IJ study archive

Graça Infinita no Brasil (uma história pessoal)

source

TL;DR

The single densest translator-primary in the archive's Brazilian vein: Caetano Galindo, translator of Infinite Jest (Graça Infinita, Companhia das Letras 2014) and of The Pale King (O Rei Pálido), writing a first-person história pessoal in the UFPR journal Revista Versalete (2018) — a revised, expanded version of a piece he first published in the Serbian journal Polja, still addressed to that distant Slavic reader. It is a memoir of how one man carried Wallace into Brazilian Portuguese: thirteen years inside the work since he opened Infinite Jest in September 2005 while mid-way through his own translation of Joyce's Ulysses (the two authors bracket his whole career, and he calls Graça Infinita not a continuation of Ulysses but “um irmão necessário” — a necessary brother); the Brazilian reception ramp (a Wallace-influenced writer generation, the post-2008-suicide This Is Water boom, Piauí and Serrote publishing him); the publicly documented translation (a Companhia blog where he posted his page count every fortnight); the twelve-month deadline he nearly met but for his mother's death in October 2012 (delivered in thirteen); the famous orange-skull cover and the fight with Wallace's literary executors who feared it read as a reference to his suicide; the APCA best-translation prize the week of the November-2014 launch. It closes on an ethical argument: InterLace prefigured Netflix, Johnny Gentle prefigures Trump, but what changes a literature is people, and Wallace changes people — complicated, in a parenthesis added after the Serbian version, by the resurfaced Mary Karr accusations (Karr being the “modelo mais direto” for Madame Psychosis), which Galindo argues should nuance but not void a body of work that remains a genuine “tentativa de reflexão”. The hardest part of the job, he says, was not interlinguistic — it was living for months inside the heads of addicts and depressives.

Key claims

  • Galindo is one of Wallace's Brazilian translators; the immersion is thirteen years deep. He translated Infinite Jest (Graça Infinita, 1996 novel, out in Brazil 2014) and The Pale King (O Rei Pálido, the novel Wallace left unfinished at his 2008 death, published 2011; Galindo's translation delivered, “em produção”, forthcoming — the references date it 2019, no prelo). He opened Infinite Jest in September 2005, read absolutely everything Wallace published, and until academic production took off could claim to have read everything written about him too.
  • Joyce and Wallace bracket his career and his self. He came to Infinite Jest mid-way through his first version of Ulysses (published only in 2012), wanting a “prova de vida” that the novel still mattered; instead of proving Ulysses could be “superado”, Wallace made him see in Ulysses a humanist monument he had undervalued. He cannot separate the two learning-processes; Graça Infinita is “um irmão necessário” of the Irish book. The Ulysses reception is what won him the Infinite Jest commission — Ulysses was his 25th translation, delivered end of 2011; he was on Wallace's biggest novel by early 2012.
  • Brazilian reception ramp. A generation of Wallace-influenced writers (Sérgio Rodrigues, Joca Reiners Terron, Daniel Pellizzari, Daniel Galera) had been cementing his influence; after the 2008 suicide his name became a “palavra mágica”. Wallace was not unknown pre-2008 — Brief Interviews With Hideous Men (Breves entrevistas com homens hediondos, trans. José Rubens Siqueira, Companhia das Letras 2005) had appeared but underperformed; Galindo himself had published a translation of Wallace's David Lynch essay in Arte & Letra two months before the death. After it: a memorial site (edited by Galindo, Pellizzari, Galera, editor André Conti); Piauí magazine bought This Is Water rights (the “melhor portão de entrada” to Wallace); Serrote ran Sérgio Rodrigues's selection of E Unibus Pluram; the two Daniels published the first Brazilian Wallace-essay collection (2012).
  • The translation was unusually publicly documented. Companhia das Letras gave Galindo a blog slot where, every fortnight, he reported how many pages he had translated and commented on the process — a degree of public documentation he knows of no recent Brazilian parallel for.
  • Method: for once, no cold open. He normally translates by opening page one and immediately writing a Portuguese version, without a prior full reading. For Infinite Jest it was the opposite — he had spent years reading, rereading, studying, and imagining a Brazilian parallel for Wallace's voice (that “brain voice” of a generation, built from shards of orality, corporate-speak, rare vocabulary, and a syntax at once complex and seemingly spontaneous). It was the most intensely pre-analyzed book he ever translated.
  • Twelve-month deadline; his mother's death; thirteen months delivered. He had twelve months (Blumenbach, he notes, used six years). He would have made it, but his mother — Iracema, a name José de Alencar coined as an anagram of América — died in October 2012 after nearly a month hospitalized; it took ~two months to resume. He delivered in thirteen months, and credits the immersion in Joyce and Wallace with helping him through the grief and making him abler to translate the book.
  • The launch was delayed to secure a specific copyeditor. He and Conti waited for Ciça Caropreso (a Companhia preparadora de originais) — 1600 laudas of translated text, read against the original with suggestions, then re-read and approved by Galindo — pushing the release to late 2014.
  • The Portugal-simultaneity problem. Infinite Jest was translated in Portugal as A Piada Infinita by a father-son team, Salvato and Vasco Teles de Menezes (Quetzal, Lisbon, 2012). The Portuguese edition reached Brazil while Galindo's was still in preparation; some inattentive readers bought it and found its choices “estranhíssimas”. Galindo argues Brazil/ Portugal intercomprehension swings on a “formalidade” axis, and since the informal registers carry much of Wallace's tone, a Brazilian could not satisfactorily read a Lusitanian Wallace. (He also exchanged emails with Vasco, and — during the translation — corresponded with Ulrich Blumenbach, “pessoa extremamente atenciosa”.)
  • The orange-skull cover and the executors' objection. The skull theme arose early, to compensate for the difficulty of making a Portuguese-title reader think of Hamlet (where an anglophone hears the Yorick tag a fellow of infinite jest and pictures Yorick's skull). In July 2014, at a Paraty translation workshop during FLIP, Galindo got a 3D projection of a radical two-color (white/orange) design: only an outlined skull, eyes vaguely recalling a videotape symbol, the faintest hint of a smile — no title, author, or publisher on the cover (all on the wide spine; the edition ran 1144 pages), the author and title also printed on the page edges in the same orange. Wallace's representatives worried the skull was too macabre, a reference to the author's death; Galindo wrote a long defense (the smiley reference, the incomplete/dashed skull, the mystery of the book's contents like the cartridge that in the plot holds the film Infinite Jest V) and they released it. The cover has since had international repercussion.
  • Launch and prize. Graça Infinita launched late November 2014; released early to critics, it won the APCA (Associação Paulista dos Críticos de Arte) best-translation-of-the-year prize the following week — “a cereja do bolo”. The first print run sold out surprisingly fast; reviews were immediate; booktubers followed from January 2015.
  • The ethical / prescience argument. InterLace, the dystopian organization in Graça Infinita, is “praticamente idêntica à Netflix” (which came a decade later); binge-watching was foreshadowed; Johnny Gentle (a Reagan caricature) also prefigures a criminally-irresponsible-buffoon Donald Trump. Great creators, like prophets, do not invent the coming world — they see it sooner and more sharply. But form is not what changed his readers: “o que de fato muda uma literatura são pessoas”, and Wallace changes people.
  • The Mary Karr parenthesis (added after the Serbian version). Karr's accusations resurfaced; she was the “modelo mais direto” for Madame Psychosis and suffered “violento assédio obsessivo” from Wallace after a brief relationship (the new charge aimed largely at biographer D. T. Max for glossing this as part of Wallace's creative process). Galindo grants a “culto de um São David” existed (ridiculed even by Franzen) and took a blow; but argues the work has “quase nada a ver com a vida de Wallace”, arose from Wallace's struggle with the worst parts of himself (he inscribes the abusive relationship in the novel, then publishes a book about hideous men), and — “como Tolstói” — Wallace was far from a saint yet wanted to fight the demons and make you think of changing. The revelations should “matizar” (nuance) our reading; they do not void a work that stays a “tentativa de reflexão”.
  • The hardest part was not interlinguistic. Asked what was hardest in translating Graça Infinita, he says people always expect interlinguistic problems; the truth is the hardest thing was living for months “DENTRO da cabeça de viciados, depressivos, miseráveis” — being those people. To translate is to live those voices; it can hurt. The best part was the same.

Theories & evidence

Grades are the source's stance. Translation/reception-scoped throughout — nothing here is an IJ-internal plot or ending claim.

CONNECTION: Wallace's whole literary project is to use the forms of narrative to understand the human being — an empathy ethic (the This-Is-Water water parable) that Galindo argues should be nuanced but not voided by the resurfaced Mary Karr accusations

  • Crux: sincerity-definition
  • Stance: complicates
  • Evidence:
    • [S — PT] The core statement: Wallace demonstrates with rare frankness that “seu projeto maior na literatura é empregar as formas da narrativa para entender melhor o ser humano.” (his greatest project in literature is to employ the forms of narrative to better understand the human being — gloss ours) — to understand oneself, to understand and help the reader understand, and to understand “A “água” que te cerca o tempo todo, como na parábola dos peixinhos” (the “water” that surrounds you the whole time, as in the parable of the little fish — gloss ours; the This Is Water image).
    • [S — PT] The Karr complication (a parenthesis added after the Serbian publication): the accusations that Wallace subjected “a poeta Mary Karr, modelo mais direto para a Madame Psicose de Graça Infinita” (the poet Mary Karr, the most direct model for Madame Psychosis in Graça Infinita — gloss ours) to “violento assédio obsessivo” (violent obsessive harassment — gloss ours); some asked whether his “ênfase na empatia e na “kindness”” (emphasis on empathy and on “kindness” — gloss ours; “kindness” printed in English in the source) is thereby fatally weakened.
    • [S — PT] Galindo's resolution decouples life from work: the São-David cult (“certo culto de um São David”) took a blow, but what he values “tem quase nada a ver com a vida de Wallace” (has almost nothing to do with Wallace's life — gloss ours) — it arose from Wallace's struggle with the worst parts of himself (he inscribes the abusive relationship in the novel; then publishes a book about hideous men). “Ele, como Tolstói, estava muito longe de ser santo.” (He, like Tolstoy, was very far from being a saint — gloss ours) but wanted “lutar contra os demônios. Mudar. E te fazer pensar em mudar.” (to fight the demons. To change. And to make you think about changing — gloss ours). The Karr material “pode, e deve, matizar” (can, and should, nuance — gloss ours) our reading of the work, but the work remains a “tentativa de reflexão” (attempt at reflection — gloss ours).
  • Notes: Firsthand translator/critic voice — quotable in Portuguese. The grade is complicates, not a flat endorse: Galindo affirms the empathy/ self-understanding reading of Wallace's project (the archive's large sincerity-definition lane) while explicitly holding that the Karr biography must nuance it — an earnest-reading defense that concedes the complication, which is exactly the complicates register. The Tolstoy yardstick converges with Galindo's English line in esposito-ij-around-the-world (“the most ‘honest’ writer since Tolstoi”) — same author, same comparison, two languages. NO Wallace verbatim is used to make this case (rule 2 a no-op).

CONNECTION: Infinite Jest read as media-prophecy — InterLace prefigures Netflix, binge-watching is foreshadowed, and Johnny Gentle prefigures Trump; the artist as prophet who sees the coming world sooner

  • Crux: media-prescience · book-as-entertainment (adjacency)
  • Stance: endorses (media-prescience); mentions (book-as-entertainment)
  • Evidence:
    • [S — PT] “a organização InterLace, criada no mundo distópico de Graça Infinita, é praticamente idêntica à Netflix” (the InterLace organization, created in the dystopian world of Graça Infinita, is practically identical to Netflix — gloss ours), which would appear more than ten years later; and “o fenômeno do binge watching” (the binge-watching phenomenon — gloss ours; term in English) was “assustadoramente prenunciado” (frighteningly foreshadowed — gloss ours) in this still-20th-century novel.
    • [S — PT] The politics rhyme: president “Johnny Gentle (caricatura de Ronald Reagan, claro) também parece antever em considerável medida a imagem de bufão criminosamente irresponsável de um Donald Trump” (Johnny Gentle, a caricature of Ronald Reagan of course, also seems to considerably foresee the criminally-irresponsible-buffoon image of a Donald Trump — gloss ours).
    • [S — PT] The frame: great creators, “como os profetas, não inventam o mundo que virá. Eles apenas o enxergam antes dos outros, com maior nitidez” (like the prophets, do not invent the world to come; they only see it before others, with greater clarity — gloss ours).
  • Notes: media-prescience is the home lane — the InterLace/Netflix and Johnny-Gentle/Trump readings are textbook fulfilled-satire sightings, here from the translator's chair. The film-cartridge that “na trama conteria o filme Infinite Jest V, ponto central do enredo” (in the plot would contain the film Infinite Jest V, the central point of the plot — gloss ours) is the one book-as-entertainment-adjacent datum (the Entertainment-as-lethal-object), but Galindo raises it only to explain the cover's mystery about the book's contents; it makes no samizdat/antidote claim, so it is a MENTION/adjacency, not a fold-grade sighting. Reception-scoped.

CONNECTION: A translator's read on Wallace's syntax — a new syntactic complexity modeled less on the sinuous Proustian sentence than on the inconclusive meanders of thought, plus a “fractal” model for structuring the long narrative

  • Crux: prose-tempo-design
  • Stance: endorses
  • Evidence:
    • [S — PT] “Criação de uma nova complexidade sintática, menos derivada de uma noção sinuosamente proustiana de frase, e mais baseada nos meandros inconclusos do nosso pensamento.” (creation of a new syntactic complexity, less derived from a sinuously Proustian notion of the sentence and more based on the inconclusive meanders of our thought — gloss ours).
    • [S — PT] And “Uso de um modelo “fractal” para estruturação de uma narrativa mais longa.” (use of a “fractal” model for structuring a longer narrative — gloss ours), alongside “Celebração do incompleto e da densidade de inter-relações na trama” (celebration of the incomplete and of the density of inter-relations in the plot — gloss ours).
  • Notes: Firsthand translator voice on the design of the sentence and the whole — the Wallace long sentence read not as Proustian sinuosity but as a mimesis of thought's inconclusive meanders. Converges with the archive's prose-tempo-design translator tier (Blumenbach's “Mäandersätze”; the register-only adjudication #13 line). The “fractal” structural remark and the density-of-inter-relations line touch encyclopedic-design (below).

CONNECTION: The encyclopedic, heterogeneous texture of the novel — a “brain voice” assembled from shards of orality, corporate-speak, and rare vocabulary; the densest, most prohibitive of books

  • Crux: encyclopedic-design
  • Stance: mentions
  • Evidence:
    • [S — PT] Wallace's power to generate “aquilo que já chegou a ser chamado de “brain voice” de uma geração, a partir de cacos de oralidade, do discurso constrangedor do mundo corporativo, do vocabulário mais raro e rebuscado” (what has come to be called the “brain voice” of a generation, out of shards of orality, the embarrassing discourse of the corporate world, the rarest and most recherché vocabulary — gloss ours; “brain voice” is an English reception epithet, quoted as printed, attributed to unnamed others).
    • [S — PT] The book itself: “o complexo, imenso e proibitivamente denso romance de Wallace” (Wallace's complex, immense, and prohibitively dense novel — gloss ours).
  • Notes: A MENTION — Galindo attests the layered, encyclopedic density from the inside (the many registers, the rarest vocabulary) but does not argue the encyclopedic design's function the way the crux's core does; the “brain voice” epithet is a reception term he reports, not his coinage and not Wallace's. Converges with the Blumenbach 28-jargons testimony (blumenbach-trashpool-2011).

Themes

Translation as living inside other minds (the hardest part not interlinguistic but being addicts and depressives “por meses e meses a fio”); the Joyce–Wallace pairing that brackets a career and a self (Graça Infinita as “irmão necessário” of Ulysses; the humanist re-reading of Joyce); the economics and tempo of literary translation (fast work; the twelve-month deadline; the publicly documented Companhia blog; the 1600-lauda copyedit with Ciça Caropreso); grief inside the work (his mother Iracema's death mid-translation); the Brazil–Portugal translation collision (A Piada Infinita; the “formalidade” axis; the “pirata” edition reaching Brazil first); book-as-object and the orange-skull cover (the Hamlet/Yorick problem of the title; the executors' macabre-reference fear; the smiley/videotape/incomplete-skull defense; the page-edge printing); the Brazilian reception ramp (the Wallace-influenced writer generation; This Is Water as gateway; E Unibus Pluram in Serrote; the booktubers); Wallace's prescience (InterLace/Netflix; binge-watching; Johnny Gentle/Trump; the artist as prophet); Wallace's ethics after Karr (the “São David” cult; life vs. work; the Tolstoy yardstick; “matizar” not void); and the empathy program of the oeuvre (the This Is Water water parable; “o que de fato muda uma literatura são pessoas”).

Cross-references

  • blumenbach-trashpool-2011 — the German translator's long interview. Galindo names Blumenbach directly: he corresponded during the translation with “o grande Ulrich Blumenbach” (the great Ulrich Blumenbach — gloss ours), whom he calls “pessoa extremamente atenciosa” (an extremely considerate person — gloss ours), and cites Blumenbach's six-year timeline against his own twelve months — the two translator-primaries are in explicit contact. Both attest the novel's layered registers; Galindo's “brain voice” / heterogeneous-registers line is the Brazilian analogue of Blumenbach's 28 jargons.
  • blumenbach-spiegel-2009 — the other German Blumenbach primary; part of the same translator-testimony cluster.
  • nesi-minimaetmoralia-intervista — the Italian translator (Edoardo Nesi). Translator-testimony cluster; unlike Nesi (who corresponded with Wallace), Galindo had no contact with Wallace, only with the other translators and the executors.
  • kerline-books-2015 — the French translator (mal-écrit-as-design). Translator-testimony cluster; Galindo's “escrever “errado” em certos momentos, de forçar os limites do seu idioma” (to write “wrong” at certain moments, to force the limits of one's language — gloss ours) is the Brazilian echo of the deliberate-error craft argument.
  • mokita-blumenbach-passage-2017 — the newest landed translator unit (Blumenbach passage comparison); same translator-testimony register.
  • esposito-ij-around-the-world — the ENGLISH companion that already holds a Galindo/Brazil entry (Galindo used the DFW Wiki; the “a freaking genius. Probably the most ‘honest’ writer since Tolstoi.” line) — the same author speaking English there and Portuguese here, the Tolstoy comparison recurring across both; the two are wired, not deduped. Quote authority for the English line stays with esposito; quote authority for the Portuguese stays here.

Notable passages

Galindo's words unless marked; Portuguese is the verbatim anchor, the English in parentheses is our gloss (paraphrase). Curly Brazilian-Portuguese typography reproduced as printed (“ … ” doubles; ‘ … ’ singles).

  • “Talvez o mundo nunca tenha precisado tanto da literatura de David Foster Wallace.” (perhaps the world has never needed David Foster Wallace's literature so much — gloss ours) — the opening thesis, returned to at the end.
  • “Graça Infinita, menos que continuador do Ulysses, se revelou um irmão necessário da obra irlandesa.” (Graça Infinita, less a continuation of Ulysses, revealed itself a necessary brother of the Irish work — gloss ours).
  • “A cada quinze dias eu informava quantas páginas já tinha traduzido” (every fortnight I reported how many pages I had translated — gloss ours) — the publicly documented Companhia blog.
  • “Eu tinha doze meses para completar a tradução. Blumenbach, por exemplo, usou seis anos.” (I had twelve months to complete the translation. Blumenbach, for example, used six years — gloss ours). “Entreguei a tradução em 13 meses.” (I delivered the translation in 13 months — gloss ours).
  • “Minha mãe se chamava Iracema, um nome que foi inventado por José de Alencar” (my mother was named Iracema, a name invented by José de Alencar — gloss ours) — the anagram of América, the New World.
  • “Em Portugal, Infinite Jest foi traduzido (como A Piada Infinita) por uma equipe, pai e filho: Salvato e Vasco Teles de Menezes.” (in Portugal, Infinite Jest was translated — as A Piada Infinita — by a team, father and son: Salvato and Vasco Teles de Menezes — gloss ours). “Infinite Jest estava como que chegando primeiro ao Brasil numa versão “pirata”…” (Infinite Jest was as if arriving in Brazil first in a “pirate” version — gloss ours).
  • “os representantes de Wallace estavam achando que a escolha da caveira podia ser macabra demais, e podia ser uma espécie de referência à morte do autor” (Wallace's representatives were thinking the skull choice might be too macabre, and might be a kind of reference to the author's death — gloss ours); his defense pointed to the smiley reference, the dashed/incomplete skull, and “o cartucho que na trama conteria o filme Infinite Jest V, ponto central do enredo” (the cartridge that in the plot would contain the film Infinite Jest V, the central point of the plot — gloss ours). “nossa edição ficou com 1144 páginas” (our edition came to 1144 pages — gloss ours).
  • “O livro foi finalmente lançado no final de novembro de 2014” (the book was finally launched at the end of November 2014 — gloss ours); it won the “prêmio de melhor tradução do ano, concedido pela Associação Paulista dos Críticos de Arte” (best-translation-of-the-year prize, awarded by the São Paulo Art Critics' Association — gloss ours).
  • “a organização InterLace, criada no mundo distópico de Graça Infinita, é praticamente idêntica à Netflix” (the InterLace organization … is practically identical to Netflix — gloss ours); “o presidente Johnny Gentle (caricatura de Ronald Reagan, claro) também parece antever … a imagem de bufão criminosamente irresponsável de um Donald Trump” (president Johnny Gentle, a Reagan caricature, also seems to foresee the criminally-irresponsible-buffoon image of a Donald Trump — gloss ours). “Precisamos de graça infinita.” (we need infinite grace — gloss ours; lowercase pun on the title, cite-as-written).
  • “seu projeto maior na literatura é empregar as formas da narrativa para entender melhor o ser humano.” (his greatest project in literature is to employ the forms of narrative to better understand the human being — gloss ours); “A “água” que te cerca o tempo todo, como na parábola dos peixinhos” (the “water” that surrounds you the whole time, as in the parable of the little fish — gloss ours).
  • On Karr and ethics: “modelo mais direto para a Madame Psicose de Graça Infinita, que sofreu violento assédio obsessivo” (the most direct model for Madame Psychosis in Graça Infinita, who suffered violent obsessive harassment — gloss ours; Galindo's rendering of the accusation, not Karr verbatim); the “culto de um São David” “ridicularizado mesmo por Jonathan Franzen, amigo próximo de Wallace” (a Saint-David cult ridiculed even by Jonathan Franzen, a close friend of Wallace's — gloss ours; Galindo's report, not Franzen verbatim). “Ele, como Tolstói, estava muito longe de ser santo.” (He, like Tolstoy, was very far from being a saint — gloss ours). “Mas queria, ele como Tolstói, lutar contra os demônios. Mudar. E te fazer pensar em mudar.” (but he wanted, like Tolstoy, to fight the demons. To change. And to make you think about changing — gloss ours).
  • The hardest part: the truest difficulty was living for months “DENTRO da cabeça de viciados, depressivos, miseráveis” (INSIDE the head of addicts, depressives, the wretched — gloss ours; DENTRO all-caps in source, cite-as-written). “Traduzir é viver por dentro daquelas vozes.” (to translate is to live inside those voices — gloss ours).
  • Two popular reception voices Galindo reports (third-hand, quoted as this text's rendering): “Aquele romancista que se matou.” (that novelist who killed himself — gloss ours) and “O cara do texto dos peixinhos que não sabem o que é água…” (the guy from the piece about the little fish who don't know what water is — gloss ours).

Accuracy notes

  • The Serbian first version. The text states it is a revised, expanded, rethought version of a piece first published in the Serbian journal Polja, with its original Slavic addressee preserved (line 22-25); the Versalete printing is dated jan.-jun. 2018 (line 1). The body was written across time: it reports The Pale King translation “concluído apenas no começo de 2016” (line 544) and O Rei Pálido as forthcoming, and the Karr parenthesis (line 706-747) is explicitly a post-Serbian-version addition keyed to the 2018 resurfacing of the accusations. Frontmatter date: = 2018 (the Versalete issue).
  • Page span. The article occupies journal pp. 265-286 of Revista Versalete Vol. 6 nº 10 (running page numbers present in the PDF text); ~6,700 Portuguese words. (an earlier archive gist undercounted the printed span as 8 pp.; corrected here.)
  • “Precisamos de graça infinita” — lowercase pun (line 674). Galindo drops the title-caps to make the phrase mean we need infinite grace, a deliberate play on the book's title; reproduced as printed.
  • “DENTRO” in all caps (line 767). Emphasis in the source; reproduced as printed, not down-cased.
  • The Karr / Franzen / D. T. Max material is Galindo's characterization (lines 706-736). The harassment account, the São-David cult, and Franzen's ridicule are reported by Galindo, not quoted verbatim from Karr, Franzen, or Max; treat as this text's rendering.
  • Portugal edition (lines 308-309). A Piada Infinita, trans. Salvato & Vasco Teles de Menezes, Quetzal, Lisbon — the references date it 2012 (line 814); Galindo's body frames the Portuguese translation via the “simultaneidade” (simultaneity — gloss ours) of the two versions.