Читать книгу Re-Thinking Literary Identities - AA.VV - Страница 9

ANNS A’ CHÀNAN CHÙBHRAIDH/EN LALENGUA FRAGANTE: TRANSLATING SCOTTISH GAELIC POETRY

Miguel Teruel

Universitat de València

The purpose of this chapter is to present and describe an experience of translation of contemporary Scottish Gaelic poetry into Spanish, and to discuss a number of theoretical issues encountered during the process, particularly the use of English as mediating language for translation. Additionally, it includes the sketch of a factual and bibliographical outline of the context, and a shortlist of the poets who have written in Scottish Gaelic (Gàidhlig) since the mid-twentieth century to the present.¹

Anns a’ Chànan Chùbhraidh/En la lengua fragante is a selection of poems by Anne Frater. This selection, comprising of ten poems, was premiered by the author and myself as a translator in a public reading on 4 March 2016 at the Aula de Poesia at the University of València.²Anne (Anna) Frater’s is one of the most recognised and recognisable voices in contemporary Scottish Gaelic poetry. She published her first poems in Gairm in 1986, the quarterly magazine—and publishing house—founded in 1951 by Derick Thomson (Ruaraidh MacThòmais) and Finlay J. MacDonald (Fionnlagh Domhnallach) that served as the main vehicle for the advancement of Scottish Gaelic Literature in the second half of the twentieth century.³ Her first book, Fon t-Slige/Under the Shell, was also published by Gairm in 1995.

She was born in Stornoway (Steòrnabhagh), in the isle of Lewis (Leòdhas) in the Outer Hebrides or Western Isles (na h-Eileanan Siar) in 1967, and was brought up in the village of Upper Bayble (Pabail Uarach) in the district of Point (An Rubha). This community, small as it is, has also been home to two important poets in the tradition: Derick Thomson and Iain Crichton Smith (Iain Mac a’ Ghobhainn).

Frater’s poetry explores identity and nation, love, language and landscape.⁴ Her style is a clear, clean condensation of everyday Gaelic speech, enriched by irony and allusion, and her natural form is free verse. Anne Frater is also an academic: she read her Ph.D. thesis in Glasgow University in 1995 on Scottish Gaelic women’s poetry up to 1750,⁵ and she currently lectures at Lews Castle College in Stornoway (UHI, University of the Highlands and Islands/Oilthigh na Gàidhealtachd agus nan Eilean) where she is Programme Leader for the BAH Gaelic Scotland. Her poems have appeared in most anthologies of recent Scottish Gaelic poetry: Whyte 1991a, Kerrigan 1991, Stephen 1993, O’Rourke 1994, Crowe 1997, Black 1999, McMillan and Byrne 2005, MacNeil 2011. She has also published in other magazines, as Chapman, and Verse.

Her writing occurs in a space of course made possible by her predecessors, and enlarged by her contemporaries. This space is a very vibrant tradition, and amazingly so for a language spoken by approximately 60,000 people, as indicated by the 2011 census of Scotland (Murray 2014: 10-12). Their linguistic domain (Gàidhealtachd) has been constantly dwindling during the twentieth century—over 250,000 speakers were recorded in 1891—but the process of devolution (fèin-riaghlaidh) under way since the late 1990s has in fact decelerated the rate of decline. The promulgation of the Gaelic Language Act of 2005 and its effects on education and public life have already produced positive results, for the census shows an increase in the number of speakers under twenty years in age, and the new vitality of the language is now beginning to extend from the traditional strongholds of the Outer Hebrides, the Highlands, and Argyll and Bute to the cities in mainland Scotland.⁶ The resilience of Gaelic culture, inevitably defined by the contiguity of its bulling, all-too-powerful neighbouring language, is evident in the persistence and the continuity of the practice of poetry. As we are to draw a map of Scottish Gaelic poetry from the mid-twentieth century to the present I suggest three points of reference—three anthologies—that will help us find bearings.

The first anthology, Nua-bhàrdachd Ghàidhlig/Modern Scottish Gaelic Poems, was edited by Donald MacAulay (Dohmnall MacAmhlaigh) and first published in 1976. It includes poems by five authors, and their own translations into English: Sorley MacLean (Somhairle MacGill-Eain), George Campbell Hay (Deòrsa Mac Iain Deòrsa), Derick Thomson, Iain Crichton Smith and Donald MacAulay himself, who also provides a substantial introduction and biographical notes on the contributors. This is the backbone of Modernism in the Scottish Gaelic poetical tradition, linking the self-contained bardic and popular past with the wider world of the 1930s and the future.

Sorley MacLean (1911-96) was born in Osgaig, in the isle of Raasay (Ratharsair), off the coast of eastern Skye (an t-Eilean Sgitheanach). He is the central Scottish Gaelic poet in the central decades of the twentieth century. His first collection of poems in Gaelic, the seminal Dàin do Eimhir agus Dàin Eile (Poems to Eimhir and Other Poems), published in 1943,⁷ paved the way for the poets to come, showing how the language could be used in poetry for contemporary relevance. He marries love and politics in his writing, with committed views on the Spanish Civil War and the advent of Fascism. His poems are often inhabited by the ghosts of those evicted from their communities in successive clearances, as in the well-known Hallaig, first published in Gairm in 1954. The poem was translated into English by Seamus Heaney in 2002. MacLean selected and collected his work several times during his lifetime with his own English translations,⁸ and now the standard collection of his poems is Caoir Gheal Leumraich/White Leaping Flame: Collected Poems in Gaelic With English Translations, edited by Christopher Whyte and Emma Dymock in 2011.

George Campbell Hay (1915-84)⁹ was a multilingual poet and translator. He wrote in Gaelic, Scots, and English, but also in French, Italian and Norwegian, and could speak and read several other languages. Among his many translations into Gaelic stands out his work on the sonnets of Petrarch. His style is imbued with classical, technical prowess. His collection Fuaran Sléibh was hailed with enthusiasm when it was published in 1947. Although born in Elderslie (Ach na Feàrna) in Renfrewshire, his life was connected with Tarbert (Tairbeart Loch Fine) in Argyll, Edinburgh, and the Mediterranean, where he was a soldier in the Second World War. His long poem Mochtàr is Dùghall (composed in the 1940s and published in 1982) is based on his experiences in Algeria and Tunisia. Michel Byrne edited his Collected Poems and Songs in 2000.

Derick Smith Thomson (1921-2012), born in Upper Bayble in the island of Lewis, was the most relevant figure in the field of Gaelic studies and writing in the second half of the twentieth century. His influence as poet, scholar, and publisher and mentor of young writers was crucial for the growth and development of Gaelic culture. As a poet, his own personal evolution from the traditional metres and themes in An Dealbh Briste: Gaelic poems, with Some Translations in English (1951), to the free verse and cosmopolitan views of his later poetry marked the passage from MacLean to the present for Gaelic contemporary poets. He collected his poems up to 1980 in Creachadh na Clàrsaich/Plundering the Harp (1982), and he continued to publish until 2007: Sùil air Fàire: dain ùra/Surveying the Horizon: Recent Poems. In these poems, Glasgow is no longer seen as a place of exile—a recurrent scene in the Gaelic tradition—but ‘like his Glasgow contemporaries Alasdair Gray and Edwin Morgan’ as ‘a place where heaven and hell can be found together’ (O’Gallagher 2009: 63). His fertile work as a scholar includes An Introduction to Gaelic Poetry (1974) and The Companion to Gaelic Scotland (1983). As a publisher, amongst many other ventures, he co-founded Gairm in 1951 and directed the magazine and the publishing house on his own since 1964. In 1990 he edited Bardachd na Roinn-Eorpa an Gaidhlig/European Poetry in Gaelic. In 2011, in celebration of his 90th birthday, several of the poets he helped and advised (Meg Bateman, Angus Peter Campbell, Jim Carruth, Anna Frater, Rody Gorman, Liz Lochhead, Peter Mackay, Aonghas MacNeacail, Robyn Marsack, and Niall O’Gallagher) chose their own favourite poem by Thomson and the Gaelic Books Council (Comhairle nan Leabhraichean)—which he founded in 1968—and the Scottish Poetry Library published Mar Chomharra. Ruaraidh MacThòmais aig 90/Derick Thomson at 90: A Celebration.¹⁰

Iain Crichton Smith (1928-98) was born in Glasgow (Glaschu), and reared in Upper Bayble, Lewis. He was a prolific writer, both in Gaelic and English: poems, short stories and novels, plays… ‘It is undoubtedly fair to say that Smith the storyteller has had a greater impact on Gaelic literature than Smith the poet’ (Black 1999: 794), but for his poems in English he is considered amongst the finest Scottish authors of his generation. His 1971 translation of Sorley MacLean’s Poems to Eimhir played a key role in securing MacLean’s reputation for English readers. In 1987 he published his last collection of Gaelic verse, An t-Eilean agus An Cànan. He also wrote essays and criticism, mainly in English. A highly interesting selection, Towards the Human (1986), contains precious autobiographical pieces and articles about Hay, MacAulay, MacLean and Thomson, and several essays on Hugh MacDiarmid and other Scottish poets.

Donald MacAulay was born in 1930 in Bernera (Beàrnaraigh), an island off the west coast of Lewis. He is an academic, a scholar, and a poet, and has had a distinguished career, with numerous official duties. His early poetry was published in Seobhrach ás a’ Chlaich/Primrose from the Stone (1967), and in 2008 he collected his poems in Deilbh is Faileasan. His use of language is as complex as his relationship with his own community.¹¹ Besides this first anthology, he also edited Oighreachd agus Gabhaltas (1980), on the land riots of the late nineteenth century—amongst them, the Bernera riot of 1874—and The Celtic Languages (1992).

An Aghaidh na Sìorraidheachd/In the Face of Eternity: Ochdnar Bhard Gàidhlig/Eight Gaelic Poets is the title of the second anthology, edited by Christopher Whyte (Crìsdean Whyte, Crìsdean MacIlleBhàin) and published in 1991. The collection, which includes an introduction by the editor and short presentations and English translations provided by the poets, gathers authors and poems from the two generations of poets who followed and extended the paths opened by MacLean and Thomson: Meg Bateman, Myles Campbell (Maoilios Caimbeul), Anne Frater, Fearghas MacFhionnlaigh, Aonghas MacNeacail, Catriona Montgomery (Catrìona NicGumaraid), Mary Montgomery (Mairi NicGumaraid), and Christopher Whyte himself.

Donald MacAulay wrote in his review of the anthology in Gairm that he did not think many of the poems included were ‘very Gaelic’ or had ‘much connection with the tradition, with Gaelic convention’ (quoted and translated in Black 1991: lxiii-iv). Indeed, his argument is a mere statement of fact: the younger poets expand their inheritance and find still newer reaches for those same limits that MacAulay and his contemporaries expanded in their turn.

Vivienne Margaret (Meg) Bateman was born in 1959 in Edinburgh (Dùn Èideann), and learnt Gaelic as an adult. Her first book of poems, Òrain Ghaoil/Amhráin Ghrá, appeared in 1990 and was published in Dublin (Baile Átha Cliath) with translations into Irish Gaelic (Gaelige) by Alex Osborne. With her love poems, rhythmical and rhymed, she brought a new, ironic voice to the song tradition of Gaelic women writers. In 1997 she published Aotromachd agus Dàin Eile/Lightness and Other Poems, where she included her two first collections with her own English translations. Her latest collection, intercalating Gaelic poems, their English translations, and poems in English, Transparencies, appeared in 2013.¹²

Maoilios Caimbeul was born in 1944 in Staffin (Stafain), on the northeastern coast of Skye. He learnt to write his own language in his mid-twenties, after several years in the merchant navy. His first book of poems, Eileanan, appeared in 1980. Of all his collections of poetry only his second book, Bailtean/Villages (1987), has been published with English translations. Breac-a’-Mhuiltein/Spéir Dhroim an Ronnaigh: Selected Poems, 1974-2006 was published in Dublin in 2007 with Irish translations by Rody Gorman. His latest collection is Tro Chloich na Sùla (2014). Female characters, allegorical and real, are quite frequent in his work. He has also written prose fiction, especially for children, and educational material.¹³

In his ‘Introduction’, Christopher Whyte writes of Fearghas MacFhionnlaigh as the ‘most original’ and ‘in his experimentation with language, the most exciting’ poet in the anthology (xi). Born in 1948 in the Vale of Leven (Magh Leamhna), West Dunbartonshire, he taught himself Gaelic during his teens. His poems blend science and nature, technology and ecology with a daring sense of neologism. He has published three poem sequences: A’ Mheanbhchuileag/The Midge (1980, 1982), Iolair, Brù-Dhearg, Giuthas (1991), and Bogha-Frois san Oidche/Rainbow in the Night (1997).¹⁴

Aonghas MacNeacail was born in 1942 in Uig (Ùige), in northern Skye. He presents himself as a ‘poet and songwriter’,¹⁵ and also ‘broadcaster, journalist, scriptwriter, librettist and translator’. He wrote his first poems in English, but since the late 1970s he has become a figure of reference in Gaelic culture. His individual voice, inspired by American poets like e e cummings and by Philip Hobsbaum’s Writers’ Group in Glasgow—Tom Leonard, James Kelman, Alasdair Gray, Liz Lochhead—is heard with its characteristic repetitions in his first full collection, an seachnadh agus dàin eile/the avoiding and other poems (1986). A Proper Schooling and Other Poems/Oideachadh Ceart agus Dàin Eile was published in 1996, and in 2012 dèanamh gàire ris a’ chloc: dàin ùra agus thaghte/laughing at the clock: new and selected poems. His critical views, in ‘Rage Against the Dying Of…’ (1983), ‘A Long Road to Now: A Snapshot Survey of Gaelic Poetry’ (1994) and on self-translation, ‘Being Gaelic, and Otherwise’ (1998).

Catrìona NicGumaraid was born in Roag (Ròdhag) on the western coast of Skye in 1947, and her sister Mòrag in 1950. Catrìona had been composing Gaelic songs since an early age, and writing poems since her twenties. In 1973 she was the first Writer in Residence (filidh, sgrìobhadair or Sgrìobhaiche) at Sabhal Mòr Ostaig,¹⁶ and in 1974 she published her first collection of poetry, A’ Choille Chiar, including poems by Mòrag. Her definitive collection is Rè na h-Oidhche/The Length of the Night (1994). She has also worked as an actress and as a scriptwriter for radio and television.¹⁷

Màiri NicGumaraid was born in 1955 in Arivruaich (Airidh a’ Bhruaich), in the South Lochs (A’ Phàirc) district of Lewis. Her poetry collections Eadar mi ‘s a’ Bhreug (1988), Ruithmean ‘s Neo-Rannan (1997), Rainn agus Neamhrainn (1999) and Fo Stiùir a Faire (2012) have been published in Coiscéim with translations into Irish by Liam Prút and Pádraig Ó Snodaigh. She has also written fiction, and has worked in Lews Castle College and in broadcasting.¹⁸

The editor of this anthology, Christopher Whyte, was born in 1952 in Glasgow. His contribution to Scottish Gaelic poetry has been substantial and innovative, and often controversial, as a poet, translator and scholar. He has translated MacLean into Italian, and his Gaelic translations of Cavafy, Ritsos, Ujević, Mörike, Akhmatova and Tsvetaeva appeared in Gairm and in Thomson 1990. He has also translated into English: Pasolini and other Italian contemporary poets, short stories and poems by Catalan authors (Monzó, Pàmies; Ferrater, Marçal, Comadira),¹⁹ Hungarian poetry, and sequences of poems by Marina Tsvetaeva. As a poet, his first collection was Uirsgeul/Myth (1991), published with his own English translations. In 1996 Bho Leabhar-Latha Maria Malibran/From the Diary of Maria Malibran was published in Gairm, and reprinted in 2009 with English versions by several translators.²⁰ Other collections have appeared with Irish translation (Dealbh Athar, 2009)²¹ or only in Gaelic (An Daolagh Shìonach, 2013). ²² His poetry is complex and ambitious: he tends to use long, narrative sequences, interweaving personal expression and the voices and figures of other artists,²³ in an attempt to enlarge the possibilities of Gaelic poetry. As a scholar, he has also edited the work of Sorley MacLean (MacLean 2008 and 2011) and the anthology Dreuchd An Fhigheadair/The Weaver’s Task: A Gaelic Sampler (2007).²⁴ He is the author, amongst several other influential critical studies, of the seminal Modern Scottish Poetry (2004). For its relevance to my argument in this paper, see his articles ‘Translation as Predicament’ (2000b) and ‘Against Self-Translation’ (2002), which I shall discuss next. He has also written fiction in English, and has lived in Italy, Barcelona, Croatia, and Budapest.²⁵

The third point of reference is a definitive bilingual anthology of twentieth-century Scottish Gaelic poetry, An Tuil: Duanaire Gàidhlig an 20mh Ceud, first edited by Ronald Black (Raghnall MacilleDhuibh) in 1991. This is a very comprehensive work, which includes an in-depth introduction, a complete selection of poets and poems—translated into English by the poets themselves or by the editor when translations were not available, and a highly informative background section, with notes on poets and poems that provide a wealth of bio-bibliographical detail.²⁶ Of course all the poets mentioned in this review are present, with Anne Frater’s entry closing the volume. From the other contemporary poets included in the anthology, I choose to add two more names to our shortlist, Angus Peter Campbell (Aonghas P[h]àdraig Caimbeul) and Rody Gorman.

Angus Peter Campbell was born in 1954 in South Boisdale (An Leth Meadhanach), in South Uist (Uibhist a Deas) in the Outer Hebrides. Iain Crichton Smith was his teacher at Oban (An t-Òban) High School. He has worked as a journalist in Gaelic for various media. He has been a lecturer and Writer in Residence at SMO, and also an actor. In 1991 he edited Dàin is Deilbh,²⁷ a celebration of Sorley MacLean’s 80th birthday. As a prose writer, he has written fiction in Gaelic and in English, both for adults and children. As a poet, his first collection was in English, the second included several poems in Gaelic, and in 2007 he published Meas air Chrannaibh/Fruit on Brainches/Fruit on Branches, with his own English translation and a Scots version by J. Derrick McClure. His next volume, Aibisidh, appeared in 2011 with his parallel English translations.²⁸

Rody Gorman was born in Dublin in 1960, and has lived in Scotland since 1987. He has been Writer in Residence at Sabhal Mòr Ostaig, University College Cork and University of Manitoba, Scottish Writing Fellow at PROGR in Berne, and has held advisory posts in several official institutions. He writes and translates in and between Irish and Scottish Gaelic, and English. His first collection of poems in Scottish Gaelic, Fax and Other Poems, was published in 1996. Chernilo (2006) is a selection of his poetry in Irish and Scottish Gaelic, including new poems. In 2011 he published Beartan Briste agus dàin Ghàidhlig eile/Burstbroken Judgementshroudloomdeeds and Other Gaelic Poems, where he uses playfully the space for the conventional English translation.²⁹ He has translated into Scottish Gaelic poems by Cavafy, Yeats, Prévert, Neruda, Kavanagh, Holan, Milosz, Rósewicz, Larkin, Popa, Holub, Aspenstrom, Snyder, Issa, Basho, Busson, Longley and Armitage. His English translations include poems by Donald MacAulay, Sorley MacLean and Iain Crichton Smith. Between Irish and Scottish Gaelic, poems by Máirtín Ó Direáin, Sorley MacLean, Seán Ó Ríordáin, Derick Thomson, Seán Ó Tuama, Iain Crichton Smith, Donald MacAulay, Myles Campbell, Aonghas MacNeacail, Gabriel Rosenstock, Michael Davitt, Liam Ó Muirthile, Nuala Ní Dhomhnaill, and Meg Bateman. He has also edited the seven issues of An Guth—anthologies of Irish and Scottish Gaelic poetry published by Coiscéim from 2003 to 2012.³⁰

Indeed, this is a lively and vibrant scene, with a healthy tension between continuity and innovation: the liminalities of community and exile, identity and language, home and nation, personal and public voice are traditional themes, but also new challenges. A peculiar trait of the context that has been sketched so far is the generalised presence of translation. The three anthologies we have considered in this chapter are all bilingual Gaelic-English editions, and in fact since the publication of Donald MacAulay’s Nua-bhàrdachd Ghàidhlig/Modern Scottish Gaelic Poems in 1976 this became the predominant tendency, also for individual collections. Alternatively, some collections include Irish Gaelic translations, or even versions in Scots. In comparison, Gaelic-only publications are still rare. Very often, poets combine all of these modes in their work.

In the recent decades there has been critical debate on the question of translation and bilingualism in the publication of Gaelic verse. In 1998, Wilson McLeod voiced in Chapman the first concerns about the consequences of the bilingual ‘packaging’ of Gaelic poetry, ‘usurped’ and ‘over-shadowed’ by the presence of English translations. His line of thought was later taken up and elaborated by Christopher Whyte (2000b) and Corinna Krause (2011, 2013), insisting on the political dynamics entailed in bilingual editing. McLeod’s view³¹ was contested in the same issue of Chapman by Aonghas MacNeacail (1998: 152-7), who adduced viability and visibility as ‘imperative’ priorities for Gaelic poets.

Evidently, the decisions and choices regarding the format of publication are ultimately personal, part and parcel of the author’s creative drive. The question of translation is further complicated by the fact that most of these bilingual editions of Gaelic poetry are the result of self-translation. Frequently, the English versions are merely semantic transpositions, verse-by-verse formally neutral renderings of the original Gaelic effort for poetical potency. In some cases, when the poet also writes poetry in English, the effort is perhaps visible in both languages. Again, critiques of this practice may be found in Whyte (2002) and in Krause (2013). In ‘Against Self-Translation’, Christopher Whyte fundamentally expounds his own choice and decision, ³² and he has followed his own suit in successive publications. Ronald Black (1999: lxiv-vi) and Peter Mackay (Pàdraig MacAoidh) in his 2008 article have provided assessment of the debate, and creative solutions for the dilemma.

From my humble distance, I perceive a subtly unconscious anglophone bias in the discrediting of the bilingual format for Gaelic poetry. As a translator of poetry myself, I cannot conceive how a translated poem can efface or belittle its original, even when the language of the translation is all-powerful English. Readers of bilingual editions of poetry learn to look at the page where the original and its translation build their own space and to discern their interaction, in a complex reading operation that always goes back to the original. We might speak of substitution if the original texts were absent, but only incuriosity prevents readers from regarding the original in a bilingual edition.

In my own case, my access to Anne Frater’s poems was greatly facilitated by her own English versions. My translating experience, which I shall now describe, is an illustration of the possibilities afforded by a Gaelic-English bilingual edition to those who are not Gaelic native speakers. As Aonghas MacNeacail wrote in ‘Rage Against the Dying Of…’: ‘we also offer yet another door, however narrow, for those who are curious about Gaelic to peer in, and perhaps eventually to step into our world’ (1983: 55).

My knowledge of Gaelic is that of a philologist. I work my way into the poems very slowly, and the act of reading becomes an act of discovery. What I lack in active competence I have tried to compensate by a fresh approach to the words and sentences, which I savour with the relish of first-time encounters. The English version guides me to know what I am looking for, but of course my search takes place in the Gaelic poem, and it is the Gaelic poem that I finally translate. I understand translation as a transformative process, a metamorphosis, even as a transfusion in the case of classical texts. The result is always another text, generated by the original, a new life in a new form with a new set of limits and possibilities, a step forward (ceum air adhart) in the pursuit for meaning. And when the poems are translated, and read or published in a bilingual context, Gaelic-Spanish in this case, it is the English version that is finally effaced, in a quaint instance of poetical justice, and disappears altogether. For an illustration of the process, I will present now the first poem by Anne Frater that I read, and the first of her poems that I translated.

AIG AN FHAING

Nam sheasamh thall aig geat a’ phrèiridh,

feur glan fom bhòtannan,

làmhan fuar nam phòcaidean,

fàileadh an dup

gu fann

gu neo-chinnteach

a’ nochdadh mu mo chuinnlean

‘s mi a’ coimhead càch cruinn

lachanaich le chèile

timcheall air an fhaing:

a’ brùthadh nan caorach,

guthan ard ag èigheachd

‘s a’ gearain, ‘s a’ gàireachdainn

‘s gach druim thugams’

gam ghlasadh a-mach.

Mi seasamh, ‘s a’ coimhead

‘s a’ feitheamh airson facal

mo ghluasad gu feum.

Mi siubhal gu slaodach

a’ cruinneachadh nan uan

‘s gan ruagadh romham

a-steach gu càch;

uain a’ ruith

gu meulaich màth’r.

Boinneagan uisge

mar mhillean mialan

a’ leum às an dup,

agus crathadh cinn nan adharcan

fliuch, fuar, feagalach

a’ dèanamh às.

Ceum no dhà eile

‘s chì mi aodannan nan gàir’.

Mo làmhan fhìn a’ breith air clòimh,

fàileadh an dup air mo chorragan,

peant a’ camharradh mo chasan,

poll dubh bog air mo bhòtannan

‘s mo chànan fhìn nam bheul.

(Anne Frater, Fon t-Slige, 1995)³³

AT THE FANK

Standing over by the prairie gate

with clean grass under my wellies,

cold hands in my pockets,

the smell of the sheep dip

faintly

hesitantly

coming to my nostrils

as I watch the others gathered

around the fank

and laughing with each other:

pushing the sheep,

loud voices shouting

and moaning, and laughing

and all with their backs to me

shutting me out.

I stand and watch

and wait for a word

to move me to usefulness.

Moving slowly

gathering the lambs

and driving them before me

in towards the others;

lambs running to a mother’s bleat.

Drops of water

jump from the sheep dip

like millions of fleas

and the horns’ head-shaking,

wet, cold, fearful

running off.

Another step or two

and I can see the laughing faces.

My own hands holding wool,

the smell of sheep dip on my fingers.

Paint marking my legs,

soft black mud on my wellies

and my own language on my tongue.

(Translation by Anne Frater, Fon t-Slige, 1995)

EN EL OVIL

Allí yo, al otro lado de la cerca del prado,

hierba limpia bajo las botas de agua,

las manos frías en los bolsillos,

el olor del baño de las ovejas

levemente

abriéndose paso tentativo

hasta llegarme a la nariz,

viéndoles reunirse

entre risas alrededor del ovil:

empujando a las ovejas,

entre gritos

y maldiciones y carcajadas,

dándome todos la espalda

dejándome fuera.

Y yo, allí, mirando,

esperando una palabra

que me volviera útil.

Caminando lentamente,

recogiendo corderos

y persiguiéndolos

uno contra el otro;

corriendo

al balido de su madre.

Gotas de agua,

como millones de pulgas,

que saltan del baño,

y los cuernos, cabeceando,

húmedos, fríos, temibles,

a la carrera.

Un paso más, dos,

y ya veo los rostros que ríen.

Lana en mis propias manos,

el olor de las ovejas en los dedos,

las marcas de pintura en las piernas,

barro negro y mullido en las botas,

y en la lengua mi propio idioma.

(Translation by Miguel Teruel in Frater 2016)³⁴

This is an insight of self-discovery, a carefully constructed epiphany of belonging, suspended in time and space by the gerunds—verbal nouns in Gaelic—until the speaker moves and acts. The scene is described in vivid sensorial detail: smells and sounds, memories of touch and vision. At first, the speaker feels cut off from her own community, excluded after the short exile of education from the actions of crofting labour. Finally, like a lamb ‘running/To a mother’s bleat’ (uain a’ ruith/gu meulaich màth’r), she recognises herself in her native, fragrant language.

My translation responds formally to the free verse of the original with an attempt to preserve the rhythmical and visual strategies of the poem. See for instance lines 9-10, where I have kept the line order, avoiding the inversion of the English translation. At the beginning of the poem, the Spanish provides the pronoun ‘I’, which is present in the Gaelic possessive, but not in the English version. It is reinforced (‘Allí yo’) with a hint at the sense of alienation, and repeated at line 16.

As for vocabulary, the word ‘fank’ (faing) is Scottish English dialectal; I have used ‘ovil’, which is general Spanish, for geographical variation was here unassailable. This also applies to the ironic prèiridh (‘prairie’³⁵): as Anne Frater explains in her presentation, the local communal fields in Lewis—the Gaelic usual word is pàirc—are homelier and much smaller than their Canadian counterparts, and I have used ‘prados’ in my version, as ‘praderas’ would not spark up in Spanish the same connotation.

The selection of Anne Frater’s poetry for the reading session in Valencia contained the following poems, in the order in which they were read: 1. ‘Ar Cànan ‘s ar Clò’, ‘Our Tongue and our Tweed’, ‘Nuestra lengua y nuestro paño’; 2. ‘Dà rathad’, ‘Two Roads’, ‘Dos caminos’; 3. ‘Lit’ gun Shalainn’, ‘Unsalted Porridge’, ‘Porridge sin sal’; 4. ‘Aig an Fhaing’, ‘At the Fank’, ‘En el ovil’; 5. ‘Loch an t-Sìthein’, ‘Loch an t-Sìthein’, ‘Loch an t-Sìthein’; 6. ‘A’ Buain’, ‘Cutting/Reaping’, ‘Cortar/Recolectar’; 7. ‘Bill’, ‘Bill’, ‘Bill’; 8. ‘Am Muir’, ‘The Sea’, ‘El mar’; 9. ‘Mì-Chinnt’, ‘Uncertainty’, ‘Incerteza’; and 10. ‘Ceist’, ‘Question’, ‘Pregunta’. Poems 6, 8 and 9, previously unanthologised, were kindly provided by the author.

I include the English titles for reference, but I insist, as discussed above, that these versions were not read in the session, and that they will not be used in the forthcoming bilingual Gaelic-Spanish publication of the sequence. We have come to the end of my description. I sincerely hope that my translation experience and the outline of the context for contemporary Scottish Gaelic poetry will be of use, especially for newcomers to this wee white bird of a language, pajarillo blanco, eun beag geal.

¹ Gaelic names of authors, institutions and concepts will be given in parentheses when this is deemed relevant.

² The reading, and the following debate, was filmed and can be accessed at <www.youtube.com/watch?v=oBdxBU93MaU>.

³ Gairm ran to 200 issues, from Autumn 1952 to Autumn 2003 (Koch 2006: 785). In the new century, the succeeding journal Gath has seen eight issues, from 2003 to 2007 (Macleod 2010: 34).

⁴ For an early review of her work see MacFhionnlaigh 1992b. For language and identity in modern Scottish Gaelic poetry, see Macleod 2009; for identity and nation, see Stroh 2011, and Sassi and Stroh 2015.

⁵ See Frater 1997 for her contribution to Douglas Gifford and Dorothy McMillan (eds), A History of Scottish Women’s Writing, and Frater 2012 for her article with Michel Byrne on ‘Gaelic Poetry and Song’.

⁶ For a general introduction to Scottish Gaelic culture, see Thomson 1983; for a linguistic presentation, see Watson and Macleod 2010. See Craig 2006, Ní Annracháin 2007 and Riach 2009 for discussion of the literary effects of Devolution. For minority languages in a wider context, see Glaser 2007, King et al. 2008, Stickel 2011, and Dorian 2014.

⁷ Iain Crichton Smith famously translated the book into English in 1971, and Christopher Whyte published an annotated edition in 2008.

⁸ See <http://www.somhairlemacgilleain.org> by the Sorley MacLean Trust for a comprehensive range of information on the poet, including poems and bibliographies.

⁹ See <http://www.georgechay.com> for a handful of poems and his centenary celebration.

¹⁰ For an informative valuation of his contribution, see Hayes 2011.

¹¹ The concept of community (coimhearsnachd) is basic in Gaelic life and literature: see Dymock 2016.

¹² As a scholar and translator, see her contributions to An Anthology of Scottish Women Poets (1991) and to A History of Scottish Women’s Writing (1997), and her article on Gaelic poetry for English teachers (1994), which incorporates ‘Aig an Fhaing’, a poem by Anne Frater that shall be later explored in the chapter.

¹³ See his webpage <http://maoilioscaimbeul.co.uk/> for poems and bio-bibliographical information.

¹⁴ See also his translations into Gaelic of Pablo Neruda in Thomson 1990, and his pieces on Màiri NicGumaraid and Anne Frater in Gairm (1992).

¹⁵ <http://www.aonghasmacneacail.co.uk/>. See Mackay 2009 for a monographic article.

¹⁶ Sabhal Mòr Ostaig is a Gaelic medium public higher education college, now part of the UHI, University of the Highlands and Islands/Oilthigh na Gàidhealtachd agus nan Eilean. The college has been a key institution for the development of Gaelic culture since its foundation in 1973. Other Writers in Residence at SMO have been Sorley MacLean, who was one of the original founders, Aonghas MacNeacail, Angus Peter Campbell, and Rody Gorman. Meg Bateman, Senior Lecturer, has been teaching at SMO since 1998, and Maoilios Campbell is now a Part-time Lecturer. The main campuses are situated in Sleat (Slèite) in the south of the Isle of Skye, and there is an associate campus in the island of Islay (Ìle).

¹⁷ See Bateman 1997a for an appreciation of her work.

¹⁸ For commentary on her work, see MacFhionnlaigh 1992a and again Bateman 1997a.

¹⁹ ‘Window on Catalonia’, Chapman, 88 (Hendry 1998). See also Light Off Water (Pelegrí and Crowe 2007).

²⁰ See O’Gallagher 2011 for a description of his translation experience.

²¹ See Ó Dúill 2011 for a description of his translation experience.

²² A selection of these poems was translated into Catalan with the author’s assistance: see Whyte 2000a.

²³ María Malibrán was a legendary nineteenth-century opera singer of Spanish origin. See also Whyte’s 2011 article on the making of ‘Ceum air Cheum’, his poem about Luis Cernuda.

²⁴ The project features fourteen Gaelic poems (by George Campbell Hay, Iain Crichton Smith, Donald MacAulay, Derick Thomson, Aonghas MacNeacail, Myles Campbell, Fearghas MacFionnlaigh, Meg Bateman, Rody Gorman and Whyte himself) chosen and reworked into English from literal translations—Whyte calls them ‘responses’—by other Scottish poets (Tracey Herd, Jackie Kay, W. N. Herbert—his version into Scots—, Robert Crawford, David Kinloch, John Burnside and Kathleen Jamie). For an informed review, see Mackay 2007.

²⁵ See his webpage <http://www.christopherwhyte.com/>.

²⁶ I have used Black’s notes as the basic source for my review, supplementing and updating them with data from authors’ entries at the Scottish Poetry Library, the Scottish Book Trust, Làrach nam Bàrd, and their own webpages.

²⁷ The book contains poems, photographs and essays, and it includes the verse-letter ‘To Sorley MacLean’ by Seamus Heaney.

²⁸ See his webpage <http://www.anguspetercampbell.co.uk/>.

²⁹ See Galbraith 2013: 570-1.

³⁰ See Mackay 2008, and also Ní Annracháin 2011 for affinities in the ‘nebulous’ dialogue between Irish and Scottish Gaelic poetry.

³¹ See also his 2011 article, where he substantiates his position with data on Gaelic poetry collections—and their paratexts—published from 2004 to 2010.

³² For self-translation is in itself a wonderfully fertile field for literature. See the whole volume referenced for Krause 2013, edited by Anthony Cordingley.

³³ We are grateful to Anne Frater for permission to reprint.

³⁴ Anne Frater herself introduces and reads her poem in <https://www.youtube.com/watch?v=oBdxBU93MaU> at 20:13.

³⁵ One is reminded of the same word as used by Seamus Heaney in his poem ‘Bogland’ when describing Irish territory: ‘We have no prairies/To slice a big sun at evening’. This is the final poem in his 1969 collection, Door Into the Dark.