In the hospitality room at the Hôtel Gouverneurs in Trois-Rivières, you are greeted by two perky volunteers whose first question after introductions is: “Will you three be reading the French translations of your poems yourselves, or will you be requiring the services of a French reader?” Oh, my, you think. What translations? The hotel carpet begins to yaw under your chair. What was I thinking coming to a poetry festival in a city whose population is 97 percent French—without translations?
“Ahhh,” your hand goes up, feigning nonchalance, “I don’t have any translations with me.” The two other English-language poets and the volunteers swivel their heads in your direction as if you had just morphed into a large red crustacean whose claws and antennae waved merrily in their direction. “Can I give a short explanation of my poems in fluent French and then read them in English?” One of the cordial volunteers laces her fingers together and lowers her voice: “You see, people reserve restaurant tables months ahead to hear our guests read in French. It would be unfair, don’t you think, to subject them to English, when most people here rarely speak it?”
How could you have not foreseen this eventuality? For the next twenty-four hours, you huddle with a hotel dictionary, churning out translations and cross-checking these with your translator sweetheart via long distance telephone. You thank fate that years before, you earned a university certificate in French-English translation. Although that hardly qualifies you as an ace in Gallic syntax, it limits the number of world-class howlers you’re likely to churn out. You are going to have to revise up to the wire. And once a reading is finished, there will be no stopping off for sparkling conversation with fellow scribes in downtown Trois-Rivières. It’ll be back to your room to crank out more translations. There are four readings a day in restaurants, bars, parks, and libraries; you’ll have to furnish two poems, four times a day.
Accordingly, you show up for each venue as if this were a lark, your fraudulent grin assuring audiences that you’re dishing up the real thing, the slaved-over equivalents they’ve come to expect. The rest of the time you are a mole, looking up words like “dip” or “wobble” in a battered Robert-Collins. At readings, you unfold two sheets of spiral notebook paper and smile at your hash-marked, arrow-filled texts as if it were normal to achieve verbal legerdemain with the French versions overnight.
Peter Richardson is the author of four collections of poetry: A Tinkers’ Picnic (1999), finalist for the Gerald Lampert Award; An ABC of Belly Work (2003), short-listed for the Acorn-Plantos Award; Sympathy for the Couriers (2007), winner of the QWF’s 2008 A. M. Klein Award; and Bit Parts for Fools (2013), which was short-listed for the Archibald Lampman Award. A retired airline worker, he lives in Gatineau, Quebec