One by Salomé Assor
Hannah Allen-Shim
solitude comes into your life one rainy day and
never leaves
it hounds you and waits for you at every turn
of a downpour, covered in a white sheet like
children asleep or even awake in broad
daylight, for children know how to build forts
with nothing but a rectangle of fabric
solitude, better than anyone else, knows how
to win back its prey, and you pretend not to be
lonely, not to mind it, the reclaimed isolation
we think we love, well, what can i say, i had
wrongly imagined this brokenness would
disappear with time, yes, the imagination can
be wrong, rightfully so, i had wrongly imagined
my solitude was appeased, disappearing the
way everything disappears with age, but my
god, the age stayed the same, identical to that of
the torrents contemplated through the window,
and oh how the little girl i used to be drives me
mad for succumbing to hope, so passionately,
like a lover of the future, with time, nothing has
changed, the eternal confusion of rainy days when
showers of stones lapidate the hopscotch courts
we stubbornly draw to defy the sky, in vain, the
same chalk condemned to erasure, how could we
waste our love on these deluges of the tender age,
Monsieur
it is high time, as at any given time, to pray for
my prisoner, surely in the light of his desert,
begging the void to hold him in its arms, but
once night falls, no one can take themselves
into their own hands, a strange solitude that
plays tricks on you like a perverse child re-
incarnated in the calm child you love, he who
walks beneath the fabric of his unravelling fort,
sheltered from others, without actually getting
lost when he loses himself, at most he wastes
his time voluntarily losing his way, unimpeded
desired solitude, the comfort of being both your
inner self and your own deserter, oblivious of
your own anguish
now that i sit on this barricaded childhood i
pray you to accept me for the hours that have
been granted to us, after all, this is just a book
and you will read plenty of others, and those
others most certainly will not have my insolence,
there is always something better out there, that
is what you must not believe if you want to be
loved properly, yes, those others will look better
and will shatter neither your imagination nor your
reason, i couldn’t come up with anything better
than this somewhat long sentence to hold myself
together, but this is all just additional clatter
produced by the bricks that fall from afar and
knock down my reason
oh Monsieur, how i lose myself, how i lose
my way in astonishing trails when all i want
is to find you
i meant to believe in you from the beginning of
my madness, one day, i don’t remember when, i
realized i was senseless and on that day i decided
to love you, yes, love is a decision that forbids
bubbles from bursting into oblivion in the depths
of a bathtub, and perhaps you closed these pages
before this exact spot,
perhaps you will never read me
the unfathomable paradox of writing words
without knowing if anyone will read them,
and never having a stranglehold on your eyes,
that’s the way pens go, subtle but faltering with
uncertainty, if my sorrow ended up on this table
it is because i needed to have it in my face and
out of my hair, i wanted to make it more approach-
able by dressing it in words just to lay it bare,
another paradox, admit that there is good reason
to lose your mind, and if i was right before your
eyes, right under your nose in the middle of your
face, if this sorrow took the form of a table for
two, you the Monsieur, i the deserted chair, your
table for one across from mine, surely it would be
impossible to pardon myself for this king’s
speech, more imposed than the homicide of the
tree, and if love is a decision can we back out,
don’t tell me no, it is what madmen refuse, what
senseless fools recuse, and just a moment ago i
prayed you to accept me, but i forgot to include,
in my absence,
i wait for time to hurry me but it’s no use,
the blade of hours goes over my head like
a knife at my throat and vacuum packs
me into a constricted diving suit hard
of heart, in the bathtub the bubbles bend
over backwards without bursting, half-
heartedly rending their own hearts, and
as i curl up and peruse my arms with my
fingertips, i picture these untravelled paths
in the event they aren’t real, a swollen blister
that refuses to pop, i lather my shivers, for
lack of composure, for instead of being under
the weather i am over the moon of an eccentric
cosmos, a moon different from the one that
reveals itself to earthlings at night, and with
my head stuffed in an envelope with no stamp,
i float in the absurdity of those bathtubs we
burden with boiling water to fill the blueness
of our void, the disconsolate vacuity of drowsy
beanpoles, the pitiful self with its hands blue
from timidity, a blue straight from the sky, in
other words filled with absolutely nothing,
where some poets untroubled by oblivion lose
their way, in the bathtub i tell myself stories in
a low voice, yes, as i corner the bubble in my
vacuum-packed diving suit, besides, these stories
come so naturally to me in english, i couldn’t
find a better way to feign their otherness, and
when i babble in monodialogue on the moon, i tell
myself surely someone somewhere must hear me,
surely surely surely, some of my aberrations will
remain unsolved before the eternal, forever sealed
in letter bombs under the table, and when i dream
up a world, why is it always in english, for it takes
two to justify a lullaby,
and what do i know
and what does it matter,
the french language does not have the answer to my
questions
***
i’m going to stop talking for a moment
if i’d stopped talking without warning, you
would never have known, a writer’s silence
is the very essence of the unrealizable, the
impossible in all its glory, yes, the impossible
is especially glorious, silence is the unofficial
wooden language, it tears you apart for un-
expressing the crux of your truth, and despite
your infinite declarations, silence goes nowhere
near words and leaves you powerless, revolted,
implosively mute and inescapably speechless
before the world’s cacophony, yes, alone in this
world where bursts of bubbles alone can annihilate
the indulgence of the unsaid
the burst of a soap bubble is enough to unravel
the certainty you’ve been knitting for centuries,
bursting your eardrums when it explodes and
deflating your secrets like those birthday balloons
that, despite the burst of their pigment, simply
contain children’s sighs, this is the story of
those whose stifled remarks have been blown
to smithereens and pulverized from within,
leaving room for nothing but the spaces between
each word,
but without the words
besides, none of those bubbles will have ever
travelled into space, one would think they fear
the void that locks our stars in an embrace, and
there you have it, Monsieur, i exhaust myself
nailing my eyes to spheres that vanish into thin
air, fixing myself like a nail in the soapy globules
that falter as i sit and stare, the silent symphony
of soap leaves you to your grey water, weary,
washed out, exhausted, wounded cracked torn
in all your fine lace
for one day all bubbles will burst into oblivion
and on that day you’ll join them in their resting place
i think of you so i won’t miss a word, for nothing
could be more tedious than assembling the ashes of
beginnings that have woebegone up in flames, i
dream of you who aren’t there, that’s what i made of
you, Monsieur, a dream, grandiose and incoherent
the way all my dreams are, that must be what we
do with absentees, turn them over in our minds one
hundred times, make them laugh an immaterial laugh,
hang them onto the crescent of a moon and possess
them at arm’s length, and while our immobile hands
tremble and interlace under a table, without asking for
permission, yes, despite our wishes and beyond any
calculation, simply resting there, locked in an embrace
without saying a finger, abandoned on thighs and
forgotten in entanglement, completely torn from
the outside world, that’s how it is, solitude un-
knowingly interlaces your hands without warning
or anyone noticing, and forces you back into
the pitiful gesture of self-embrace,
***
i offer you my vowels in vain, the way i
do all kinds of things in vain, but the more
i enunciate you the more i squander you
and lose you even more, even though reality
sought to remove you from the moment you
were never there, my voice rambling between
your fingers is an endless letter in a torn
envelope, the asymmetrical correspondence
of mourners, like a widow i picture your face
as you read me and i sully the whiteness of
desertion, the filth of virgins is red and that of
widows is black, and that is my vocation, yes,
i, the incorruptible atheist, tarnishing the integrity
of a virgin page, the self, cloaked in fabric darker
than its shadow, tighter than a spider’s attire,
that is all i need to recognize you, to stroke
you stronger than those who crudely caress in
promiscuity, i love you for being so distant i must
write to you just to cross your mind and finally
uncross myself, and finally, my absurd reader,
my imaginary persistence, you my blue sky, the
madman in the desert of my hours, catching
a glimpse of love as the only answer in your
eyes,
it’s almost loving someone who abandons you
my tyrant of absence, in other words
missing from all places, except in my mind,
how could i love you for abandoning me
like that, you who yearned to possess me,
before this table i sit and unburden myself,
surrendering my unaddressed letters to an
utterly deserted sky, to my restless reasons
for remaining in this world, i hate my fruitless
restlessness, how far will the paths of oneness
lead my unscheduled rendez-vous, a sad un-
orchestrated meeting, you, my longest strophe,
the tiniest crumb of my feverish obsessions,
love is a disaster, it pushes you around and
breaks down your flood barriers, love wreaks
havoc like nature when it panics, undeniable,
uncontrollable, i assure you, a nature more
panicked than mourners, that is why love
dominates us, Monsieur, because it is free and
i am the opposite, and you, my catastrophe of
captivity, my most uncontrollable cataclysm,
i fully comprehend the answer these words will
never know, other than a chance to catch your
eyes in my illusions and that’s all i can hope for,
yes, i can only hope that my lies will brave my
irreversible impiety, the amorous verbs of my
firmament, and after all, is uttering the inaudible
enough to survive
i prefer you as a reader, this is all part of
my asinine renunciation, bookworms never
reimburse you for your words, they stay silent be-
fore the eternal and offer nothing in return, loving
or hating you from afar, an onlooker, that’s how i
prefer you, without knowing whether you love me or
hate me, at an infinite distance from your thoughts,
from god in his absolute silence, from women in utter
uproar, i’d still rather desert this world where i search
for you in vain, there is nothing truthful about this
world other than a writer’s grotesque refrains, well,
there you have it, Monsieur, at the risk of renouncing
the universe, i prefer, true to my emaciation, love as
a first draft of the imagination_
Commentary: Taking a Seat at the Table for One
The above passages are from my translation of Salomé Assor’s debut novel, One, a meditation on the unexpected and often unacknowledged violence of solitude. The central image of One is that of a young woman, the narrator, sitting at a “table for one” while addressing a mysterious “Monsieur.” The Monsieur represents a variety of notions and figures, including unrequited love, the male gaze, the reader, and the persistent absence of the other.
As the translator of One, I found myself in the unusual position of simultaneously embodying the other and the author. I somehow possessed both the reader’s agency and the writer’s invisibility, and I wasn’t sure what to do with what felt like extraordinary power. In the act of translation, wasn’t I necessarily writing my own response to Assor’s “unaddressed letters” and further reinforcing her invisibility?
Fortunately, I didn’t have to look much further than the text for ideas on how to approach the translation. At one point in the novel, Assor aptly points out that “there are always two chairs surrounding a table,” which is a beautiful way to think of translation: as an invitation to take a seat at the table and join the conversation. Assor also uses the word “monodialogue,” which is a compelling term to describe how a monologue, through translation, morphs into a dialogue between the author and the translator.
Thinking of translation as conversation and dialogue freed me from the other/author bind, empowering me to approach the text as an unsuspected intermediary. I embraced phrases like “perhaps you will never read me” – a reflection of the author’s invisible anxieties and the original text’s invisibility to readers of the translation – as opportunities to meditate on translation’s power to give voice to texts that might otherwise remain unread. Likewise, I opted for a mostly literal translation of the lines that explicitly mentioned French and English, which allowed me to juxtapose two perspectives: that of the French-language narrator, who is frustrated by the limitations of her language, and that of the English-language translator, who shares the narrator’s “insolence” and conviction that untranslatability goes beyond individual words and expressions.
In my efforts to convey Assor’s feelings of invisibility without turning her into the invisible other/author, I tried to highlight the inventive uses of language that first drew me to her writing. One such example of Assor’s ingenuity comes in the phrase “départs en fumée,” which captures both the literal and figurative meaning of the expression “go up in flames” while combining the noun départs (starts, beginnings, departures) and the verb partir (to leave, to go, to depart). Rather than finding some sort of equivalent noun/verb phrase combination, I focused on retaining the original phrase’s imagery and creativity; this ultimately led me to “woebegone up in flames.” Foregrounding Assor’s linguistic creativity, I’ve strived to produce a translation that eschews invisibility in favour of a “monodialogue” between the translator and the author.