{"id":286,"date":"2018-07-19T12:00:59","date_gmt":"2018-07-19T11:00:59","guid":{"rendered":"http:\/\/blogs.exeter.ac.uk\/translatingwomen\/?p=286"},"modified":"2018-07-19T12:00:59","modified_gmt":"2018-07-19T11:00:59","slug":"the-story-of-my-teeth","status":"publish","type":"post","link":"https:\/\/sites.exeter.ac.uk\/translatingwomen\/2018\/07\/19\/the-story-of-my-teeth\/","title":{"rendered":"\u201cAn elegant surpassing of the truth\u201d: Valeria Luiselli, The Story of My Teeth"},"content":{"rendered":"

Translated from the Spanish by Christina MacSweeney (Granta, 2015)<\/h2>\n

I’m delighted to welcome another guest contributor to the blog today: Katie Brown has been a great supporter of the Women Writing Women Translating Women project since its launch (and was the one who urged me to read Umami<\/em><\/a>!), so you can imagine my joy when she recently accepted a job in the Modern Languages department here at Exeter. Today she’s writing about a fascinating author-translator collaboration that offers new perspectives on the creativity of translation acts and which is, I hope, the first of many collaborations with Katie. You can find out more about her on the Guest Contributor page<\/a>, and on her blog<\/a>.<\/h2>\n

*NB: there will be a 3-week break from the blog after this post, as I am taking my summer holiday. We’ll be back mid-August!*<\/span><\/h3>\n

How do the stories we tell influence the value of objects? Are authors\u2019 and artists\u2019 names any more valuable than other people\u2019s? These are just some of the questions addressed by Valeria Luiselli\u2019s third book, The Story of my Teeth, <\/em>both through its content and its collaborative creation.<\/p>\n

\"\"The Story of my Teeth <\/em>is a genre-defying book. Critics have referred to it variously as a novel, an essay, autofiction and biofiction, or a mixture of them all. The book begins as the relatively straight-forward life story of Gustavo S\u00e1nchez S\u00e1nchez, known as \u201cHighway\u201d, a picaresque old man whose talents include impersonating Janis Joplin and interpreting fortune cookies. In the first of seven chapters, titled The Story (Beginning, Middle and End), Highway recounts his life from childhood, his work at the Jumex juice factory in the outskirts of Mexico City, his failed relationships, how he became an auctioneer, and his quest to replace his malformed teeth. Then through a series of chapters referred to as hyperbolics, parabolics, and allegorics, we see Highway firstly purport to sell the teeth of famous essayists throughout history and later auction a collection of objects stolen from an art gallery through tangentially related stories. The Elliptics then retells Highway\u2019s story from an outsider\u2019s point of view, making us view the first story in a new, much more poignant light.<\/p>\n

An unusual protagonist, Highway brings charm and heart to questions about art and literature which might otherwise risk being seen as \u201ctoo clever.\u201d He explains his \u201chyperbolic\u201d auctioneering model in this way:<\/p>\n

“As the great Quintilian had once said, by means of my hyperbolics, I could restore an object\u2019s value through ‘an elegant surpassing of the truth’. This meant that the stories I would tell about the lots would all be based on facts that were, occasionally, exaggerated or, to put it another way, better illuminated<\/em>.”<\/p>\n

Luiselli implies that the methods of cheeky auctioneer \u2013 inspired in part by Luiselli\u2019s uncle who worked in the giant street market in Mexico City \u2013 are not that different from those of international art dealers, only Highway is more honest about it. The Story of my<\/em> Teeth <\/em>began life when Luiselli was approached by Magal\u00ed Arriola and Juan Gait\u00e1n, curators of the exhibition \u201cEl cazador y la f\u00e1brica\u201d (The Hunter and the Factory) at the Jumex Gallery, to write a story for their exhibition catalogue. The gallery houses the largest private collection of contemporary art in Latin America and is funded by the profits of the juice factory. The curators reportedly planned the exhibition as a response to questions about urban isolation and the separation of the gallery from its surrounding area, although the exhibition itself gave few clues to this. Luiselli agreed to write a piece for the exhibition catalogue on the agreement that the workers of the juice factory could be involved in its creation. A group of workers met regularly in the factory to read chapters sent to them by Luiselli, discuss them and give feedback based on their own experiences, which was recorded and sent back to Luiselli in New York, who would then incorporate this into new drafts. Luiselli insists that the story is as much theirs as it is hers, in what Aaron Brady in the LA Review of Books <\/em><\/a>calls \u201can implicit rebuke to the idea of isolated artistic genius.\u201d<\/p>\n

The idea of the artistic genius is questioned throughout The Story of my Teeth<\/em>, as we see everyday characters given the names of Latin American writers, such as newspaper seller Rub\u00e9n Dar\u00edo or policeman Yuri Herrera. Luiselli even makes an appearance herself as a mediocre high school student whose parents send her to elocution classes. At the same time, Luiselli makes canonical thinkers part of Highway\u2019s family, such as Miguel S\u00e1nchez Foucault or Marcelo S\u00e1nchez Proust. This caused uproar among literary critics in Mexico, who claimed that writers\u2019 names are somehow sacred. I find this use of names as \u201creadymades\u201d in the style of avant-garde artist Marcel Duchamp quite ambiguous: on the one hand, it breaks down class barriers, asking readers why a writer would deserve any more respect than a factory worker; but on the other hand, it only really appeals to those who keep up-to-date with the Latin American literary scene, as this is necessary to get the joke. While I really enjoyed spotting names of writers whose work I love, when I teach the book to my undergrads, it went over their heads.<\/p>\n

\u201cThe story behind <\/span>The Story of my Teeth <\/em>encourages us to question terms like \u2018original\u2019 and \u2018fidelity,\u2019 and to see the source text not as a finished product to be slavishly reproduced in other languages, but as one step in an ongoing process of creation.\u201d<\/span><\/p><\/blockquote>\n

So, more than for its thought-provoking subject material, I love to teach The Story of my Teeth <\/em>as an example of the collaboration between the author and the translator. Valeria Luiselli speaks fluent English, but prefers to work closely with a translator, not to translate, but to rewrite the text with help from fresh eyes. Luiselli and Christina MacSweeney spent time together in New York working on the new text, and while MacSweeney was translating, she even listened to the same music Luiselli had been listening to as she wrote. The Story of my Teeth <\/em>was the very deserving winner of the prestigious Valle Incl\u00e1n Prize for translations from Spanish in 2016, whose judges, as well as many reviewers, were particularly impressed by how MacSweeney challenges the traditional invisibility of the translator. Most notably, she has added a new chapter, called \u201cThe Chronologics,\u201d to the end of the book, a timeline which places Highway\u2019s life within Mexican and Latin American history and makes it clear to English readers that the names which appear through the text are those of contemporary Latin American authors. MacSweeney told me that she didn\u2019t want \u201cdry as dust translator\u2019s notes\u201d, so instead set out to provide information which could help orient foreign readers in a creative way.<\/p>\n

Beyond this most visible change, comparison with the Spanish reveals a whole series of edits to the book, which substantially alter its interpretation. The Spanish epigraphs, for example, are an anonymous quote about death and teeth and a line from Johnny Cash, whereas the English has a series of epigraphs from semioticians placed before each chapter, making it clear to readers that this book is about meaning making and the significance of words. Similarly, the English version makes the link between Highway\u2019s auction of random objects (a stuffed toy, a false leg) and the art gallery much more explicit. New scenes are added in which Highway and his accomplice steal these objects from the gallery, and whereas the Spanish simply gives the stories inspired by the objects, the English gives the artists\u2019 names \u2013 slightly altered of course (Doug S\u00e1nchez Aitken, Olafur S\u00e1nchez Eliasson) \u2013 as well as an exorbitant listing price for each, which is mocked when Highway sells the whole lot to a junkyard for 100 pesos.<\/p>\n

Such changes have already been included in translations into other languages, and are expected to be included in the second Spanish edition of the book. The story behind The Story of my Teeth \u2013 <\/em>from its collaborative inception to its continuing evolution in translation \u2013 encourages us to question terms like \u201doriginal\u201d and \u201dfidelity,\u201d and to see the source text not as a finished product to be slavishly reproduced in other languages, but as one step in an ongoing process of creation. Like Highway\u2019s stories, each new version is an \u201celegant surpassing\u201d of the former.<\/p>\n

\"\"<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Translated from the Spanish by Christina MacSweeney (Granta, 2015) I’m delighted to welcome another guest contributor to the blog today: Katie Brown has been a great supporter of the Women Writing Women Translating Women project since its launch (and was the one who urged me to read Umami!), so you can imagine my joy when […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[11],"tags":[213,513,615,961,999,1003,1029],"acf":[],"yoast_head":"\n\u201cAn elegant surpassing of the truth\u201d: Valeria Luiselli, The Story of My Teeth - Translating Women<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.exeter.ac.uk\/translatingwomen\/2018\/07\/19\/the-story-of-my-teeth\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cAn elegant surpassing of the truth\u201d: Valeria Luiselli, The Story of My Teeth - 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