There’s a kind of writing– I’d call it Pninian– that challenges translation in its specificity. Not, as some theories of the untranslatable would have it, because it calls on utterly singular and irreplaceable qualities of the language it uses, but because it is made of the interweaving of two languages at a specific moment of their histories. In Nabokov’s Pnin, it’s the combination of 1950s American English and early-twentieth-century émigré Russian that creates the discordia concors. In Lydie Salvayre’s Pas pleurer, a new novel I unwisely bought for a friend who was seeking to raise the level of her French, it’s the overlay of Spanish and French, or the revelation of the Spanish hidden in French, that brings the savor. I particularly loved the device whereby the narrator makes this stylistic effect a sign of both character and plot (motivirovka, the O.PO.JAZ would have called it):

Depuis que ma mère souffre de troubles mnésiques, elle éprouve un réel plaisir à prononcer les mots grossiers qu’elle s’est abstenue de formuler pendant plus de soixante-dix ans, manifestation typique chez ce type de patients, a expliqué son médecin… Elle qui s’était tant évertuée, depuis son arrivée en France, à corriger son accent espagnol, à parler un langage châtié et à soigner sa mise pour être toujours plus conforme à ce qu’elle pensait être le modèle français (se signalant par là même, dans sa trop stricte conformité, comme une étrangère), elle envoie valser dans ses vieux jours les petits conventions, langagières et autres. (82-83)

This gives such sentences as:

Et moi je grite encore plus fort: Je me fous qu’on m’ouit, je veux pas être bonniche chez les Burgos, j’aime mieux faire la pute en ville!… Plutôt morir! (14)

To translate this into, say, English, one would have to either imitate the effect of Spanish-tinged French– by appropriating the characteristics of Spanglish, say; but this kind of similarity soon points up the dissimilarity of associations between the two kinds of interlanguage. French-speakers readily recall the influx of Spanish-speakers following the defeat of the Spanish Republic in 1939, but the associations of North American Spanglish have to do with different conditions of migration and resettlement. Another, braver, method would require finding an analogous situation valid for the relation of Spanish and English and then rewriting, or restating, the whole novel as a function of that. Does anyone want to reimagine Pas pleurer as a story of Cubans, Nicaraguans, Salvadorans (etc…) residing in San Diego as a consequence of their difficult history?

Lydie Salvayre, Pas pleurer. Paris: Seuil, 2014. Awarded the Prix Goncourt.