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  • The Interpreter
  • Written by Suzanne Glass
  • Format: Trade Paperback | ISBN: 9780345450241
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The Interpreter

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Synopsis|Excerpt

Synopsis

At the end of a demanding day of translating speeches at an international medical conference in Manhattan, Dominique Green accidentally overhears something she is bound by her interpreter’s contract never to reveal. But she can’t forget it. After discovering a potentially revolutionary HIV treatment, a researcher has decided to keep it a secret from the company he works for, indefinitely postponing its trial and release. It is a treatment that could save Dominique’s close friend, but only if it’s available soon.

The very next day, unaware of his identity, Dominique meets Nicholas Manzini, the Italian researcher who made the discovery. After a lifetime of digesting, transforming, and then releasing the words of strangers, Dominique slowly begins to develop her own voice while speaking to Nicholas. But he, too, is grappling with his own moral dilemma, one wrapped tightly around HIV treatments and ethics, personal needs and exterior pressures. As they fall completely in love, neither knows what the other is hiding—nor can they foresee what startling surprises await them when all is said and done.

Excerpt

ONE

Dominique

I was in the dark. Or at least in semidarkness. I always worked best when the light in the booth was dim. So I was in this half-lit makeshift booth, in the semidarkness except for a blue glow from my tiny reading lamp. In the semidarkness, in the makeshift booth in the gray conference hall on Lexington Avenue in New York City.My colleague that day was a spotty Liverpudlian who had once put his hand on my thigh while I was in the middle of a piece of simultaneous translation. I had shifted my position and carried on translating from French to English, spouting forth about the size and hue of tomatoes, and managed after that to avoid his gaze for months. Other female interpreters had reacted more aggressively to his clammy paws and had complained to the International Interpreters’ Association, but I had said nothing. These days, for fear of being struck off he picked at his skin and his cuticles rather than seeking out the thighs of his colleagues.
“You go first Dominique,” he said.
I nodded and pulled my headphones down over my ears. I looked at my watch. Four minutes to go. The delegates were filing back into the hall. Black-, brown-, red-, gray-haired doctors and researchers, all of them sauntering back into the room. I pushed my hair off my face and took a few long deep breaths. Usually the intense concentration of the morning had calmed my nerves and by the afternoon I was raring to go, running closely behind the voice of the speaker, following his rhythm, his intonation, his speed, his tone. But on that Friday the adrenaline was still pumping at the start of the afternoon session. I put it down to stress. I put it down to the effects of my conversation with Anna the week before. Now sitting in the blue glow with three minutes to go before kickoff, through my headphones, I heard not the shuffling of the delegates’ papers, but last week’s conversation that had played itself over and over again in my head.
“He’s bad,” she had said in her almost accentless English.
“How bad?” I had asked.
“He’s bad,” she repeated. “He has ulcers in his mouth. He’s horribly thin. He can’t concentrate. I’m trying to persuade him to take the medication now. He’s told his father about it.” “How are you?” I asked.
“I’m not so great, Dom,” she said. “Not so great. I feel, you know, like you feel when it could be the beginning of the end for someone you love. I feel, I feel . . .”
The line had gone dead.The receiver crackled. My headphones crackled. My colleague prodded me rather too close to my thigh. It was my turn to interpret. Through the glass of the booth I could make out the chairman of the conference limping up the steps. He turned his red fleshy face toward his audience. I swallowed. The chairman cleared his throat too loudly. It hurt my eardrums.I reached for my control panel and adjusted the red volume button. The chairman began. “Bon après-midi mesdames et messieurs, je vous souhaite la bienvenue à la deuxième partie de notre conference.”
Good afternoon, ladies and gentlemen, welcome back to the second part of our conference.“J’espère que vous n’êtes pas trop ensommeillés après tout cet alcool pour apprécier notre prochain orateur . . ”I hope you’re not too sleepy after all that red wine, to appreciate our next speaker.
Dr. Katz came up onto the podium. I looked at the watch Paul had bought me, so that I would “feel” every second I was away from him. The light was too low to see the hands, but I knew I had about twenty-five minutes to go. We worked in half-hour sessions. That was about as far as the concentration would stretch in a stint of simultaneous interpreting. It was tough stuff. Interpreters are more prone to strokes and brain hemorrhages from stress than the rest of the population.
I felt the Liverpudlian staring. I closed my eyes and the words of the speaker kaleidoscoped in and out of mine. He talked of the need to find a cure for the common cold, the number of working days missed because of the virus, the amount of ineffectual medication on the market, the hunt, the chase to be the first to come up with something new, exciting, innovative. He spoke faster and faster. I ran faster and faster behind him. His breathing was shallow. Obviously a smoker. You could always tell when you were interpreting a smoker. The speaker took a sip of water. I weighed up whether there was time to take a sip of mine. I decided against it. I would have fallen a sentence behind him and it was always hard to catch up. The Liverpudlian prodded me again. I looked at him. He pointed to the control panel. It was his turn to take over. I nodded, all the while talking, finishing my sentence, finishing the speaker’s sentence, talking about the advances in his research. I switched off my microphone a split second before he switched on his. A seamless transition from my voice to his. My colleague began to talk. I rolled my neck from side to side, unclenched my fists and vowed to get out of the habit of digging my nails into my palms till they bled while I translated. Some of the delegates turned around to stare at us, startled by the change of voice in their ears. At moments like this they suddenly remembered they were listening to human beings and not to machines. I stood up and carefully pushed open the cardboard door of the booth. I closed it silently and crept out of the back of the conference hall along the corridor to the bathrooms.In the white tiled room I sat down on a low black stool in front of a huge mirror. I looked at myself without seeing, brushed my reddy-brown hair, applied my lipstick and just sat there. Words buzzed in my head, unstoppable as the threatening hum of a circling mosquito. Not the words of the speaker I had just translated, though that would hardly have been unusual. I often heard other people’s words, other people’s voices in my head for hours after I came out of the booth. The feeling is the same as when you have sat in front of a computer screen for hours and for some time afterward the words dance in front of your eyes. But no, these were not the speaker’s words. I just kept on hearing that line of Anna’s, “He has ulcers in his mouth. He’s horribly thin. . . He can’t concentrate.”
I found myself now translating the words into French. Sitting on the stool in the ladies room and whispering to myself, “Il a des plaques dans la bouche, il est affreusement mince . . . il n’arrive pas à se concentrer.” You idiot, I thought, what use is this?
Someone flushed a toilet. I realized I had been out of the booth for more than ten minutes. You never did that to your colleague. You never stayed away for more than ten minutes. He might want you to look up a word. He might be having a coughing fit and need you to take over. I ran back down the corridor, tiptoed into the conference hall, and slipped back into the booth.It was lighter now. They had pulled back the heavy purple velvet curtains at the side of the hall. I could see the Liverpudlian clearly. He had been attacking his face viciously while he had been working. He turned and gave me a dirty look. I looked away and sat down.I opened my medical dictionary. Reams and reams of medical vocabulary in four languages. I tried to read a page every night before I went to sleep. “You ought to read something a little more steamy,” Anna said to me once and threw a copy of 91?2 Weeks onto my duvet. “Read it,” she said. “You might learn something.” I read it. I learned and we laughed about it. That was before Mischa’s ulcers.The Liverpudlian was going at it fifty to the dozen, leaning back in his chair, his feet up against the desk, one toe poking through a hole in a grubby sock. He sounded to the untrained ear as if he were translating fluently. It was only the initiated who would have realized he was ill-prepared and making mistake after mistake.I ran my eyes over the conference documentation. However well you prepared yourself, however many hundreds of words you learned in readiness for a medical conference there was always a phrase that would trip you up. But I had a head start. My father was a doctor and the names of drugs and illnesses had been the vocabulary of my youth. “Dad,” I had said, the night before on the phone from New York to London, “Dad, can you explain to me a bit about viruses?” He had laughed and said, “That’s like me asking you to teach me Italian in a phone call. Look, fax me the documents and I’ll try to explain things to you in context.”“I can’t,” I said.
“You can’t?”“You know this stuff is always confidential.”“I’m your father,” he said. “If you want help you’ll just have to trust me.” “I’ll think about it, Dad,” I said.I didn’t fax the documents. I stood in my apartment with my finger on the green start button of the fax machine, about to transmit, and changed my mind. “Confidentiality,” screamed the Interpreting School director in my head. “Confidentiality. Break your vow of confidentiality, get caught, and you are out. Your vows are as solemn as the Hippocratic oath, as sacred as the nun’s marriage to Jesus. What you learn in that booth must stay there or else your career is at an end.”I could hear the Liverpudlian getting a little out of breath. I tapped lightly on the desk in front of me, caught his attention and raised my eyebrows. We interpreters quickly learned the nonverbal code, the language which we speak while we are talking. The raised eyebrows meant, “Are you struggling? Shall I take over?” He shook his head. There was a certain shame in handing the microphone to a colleague before your stint was over. It was like ending a sprint before you reached the finish line. He made it, panting to the last word. The audience applauded the speaker. The Liverpudlian switched off his microphone and spluttered into his gray handkerchief. I felt repulsed.The chairman stood up to make the closing remarks for the day. I was on. Mike on. Headphones. “Focus, Dominique, focus.” Miss a word and you have missed the train. It had been a long day. I was tense and tired. My colleague shoved a note under my nose. “I’m off,” it read. Against the rules to leave me there alone, even if it was the last speech, but I didn’t care. I gave him the thumbs-up sign and he was gone. I was more relaxed with him out of the way. The words tumbled out of me. I was spurred on by the finish line. “Ladies and gentlemen, I think you’ll agree we should also say thank you to our team of interpreters. They’ve done an excellent job and it’s been a grueling day.”
I leaned back exhausted. I always found it amusing and slightly embarrassing when I had to translate praise about my own work.I should have felt nothing but relief. The day was over. Thousands of words had flowed through me into thin air. My grotty, spotty colleague was gone. I ought to have walked out of there with a spring in my step. I ought to have rushed out into the streets of Manhattan. Instead I sat very still in the corner of my booth and waited for the delegates to file out as they had filed in. I could see no one but still I felt as though I were not alone in the room. My headphones were on the desk in front of me. I heard faint voices coming from them. I picked them up. There were clearly still two or more people in the room talking. One of them had forgotten to switch off their microphone. I could hear them speaking in hushed tones, but I couldn’t see them. Part of the hall was out of my line of vision. I reached for the control panel. I turned up the volume and held the headset to one ear.“. . . quite by chance,” said a deep male voice with a Southern drawl.“You don’t stumble on these things by chance,” said an older voice and coughed a smoker’s cough.“They did with penicillin.” “Billions of dollars are invested . . .” for a moment my headphones crackled, “. . . hiv every year, my young friend. No one, not even he, could find a quasi-cure by chance. Anyway, what makes you think it could work?” I stiffened.
“The other day. In his lab I saw it for myself. Cells that should have been riddled with the disease holding their own. Couldn’t believe my eyes.”
“And he’s told no one?”
“No, just me. He’s a loner. I think I’m his only confidant.”
“And you reckon he’s credible? Worth backing?”
“I reckon he’s a genius. But modest with it. Never brags. I can’t say it’s conclusive, but I’m damn sure he’s onto something. I think he’ll be persuaded to come with us.”

I started to shake, sitting there trapped in that booth. A little at first. Then harder. I was afraid they would feel the vibrations of my movements. Mischa, I thought. The ulcers. The swallowing. The wasting away. There’s a way out. These voices in my ears, they have the answer.
I was thinking so loudly, I almost forgot to listen.“Follow his progress,” said the older, smoker’s voice. “And for God’s sake make sure he keeps it under wraps till we get our act together and we can bring him on board. Land me this one and I’ll back you to the hilt.”
“Trust me,” said the deep Southern voice and laughed a deep and heavy laugh. The conversation stopped abruptly. Someone had switched off the microphone. I dug my nails into my palms and waited. I heard movement. I shoved my papers into my briefcase. I crept out of the booth, I walked out of the side door, I burst into a run along Lexington Avenue. I ran and I ran, past Fifty-third Street, Fifty-second, left on to Fifty-first, past Third Avenue, Second, First, into Beekman Place, shouting to myself, “Anna, Anna, tell Mischa, there might be a way!” I rushed past the doorman and pounded up the stairs to my apartment. I went straight for the telephone on the kitchen wall beside the fridge. I dialed Anna’s number from memory and suddenly I froze. A voice in my head was screaming at me. “Your vows of confidentiality are as solemn as the Hippocratic oath. As sacred as the nun’s marriage to Jesus.”
Suzanne Glass|Author Q&A

About Suzanne Glass

Suzanne Glass - The Interpreter
SUZANNE GLASS IS, LIKE HER HEROINE, FLUENT IN SEVEN LANGUAGES.
AFTER PERFECTING HER LANGUAGE SKILLS IN CITIES AROUND THE WORLD,
SHE WORKED FOR FIVE YEARS AS A SIMULTANEOUS INTERPRETER. SHE THEN LEFT THE HIGH-PRESSURE MILIEU EVOKED SO COMPELLINGLY IN HER BOOK TO PURSUE A GRADUATE DEGREE IN JOURNALISM. SHE NOW LIVES IN LONDON AND WRITES A REGULAR COLUMN FOR THE FINANCIAL TIMES.

Author Q&A

THE
INTERPRETER
Suzanne Glass

A Conversation with Suzanne Glass

Question: How much has Dominique's childhood affected her own "voice"?

Answer: I tried to show that even as a little girl, Dominique was never able to develop her own voice. Mediating between her parents arguments, her individuality was suppressed. In a physical sense, there was an occasion when her voice literally stuck in her throat as she sat at the dinner table with warring parents. It made sense to me that there would be a transition to a life of translating for others. Deep down, even as a little girl, she struggles for self-expression. Do you remember when she wrote that story at school about her Mummy and Daddy arguing all the way through their summer holidays? I think she was fighting to find her own voice even then, just as she fought to find it later in the book. Ultimately, the childhood of each and every one of us impacts our adult voice.

Q: What role does Paul play in Dominique's life?

A: In the early years, he and his family represented a haven of apparent normality for Dominique. In his house, nobody screamed or shouted and conflict was swept under the carpet. This is the antithesis of Dominique's life and a large part of what drew her to him. Although she is obviously unfulfilled both sexually and emotionally, I do think it represents a springboard for her move away from her past. I write at the end of Paul and Dominique's relationship that "the outgrowing of someone, the knowing that there is no oxygen left for the two of you to survive, still lends no meaning to the phrase he's wiped out of my life, gone forever. He is not wiped out of you, nor you of him, he's in your history, and in the lines around your eyes, part of what the next man loves." I hope I have shown that, no matter what follows, a first love leaves an indelible mark.

Q: Both Dominique and Nicholas love music. How is this woven thematically within the book? What are you trying to do with this device?

A: Music seems to have woven itself into my story to dramatize seminal moments in their relationship. When I wrote the chapter where Dominique and Nicholas are drawn to each other in the church, I was up all night listening to Swan Lake over and over again. By the early hours of the morning, Dominique and Nicholas's first meeting had somehow written itself to the music. The depths of Mozart's clarinet concerto provide background for the first lovemaking scene where Nicholas lies curved around Dominique like a question mark. And later too, after Dominique's trip to Europe, it is to the sound of Bach's musical offering that they are reunited. This is the point at which they offer themselves most fully to one another with the movement of the music. The Swan Lake theme comes full circle in the novel when Nicholas leaves the music on a tape for her via the guard at the Rodin Museum. Music is absolutely pivotal to their reunion.

Q: The idea of using two different first-person narrators is very unusual. Why did you choose this technique to tell this story?

A: Although Dominique's own voice is crucial to the telling of The Interpreter, I did not feel that she was self-aware enough to give a sufficiently true picture of herself. Nicholas's perspective on her development as a character and on their love story as a whole, is fundamental to the reader's understanding of their motivations. Also, the book is essentially about interpretation- Nicholas's of Dominique and Dominique's of Nicholas.

Q: Interpreting is a specialized skill that requires intense concentration. How has your career as a simultaneous interpreter fed into creating Dominique's world?

A: Apart from Dominique's discovery at a medical conference, her professional experience as an interpreter is similar to mine. The demands on one's concentration, the intellectual rigor, and the creative frustrations as an interpreter are experienced by Dominique as I experienced them myself. Although I never did find myself whispering in an old man's hairy ear! No one who had not practiced as a professional interpreter would ever really be able to get inside the head of the character sufficiently to create her from nothing. While writing The Interpreter I went back into the booth on many occasions to relive the experience of my protagonist.

Q: Why have you used flashbacks as a technique in this novel?

A: An insight into Dominique's and Nicholas's childhood is indispensable to understanding the way that they are as adults. Nicholas's stable, loving mother taught him to listen, so that he, in turn, was able to listen to Dominique. The angst and fears of Dominique's mother, a Holocaust survivor, had a deep impact on Dominique. For example, the scene where her mother is stuffing hard bread crusts into her mouth could only have been told by way of flashback. The lives of each of us can only be understood that way.

Q: Loyalty and devotion are important themes used in The Interpreter. How do you feel Dominique shows her loyalty to Mischa and Anna?

A: I think Dominique's loyalty to Mischa is paramount in the novel. Because of that loyalty she ultimately risks everything, including her career and her relationship with Nicholas. She risks her own emotional life to be true to Mischa. Even in death. In turn, by doing that she is loyal to Anna. I tried to highlight true friendship in The Interpreter by also showing its opposite in Tom's perfidious behavior toward Nicholas.

Q: How relevant was it that Mischa was suffering from AIDS?

A: I think Nicholas could have made a discovery about any disease from which Mischa was suffering. The issues of loyalty and friendship were far more relevant here than the specifics of the disease.

Q: Obviously Dominique is faced with a great dilemma about whether or not to divulge Nicholas's secrets, yet she seems to make her decision fast and with determination. Wouldn't you say this is out of character for someone who is as reticent as Dominique?

A: No. You have to allow for the evolution of Dominique's character. With Nicholas's help, Dominique's voice has been developing throughout the whole story. Even the blind interpreter notices a change in her tone and tells her she won't be interpreting other people's words for much longer. Although her decision to betray him in the radio station seems brutal and abrupt, it is perhaps the final burst of the caterpillar from the chrysalis. Dominique is not behaving out of character. Rather, she is being true to a new discovery within her own personality . . . a capacity for self-expression and loyalty to herself.

Q: Do you think that Dominique finding her voice forces Nicholas to suppress his?

A: I hadn't considered that before. On a superficial level, it might look that way. Nicholas does leave his high-powered job in New York. Yet, on a deeper level, perhaps he rediscovers his true voice. He never really had the right personality to deal with corporate politics. He seems content returning to work closely with patients in a Florentine Hospital. Perhaps therefore, despite herself, Dominique has, in a strange way, done Nicholas a favor by exposing his discovery. And, when she finds her true voice, she is able to use it to relate to Nicholas on an entirely different level.

Q: Did you know that the concept of a meeting between Nicholas and Dominique at the Rodin Museum is reminiscent of An Affair to Remember?

A: So many people have said that to me. I hadn't even seen the film before I wrote The Interpreter. Nor had I seen its modern day equivalent, Sleepless in Seattle. It just seemed to me to be very romantic that both Dominique and Nicholas would remember a throwaway suggestion to meet a year to the day of their breakup (should there be one) in the exquisite surroundings of the Rodin Museum. However, because of their different interpretations of the date of their breakup, they met there only in their minds.

Q: It seems as if Dominique and Nicholas are reunited at the end of the novel. Are they?

A: When I brought them together in Florence, I asked myself many questions: Would it really be possible for Nicholas to forgive Dominique's public betrayal of him? Would it be possible for Dominique to face Nicholas after what she'd done and explain her reasons? Ultimately, I struggled to answer these questions. What kept coming back into my mind was the proverb quoted earlier in the book. "Le couer connait des raison que la raison ne connait pas . . ." The heart knows reasons that reason never understands. In other words, they loved each other. They had both grown enough to face what had gone before.

Q: But do they stay together?

A: I think they try. I hinted at that when they brushed shoulders on the beach and particularly in the last line of the book. "In the light of morning they have found a new language."

Interview by Michelle Berman.

Praise

Praise

“Fascinating and enchanting . . . Glass combines love, medical intrigue, chance, and moral choice into a beautifully told tale.”
Echo magazine


“A HEADY MIX OF ROMANCE AND INTRIGUE which keeps you on tenterhooks to the final page . . . The novel mixes an ER-style plot with reflections on passion, friendships, and the power of words.”
The Independent (England)
Reader's Guide

About the Book

Reading Group Questions and Topics for Discussion

1. What is the significance of Dominique's choice of careers? In what respects has she really been an interpreter her entire life?

2. Discuss Dom's parents' relationship and what it did to her as a child. How does this relationship effect who she is as an adult?

3. Dom's mother is a Holocaust survivor. How is this important?

4. "When I grew up I would know why my father understood and yet didn't understand at the same time" (p. 57). Explain what Dom means by this statement. What does Dom understand yet not understand in her own adult life?

5. Dom has a dream in which she loses her voice, an obvious fear for an interpreter. In this dream her parents are arguing at the dinner table and she attempts to shout, "There's a stone in my tummy. I can't eat this. There's no room." But no voice will come. "I was underwater, a giant goldfish opening and closing my mouth without the gift of speech"(p. 75). What stone has Dom swallowed? How has she lost her voice?

6. Dom states that in order for a woman to be a good interpreter she must be rootless. "She belongs to every culture and then again to none" (p. 78). Does being rootless serve Dom? If so, in what way?

7. Nicholas's grandfather once said to him, "I can create time with my watches but I cannot create the right time" (p.99). What does this statement mean?

8. How is timing significant throughout the novel?

9. In chapter sixteen Dom struggles with the truth. Do you believe there are times when it is better to lie than to tell the truth?

10. How do you feel about Nick's decision to keep his medical discovery secret? What motivates him to do this? What about Dom's silence about her discovery? What would you do in each of their shoes?

11. Throughout the novel certain words and their many meanings play important roles. In chapter sixteen it's "truth"; in chapter twenty it's "coincidence" and its many translations. Dom explains that the German word for coincidence is Zufall, meaning literally "falling together," ". . . even the word Zufall, gives no indication of whether that falling is for good or for bad. Of whether coincidence is good or bad. No language gives us a clue to that" (p.141). What role does coincidence play in the novel? How has the "falling together" of events affected Dom and Nick?

12. Mischa taught Dom the importance of finding one's own private oasis, ". . . a place where you can go and be peaceful and escape" (p. 149). Dom wonders, ". . . if it was only a place that could be an oasis. Or if a person could be your oasis too?" (p. 159). What is your opinion? Can a person be an oasis? And should a person be an oasis?

13. In chapter twenty-four, Nick meets Walter Zlack for the first time. The first three paragraphs have several symbolic warning signs. What are they? Where else in the novel does the author use strong symbolism?

14. "I go around to the other side of the easel. And the pencil lines on the paper do create a true likeness of her. The curve of her jaw and the slant of her eyes are the same. The shape of her lips is the same. The beauty spot above her mouth is in the same place. But what shocks me, what takes me quite off guard is the harsh charcoal shading. What shock me are the layers of pencil. The layers of darkness, that whichever way I look throw an unmistakable blackness over her face. And it is with a distinct sense of unease that I watch as the artist roles the canvas and hands it to me" (p. 195). What is it about the charcoal drawing of Dom that disturbs Nick so much?

15. Anna challenges Dom with the question, "Don't you have a voice?" (p. 227). How does Dom finally find her own voice?

16. Do you think Dom made the right decision when she went on the radio and exposed Nick's findings?

17. What do you think of the ending? Would you have been surprised if Nick had not sent Dom the message at the sculpture garden? In your opinion what will become of their relationship?

  • The Interpreter by Suzanne Glass
  • June 17, 2003
  • Fiction
  • Ballantine Books
  • $13.95
  • 9780345450241

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