It amuses and bemuses me, sometimes, to watch the titles of books and films move from language to language. I imagine most titles get translated pretty closely, but sometimes there is the odd exception.
For example, if I look at the IMDb page for the international titles of the Akira Kurosawa film Tengoku to Jigoku, I see that for most languages where I can readily work out the meaning, the titles have stuck pretty close to the original Heaven and Hell. France seems to have also used Between Heaven and Hell, which is almost the same idea. A common English language title is High and Low: similar, but it loses the feeling of unbearable heat that was so much a motif of the film (down there in the slums of Tokyo was “hell” for a reason).
Though my translations are amateur attempts, I’m really enjoying the challenge. Other than The Feather Pillow, these are the first literary stories that I’ve attempted without a previous translation to reference. I’ve translated other things without reference, like this and this, but in those cases I was concerned mostly with meaning. With a literary work, one wants to convey not just meaning, but something of the work’s voice and tone.
I watched Mario Bava’s Planet of the Vampires the other night. I’ve been exploring Bava’s early giallos and proto-giallos, and my husband is an enthusiast of schlock 50’s style sci-fi and horror (“quantity cinema” is what he calls it). Planet of the Vampires was in his collection, but neither of us had noticed it was a Bava. Until now.
It’s not as groundbreaking as Bava’s giallos; it really is a schlock B movie. But it’s a fun movie. Terrible title, though.
The set design was mimimal, and very much of the genre, but it was well done, considering the teeny tiny budget Bava had: something like $200,000. Yes, it showed. My husband pointed out the thermofax machine that was doubling as a piece of instrumentation. The “captain’s log” (some years before Star Trek) also looked to be a copier or blueprint printer or something, and the periscope-style viewer on the bridge looked like it was cobbled together from a salon hairdryer. But it was endearing. And the elevator hatch thing to bring the astronauts down to the planet’s surface was clever.
I loved the costumes.
Considering Bava’s budget, the effects and production values were impressive. Supposedly the set for the planet’s surface was literally two styrofoam rocks, smoke and mirrors, along with some well done in-camera effects. But on screen, it looks pretty good.
Exploring the dark tales of this Uruguayan author.
I recently found Horacio Quiroga’s short story “The Dead Man” in Clifton Fadiman’s 1986 collection The World of the Short Story, and it’s given me a new hobby: tracking down all of his short stories that I can find.
I’ve seen Quiroga’s stories compared variously to Edgar Allan Poe, Ambrose Bierce, William Faulkner, and Rudyard Kipling; he himself acknowledged the influences of Poe, Kipling and de Maupassant on his work. Like Poe, he had a theory of the perfect short story (one he often contradicted in his own work). Also like Poe, and he was incredibly obsessed with death, and fascinated with madness as well.
This morbid viewpoint is not surprising, given Quiroga’s own life history. His father accidentally shot himself on a hunting trip and later his stepfather deliberately shot himself (apparently, Quiroga witnessed it). In 1900, when Quiroga would have been about twenty-one, his two brothers died of typhoid fever. The following year, one of Quiroga’s best friends, Federico Ferrando, was challenged to a duel. Since Ferrando knew nothing about guns, Quiroga offered to check Ferrando’s gun for him — and accidentally shot and killed Ferrando in the process. Though Quiroga was found innocent of any crime, his own feelings of guilt led him to leave his native Uruguay for Argentina.
Near Byland Abbey, Yorkshire, ghosts walked. If only someone would pray for their sins.
A traveller, carrying a load of beans, encountered a whirling haystack on the road. Inside the haystack, a strange light glowed. The traveller invoked the haystack; it became a man. This man insisted on carrying the traveller’s beans. When they reached the river, the man disappeared, leaving the traveller with the beans on his own back. The traveller had masses sung for the soul of the revenant, and the ghost was laid.
It looked like an injured crow; the tailor tried to help. The crow shot sparks from his sides; in fear, the tailor crossed himself. With a terrible screech, the crow attacked; injured, the tailor prayed for protection. The crow turned into a dog; the tailor invoked the creature to speak. In life, the dog had been a man; he had been excommunicated for a terrible crime (What crime? No one says). Now his ghost wanted absolution, and one hundred and eighty masses to be said for his soul. If the tailor helped him, the ghost would tell him how to heal his wounds; otherwise, the tailor’s flesh would rot, and his skin would waste away.
The tailor went to the priest who had excommunicated the man; the priest refused to give absolution. The tailor begged—who wants their own flesh to rot, or their skin to waste away? Finally the priest agreed. The tailor went to all the monasteries in York, and got one hundred and eighty masses for the man’s soul. The tailor went to meet the ghost; the ghost arrived as a goat, then turned into a flame. Satisfied, the ghost told the tailor to bathe in the river and scrub his body with a certain rock; then the tailor’s wounds would heal. The ghost then left on his journey to heaven; the tailor returned home, and fell ill.
I stumbled upon The Chronicles of Solar Pons—the original 1972 Mycroft & Moran edition, in nearly new condition—on one of the “Used Books” shelves of Borderland’s Books. Not even in the Mystery section of the store, but in the Horror section, which tells you which section of August Derleth’s wide range of works may be most remembered today. I knew who Solar Pons was, but I wasn’t familiar with the stories. Still, I knew that true Holmes aficionados considered the Pons stories to be the best pastiches of the Canon out there, and the book was quite reasonably priced. So I bought it.
According to the front leaf of the book’s dust jacket, Derleth passed away not too long after finishing the final draft of the manuscript. So Chronicles is the last volume of the Derleth-authored Pons stories, and I began my journey at the end, so to speak. I had vague memories of running into a Pons story before, in some anthology or other, a long time ago; I think it was one of the stories Basil Copper wrote. I was not so into Sherlock Holmes back then, so the story made little impression.
I wrote this piece around three years ago, on another social media site that I no longer use. I was thinking about it this morning for some reason, and it took me forever to find it, so I’m moving it here.
My neighbor Anita passed away this past year; her son still lives in the house. The neighborhood is still pretty much as I described it, and I still like living here.
When we first moved into our house, there was an elderly woman named Elna living across the street. She rarely came outside, and when she did, she seemed uncertain and unstable. My husband suspected that she was drinking, but I wasn’t so sure.
I was home all day at the time, finishing up my dissertation. I remember looking out the window one afternoon, and seeing Elna in her own driveway, stumble and fall. She hit her head on something, and was bleeding. I rushed outside, of course, and so did Anita. I asked if there was anything I could do, but Anita hurried Elna back in the house, and clearly didn’t want me following. She seemed mistrustful, and maybe that’s not so surprising; we were new in the neighborhood, younger than most everyone else on the block, and I got the clear impression that we’d been labelled “dot-commers,” whom nobody had much use for. A not entirely unfair characterization, I suppose.
I paid more attention after that; that’s why I’m sure Elna had no visitors except Anita and my other across the street neighbor, another elderly lady named Xenia. I only remember seeing Elna outside once or twice after her falling incident. And then one night an ambulance came.
I recently saw the 1956 version of Invasion of the Body Snatchers for the first time. It’s much better than I thought it would be. My husband loves cheesy 1950’s sci-fi B-movies, and that was what I expected Body Snatchers to be. But it’s really not that cheesy at all. It’s fairly suspenseful, and its moody cinematography makes the film feel more noir than sci-fi. The inevitable romantic relationship between the male and female leads felt refreshingly adult, and quite relevant to the story. Drop the “happy ending” frame story (which both the producer and director objected to), and make the alien pods look a bit less like giant Belgian endive, and the film would be even closer to perfect.
I recently came across the essay “Let Me Tell You,” by author Cecilia Tan. It’s a response to the old writing dictum “show, don’t tell,” and in the process of arguing against it (specifically in the SF/Fantasy genres), the essay also takes a shot at the myth of “universality” that underlies the dictums of writing “quality” (read: literary) fiction.
I highly recommend the essay to you. But in addition to what it says to writers/readers of SF/Fantasy, it crystallized some other thoughts of my own – a reader, not a writer, and not generally an SF/Fantasy reader either – about the obligations of the reader.
Clumsy exposition (“as you know…”) is one of my pet peeves. And I’ve noticed that I sometimes prefer reading works from an X writer to those of an X-American or otherwise hyphenated writer (X-British, X-Canadian, etc.), and this is kinda why: X-Americans often feel an obligation to write to “Americans”. That is, they feel the need to explain bits of X culture or history to the mainstream “American” reader. X writers write only to X-ians.
A Filipinx author can leave the fraught relationship/history between the Philippines and US unsaid, even when that relationship is central to their themes or to their characters, because readers in the Philippines know. But not all Americans do, so a Fil-American author might feel the need to somehow work a little history lesson into their narrative.