The Uncanny in Translation: Iginio Ugo Tarchetti

As if I didn’t have enough to do, a new series: The Uncanny in Translation! Regular readers of this blog might have noticed that I have an interest in non-Anglophone weird fiction. In this series, I plan to share interesting works in translation that I come across, which are possibly less well-known to English language readers.

348px Tarchetti Paolina 1875 page 5 crop
Iginio Ugo Tarchetti (1839 – 1869)
Source: Wikimedia

First up: Fantastic Tales (Racconti Fantastici),  by nineteeth century Italian author Iginio Ugo Tarchetti (1839 – 1869), translated by Lawrence Venuti. According to the book cover, Tarchetti was “the first Italian writer to experiment with the gothic style,” and is “often compared to Edgar Allan Poe.” He was part of the Scapigliatura movement in Italian literature, a sort of anti-bourgeois, anti-establishment movement influenced by German Romanticism, French bohemians, Baudelaire — and Poe.

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Reading Things We Lost in the Fire

A double entry for the Women Writers of Folklore and Fiction and Uncanny in Translation series.

First things first: “Adela’s House” is the best haunted house story I’ve ever read. It’s eerie and dark, enigmatic, and just a little bit bloody. Like most great ghost stories, it starts out in a quirky but fundamentally prosaic world and just…goes sideways. Real sideways. I love it, and for this story alone, I’d recommend Things We Lost in the Fire.

Things We Lost in the Fire, Mariana Enriquez
Things We Lost in the Fire, by Mariana Enriquez. Translator Megan McDowell

But the rest of this collection, by Argentine writer Mariana Enriquez (translated by Megan McDowell) is nothing to ignore, either. I sought her work out after seeing her featured in a BBC special on women ghost story writers, but not all the stories in Things We Lost in the Fire are supernatural. Rather than a “ghost story writer,” I lean towards calling her a “writer of the macabre.” The stories in this collection, supernatural or not, are all uncanny, dark, “weird” in the sense that the VanderMeers use the term, and sometimes outright horror. Whatever you choose to call them, they are compelling and unsettling, and a really great read.

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