Boston Translation

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2010-04-30T09:10:00.001-04:00

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Kessler wins Harold Morton Landon Award

2010-04-30T08:12:00.000-04:00

Stephen Kessler has been chosen by Edith Grossman to receive the 2010 Harold Morton Landon Translation Award for his translations of the poet Luis Cernuda collected in Desolation of the Chimera (White Pine Press, 2009). His previous translations include books by Vicente Aleixandre, Pablo Neruda, Raymond Queneau, César Vallejo, and many more. Read Cernuda's poems as translated by Stephen Kessler, at Poets.org.

Kirsch & Kaminsky on Poetry in Translation

2010-04-13T09:55:00.002-04:00

At The Poetry Foundation website, poet / critic Adam Kirsch and poet / translator Ilya Kaminsky discuss the nature of, problems with, and possibilities for poetry in translation. They raise the common questions: how can one effectively translate formal techniques? is translation more re-imagining than transmogrification? what role does the personality of the translator play? These questions are fairly banal — they exist more for the critics to opine than as real practical problems for a translator. This is not to say that translators don't encounter them in their work. They do. But if a translator's approach is as programmatic as any answer, then they've almost certainly failed. As Kaminsky writes, ‘what interests me is not only the genius of the poet translated but also the genius of what is possible in English as it bends to accommodate or digest various new forms. By translating, we learn how the limits of our minds can be stretched to absorb the foreign, and how thereby we are able to make our language beautiful in a new way.’

Post Script
I agree with this aside whole-heartedly: ‘A side note about irony, which is a very popular device in American poetry today: I think when someone like Herbert used it in Poland in the time of martial law, when saying something straightforwardly meant being killed, it was a powerful thing. But when I see a thirty-something in Manhattan writing poems that are so overtly ironic they remind me of Seinfeld, I wonder if there is an overuse of this device in the work of our contemporaries.’

-- Daniel Pritchard, cross-posted from The Wooden Spoon

An Interview with Pevear and Volokhonsky

2009-12-09T22:27:00.001-05:00

At The Millions, an interview between Anna Clark and the preeminent modern translators of Russian classics, particularly Tolstoy, Richard Pevear and Anna Volokhonsky: 'There are two questions that it might seem quite proper for a translator to keep in mind, but that in fact will spoil the translation. The first is, “What will the reader think?” And the second is, “How do we say that in English?” A good writer does what he or she has to do in the writing so that it “goes right,” as Robert Frost put it. There is at least as much intuition as intention in the process. A good translator has to follow that process far more consciously than the writer and yet come as close as possible in the new language to the instinctive “rightness” of the original. The greater the writer, the closer you want to come. That is both the challenge and the joy of it. But exactly what that “rightness” is remains undefinable, which is why there is no such thing as a definitive translation.'

On Amelia Rosselli

2009-11-24T11:33:00.001-05:00

Daniel E Pritchard writes:

At the Center for Art of Translation blog, Scott Esposito introduces us to Amelia Rosselli (1930-1996), 'one of the most important experimental Italian poets of the 20th century, often associated with Gruppo 63 and the Italian avant-garde. First trained as a composer and musicologist, she turned to writing in her early twenties. She was fluent in Italian, French and English, and in her early writings, such as Diario in tre lingue (”Diary in Three Languages”), she reflected this linguistic background by switching from one language to another. Later, Rosselli’s poetry came to reflect this multilinguality in a more nuanced way: she began to write primarily in an idiosyncratic Italian that pushed the boundaries of the language to encompass her particular vocabulary. She incorporates syntactical traces of French and English in her Italian verse, and is famous for employing what Pier Paolo Pasolini called a “lapsus”: a slippage between languages that makes her poetry strange to the Italian ear.'

[cross-posted from The Wooden Spoon]

Online Certification with Dalkey Archive

2009-11-20T15:02:00.003-05:00

Beginning in January of 2010, Dalkey Archive Press at the University of Illinois in Urbana-Champaign will initiate a new and ambitious certificate program designed to help translators at any point in their early careers, and that will result in the publication of their first book-length translation. This program represents a unique opportunity for young translators to gain invaluable experience as well as produce a translation that will aid them in gaining future work with Dalkey Archive and other publishers.

The program is intended for translators who are at a point in their careers where they are ready to undertake professional translation work but do not know where to go next, and especially for those who need a flexible schedule because of geographical limitations and other commitments.

During the course of the yearlong program, translators will have the opportunity to complete one book-length literary translation to be published by Dalkey Archive Press, with an emphasis on literary fiction; books to be translated will be selected by Dalkey Archive Press in consultation with the translator. Editors at Dalkey Archive Press will be assigned to train applicants via email on a one-to-one basis. Occasional meetings at Dalkey Archive Press’s offices or videoconferences may also be organized.

The program is highly competitive and is intended for promising translators who are at an early point in their careers, but who have already achieved the skill level to undertake professional translation work. Ten students will be selected based on the strength of their application materials, and the relevance of their background to the kind of literature that Dalkey Archive publishes.

Translators interested in applying should send the following materials to onlineapp@dalkeyarchive.com as early as possible: a CV, including employment history; a letter of intent detailing qualifications, knowledge of the historical roots of the literary aesthetic represented in Dalkey Archive book, a list of the applicant's favorite authors and those authors the applicant is most interested in translating, and evidence of a substantial reading background in the applicants’ chosen language(s); and 3 sample translations of fiction from the applicant’s language(s) of specialization.

Samples should consist of the first pages of a published novel or short story only, and should not be from books that have already been translated and published in English. Each sample should be 5 to 10 pages long. Do not include the original-language versions of your samples.

Complete applications, including all abovementioned materials, should be sent via email as a single .pdf file only (no other formats will be read) labeled with the applicant’s name (i.e., lastnamefirstname.pdf). Within this file, application materials should be ordered as follows: CV, letter of intent, 3 samples, 3 letters of recommendation. Letters of intent should not be sent in the body of the email, but should be part of the application file. No substantial information should be included in the body of the email.

Emphasis will be placed on readiness to benefit from this online program rather than on academic experience or degrees. Applicants who have in-depth knowledge of Dalkey Archive’s books and general aesthetic will be given preference. A $5,000 will be required at the time of acceptance. This fee will be partially or fully offset by grants awarded by funding agencies for enrollees who complete a publishable translation.

Admissions announcements will be made within two weeks of receipt of applications. Any questions or requests concerning the application process and program should be sent to Jeremy Davies at davies@dalkeyarchive.com.

"Found in Translation" reading at UMass

2009-11-19T13:54:00.002-05:00

The public is invited to attend "Found in Translation," a program of staged readings by the graduate students of Harley Erdman's graduate workshop in theater translation with a discussion led by Jean Graham-Jones (CUNY) on Friday, Dec. 4, at 8 pm.

Jean Graham-Jones is a professor in the graduate program at CUNY, author of Exorcising History: Argentine Theater under Dictatorship, and editor/translator of Reason Obscured: Nine Plays by Ricardo Monti, one of Artentina's greatest living playwrights.

The reading will take place in the Rand Theater, in the UMass Amhert Fine Arts Center, 151 Presidents Drive, Amherst, MA. 01003 (click here for directions). The event is made possible by a Visioning Mini-Grant from the College of Humanities and Fine Arts. A reception will follow. For more information, please contact Penny Remsen at remsen@theater.umass.edu.

Demand for niche translation growing (as is the risk for gaffes)

2009-11-16T19:32:00.002-05:00

During a March meeting in Geneva, Secretary of State Hillary Rodham Clinton presented a gag gift to her Russian counterpart, Sergei Lavrov. It was a red button with a word written in Russian that State Department translators thought meant "reset." The idea was to remind Russia of America's hopes for resetting the nations' tense relations. But when Lavrov opened the box and peered inside, he told Clinton the word on the button, peregruzka, translated to "overcharge" -- not the message the U.S. wanted to send.

-- the best part of an article in the Los Angeles Times about the growing demand for niche translators with unusually specializaed technical knowledge

Pritchard on Gass on Rilke

2009-11-13T02:38:00.001-05:00

William H. Gass, again in Reading Rilke, writes, “translating is reading, reading of the best, the most essential, kind,” and that a translator must find the poem that the poet “would have written had he been English.” Held against these standards, Snow’s translations in The Poetry of Rilke are largely a success. He transforms the originals into a fluent English — mostly eschewing archaism and ornamentation.

[from the new issue of The Critical Flame]

McWhorter on the world's dwindling stock of languages

2009-10-30T13:00:00.005-04:00

... the going idea among linguists and anthropologists is that we must keep as many languages alive as possible, and that the death of each one is another step on a treadmill toward humankind’s cultural oblivion. This accounted for the melancholy tone, for example, of the obituaries for the Eyak language of southern Alaska last year when its last speaker died.

That death did mean, to be sure, that no one will again use the word demexch, which refers to a soft spot in the ice where it is good to fish. Never again will we hear the word 'ał for an evergreen branch, a word whose final sound is a whistling past the sides of the tongue that sounds like wind passing through just such a branch. And behind this small death is a larger context. Linguistic death is proceeding more rapidly even than species attrition. According to one estimate, a hundred years from now the 6,000 languages in use today will likely dwindle to 600. The question, though, is whether this is a problem.

On behalf of the editors of Pusteblume, with whom I've long discussed this issue, I can answer McWhorter's question affirmatively: the loss of languages is a problem. Whether this loss amounts to a problem depends upon the values of the person considering the loss. Some are untroubled by the destruction of texts, the attrition of cultural practices, and the homogenization that accompanies globalization. Even as we welcome improvements in, say, economic equality, we mourn the loss of what we consider to be irreplaceable. If languages were ready substitutes for one another -- if they were in practice replaceable -- the work of the translator would not be quite as subtle, demanding, and improbable as it is.

"Preservation [...] is what we do to berries in jam jars and salmon in cans. [...] Books and recordings can preserve languages, but only people and communities can keep them alive.” -- Nora Marks Dauenhauer and Richard Dauenhauer, Tlingit oral historians

Luisa Maffi writes, "it is a human right for language communities to keep or reclaim their languages, and that this right is in no way dependent on the evidence from these research questions." I'd say that the concept of human rights entails human responsibilities. If we want to live in a world of diverse traditions and experiences, where human rights are respected, we have to accept the responsibility to support the exercise of those rights. With regard to language, our responsibility is to show value for and provide support to the living use of endangered languages. In other words -- conversation, cultural engagement, classroom use and academic study, publication and translation. Every word in a language, and every grammatical tricks employed by that language to use that word, represents the solution to some problem of expression. We are all better off having access to more solutions, rather than fewer; and as such solutions are only the product of many generations of language evolution, we can most efficiently maintain the stock of linguistic solutions by preserving the living communities in which those languages are spoken.

In The Tree of Meaning, Robert Bringhurst reflects often on the value of languages and oral literature, and on the significance of their loss. In an essay from the collection, ""Oral Literature and the Unity of the Humanities", Bringhurst writes:

Every normal, healthy human being, once past the stage of infancy, speaks and contributes to a languages. And every normal, healthy human language -- no exceptions -- speaks and nourishes a literature. It is harder, most of the time, for human beings to restrain themselves from telling stories than it is for them to keep from shedding tears. Perhaps that is why human beings keep on going, even when anyone can see they ought to stop and weep."

This insight captures something of my feeling of the value lost when a language is lost.

Read more:

Contest Announcement for Translators of Japanese

2009-10-20T23:04:00.001-04:00

First Annual Jeremy Ingalls Poetry in Translation Award. A prize of $1,000.00 and publication of a single poem in Japanese and English by a woman, awarded to a woman translator. Judge: Sawako Nakayasu. Deadline: NOVEMBER 15, 2009. Winner will be announced in early 2010. For more information, please visit the website of Kore Press.

Two Lines seeks submissions

2009-09-15T23:39:00.001-04:00

Information provided by Two Lines below:

DEADLINE: NOVEMBER 25, 2009

two lines World Writing in Translation publishes original translations into English of writing from any literary genre. Translations from any language will be considered, and works from outside Europe are especially sought.

· Previously unpublished work only.

· The translator cannot also be the author of the piece unless it is a co-translation.

· We generally publish one to four poems from a single submission, but we will read up to a maximum of ten pages.

· The average prose submission is about 2500 words, but we do publish shorter and longer pieces (1000–4000 words). Short stories are preferable to novel excerpts. However, novel excerpts will be considered if thoughtfully excerpted to stand as independent pieces (to the extent possible).

· In order to be considered, submissions must include a brief introduction (400–500 words) with information about the original author, the background of the piece, and unique issues that the translation process presented.

· All submissions must include a copy of the original text.

Translators are expected to acquire copyright permission for all work not in the public domain.

For electronic submissions, please save your documents as RTF (Rich Text Format) and send to submissions@ catranslation. org. For hard copy submissions, please mail to the postal address below. If you would like your materials returned, please send an appropriately- sized SASE.

two lines
35 Stillman Street, Suite 201
San Francisco, CA 94107

We highly encourage everyone who submits to two lines to read a copy before submitting. Translators will be notified of editorial decisions by February 2010. We offer a complimentary copy of two lines as well as a nominal honorarium to translators whose work is chosen for publication.

Conference: ALTA 2009, "Continental Drift"

2009-09-10T11:39:00.000-04:00

November 11 - 14, 2009

The 2009 ALTA Conference Committee invites you to join us in Pasadena for a celebration of the confluence of cultures and languages that characterizes Southern California. Greater Los Angeles is the home of the world’s second largest Mexican population (after Mexico City), the most populous Korean community outside of Korea, and a center of Arab, Armenian, Central American, Chinese, Iranian, Jewish, Russian, Vietnamese, and countless other ethnic groups. LA is a place where continents truly do collide, even when our infamous seismic activity is at a lull! And who facilitates this metaphorical continental drift more effectively than literary translators?

This year’s ALTA conference will feature the intersection of translation and the entertainment industry, including film, legitimate theater, and music. Additionally, we will take a close look at the pedagogy of translation and the increasing visibility of literary translation in academia.

Of course, you can expect the usual complement of provocative panel discussions, as well as an exciting selection of bilingual readings, expertly coordinated, as always, by Alexis Levitin. We’re happy to report that Barbara Paschke will once again be in charge of Friday night’s ever-popular Declamación. And we’ve invited three prominent keynote speakers associated with Latin American, Asian, and European literature in translation, respectively.

But look for a few unusual twists this year. For example, you won’t want to miss the pre-conference reception, co-sponsored by Red Hen Press, on Wednesday evening, from 7-9, at the beautiful Pacific Asia Museum. The museum is located just steps from the Hilton. All galleries will remain open for our enjoyment. John Balaban will read his exquisite translations of Ho Xuan Huong's poems from his book, Spring Essence: The Poetry of Ho Xuan Huong and the talented Le Pham Le will recite the Vietnamese originals in this unique setting. As a tribute to Los Angeles’ rich theatrical traditions, we have a special event in store – a production of Jaime Salom’s Behind the Scenes in Eden, directed by Chris Kidder of Commedia Beauregard.

Language for a New Century: Contemporary Poetry from the Middle East, Near East, and Far East

2009-08-19T10:36:00.004-04:00

Those of you based in Cambridge, MA, may be interested in a reading coming up this Sunday. As part of the Longfellow Summer Reading Series at the Longfellow National Historic Site, Michael Archer, the editor of Guernica: Magazine of Art and Politics, will be interviewing Nathalie Handal, one of the editors of the new anthology Language for a New Century: Contemporary Poetry from the Middle East, Near East, and Far East.

This 784-page anthology, published by Norton last year, features work by hundreds of poets based in Asia, the Middle East, Africa, Europe and America. Poems are translated into English from more than 40 different langauges. Publishers Weekly and Booklist have lauded the scope, ambition, and range of the project, the former describing the book, with its sections featuring whimsical titles like Bowl of Air and Shivers as "more an esoteric journey than a systematic reference."

On Sunday, in addition to the interview with Nathalie Handal, Boston- and Cambridge-based poets Martha Collins, Diana Der-Havonessian, Fred Marchant, and Afaa Michael Weaver will read from the anthology on the East Lawn of the Longfellow National Historic Site. The event is free and open to the public, and -- assuming the weather holds -- it should be a pleasant day to spend out on the green and leafy lawn.

Sunday, August 23rd, 4:00 p.m.

East Lawn, Longfellow National Historic Site, 105 Brattle Street, Cambridge

*Free and open to the public* 617-876-4492

George Szirtes' Blog

2009-08-11T11:28:00.001-04:00

I highly, highly recommend that you skip right over to poet & translator George Szirtes' blog now. I could spend all day reading up on the back posts. From today's:

"I am doing a lot of Márai posting at the moment because I am deeply immersed in translating him, that is in between others, like Krasznahorkai and various poets. I do far too much of this sort of thing and I wake in the morning, saying to myself: Stop it and write your own grands oeuvres! and I think I will, I actually will stop it, once I have cleared the decks, taking on nothing more for two or three years. [Carries on talking to himself...]

Ah, Márai on poverty. The fascination of Márai is the sheer intensity and articulacy of his intellect. He feels everything and tries to describe it the way an explorer might describe a voyage. It's what makes him a thrilling read. I don't mean that his mind is a 100% original mind. In many ways he is a man of his time, a self-confessed bourgeois-cum-citoyen, but there is all this substructure and superstructure that is perfectly heroic in scale."

Cheesecake and Translation Tonight

2009-07-30T11:12:00.002-04:00

Dear Boston-based translators, tonight a few stalwart members of the Boston Poetry Union are gathering for a pleasant evening of translation and tasty treats at the Cheesecake Factory in Boston's Prudential Center at 6:30 pm tonight. Feel free to RSVP here if you wish to join us and share your own original translation of another author's work, to read some of your favorite translations by others, or simply to talk about poetry in translation while eating mountains of food. I, for one, may bring in a few translations of sonnets by French Canadian sonneteer Pamphile LeMay.

We will be meeting in the lobby of the Cheesecake Factory at 6:30 sharply to determine numbers and get a table.

Introduction to Translation E>S, new online

2009-07-21T17:06:00.000-04:00

The University of Wisconsin Milwaukee Translation Program is offering a course in Introduction to Translation English to Spanish online this fall, beginning September 2 and ending December 14. For more information, please contact Lorerna Terando at terando@uwm.edu.

Translate in the Catskills

2009-07-20T16:39:00.001-04:00

The Translate in the Catskills workshop from August 21-23 in Maplecrest, NY will be helping freelancers use target language writing skills to rise to the top of the market. The workshop is aimed particularly at EN > FR and FR > EN translators, but other languages are welcome too. Program details and information on the course leaders can be found at http://translateinthecatskills.wordpress.com. Places are limited, so potential attendees are encouraged to sign up early.

Sassan Tabatabai in PEN Translation Slam

2009-07-20T09:30:00.003-04:00

Sassan Tabatabai, a contributor to and supporter of PBJ since the journal's inception, is being featured in the first of a series of online Translation Slams organized by PEN American Center. His translation is of a political slogan devised by protesters who took to the streets of Iran this year after results of the June presidential elections were announced. From the PEN American site:

The slogan refers directly to an insult levied at protesters by Iranian president Mahmoud Ahmadineja, who referred to them as khas-o-khaashaak, meaning dirt and dust, scraps and bits. The structure of this slogan -- I am / you are -- recalls a ghazal included in the collection Divaan-eh Shams by Rumi, the classic 13th century Persian poet who is generally considered one of the foremost figures in Iranian literary history and is known for celebrating love in his poetry. That slogans in the current protests in Iran are being based on poems bears witness to the extent to which poetry plays a role in the Iranian upbringing and consciousness.

Tabatabai's version of the protest slogan ends with a statement of resolute determination: "I am brave, I am bold, I am the lord / of this land." Both translations -- that by Tabatabai, and the other by Niloufar Talebi, director of The Translation Project -- can be seen beside the Persian/Farsi text of the protest poem at the PEN American Center website.

Le Clézio in English Translation: Sale!

2009-07-15T15:45:00.003-04:00

Boston publisher David R. Godine has let us know that they are offering two novels from Nobel Prize–winning author J.M.G. Le Clézio at 30% off the cover price, until August 1st:

DESERT, translated from the French by C. Dickson
The Swedish Academy, in awarding J.M.G. Le Clézio the 2008 Nobel Prize in Literature, praised Desert as Le Clézio's "definitive breakthrough as a novelist." Published in France in 1980, Desert received the Grand Prix Paul Morand from the Académie Française, was translated into twenty-three languages, and quickly proved to be a best-selling novel in many countries around the world. Available for the first time in English translation, Desert is a novel composed of two alternating narratives, set in counterpoint. The first takes place in the desert between 1909 and 1912 and evokes the migration of a young adolescent boy, Nour, and his people, the Blue Men, notorious warriors of the desert. Driven from their lands by French colonial soldiers, Nour's tribe has come to the valley of the Saguiet El Hamra to seek the aid of the great spiritual leader known as Water of the Eyes. The religious chief sends them out from the holy city of Smara into the desert to travel still further. Spurred on by thirst, hunger, and suffering, Nour's tribe and others flee northward in the hopes of finding a land that can harbor them at last. The second narrative relates the contemporary story of Lalla, a descendant of the Blue Men. Though she is an orphan living in a shantytown known as the Project near a coastal city in Morocco, the blood of her proud, obstinate tribe runs in her veins. All too soon, Lalla must flee to escape a forced marriage with an older, wealthy man. She travels to France, undergoing many trials there, from working as a hotel maid to becoming a highly-paid fashion model, and yet she never betrays the blood of her ancestors.

From the Reviews:
In scenes of shimmering intensity, Le Clezio contrasts nature's stark and majestic clarity, from scouring sand to the incinerating sun and the vast gleaming net of stars, with the chaos, toxicity, and injustice of human life. A long time coming for English-language readers, Le Clezio's incandescent masterpiece couldn't be more relevant.
— Donna Seaman, Booklist (starred review)

THE PROSPECTOR, translated by Carol Marks
The Prospector is the crowning achievement from one of France's preeminent contemporary novelists and a work rich with sensuality and haunting resonance. It is the turn of the century on the island of Mauritius, and young Alexis L'Etang enjoys an idyllic existence with his parents and beloved sister: sampling the pleasures of privilege, exploring the constellations and tropical flora, and dreaming of treasure buried long ago by the legendary Unknown Corsair. But with his father's death, Alexis must leave his childhood paradise and enter the harsh world of privation and shame. Years later, Alexis has become obsessed with the idea of finding the Corsair's treasure and, through it, the lost magic and opulence of his youth. He abandons job and family, setting off on a quest that will take him from remote tropical islands to the hell of World War I, and from a love affair with the elusive Ouma to a momentous confrontation with the search that has consumed his life. By turns harsh and lyrical, pointed and nostalgic, The Prospector is "a parable of the human condition" (Le Mond) by one of the most significant literary figures in Europe today.

From the Reviews:
Le Clézio's prose is so sensual and rhythmic it's hypnotic. — Boston Phoenix
A novel of intense beauty. — Review of Contemporary Fiction
A remarkable work. — Booklist, starred review

News and Reviews to Peruse this July

2009-07-08T19:36:00.003-04:00

In the summer, a young translator's fancy lightly turns to thoughts of summer reading. There are plenty of new books in translation out there, along with reviews and reviewers giving their yay or nay.

Scott Esposito, editor of The Quarterly Conversation, has a review of J.M.G. Le Clézio's Desert up at The Critical Flame. This is the second of the French Nobel Prize-winner's work to be published in the United States. Esposito particularly admires the slow, deliberate pace of the novel and ends his review with praise:

Desert is a dramatization of certain things that Western civilization doesn’t — and won’t — get. That Le Clézio can make these things seem beautiful and precious without preaching or succumbing to petty romanticization makes it all the more unfortunate that he had to be awarded a Nobel prize before English-language readers could learn what he had to say.

Meanwhile, over at Three Percent, translator and bookseller Margarita Shalina reviews The Sacred Book of the Werewolf by Russian novelist Victor Pelevin. This novel transforms the Russian folkloric archetype of the fox and the wolf into their modern guises of the sex worker and the government secret agent. Shalina concludes her review with the suggestion that "Pelevin is attempting to relay that Russians have been living their lives in a perpetual state of moral ambiguity going back as far as the ancient folktales. In such a state, why shouldn’t a fox or a wolf or a sex worker or an FSB agent aspire to evolve into a higher being?"

Lastly, for your listening pleasure please do visit Poetry International Web, which, for a limited time, is featuring audio clips of talented poets from all over the world reading at the Poetry International Festival in Rotterdam, recorded by Radio Netherlands Worldwide from the 1970s onward. Listen to poems by Mahmoud Darwish, Pablo Neruda, Wole Soyinka, Joseph Brodsky, Inger Christensen, Derek Walcott, Ernst Jandl, and others. They won't be up there forever, so listen now!

To the NYTimes: Remember the translator!

2009-06-21T10:12:00.000-04:00

Ezra E. Fitz, of Brentwood, Tenn., reminds the editors of The New York Times that without the diligence and skill of translators, world literature would largely be inaccessible to English-speaking monoglot readers:

Gerald Martin’s “Gabriel García Márquez: A Life” (June 7) is certainly chock-full of savory facts and hearty commentary, but it is also notable for its near-total lack of another, equally vital literary nutrient: the translator. You can count the references to Gregory Rabassa and Edith Grossman on one hand.

Your reviewer, Paul Berman, notes that García Márquez studied Joyce, Woolf, Faulkner and Proust “in Spanish translation,” but when he raves about the “gorgeous sentences” in “The Autumn of the Patriarch,” lauding it as “a heroic demonstration of man’s triumph over language,” he neglects to mention whether he read those sentences in Spanish or English.

Martin himself reads “The Autumn of the Patriarch” with close scrutiny, counting the number of sentences in each chapter and noting the subtle changes in narrative voice, before ultimately concluding that the novel “stands as the decisive oeuvre of García Márquez’s career” because “it encapsulates all his other works.”

Let us remind ourselves that García Márquez’s gorgeous sentences have been encapsulated in English variations thanks to the unheralded work of his translators.

New Russian Poetry at Jacket

2009-06-01T22:03:00.002-04:00

Привет. Jacket Magazine 36 devotes a substantial chunk of space to new Russian poetry in translation, compiled by Russian poets and translators Peter and Tatyana Golub. In a preferatory essay, Peter Golub explains,

I selected the great majority of the poets in this anthology because they belong to the category of newcomers who are not disposed to enter the cycle of simple reproduction, i.e. to recognize the old hallowed literature and do likewise. Many of these poets bring with them dispositions that clash with prevailing norms and expectations.

The poets he chooses are in their 20s and 30s. What marks this generation of poets, Golub argues, is that they "cannot simply resist the dominant field, because the dominant field no longer consists of official Soviet literature, but of legitimate literary figures like Osip Mandelshtam, Gennady Aigi, and Joseph Brodsky, and living writers like Kolya Baitov, Evgeny Rein, and Elena Schwartz." The younger poets' "task is to add new space to the existing field, to carefully balance respect for the older authors and also to challenge the establishment with a call for new literature. This means playing by the rules of the field, and facing competition from its established figures, while trying to be catalysts of change."

In addition to the poems in translation -- and I will leave you to discover the young Russian poets yourselves -- Jacket's special feature includes a handy list of links to organizations promoting new Russian literature, including Argo-Risk projects and press and Interpoezia bilingual poetry quarterly, as well as an interview with Russian literary scholar and editor Mikhail Aizenberg, and essays on poets Anastasia Afanasieva and Nina Iskrenko.

More wet floor signage

2009-05-29T13:31:00.003-04:00

At this late date we have a follow-up to one of our most heavily trafficked blog posts, "The Example of the Wet Floor Sign." In that post we gave as an example of the difficulty in obtaining both semantic and rhythmic equivalence in the transfer of meaning from source language to target, the problem of wet floor signs (native to supermarket aisles and institutional corridors). "Caution: Wet Floor" being an insufficiently musical translation of "Cuidado: Piso Mojado," our PBJ crew suggested "Caution: We're Washin'." Now, Ilya Gutner, our New York City correspondent, suggests an alternative rendering:

Don't forget,
Floor is wet.

This is the nitty-gritty, nuts-and-bolts of translation, folks. It doesn't get more real than this.

Kirsch on new translations of ancient Chinese poetry

2009-05-14T12:25:00.001-04:00

In his twofer review of David Hinton's anthology of classical Chinese poetry and David Young's Du Fu: A Life in Poetry, Adam Kirsch gestures dramatically and divertingly toward the historical and cultural depth which often goes under-appreciated of Chinese poetry in translation. He reminds us of the dubious and charismatic authorships, subversive quality, and truly penetrating clarity and perception (among other qualities we forget are not exclusive to poetry written after 1900) that drew Pound to this literature and which will reward new readers. I would be drawn to the books in any case, but Kirsch's review, informative and erudite as it is, enhances the appeal. One just wants quickly to dig in:

Reading commentaries on Chinese poetry--notably, Stephen Owen's The Great Age of Chinese Poetry, which deals with the High T'ang period of Li Po and Tu Fu--one begins to get an inkling of how many layers of meaning even the simplest, most imagistic poem contained for its original readers. Each genre of Chinese poetry had rules about rhyme, line length, and parallelism so intricate as to make the English sonnet look like free verse. Then there were conventions about how poems should start and end, and what images they could use, and what register of formality was appropriate to different subjects and different readers.

Now, I do take as challenge and invitation Kirsch's claim that many of the expressive features of Chinese literature -- e.g., the immediacy with which single-character ideograms communicate meaning; the shadings available to a tonal language; the paratactic grammar; and, as Kirsch notes, the relative scarcity of grammatical helpers like pronouns -- "are totally untranslatable into English." Tentatively scheduled but enthusiastically hoped for, in the Spring 2009 issue of Pusteblume, is new translation from contemporary Chinese by Eleanor Goodman. Look for the essay paired with these texts, to deflate the familiar argument that in translating Chinese, though something lovely may be transformed into English, much must be left behind.