Skip to main content

Someone else's glories

As he wanders the streets of Porto one night, the hero of Ilse Losa’s novel thinks about the relationship between a foreigner and the buildings that they find themselves amongst. He thinks about how buildings link people to history. And he thinks about the struggles and the glories that a nation waves about like banners: the foreigner may ... like them, find them curious, but the foreigner is not moved or proud.

When it’s your own country reciting its struggles and glories, you feel moved, or you feel riled. The public statues to villain-heroes, the songs about the fight for decent working conditions, the noise made about some wars, the silence around others. It’s like family – every discussion has been worked through before. It takes persistence to shift the well-worn patterns, to find new responses to the old arguments.

 

But when the glories held up before you are those of another country, their power fades away. For the foreigner, the immigrant, these glories are not the re-apparition of things heard repeatedly since childhood. For the foreigner, the host nation’s stories can seem flimsy and contingent, like ghosts when the light is turned back on.

 

Losa's hero muses that the foreigner may, at most admire the glories of the host country, or find them curious. Watching a nation trying to hold itself together is certainly curious: the struggles which are venerated and those which are forgotten. Being among it and not quite part of it lends the foreigner an analytic power.

 

We have been part of two immigrant communities in Portugal. Both Anglophone. Both fairly welcoming to other immigrants arriving. And both composed mostly of people who found the opportunity or the wealth to move. They liked Portugal so much they settled here. 

 

These elective migrants like the place but also keep their distance. Language is the most obvious sign of this: many live here without learning much Portuguese. Another sign is schooling. When we lived in the hilly central part of Portugal we knew people whose children went to an alternative school where play and child-led exploration was a key part of learning. 

 

The school’s response to the national holiday on the 1st December was noticeable. This holiday commemorates the break-up of the Iberian Union in 1640. In some constructions of the national narrative, it’s a crucial date. On the day it seemed to us that every shop and public building was shut and every village was hanging out its bunting. The alternative school carried on as normal. I asked a parent why – they shrugged. 

 

This indifference to, or separateness from, national events is not just down to language skills or disposition. It’s structural. Many of the Anglophone immigrants we've met don’t rely on Portugal. They don’t need the country for their income. They work online or they have a pension or they sold a house in the south of England. When your income is independent of the national economy, then the urgency of debates around the minimum wage, the unemployment rate, all this recedes and blurs like the sound of a surf on a sunlit beach.




Comments

  1. In my experience it is the same for non anglophone community here in Porto. I have worked in 2 different Global Services Centre and I have found that non Portuguese likes to keep their distance, even when there are some cultural affinities (like Italian or French)

    In some cases (like myself) there is a degree of rejection due to what I see around (I live in your area so you probably can relate to that): I just can't stand newly built condos nearby old palaces in ruin or bus without timetable or public services that have an extra holidays when the next day is a national holiday.

    Sorry about the rant and being off topic!

    Thank you for the good read!

    ReplyDelete

Post a Comment

Please share your thoughts about this post:

Popular posts from this blog

Phatic rhythm

My boss likes to talk. He doesn’t need an interlocutor, he needs an audience. As there’s not much call to respond during these daily discourses it’s possible to pay attention to how he structures his speech. Linguistics uses the term phatic communication to describe speech that has a social function rather than an informative one. The Open University describes phatic openings to conversations as an ‘invaluable means of establishing relations before getting down to the real purpose of the encounter’. Here are some of the phatic openings that my boss and other colleagues use (I live in Portugal so these phrases are in Portuguese; I've put an approximate translation in brackets after each one): Eh pá (Hey), Pá (Hey), Olha (Look), Ora bem (Well then), Pronto (Ready), É assim (It’s like this). These are often the first thing uttered during an exchange. They request the other person’s attention and signal that things are ready to roll. They mean Please listen to me; I have somethi...

Apple tree is the best translation for ameixoeira

I have been completing first drafts of the last few poems in Aberto todos os dias   by João Luís Barreto Guimarães. In my experience, translating poetry involves a negotiation between sense and sound. The words I choose need to communicate a meaning close to the Portuguese original, and also a similar rhythm and sound patterning. There’s some adjusting to be done: swapping a word for a synonym with one extra syllable, or with one less. Swapping a word for a synonym whose vowel sounds complement an existing pattern in the line. It reminds me of being a dressmaker making small tucks or opening seams in a garment to get the best fit. The acrostic is a literary form where such subtle alternations are inadmissible. Guimarães’s poem 'Introdução à poesia' ('Introduction to poetry') describes a group of fruit trees planted so that the first letter of each spells out the word CALMA (in English, CALM): Cerejeira, Ameixoeira, Limoeiro, Macieira, Ameixoeira. Translating this list ...

a o a the the the

When translating, there are always textures in the source language which cannot be directly replicated in the target language. Moving from Portuguese to English, gender is one such texture. Every noun in Portuguese is either feminine or masculine (which is the case in many other languages too) while English only has gendered nouns in special cases. I have been translating João Luís Barreto Guimarães’s collection Aberto todos os dias from Portuguese into English. I noticed a pattern at the start of the poem ‘Aquela garça ali’ (or  ‘That heron there’) . The first six nouns are alternately feminine and masculine. The nouns are:  a garça, o bote, a curva, o rio, a cidade, o fim. (In English this would be: the heron, the boat, the curve, the river, the city, the end).  Since every noun in Portuguese – whether animate, inanimate, concrete, abstract – is gendered, gender can seem arbitrary, not carrying significant meaning. To me the gender of a noun stands out ‘as though each ...