3.3 In the Editing Room with Ruth Ozeki and Rebecca Evans (EH)

Ruth Ozeki, whose most recent novel is The Book of Form and Emptiness, speaks with critic Rebecca Evans and guest host Emily Hyde. This is a conversation about talking books, the randomness and serendipity of library shelves, and what novelists can learn in the editing room of a movie like Mutant Hunt. Ozeki is an ordained Zen Buddhist priest, and her novels unfold as warm-hearted parables that have been stuffed full of the messiness of contemporary life. The Book of Form and Emptiness telescopes from global supply chains to the aisles of a Michaels craft store and from a pediatric psychiatry ward to the enchanted stacks of the public library. The exigencies of environmental storytelling arch over this conversation. Evans asks Ozeki questions of craft (how to move a story through time, how to bring it to an end) that become questions of practice (how to listen to the objects stories tell, how to declutter your sock drawer). And we learn Ozeki’s theory of closure: her novels always pull together at the end so that readers are free to continue pondering the questions they raise.

Mentioned in this episode:

Listen and Read:

Audio: In the Editing Room with Ruth Ozeki and Rebecca Evans

Transcript: 3.3 In the Editing Room

4.2 Light and Sound: Boubacar Boris Diop with Sarah Quesada Novel Dialogue

Boubacar Boris Diop is the author of Murambi: The Book of Bones, (Indiana UP, 2016; translated by Fiona McLaughlin), an unforgettable novel of the Rwandan genocide that blends journalistic research with finely drawn characterizations of perpetrators, victims, and bystanders. In this episode, Mr. Diop reads from Murambi, translated from French by Fiona McLaughlin, and speaks to Duke professor Sarah Quesada and host Aarthi Vadde about how his work on the novel spurred him to rethink his language of composition. Mr. Diop wrote his first five novels in French, but after Murambi, shifted to Wolof, the most widely spoken language in his home country of Senegal. Asked to describe the difference between writing in French and writing in Wolof, Mr. Diop sums it up memorably: “When I start writing in French, I shut the door; I shut the window…I don’t hear the words I’m writing. When I write in Wolof, I hear every word.” Sarah and Mr. Diop discuss whether translation can be an ally to a Wolof worldview or whether the sounds that Mr. Diop hears through his window will inevitably be lost to readers who encounter his Wolof novels in English or French. Their dialogue suggests that, while Wolof represents a form of linguistic emancipation from the legacy of a French colonial education, there is also discovery and freedom in raising the literary profile of Wolof for an international audience. Mr. Diop’s Doomi Golo: The Hidden Notebooks is the first Wolof novel to be translated into English and an excerpt from his second Wolof novel Bàmmeelu Kocc Barma is available in translation here. In response to our signature question of the season, Mr. Diop proposes that the Wolof word “keroog” is very difficult to translate but not impossible. And it spurs an impromptu comparison to the Spanish word “ahorita,” which like “keroog,” blurs the distinctions between present, past, and future. In an episode about personal and political memory, nothing could be more fitting! Mentioned in this episode: –Toni Morrison –Gabriel Garcia Marquez –Mario Vargas Llosa –Ernesto Sábato –Léopold Sédar Senghor –Doomi Golo: The Hidden Notebooks –Les Petits de la guenon (French Translation of Doomi Golo) –Bàmmeelu Kocc Barma – literally translated as Kocc Barma's Grave (Diop’s second Wolof novel) –Malaanum Lëndëm – Diop’s third Wolof novel –Alice Chaudemanche (French translator of Malaanum Lëndëm) –Pierre Nora – French historian –Marianne Hirsch –“Sites mémoriaux du génocide” – memorial sites of genocide (term used by UNESCO that qualify as heritage sites.) –Rwandan term – “ejo” (similar to keroog) from the language: Kinyarwanda Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics. Learn more about your ad choices. Visit megaphone.fm/adchoices
  1. 4.2 Light and Sound: Boubacar Boris Diop with Sarah Quesada
  2. 4.1 “Sometimes I’m just a little disappointed in English”
  3. 4.0 Novel Dialogue Season 4: Transitions and Translations
  4. 3.6 Why are You in Bed? Why are You Drinking? Colm Tóibín and Joseph Rezek in Conversation
  5. 3.5 The Romance of Recovery: Ben Bateman talks to Shola von Reinhold (AV)

Image credit: Creative Commons

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