands leaning against the doorframe, one hip – the right one – more rounded than the other because of her posture, and her big bosom ballooning under her corsage. Of course, I remain standing too. I don&#8217;t see how I could do otherwise without offending her.</p>
<p>Our conversations invariably follow the same pattern. First, standard questions about my potential needs to which I always reply that nothing is missing. Then comes the remarks about the weather. Mme Bouthiller tells you that it&#8217;s cold when it&#8217;s not warm, that it&#8217;s windy when it&#8217;s blowing, that it&#8217;s snowy when we&#8217;ve had snow. I corroborate her observations and she proceeds to comment on the Mass she&#8217;s just attended. It&#8217;s at this point that the interrogation really gets under way. At the time of our first conversation, I hadn&#8217;t yet begun this journal and my Sunday mornings were spend wandering about the streets. Consequently, Mme Bouthiller didn&#8217;t know whether I was going to Mass or not, and so asked me what I though of Saint Joachim&#8217;s Church. I confessed that I wasn&#8217;t very observant and that I refused to pass judgement on any building without having seen it several dozen times. She wanted to know if I had at least noticed the belfries, the highest in the county, it seems. I replied that during my walks I had sometimes caught a glimpse of these two tall, pointed steeples between buildings. She informed me that some people were of the opinion that the inside of the church was too dark. I drew her attention to the fact that this was not necessarily a fault; that many Roman-style churches were also very dark, and that this didn&#8217;t detract in any way from their beauty. They were different from the Gothic; that was all.</p>
<p>At this, she changed the subject. Not that she had given up trying to get information out of me concerning my &#8220;convictions,&#8221; but she no doubt considered that the conversation had gone in the wrong direction.</p>
<p>Letting the subject of church then drop, her interrogation took on more breadth, embracing the whole town. Did I find Saint Joachim tiny compared to the big city – from which, no doubt, I came? I replied that everything was relative, that I had indeed seen larger agglomerations than Saint Joachim, but that I&#8217;d also seen smaller ones.</p>
<p>Then, she wanted to know my views on whether the Joachimites had a peculiar way of speaking. I expressed the opinion that every town, indeed every little hamlet, possessed it&#8217;s own idioms and accent, but that the way of speaking in Saint Joachim didn&#8217;t strike me as being stranger than any other. A Frenchman might have been a bit thrown off, perhaps, but I had no difficulty understanding for my part. I added that I was a quite poor judge in this matter, given that I always paid the least possible attention to what people were saying to me. This remark slowed up her chattiness somewhat and after that, she asked me only about a dozen more questions to which as I recall, my replies didn&#8217;t compromise me in any way.</p>
<p>When it comes right down to it, I don&#8217;t quite know why I&#8217;m playing hide and seek with her like this. There&#8217;s plenty of information that it wouldn&#8217;t hurt me to give her. But no matter. I started this way and might as well continue. It&#8217;s less tiring than changing.</p>
<p>As for her, I think that she unloaded her whole life story on me with the exception of her relations with her husband. Of him, she would say only that he was a &#8220;good-for-nothing, heartless weakling, the worst kind of crook, and a sleazeball, the likes of which they don&#8217;t make anymore.&#8221; She added that she was conveying this information so as to remain objective, and in no way for the purposes of giving me &#8220;a bad opinion&#8221; of him. As she seemed to be soliciting my approval, I uttered a few words in praise of her respect for the truth.</p>
<p>Next, she began to talk about her two daughters, Angèle and Ursule, both married. Angèle lives in Lowell, Mass., and has two children, Frankie and Tom. Her husband is a little too fond of the bottle. Ursule lives in Farnham and is married to an army officer. But, they don&#8217;t have any offspring, which is a great pity. Deep down, Mme Bouthiller suspects her son-in-law of impotency. He was wounded – by a shell – during the war, but there&#8217;s never been any way of finding out exactly where. And so, you could suppose everything and anything, couldn&#8217;t you. Mme Bouthiller wanted to know my opinion on this point and so I expressed the view that artillery shells were notorious for considering nothing sacred. This thought plunged my landlady into an abyss of meditation and she remained silent for a few minutes.</p>
<p>Then, abruptly, she touched on the subject of her boss, a cadaverous old man of at least seventy who still seems interested in a bit of skirt. He pinches the buttocks of his female employees whenever he gets a chance. Wasn&#8217;t that shameful? At his age! Once again, Mme Bouthiller demanded my opinion. So, I gave it to her: in my mind, age had nothing to do with the matter. It was more a question of temperament. Mme Bouthiller objected that in that case, M. Lesieur (such is the name of her photographer) should go after women his own age. While recognizing the logic of the argument, I advanced the hypothesis that business reasons perhaps prevented M. Lesieur from hiring septuagenarians to work in his studio and that consequently he had to confine his pinching activities to the female employees at hand. Mme Bouthiller agreed with this, while adding that, besides, M. Lesieur was a fine boss in other respects who had given her no reason to complain.</p>
<p>Then she left me. I&#8217;m not giving a complete account of our interview, obviously. Suffice it to say, that she told me a number of other details, more or less of equal interest. That&#8217;ll perhaps be for another time if I don&#8217;t forget them. ≈</p>
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