“How do we think about the past in this country? What tends to be erased? Once we start to dig deeper into a story, we don’t wind up just in one rabbit-hole, but a warren of sorts.”
Author, translator, professor and MacArthur Fellow John Keene joins the show to talk about how voices are found and how they’re erased. We get into how Benedictine monks started him on the road to translation, which languages he wishes he had, the perils of knowing just enough of a language to get in trouble, and how translation trains one to let go of ego. We discuss his amazing but uncharacterizable fiction collection, Counternarratives (New Directions), along with his powerful essay, Translating Poetry, Translating Blackness, and how to explore Black representation across cultural boundaries. We also get into the performative aspects of BLM by corporations and institutions and would it would take to transform into real change, the impact of his MacArthur “genius” grant, why he’s trying to move away from Counternarratives’ narrative density in his new work, and more. Give it a listen! And go read Counternarratives!
“With George Floyd, and Breonna Taylor, and Ahmaud Arbery, and you go on throughout the list, and these moments remind us of how much still needs to be done, in terms of rethinking how this society functions, and our relationship to each other.”
“With Counternarratives, I wanted to write a book that was grounded in specificity but also pulled away from the self, from myself. Which runs counter to today’s trend for autofiction.”
“There’s no frictionless change.”
TUNEIN LINK TK
About our Guest
John R. Keene was born in St. Louis in 1965. He graduated from the St. Louis Priory School, Harvard College, and New York University, where he was a New York Times Fellow. In 1989, Mr. Keene joined the Dark Room Writers Collective, and is a Graduate Fellow of the Cave Canem Writers Workshops. He is the author of Annotations, and Counternarratives, both published by New Directions, as well as several other works, including the poetry collection Seismosis, with artist Christopher Stackhouse, and a translation of Brazilian author Hilda Hilst’s novel Letters from a Seducer. He is the recipient of many awards and fellowships—including a MacArthur ‘Genius’ Award, the Windham-Campbell Prize, and the Whiting Foundation Prize for fiction. He teaches at Rutgers University-Newark.
Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photo of John by Nina Subin. It’s on my instagram.