A book review by Brother Anthony of Taizé
first published in the Sungkyun Journal
of East Asian Studies, Vol. 11, No. 1, (2011),
pages 95 – 101.
John HOLSTEIN. A Moment’s Grace: Stories from Korea in Translation.
Cornell East
Asia Series 148. Ithaca, NY: East Asia Program, Cornell
University. 2009. 408
pages. ISBN: 1933947187 (Hardcover). 52.00 USD.
It is now more than thirty years since
John Holstein first gained recognition as a translator of Korean
fiction by
winning the Korea Times
Translation
Award in 1978 for his translation of Kim Tong-ni’s 어떤
상봉
(Ottŏ n Sangbong) (then titled “A Meeting” but called “The
Visit” in this
volume). He went on to win the same award for “The Gulls” in
1979, “House of
the Idols” in 1981 and “River” in 1986, all of them now
published here for the
first time (I think). It therefore comes as something of a shock
to realize
that the 215 pages containing the twelve stories included in
this collection
represent (apparently) the sum total of Professor Holstein’s
work as a literary
translator of Korean. Of course, he also deserves recognition
for his
translation of Things
Korean by the
former minister of culture, Lee O-Young, which was also not a
very long text.
His main activity as a professor of English at Sungkyunkwan
University seems to
have taken the bulk of his time and energies.
The
present volume is a composite, beginning with a brief Preface
stressing the
relationship between the works selected and the period of Korean
history (roughly
from Liberation in 1945 until the Olympics in 1988) in which
they were written,
a note about pronunciation, and a list of people who gave help
in the acknowledgments.
This is followed by a 12-page Introduction by Professor Bruce
Fulton, locating
the works translated in their literary-historical context. After
the twelve
stories, there is a 35-page set of notes, “Stumbling Across a
Language
Barrier,” in which the translator discusses in detail some of
the issues
arising in translating from Korean, justifying his own options.
Then come no
less than 102 pages devoted to “The Stories’ Background” in
which the social
evolution of modern Korea is presented with constant reference
back to the
stories. This is completed by a set of 369 endnotes, eleven
pages of
“References” and a 2-3 page list of books or articles as
“Recommended Reading.”
Clearly, this all indicates an expectation that the book will be
used in a
classroom setting, as a textbook for students of Korean
literature and history.
The
stories are mostly well-known in Korea, widely recognized as
“representative works”
by their authors. Kim Tong-ni’s “The Shaman Painting” symbolizes
the conflict
between tradition and modernity by the tragic encounter between
a shaman mother
and her Christian son, which ends in the death of both. “Loess
Valley,” also by
Kim, relates the strangely violent relationship between two
rural strongmen who
are friends yet rivals in a remote, premodern village setting.
Hwang Sun-wŏn’s
“The Game Beaters” evokes the poverty of Seoul in the
post-liberation years,
relating an incident in which a waif is spotted entering a
sewage pipe, clearly
intent on gaining access to the house of a foreigner. A group of
citizens
gathers and they wait for him to come out so they can catch him,
but finally
his dead body comes floating down. Another story by Kim Tong-ni,
“The Visit,”
depicts the journey of a poor peasant to visit his son who is a
soldier during
the Korean War, and their extremely limited conversation before
they part,
suggesting that poverty is not only material but also emotional.
O
Sang-wŏn’s “A Moment’s Grace,” another war story, focuses on a
southern soldier
who has been captured by the communists; the events leading up
to his capture
are evoked in flashback while he lies in a freezing pit waiting
to be taken out
and executed. Yi Pŏm-sŏn’s “The Gulls” is set on a tiny island
several years
after the war, in a warm, human community where a family from
the North have
settled, the man teaching in the school. Small incidents, sad
and happy, occur
and at the end the man realizes he might one day have to go back
into the wider
world. Ch’oe In-hun’s “House of Idols” is by contrast a
melodramatic piece set
in a literary milieu, about the growth and destruction of the
relationship
between the narrator and a young man who claims to have
experienced a terrible
loss during the war but who turns out to be a pathological liar.
By the same
author, “End of the Road” is the account of a bus moving through
the Korean
countryside; everything it encounters stresses the dominating,
corrupting
presence of the American military. Perhaps the most intriguing
thing about
“River” by Sŏ Chŏng-in is why it never mentions a river. It too
follows a small
group of men and a girl on a bus journey into the countryside.
The
last three stories are far removed in time from the others. For
some unexplained
reason, there is no story in the volume that was written in the
1970s or the
1980s; “River” dates from 1968, the next story, “First Love” by
Sŏng Sŏk-che,
was published in 1995. The reason for the inclusion of these
more recent
stories, if there is a reason, is presumably the way in which
they evoke
memories of earlier times. “First Love” is said by Bruce Fulton
in his
introduction to treat of “male same-sex desire” but that seems
completely
wrong, since the tale merely shows an older tough adolescent
initiating a
younger, softer boy into the world of sex with women, offering
him a form of
male-bonding friendship that the younger boy only responds to at
the very end.
In Kong Chi-yŏng’s “What’s to be Done” (1992) a woman standing
at a crosswalk
remembers at great length her relationship with a man whom she
knew when they
were activists in the years of dictatorship. This is the first
story written by
a woman in the collection. Finally, O Chŏng-hŭi’s “The Face”
(1999) happens in
the mind of a paralyzed, hallucinating and presumably dying man
whose wife goes
out, saying she is going to meet a long-lost friend, and has not
returned by
the end of the story.
It
is hard to know how to review this book. It is obviously
intended to be useful
for teachers of Korean studies outside of Korea, as well as
their students. It
is constructed on the premise that its readers will be as
interested in the
social history as in the literature of this period of Korean
history, that
works of Korean literature can be studied as social documents,
and that the
readers will also be interested in the details of the
translator’s struggles to
put the tales into English. The essentially literary quality of
the stories is
not addressed, since even Professor Fulton’s introduction views
them as items
in an ongoing academic process known as the “history of Korean
literature,”
which at times degenerates into lists of dates, authors and
works. The danger
is that the intrinsic nature of the stories is displaced from
their status as works
of literature to their ability to show “what life was like then”
or “what
writers wrote then.”
There
are two important issues that might be discussed in an extended
review. One is
the way the stories are translated, the other is the question of
their actual literary
interest. Yet in the end, neither is necessarily a useful topic.
Translators
translate as best they can, and writers write as they do.
Readers are free to
go on reading or not. What more is there to say? John Holstein
gives quite a
lengthy account of his approach to issues that arise in
translating and the
solutions he has selected. Like many North American translators,
he feels that
part of his work involves stylistic revision to make the text
feel “natural” to
English-speakers. In part this is obviously justified, in terms
of
“readability,” but he is probably not aware of recent
discussions in
translation theory about the demerits of “domestication.” He
includes in his
notes on translation a series of quotations about translating,
but they are all
from less than contemporary (twenty-first century) sources.
He
is certainly aware of the demands of “faithfulness” but he
confesses that he tends
to move away from the original as he revises, as though that
were natural and acceptable.
It is sometimes argued that, just as the great Russian writers
first became popular
in English thanks to Constance Garnett’s very free (inaccurate)
versions that made
them sound like genteel nineteenth century English writers, so
too Korean works
need to be made accessible by eliminating a lot of their
specific Korean-ness. But
modern theory sees that kind of domestication as a colonizing
approach,
eliminating or veiling essential cultural differences and
aspects of original
cultural identity. One key issue involves the translation of
slang, idiom and
dialect, where the Korean obviously has no direct equivalent in
English. This
overlaps with the issues arising from humorous word-play, puns
perhaps being
the most untranslatable of all. However, the most important
point to be made
here is that, this being so clearly a text-book for class use
rather than an
edition destined for general readers, the translator should be
careful to keep
as close as possible to what the Korean says. It is almost too
easy for an
American translator to make Koreans speaking to Koreans sound
like regular
North American guys when, precisely, they are not.
Of
course, as Professor Holstein points out, there are
impossibilities at every step.
Koreans very often use “relationship markers” (older brother,
younger sister, school
senior etc) when addressing one another, very rarely given
names, and this is very
“foreignizing” for an English reader. Even when we try to be
very “faithful” we
cannot help dropping most such words, in order to maintain a
reasonable flow of
English discourse. Obviously, if a text is meant as a “crib” for
bilingual
study, it might at times need to include even such words. I
wonder about one
detailed example of an idiom he mentions, where the Korean has
“Where do you
think this is anyway, a Chinese restaurant?” addressed to a
bus-girl who keeps
giving the same reply. The translator has replaced the
(certainly very unclear)
joke about waiters always giving the same reply, with, “What are
you, a broken
record or something?” The problem here is not the departure from
the Korean, so
much, as the use of an idiom that is no longer current in a
world of
download-files and iPod. No young reader today has ever heard
what happens when
the needle of a gramophone gets stuck in one grove of a
scratched record. The
only contemporary use of “broken record” is a new athletic
record.
There
is one unfortunate omission in this volume and that is a list of
the original,
Korean titles of the stories. Such information would be very
helpful to any reader
trying to trace the originals. I am especially puzzled by the
title “Loess
Valley” for “Hwangt’o-gi.” It is true that the Chinese
characters “hwangt’o”
(yellow earth) are used to designate the loess deposits in
Northern China that
give birth to the “hwangsa” dust-storms. But there is no loess
in Korea that I
know of. Especially, the opening lines of the story make it
clear that the main
characteristic of this substance is its blood-red color. In
Korea, “hwangt’o”
is a red loam or clay that, when it dries, turns an ocher color.
It was used,
mixed with straw, for making the walls of houses and is now
popular in the hot
rooms of bathhouses. The translated title does not represent the
‘gi’ (diary
etc) at all.
The
approach employed by Professor Holstein is on the whole one that
appeals to
North American translators, who feel that their translation
should sound natural
to North Americans, and strongly upsets Koreans who feel that it
takes far too
many liberties with what the original author wrote, for no
reason that they can
see. A few examples will have to do. Near the start of “Loess
Valley” Holstein
has: “So the general drew his sword and cut through the mountain
to its heart.
Torrents of blood coursed throughout the entire region for a
hundred days, and
gave the earth the color it has today.” This sounds fine,
certainly, but the
Korean actually says: “이에 혈을
지
르니,
이
산골
에석달
열흘
동안
붉은
피가
흘러
내리고이로
말미
암아이
일대
가황토
지대로변하
니라.”
This means: “Then he pierced a pulse-point in the ground, at
which for three
months and ten days blood poured down the valley, as a result of
which the
ground of the whole area turned into red clay.” The style of the
passage is deliberately
archaic and the geomantic notion of “pulse-point” is integral to
that. Holstein’s
“heart” is probably meant to preserve the image in a more
accessible form, but
the implication would seem to be that he killed the mountain.
The other
variations are in themselves each minor but they accumulate to
the point where
the text is a paraphrase rather than a translation.
The
same excessively free approach is found at the end of the story:
“One of these
days we’re both going all the way and finish this farce for
good,” is Professor
Holstein’s rendering of “네 놈이
내
초상
안
치르
고자빠
질줄
아나.”
Now unless we are looking at different versions of the text,
that has very
little in common with, “Lout, don’t imagine you can croak before
you take care
of my funeral,” which is what I believe the Korean means. The
concluding lines
in his version after this are:
Tŭkbo
had recently sworn, spitting out his
bitterness with his phlegm. This and the thought of the gleaming
dagger which
Tŭkbo had slammed on the table plunged Ŏkswae into a deep
reverie and stopped
him in his tracks. He imagined Tŭkbo plunging the eight-inch
dagger into the
middle of his chest and he could feel it gouging around in
there, scraping out
down to their roots the burning and itching liver and lungs of
his tempest. His
body thrilled at the thought.
When
he lifted his head again, a gossamer sun was already hanging low
over Loess heights.
There, maybe a li ahead, Tŭkbo plodded on alone toward Dragon
Creek.
My
own options are different, starting with the identity of the
speaker of the
strange phrase, that I assume to be spoken by the older Ŏksoe
who is saying he
does not wish or intend to kill Tŭkbo. I have underlined the
words in Professor
Holstein’s text that have no obvious equivalent in the Korean
(“and stopped him
in his tracks” is placed significantly earlier in his text than
in the Korean).
I would write:
Ŏksoe
suddenly recalled the knife with its sharp blade that Tŭkbo had
laid on the table,
spitting as he did so, a while before. Suppose Tŭkbo’s knife
blade, more than a
span long, slashed through the middle of his breast, slicing
through his madly
fretting, itching liver and lungs, he thought, and shuddered
once; he stopped
abruptly and looked up, and there the sun was, already setting
over Red Clay
Ridge, while some way ahead of him Tŭkbo was plodding on alone
down toward
Dragon Stream.
There
is a constant pattern of inaccuracy in the details of Professor
Holstein’s translation,
clearly at times produced by a wish to render the events more
vivid or dramatic.
The “liver and lungs of his tempest” is meaningless and
“thrilled” is hardly the
best word in the context. The degree to which a translator of a
text destined
to serve as an accurate record of the original for classroom or
study use (as
opposed to publication for a general readership, perhaps) is
allowed to rewrite
the original should be limited. There is no explanation as to
why the MR
Romanization of Ŏksoe is changed to Ŏkswae in this story, or
Puni to Buni.
A
Korean colleague who read Professor Holstein’s translation of
“The Shaman Painting”
noted with considerable exasperation a similar, overall lack of
precision, a tendency
“to omit awkward details and to add things unnecessarily.” The
first sentences
(15), “Low hills slumbering on night’s distant horizon. Broad
river winding black
across the plain. Sky spangled with stars about to rain on
hills, river, and
plain as this night approaches its climax,” sound magnificent in
English, but
the original says something more like: “In the background, dusky
hills lying
remote; in the foreground, a river flowing wide; blue stars all
seeming about
to come raining down on ridges, meadows, black river; it is now
deepest night,
utterly breathless.” It is not at all self-evident that a
translator should
rewrite to the extent Professor Holstein has done, “improving on
the original”
in this way. A few phrases later, the women watching the shaman,
he says, have
“sadness and hope in their faces” but the Korean says that their
faces are
impregnated with a “sorrowful agitation (슬픈
흥
분).”
A
little later, (16-17) Professor Holstein relates that “father
and daughter
stayed on for over a month, daughter painting and her father
recounting to Grandfather
the sad details of the girl’s hard life.” The Korean says: “그들
아비
딸은
달포
동안
이나머물
러있으
며그림
도그리
고자기
네의지난
이야
기도자세
히하소
연했다고한다.”
which means that the father and daughter stayed for about a
month, painting and
lamenting as they gave Grandfather a detailed account of their
past. No precise
division of their activities or tales is indicated.
Later
still, (21) telling the origins of Ugi (wrongly romanized as
Woogi), we read:
“Even when Woogi was still very young everybody around remarked
what a precocious
one he was, but Mohwa was so poor she could not send him to the
classics primer
school that most of the children in the village went to” where
the original
says: “그는 어릴
때
부터무척
총명
하여신동
이란소문
까지났으
나근본
이워낙
미천
하여마을
에서는순조
롭게공부
를시킬
수가
없어.”
The misunderstanding here is deeper, the translation quite
wrong. “From early
childhood he was so bright there were even reports he was a
prodigy, but their
social status was so low that he could not easily (smoothly) be
sent to study
in the village.” All the rest is added and inaccurate.
Professor
Holstein gives some indications about the reasons for these
failings in his
translator’s notes. First, he has been translating without a
reliable Korean
guide / editor, someone who is capable of reading his drafts
carefully and
telling him where he has missed the point of the Korean. We
easily recognize
incomprehensible phrases; it is when we think that we understand
everything
that the trouble starts. Second, he has been ‘revising’ his
versions
stylistically for much too long, and often, he says, without
reference to the
original. Too much tweaking can be dangerous for the health of a
text.
A
more fundamental question is what literary qualities these
stories have, in particular
when they are read in translation in an English-speaking
context. It is an impossible
question to answer, of course. But as noted before, the format
of this book
buries the actual stories under thick layers of documentation,
suggesting that they
will mainly be read either for information about Korean social
history or as representative
works in Korean literary history, and that they can only be read
at all if you
know an awful lot about Korea. There is a huge emphasis on
“contextualization” whereas
“a good story” is usually perfectly comprehensible without much
secondary information.
The question of whether these stories are worth reading “as
works of fiction”
in themselves is never raised.
This
leads me to wonder how much training in fundamental literary
analysis and
appreciation students in Korean Studies programs receive.
Narratorial
strategies, setting, characterization, tone, plot structure,
ambiguities . . . these
are the initial topics for any reading of a work of fiction in
any language.
And the starting point for any approach to a work of fiction
would normally be
a question such as, “What does this story say? What is the point
of it? What is
its theme?”
Looking
at the twelve tales in this collection, we of course note at
once their shared
liking for familiar, “realistic” episodes, their lack of
fantasy, suspense or
irony, their limited point-of-view. Even when we are given
access to the
thoughts of a character, those thoughts are mostly restricted to
immediate
probabilities or prospects and rarely if ever turn to deeper
self-analysis and
introspection, there is no true inwardness. Many foreign readers
of this kind
of Korean fiction are disturbed by what they call its “dark,
depressing” side,
with death, separation, division, alienation, lack of
communication on every
page.
This
leads to the most serious indictment of all. There is no humor,
not a moment of
joyful laughter to be found anywhere in any of these stories,
whether among the
characters, or in the way of narrating, or in the reader’s
response. For the western
reader, accustomed to seeing humor as a redemption, an
expression of the triumph
of the human spirit amidst the direst tribulations, this absence
is more than troubling,
it renders the stories inhuman and discredits the writers. The
readers are right,
and since Koreans have plenty of spirit and humor, there would
be every reason
to reject this selection of stories. These tales are utterly
pretentious in
their pseudo-seriousness, devoid as they are of the vivacity
that characterizes
the Korean life-experience.
Perhaps
the reply would be to say that they are records of lives almost
completely
deprived of free choice. What happens to the people in virtually
every case has
nothing to do with them, their wishes or choices; the only
explanation as to why
a person does this or that seems often to be that they had no
other choice. It
is not quite the same as fatalism, perhaps, but the processes of
life and death
are undergone with far less questioning or resistance than would
be normal in
the West. Revolt is not an option; preserving one’s essential
dignity through
thick and thin is the most important value. Austere stuff in
austere style. But
I do not think it is convincing. The writers wrote as they did
in order to be
admired by academic critics, who affirmed that “serious”
literature had to be
intensely “serious.” They were wrong, and it is time we found
some happy
stories for our students to read, instead of boring them to
death.