The EU Prize for Literature is one of the most prestigious awards available to writers and Pierre J. Mejlak is one of this year’s winners with Dak li l-Lejl Iħallik Tgħid. Ramona Depares discusses the author’s thoughts about the globalisation of literature.

Some of his stories have already been translated from Maltese to English, Serb, Spanish and German, among other languages.

He has also inspired students to focus on the conflict and other aspects of his narrative in their University disserations.

A lot of Pierre J. Mejlak’s works have, in fact, already travelled far and wide.

So, perhaps, it is not surprising that the writer is one of 13 EU authors who, this year, were awarded the EU Prize for Literature. Mejlak clinched the honour with Dak li l-Lejl Iħallik Tgħid, an anthology of short stories from three years ago that centre around the theme of memory.

Every year, national juries in a third of EU countries (picked by rota) nominate their country’s respective winning authors for the award, which was conceived precisely with the objective of helping European books travel from one language to another.

“When I was told I was a winner of this year’s EU Prize for Literature I was, of course, delighted. More than just for the prize itself, for the opportunity to be able to present my work to a wider audience. I was also very happy to give Merlin, my publishers, a European award,” Mejlak says.

Merlin publisher Chris Grup-petta echoes Mejlak’s words: “Pierre’s short stories are crafted in a refreshingly angst-free voice, cosmopolitan and European, yet firmly rooted in the psyche of what makes one Maltese. If I had to draft a rationale for a book deserving of a major European literary award, that would probably be it.”

I sounded out the author about a number of issues related to contemporary literature.

About translations

“As a writer I love the characters in my stories, even the less likeable ones. Seeing them travel gives me that kind of satisfaction that parents probably feel when their children discover new places in the world and come back home recounting what they saw.”

Next spring, one of his earliest short stories – The Madonna Round Evelina’s (the story of a Gozitan man who brings home a Russian woman) – will be anthologised by New York-based publishing house W.W. Norton.

“It is quite an exciting development seeing who the publisher is and the fact that Norton keeps all its titles in print with an initial print-run of over 50,000 copies.”

The story will feature along another 82 stories by names like best-selling writer Etgar Keret, Zimbabwean writer Petina Gappah, Korean screenwriter Kim Young-ha, Nobel Prize winner Czeslaw Milosz and Argentinian ‘Queen of the Microstory’ Ana María Shua, among others.

“I’m fond of Evelina and I’m very happy she will travel wide and far through Norton’s anthology. Should some copies land in Moscow, Evelina will have made a full circle.”

About the cosmopolitan nature of his characters

“Yes, most of my characters do have that little cosmopolitan touch. But it’s never added with future translations in mind. In fact, I don’t believe it makes any particular difference.

Most of my characters do have that little cosmopolitan touch. But it’s never added with future translations in mind

“I actually try to keep the story moving independently of the background, in a way that readers can use any background they’re more familiar with.

“A good number of my stories have been translated into Serbian and published in literary journals across Serbia. And from what the translator tells me, some readers think that some stories are actually set in Serbia.

“That doesn’t bother me at all. In this case, the readers are making my stories their own, as I do with most of what I read.”

About keeping the spirit of the original language

“If done well – with linguistic expertise, respect for the original, but also the confidence and bravery to transmit the voice rather than the literal – the true spirit of a book can be recreated in a different language.

“At least, having read most of my favourite writers in translation – from all the Scandinavians to Pamuk and Vargas Llosa, from Kurkov to Schlink – I hope so. But it’s not easy, especially for us writing in a language very few professional translators have access to.

“At the same time, translation remains crucial for the future of our literature. It could make our passion that little bit more sustainable, and not only financially.

“A painter could show his work wherever he goes; a guitarist could play all over the world; but a writer needs to be translated.”

Stories in translation can travel far, the author says. Through Google, for example, he discovered how someone had translated one of his stories – At Livia’s Bar – into Indonesian.

“Not only that, but the translator (Anton Kurnia) commissioned Indonesian painter Yuyun Nura-chman to transform the story into a beautiful painting.”

The translator had come across Mejlak’s story through an English translation published by Words Without Borders in the US.

About the way different cultures interpret the same story

“Readers from different cultures look at stories from different angles. Some stories of mine were read in Dublin, last May, during the European Literature Night.

“Popular Irish newscaster Aengus Mac Grianna read them at the Buswells Hotel, famous for being James Joyce’s favourite hotel in Dublin.

“And then, the audience discussed my characters and their take on them. It’s fascinating what they came up with.”

On winning the EU Literature Prize

It’s quite unpredictable how far a translated story could go. One of Mejlak’s earlier ones, Myslovitz – named after what was Poland’s best alternative rock band – was translated into Polish.

The story reached Artur Rojek, the leader of the band, who invited the Maltese writer to meet him and the rest of the band before one of their concerts.

“I’m very much looking forward to having my last book available in English early next year.”

About the winning book

“I’m very fond of the stories that make up the book. Perhaps because almost all the main characters remind me of people I crossed paths with in recent years.

“It’s hard to pick one particular story which is closer to heart. And that, I find, is a good thing.

“The book is, in a way, my take on nostalgia from a number of different viewpoints. I am quite fascinated by the power of memories and especially by what we do, sometimes even subconsciously, to manipulate future memories.

“I think the best way I could explain this is through the epilogue of the book, where a young man ruins a night-out with his mother in order to avoid having yet another beautiful memory of her when she’s dead.”

About the characters in the book

“I reread the book when I was told about the award and I was quite surprised to realise that it’s actually full of travellers. There’s the poet who travels to meet an ambassador; the two young holidaymakers who meet at a bar; the son travelling to meet his dying father’s lover.

“Then there’s Samirah, who has probably travelled as a migrant; a deluded young man who is making up a holiday in Malawi to impress an ex-lover on Facebook; the foreign woman who prefers to lounge naked in the garden, irking the small-island bishop next door; the travel writer in Rubik’s Cube; the old lady and her niece, who visit the Pomegranate House; and a translated book that travels all the way from Catalunia to Lublin.”

The book is actually full of travellers

About the evolution of Maltese literature

“Maltese literature is going through exciting times. Writers are tackling new subjects in intriguing ways; publishers are looking for innovative ideas how to market and present books; and readers seem to want to read more.

“For a population the size of ours, where no writer – no matter how much they sell - could afford to ‘just’ write, the literary scene is extremely vibrant.”

About his activities as award winner

Mejlak’s first event as EUPL winner will be in Berlin on November 11.

“Some of my new short stories, including The Ironing Board – which will be published in its original form by L-Akkademja tal-Malti later this year – will be presented in German translation.”

The event, organised by the European Union National Institutes for Culture in collaboration with the Maltese Embassy in Berlin and Literaturwerkstatt, will be held at Europe House next to the Brandenburg Gate.

“I am looking forward to meeting Maltese expats who live in Berlin, as well as literature-lovers, willing to discover something new.

“I feel there has never been so much interest in literature from countries whose literary tradition is not so well known.

“There are many reading groups, for example, that make it a point to ‘travel the world’ by picking a book from a different country for each of their sessions.

“Reading is also a bit like travelling and it’s surprising how familiar you could become with a country you’ve never visited, but whose literature you’ve read.

“I was in Japan for a few weeks recently and – having read quite a few Japanese writers translated into English – everything felt that little bit more familiar, from the food to the Shinkansen, the rituals to the fashion. Maltese literature in translation could also be another way of opening our doors and showing who we are.

“It’s another way of saying merħba.”

www.pierrejmejlak.com