Showing posts with label martin chalmers. Show all posts
Showing posts with label martin chalmers. Show all posts

Tuesday, 4 November 2014

Martin Chalmers, 1948-2014


Martin Chalmers was buried today at the Alter Matthäus Cemetery in Berlin, in the same ground as the Brothers Grimm, the poet May Ayim, the musician Rio Reiser and many other Berliners ordinary and extraordinary in their own ways. It was his favourite cemetery. Martin's fellow translator and writer Iain Galbraith read Matthew Arnold's poem "Dover Beach" by the grave. 

I didn’t know Martin well but our paths crossed a few times here in Berlin, all of them memorable. The first was on a long evening of eating, drinking and talking with writers and translators at the Literary Colloquium, followed by a boozy train ride back into the city. It was a good way to meet someone I’d admired – anything but formal – and I remember him talking very knowledgably about Berlin history in a voice that was occasionally too quiet, and also about becoming a grandfather. The most recent occasion was in April of last year, when Martin had already been diagnosed with cancer but agreed to talk on a panel at a workshop for young translators. Although I cringe to ask people to do things for free, Martin was perfectly happy to pass on some of his experience and seemed to enjoy discovering an obscure corner of Neukölln; his bio states that he lived in Rixdorf, the old name for the borough or the lesser-known name of a very small part of it. That strikes me as typical of him – a winking eye for historical detail as expressed in words.

Martin was originally a historian but became a translator when he’d “run out of money”, as he said in an interview for New Books in German. He grew up in Glasgow; his mother was German and he spent a lot of time as a child with his German oma, who looked after him but had no English. At the funeral, his friend Robert Lumley said he’d gone to the pictures with her and whispered translations into her ear. I understand he recently found the place in East Prussia, now Poland, where she grew up. You can read some of Martin’s contemplative writing about his family, and other things, on his website.

Martin translated a whole swathe of German-language writers, mainly twentieth-century and contemporary, acting very much as a champion for them: Bertolt Brecht, Hubert Fichte, Hans Magnus Enzensberger, Erich Fried, Herta Müller, Emine Sevgi Özdamar, Joachim Fest, Sherko Fatah, Alexander Kluge, Peter Handke, Elfriede Jelinek, Thomas Bernhard, Erich Hackl, and his partner Esther Kinsky. He was awarded the Schlegel-Tieck prize in 2004 for his translation of Viktor Klemperer’s I Shall Bear Witness – three volumes for which he also wrote the introductions. He taught at the British Centre for Literary Translation summer school; our mutual friend Stefan Tobler was one of his students, bitten by Martin’s bug several years before he set up And Other Stories

At the funeral, friends spoke of Martin Chalmers as a pacifist with a huge amount of empathy and a great walker, a man who loved exploring cities on foot and talking on the go. The Seagull Books publisher Naveen Kishore tells a story about Martin and Esther taking him on a very long walk in the Berlin snow; I think they ended up at the cemetery where he’s now buried. He loved music and poetry and the ceremony reflected that beautifully – anecdotes about punk gigs, a story of Martin’s after which we attempted to sing his favourite hymn, a song by the graveside, Brecht and Arnold and Johannes Bobrowski. I will miss his occasional kind emails correcting things I got wrong on my blog and proffering his own opinions, his dry sense of humour and his taste in German literature, which was different to mine. 

I will think of him, always an inspiring man, and I will try to be as good a translator and advocate as he was and as active a walker and a thinker.

Saturday, 6 July 2013

Martin Chalmers' Writing

Martin Chalmers is a translator for whom I have nothing but admiration. He knows a lot about German-language writing and about history and about translation, and he has worked on some wonderful books. We have very different literary tastes; or rather, Martin often doesn't share mine. Occasionally he will write me a long email explaining something I have misunderstood or misrepresented here. I enjoy reading what he has to say, especially because he manages not to come across as a know-it-all. When I meet him I feel gangly and superficial.

And now I see he writes too, and well. You can read his writing on his website - about German-language writers and books, about Berlin and history, about his own family. Please do.


Monday, 21 February 2011

Asymptote Journal

A kind reader pointed me in the direction of a new online international journal on literary translation and contemporary writing, by the name of Asymptote. The first issue showcases poetry, prose and non-fiction from a very wide range of languages, plus a translator interview and feature articles. Thomas Bernhard fans will be pleased to see an extract from - well, what exactly? I assume Prose, published by Seagull Books - translated by Martin Chalmers.

It looks like it should be a very interesting resource, using different media. Despite including the term 'smorgasbord of languages'.

Friday, 9 October 2009

Chalmers and Marven, Berlin Tabloids on Herta Müller

Amidst the no doubt predictable tidal wave of semi-informed comment (which is why I'm not saying much), a couple of voices actually have something to say about Herta Müller.

Starting with Martin Chalmers, one of her previous translators. He has a very touching piece in the Guardian books blog giving some background information and a taste of her work. Martin, one of those fantastic translatorly curmudgeons (and I mean that in a good way, honest) who points out all that is wrong with the Anglo-American publishing world at regular intervals, closes his piece:

(...) the Swedish Academy is, I think, doing two things. It is once again challenging the self-satisfied Anglo-centrism of the English-language publishing business, with its rather narrow definitions of what constitutes good writing, and it is widening our ideas of Europe. And it is perhaps in its failure to engage with European literatures that the English culture, for all the advantages of the global reach of the English language, shows itself at its most provincial.

Then you can listen to another translator and Germanist, Lyn Marven, on BBC Radio 3 - if you're quick, that is. Go to around the 16th minute to find out all sorts of stuff about Herta Müller, only online for the next six days, unfortunately. Lyn tells us about some of Müller's motifs and motivations, corrects the presenter's assumption that only one of her books has been translated, and so on.

Berlin's tabloids are even more enthusiastic than Lyn, claiming Herta Müller as the city's own. It helps that she shares a name (almost) with one of Berlin's beleaguered football teams. The reporters for Berliner Kurier and BZ all went to last night's press conference and all bang on about how small Herta Müller is. Presumably this is a triumph for short women living in Friedenau. What's interesting is that both pieces link to reactions from Germany's household-name critics. Find out in the Kurier that Marcel Reich-Ranicki is not amused that his favourite Philip Roth didn't win - and pulls the "token female" card currently doing the rounds. And get all the gossip about what she's really like from Elke Heidenreich in the BZ.

Friday, 27 June 2008

New German Writers (and Martin Chalmers)

I've just printed off the first four entries for the Bachmann Prize, translated into English by Martin Chalmers and my mate Stefan Tobler. I shall now retire to a horizontal position and read them all. More later.

Incidentally, in case you remember Nicholas Spice's head-bashing condemnation of Martin Chalmers' Greed translation in the London Review of Books, the publishers have replied in kind. Pete Ayrton of Serpent's Tail writes:

As Spice himself notes, Gier ‘poses almost insuperable obstacles to good translation’ but this does not hold him back from claiming that Chalmers’s translation is so bad that ‘it would have been better to have left the novel untranslated.’ For sure, Jelinek’s quest to match form to the misogynist content makes for a difficult read but the difficulty is already there in the German original. Rather than allow Spice to suggest that a book were best left untranslated, the editors of the LRB should pay more attention to reviewing fiction in translation.

He gets a bit nastier after that too, but who can blame him?