https://electricliterature.com/an-english-language-debut-that-translates-the-violence-beneath-a-neighborhood/
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“The novel understands that facts alone rarely settle questions of violence, responsibility, or memory.”
“I translated The Summer of the Serpent in this spirit; it’s what I try to bring to everything I translate.”
“To write anything, including a translation, you need your ears!”
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“And then we’re in a neighborhood where children and adults experience their own interior collapses.”
“Contribute to Electric Lit Help keep the lights on.”
“Cecilia Eudave: From the very beginning, I knew I’d need more than one voice to tell this story.”
“Even the supernatural elements participate in this struggle: a ghost demands to be heard, while the serpent girl delivers prophecies that begin to make sense in retrospect.”
“You can hear it when it’s “right” or “wrong,” but it’s not always easy to break down exactly what makes it so.”
“From manuals to poetry.”
“How did you find yourself making syntactic or rhythmic choices to convey swelter and stagnation in English?”
“When I was reading, I felt the feeling of “calor” as it accumulated throughout the novel.”
“SC: Each narrative voice in the novel has a distinct register.”
“Each voice has its own syntax, temporal logic, and relationship to truth.”
“And do you have nicknames that shaped how you thought about this?”
“The technical storage or access that is used exclusively for anonymous statistical purposes.”
“It must transform, and the translator is the person who considers and decides on every single element of its transformation.”
“I believe that the degree of cruelty we’ve observed or received in childhood is the first doorway onto the violence ultimately exerted in society.”
“SC: To speak to those details, Robin, I’m curious how you translated the visceral quality of heat.”