tag:blogger.com,1999:blog-52639182210074414542024-02-18T20:15:35.893-08:00Authors & TranslatorsCristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.comBlogger202125tag:blogger.com,1999:blog-5263918221007441454.post-80381358118177512892016-10-06T01:19:00.002-07:002021-12-13T07:18:14.762-08:00JEFFREY ZUCKERMAN AND HIS AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-large;"><b><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p>"</o:p></span>I fell in love with French because it was like speaking a code. I grew up hearing all about my grandparents’ pasts, and I can’t shake the thought that both translating and coding are an unconscious homage to my grandfather who was a WWII codebreaker . . ."</i></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Jeffrey
Zuckerman</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> is an American literary translator. He speaks English
and French. <span style="mso-spacerun: yes;"> </span>He decided to answer our
questions in English.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">How
did you start translating literature? <o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I
fell in love with speaking French because it felt like knowing a secret code. In
middle school, I had to pick a language to study. My parents, both of them perfectly
sensible people, suggested that I might go with Latin since, as a deaf kid, I
wouldn't have to speak it or lipread it. I was tired of being coddled, so I
told them I was going to go and take French. To everybody's surprise—mine included—the
language just clicked for me. I stuck with it through the end of high school, and
then came to college, where it became clear that I'd been learning it with an
American accent all along and that lipreading actually-French people—who roll their
"r"s, so those look like nearly-invisible “e”s, and who aren’t the
least bit bothered by mumbling—would be insanely difficult. So I took a
breather from all that, assuming I'd hit my plateau in terms of French, and
then saw that there was one French class that would satisfy the language
requirement <i>and</i> be taught in English: introduction to literary
translation. I showed up on the first day, and <i>that</i> started a wholly
unexpected passion and career . . .</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
do you like /dislike about your job as a literary translator?<o:p></o:p></span></span></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">The sense of discovery. Because so few people in the
United States speak a foreign language—and even fewer do so effortlessly—going
into a French bookstore feels like taking a deep-sea dive into a glittering
world. There’s always the possibility of coming across a beautiful object I had
never expected to find, and working to bring it back up to the surface and
share it with all my Anglophone friends.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">On top of that, I get to meet so many people who see
the world wholly differently. An author from the southernmost island of
Comoros, or a French-born author who gives himself a Russian name and insists
that he is writing literature wholly removed from any national canon, or an
author who uses his body as the inspiration for practically all his writing—who
wouldn’t want to meet any of these fascinating people? Translation is my way of
entering their distinctive manners of speech and bringing those manners, their
words, into an English I would never have written myself.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">As for what I dislike—well, I’m far from the only one
to say that it would be nice to be paid a living wage for what I do. If Knopf
can take pride in Stieg Larsson’s titles shoring up their bottom line, and
Penguin Press can make authors like Carlos Ruiz Zafón book-club favorites, I’d
imagine they could take a few thousand dollars to make sure that the books they
bring into English are every bit as extraordinarily rendered as the debut
novels they shell out millions of dollars to buy at auction.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
is the most enriching experience you have had?<o:p></o:p></span></span></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">To be honest, the author of <i style="mso-bidi-font-style: normal;">Eve Out of Her Ruins</i>, <b style="mso-bidi-font-weight: normal;">Ananda
Devi</b>, has been especially remarkable. She was born in Mauritius—an island
nation off the coast of Madagascar that was colonized by the French and then
the British—she is effortlessly fluent in both French and English. These days,
she lives in France, and when she’s not writing, she works as a translator
between French and English. Ananda has translated one of her own books into
English (<i style="mso-bidi-font-style: normal;">Pagli</i>, published in India
and now out of print), so I was admittedly nervous to propose translating <i style="mso-bidi-font-style: normal;">Eve Out of Her Ruins</i> myself.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Many authors in French know some English, which makes
email exchanges with them fun—I can switch between languages if I want to make
a silly joke, for example. But when they look at my translations, if they see
something in English that they don’t quite understand, or that doesn’t
perfectly mimic the original French, they often insist on a “Gallicized”
English, which just leaves everybody disappointed. You can imagine my shock,
then, when Ananda sent back her edits of my translation—and she had made the translation
sound <i style="mso-bidi-font-style: normal;">better </i></span>in English! I
have met Ananda three times now (always in the States—she loves to travel), and
even our amiable conversations still don’t hold a candle to the conversation we
shared through the emails and tracked changes for that book.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
made you feel closest to an author?<o:p></o:p></span></span></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">The Finnish composer <b style="mso-bidi-font-weight: normal;">Kaija Saariaho</b> is not an author in the typical sense, nor does she
even remember having met me. <i style="mso-bidi-font-style: normal;">Music &
Literature Magazine</i> asked me to translate a sheaf of her texts for a
portfolio. It was easy to capture the colloquial tone of her personal essays.
But I couldn’t stop wondering why she had a consistent tendency linger on a
detail for too long. Any editor would remove that, but she did it so often that
I knew there had to be a reason.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Months later, Saariaho came to New York City for <i style="mso-bidi-font-style: normal;">Music & Literature</i>’s celebration of
her work. I only got to shake hands with her and say, “It’s an honor to have
translated your words,” before the performances began. Late in the evening, </span><span class="il"><span lang="EN-US" style="mso-ansi-language: EN-US;">Saariaho</span></span><span lang="EN-US" style="mso-ansi-language: EN-US;"> went up and began reading several of
her texts in my translation. One section was titled "Earth and Air
(Motherhood)" and as she read that title, she looked up, curved her hands
in the air around the invisible word, and intoned: "<i>Motherhood.</i>"
And with that action, her strange focus on details suddenly made perfect sense.
As a composer, her job has always been to indicate, very clearly, exactly what
she envisioned and what she wanted to be seen (or, usually, heard) in the real
world. And so she lingered on these details so that we would thoroughly
understand the experience we had to recreate.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Seeing
her give voice to my translation was a revelation that gave the work I’d done a
far more sharply defined contour than I’d ever expected. It was perhaps the
closest experience I will ever have to how Saariaho, as a composer, feels when
she hears her music performed for the first time by real musicians. I just sat
there, trying to absorb the complexity of this moment, as she intoned the last
words of her text, words that were both hers and mine: “An artist’s work is
above all a way of life. If I had a religion, it would be music. I have always
had only one desire: to go back to my music.”<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have
you found most difficult to translate?<o:p></o:p></span></span></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Right now I’m working on the stories of <b style="mso-bidi-font-weight: normal;">Hervé Guibert</b>, a gay author who was
close friends with Foucault and who notoriously forced AIDS into the forefront
of public consciousness. His very first collection, <i style="mso-bidi-font-style: normal;">La mort propagande</i>, has been an immense challenge on two levels.
First, it’s extraordinarily grisly: Guibert delighted in blood and gore, and the
book opens and closes with extensive descriptions of dissecting human bodies,
including Guibert’s own. Just to be clear: I am seriously, seriously squeamish.
How I managed to sit down, carefully visualize these scenes, and find the right
words in English to describe what Guibert had narrated in French I still don’t
know. And second, on a far less visceral level, Guibert often plays with and
riffs on phrases in French just enough to defamiliarize them. To take a
(gruesome, sorry) example from one of the book’s section titles: <i style="mso-bidi-font-style: normal;">Charcuterie esthétique</i> didn’t quite make
sense to me at first—I had only heard of charcuteries as either butcher-shop
counters or the cooked meats you can buy at those counters. And I couldn’t
figure out what aesthetics might have to do with all this. But, a day later, I
happened to see the phrase <i style="mso-bidi-font-style: normal;">chirurgie
esthétique</i> in reference to a face lift, and everything clicked in place:
the title of that section translates, very neatly, to “Cosmetic Butchery.” Now
imagine all the other spots where Guibert’s twists on the French language don’t
translate nearly so well into English . . .<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Which
author would you love to translate?<o:p></o:p></span></span></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I’ve been lucky enough to work with many authors who
are both brilliant writers and deeply kind human beings. How could I ask for an
author even more extraordinary than the ones I already know? There are always
tantalizing books on the horizon, though, and if any publisher is interested in
bankrolling the translation of a gorgeous 1,500-page masterpiece that’s
considered the “darkest and best-kept secret of twentieth-century French
literature,” let me know. I’d share the name, but then it wouldn’t be a
well-kept secret anymore, would it?<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you were not
a literary translator, what would you do?<o:p></o:p></span></span></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">The truth is, I already spend plenty of time not being
a literary translator—my first job out of college was as an editor, and I still
take great pleasure in making other people’s writing sound exactly like them,
only better. I also do more coding than I’d really thought I ever would do.
It’s funny, I said that I fell in love with French because it was like speaking
a code. I grew up hearing all about my grandparents’ pasts, and I can’t shake
the thought that both translating and coding are an unconscious homage to my
grandfather who was a WWII codebreaker . . .<o:p></o:p></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Authors</span></b>:
Éric Chevillard, Thomas Clerc, Marie Darrieussecq, <span lang="EN-US" style="mso-ansi-language: EN-US;">Ananda Devi, </span>Tristan Garcia, <span lang="EN-US" style="mso-ansi-language: EN-US;">Hervé Guibert, Alain Guiraudie, </span>R<span lang="EN-US" style="mso-ansi-language: EN-US;">égis Jauffret, </span>Kaija
Saariaho, Antoine Volodine, Ali Zamir.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-41205353018119854772016-09-29T03:07:00.000-07:002016-09-29T03:07:05.761-07:00RON LESHEM AND HIS TRANSLATORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeFjt4rHhKMLVmGieVWLaVZRFo_RN5JC3iJBs1KYVgasxKL4NvvRS88TUmAFsD_gmnV1mXXck768LEIQ1wo7Hdw1Dq9CBPo1300UYD1Ne1aOoPMxWW5QOdX759TGtXJZjaQs68t_z0aVY/s1600/ba568c_5d2117e65726473aa27e8f19424a5284.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeFjt4rHhKMLVmGieVWLaVZRFo_RN5JC3iJBs1KYVgasxKL4NvvRS88TUmAFsD_gmnV1mXXck768LEIQ1wo7Hdw1Dq9CBPo1300UYD1Ne1aOoPMxWW5QOdX759TGtXJZjaQs68t_z0aVY/s640/ba568c_5d2117e65726473aa27e8f19424a5284.jpg" width="640" /></a></span></div>
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<span lang="FR"><span style="font-size: x-large;"><b><i><span style="line-height: 150%;"><br /></span></i></b></span></span></div>
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<span lang="FR"><span style="font-size: x-large;"><b><i><span style="line-height: 150%;">"I am not megalomaniac enough to think that </span><span style="line-height: 24px;">the </span><span style="line-height: 150%;">source is necessarily better than </span><span style="line-height: 36px;">the</span><span style="line-height: 150%;"> new works born in translation whenever talented people add their sensitivity to them.</span></i></b></span></span></div>
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<b><i><span lang="FR"><span style="font-size: x-large;"><span style="line-height: 150%;">I feel very sad that my books are not translated into Persian and Arabic. That would be the most precious gift to me: not only do I wish to </span></span></span><span style="font-size: x-large;"><span style="line-height: 48px;">build bridges and establish a political dialogue, it's also that on a sentimental, more intimate level, these are universes I deeply wish to address</span><span style="line-height: 24px;"> as I read myself Arab and Persian poets and authors."</span></span></i></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-bidi-font-family: Helvetica;"><br /></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-bidi-font-family: Helvetica;"><br /></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-bidi-font-family: Helvetica;">Ron Leshem</span></b><span lang="FR" style="mso-bidi-font-family: Helvetica;">
(né en 1976), lauréat du prestigieux prix Sapir israélien, est un journaliste,
scénariste et romancier israélien. Deux de ses romans ont été traduits en
français, <i>Beaufort</i> (Seuil, 2008) et <i>Niloufar</i> (Seuil, 2011), par
Jean-Luc Allouche. Il réside en ce moment aux États-Unis où il travaille comme
scénariste pour la télévision et le cinéma.</span><span lang="FR"><o:p></o:p></span></span></div>
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<b><i><span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Ron Leshem,
certains de vos livres ont-ils déjà été traduits ? Dans quelles
langues ?<o:p></o:p></span></span></i></b></div>
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<b><i><span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><br /></span></span></i></b></div>
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<span lang="FR"><span style="font-size: large;">Mes ouvrages ont été traduits en douze langues. Dans
certains pays, il a été impossible de trouver un bon traducteur maîtrisant bien
l’hébreu et possédant une qualité d’écriture suffisante dans la langue-cible.
C’est pourquoi, les éditeurs ont décidé d’avoir recours aux versions française
et anglaise. Certains de mes collègues écrivains se montrent épouvantés par
cette menace, car, ce faisant, le texte pourrait perdre beaucoup, au point de
se transformer en dialogue de sourds…<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="FR">Cela m’a ému au contraire, et je trouve l’expérience plutôt
plaisante. Je ne suis pas assez mégalomane pour penser que la source soit
forcément meilleure que les nouvelles œuvres nées de la traduction, lorsque des
gens de talent y apportent leur propre sensibilité. Cela est peut-être lié au
fait que je suis habitué, comme scénariste pour la télé et le cinéma, à ce que
de nombreuses interventions sont apportées à mon travail et l’influencent. En
littérature, j’ai mon propre enfant, en hébreu. De mon point de vue, les
traductions représentent des adaptations non moins riches qu’une pièce de
théâtre tirée d’un roman.</span><span lang="AR-SA" style="font-family: Arial; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></span></div>
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<b><i><span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Avez-vous déjà
eu l'occasion de rencontrer votre traducteur/votre traductrice, ou de
communiquer avec lui/elle ? Comment s'est passée cette rencontre ?<o:p></o:p></span></span></i></b></div>
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<b><i><span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><br /></span></span></i></b></div>
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<span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Je profite de mon
métier surtout pour voyager beaucoup. Je suis « accro » à l’émotion de
se sentir étranger à un lieu, détaché, de sorte qu’au cours des dernières
années j’ai visité chaque pays où mes livres ont été traduits, sauf la Russie
où je n’ai jamais mis les pieds. Je me suis rendu dans vingt-et-un pays, dont la
Chine, la Corée du Sud, le Brésil, la Tchécoslovaquie. En Italie, par exemple, j’ai
séjourné une vingtaine de fois. Dans la plupart des cas, je n’ai pas rencontré
mes traducteurs. En tout cas, aucun de ceux qui m’ont submergé de centaines de
questions par mail, ni même ceux qui ne se sont jamais présentés ni m’ont adressé
leurs salutations par mail…<o:p></o:p></span></span></div>
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<span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Les traducteurs avec
lesquels j’ai noué des relations et que je rencontre souvent, sont ceux qui
m’ont traduit en français, en allemand, en anglais et en italien, et dont
aujourd’hui je me sens proche. <b style="mso-bidi-font-weight: normal;">Jean-Luc
Allouche</b> est un écrivain de talent et un ex-grand reporter, de sorte que cette
combinaison, avec l’expérience journalistique qui est la mienne, nous a offert une
grande proximité et une langue commune. Nous avons passé pas mal de temps
ensemble à Paris. Mes traducteurs en anglais, <b style="mso-bidi-font-weight: normal;">Evan Fallenberg</b> et <b style="mso-bidi-font-weight: normal;">Mitch
Ginsburg</b>, sont devenus mes amis, et nous avons continué à collaborer pour
des séries dramatiques à la télévision. Comme tous deux vivent en Israël, c’est
la première fois que mes traducteurs sont proches de moi physiquement. <b style="mso-bidi-font-weight: normal;">Barbara Linner</b> et <b style="mso-bidi-font-weight: normal;">Markus Lemke</b>, mes traducteurs en allemand, je les ai rencontrés à
Berlin et à Munich, et j’ai pris beaucoup de plaisir en leur compagnie. Enfin, j’apprécie
beaucoup ma traductrice en italien, <b style="mso-bidi-font-weight: normal;">Raffaella
Scardi</b>, avec laquelle j’ai collaboré de près.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">La
traduction de Jean-Luc Allouche pour mon premier livre en France est
particulièrement captivante : le langage de mes personnages, en hébreu,
puise dans l’argot militaire contemporain, et la langue d’adolescents marginaux,
devenus des combattants au cours de la guerre du Liban, utilise un vocabulaire
très argotique. Cette langue forme l’univers du roman, la langue incarne même le
héros du livre. La France actuelle, bien sûr, ne possède plus un argot militaire
aussi riche, et Jean-Luc Allouche a élaboré un lexique et une langue en s’inspirant
de l’argot des « cités sensibles ». Dans tous les festivals auxquels
j’ai participé, j’ai eu droit à des compliments pour cette réussite en
français, qui n’est pas la mienne.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b><i><span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Ressentez-vous
quelque appréhension à confier votre œuvre à un traducteur/une traductrice, ou
bien lui faites-vous totalement confiance ? Pensez-vous pouvoir juger de
la qualité d'une traduction ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b><i><span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><br /></span></span></i></b></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Quand il arrive
– rarement – que j’ai l’impression que l’éditeur a choisi un
traducteur au ton inadéquat par rapport à celui de l’auteur, et qu’en effet le
traducteur n’a pas réussi à comprendre l’esprit, l’âme, des personnages, je me
montre préoccupé, voire frustré, et je me sens, somme toute, responsable de cet
échec : le lecteur pourrait ne pas appréhender la magie de leur voix. À mon
grand regret, ou à ma grande joie, j’ignore tout de la langue de ces
traducteurs, mais je réussis à saisir, pour autant, qu’un problème se pose, à
en juger par leurs questions. Cela s’est produit dans des pays très lointains,
et, en l’occurrence, je n’ai aucun pouvoir là-dessus. Mais c’est rare. Dans
tous les autres cas, je suis heureux qu’un individu talentueux ajoute ses
propres nuances.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b><i><span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Avez-vous
déjà assisté à des lectures de vos textes dans une langue qui vous est
étrangère ? Qu'avez-vous ressenti ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Souvent,
dans des festivals, j’ai le privilège d’écouter un comédien étranger lire un
monologue dans une langue inconnue de moi. Quand je ne comprends pas, le livre
me semble bien meilleur, et comme j’aime les comédiens, ce sont les moments que
je préfère, et ils me comblent de satisfaction. Moi-même, je n’aime pas lire
mes livres en public, pas plus en hébreu. De manière générale, quand j’achève
un ouvrage, j’éprouve le besoin irrépressible de m’en détacher. Les festivals
qui me ramènent en arrière à un roman dont j’ai épuisé le suc et dont je me
suis « vidé » me pèsent parfois. Je meurs déjà d’envie de m’échapper
vers un autre univers. De sorte qu’en Israël je continue à peine à donner des
conférences. Je préfère laisser le livre me guider vers de nouvelles
expériences en rencontrant des gens nouveaux à travers le monde, et, à dire
vrai, ces pérégrinations me restituent, à chaque fois, mon amour et ma
curiosité pour le genre humain. Rencontrer des individus d’horizons aussi
différents que possible, trouver un langage commun, et m’en éprendre.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b><i><span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Dans quelle
langue préféreriez-vous que vos livres soient traduits ? Pourquoi ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">J’éprouve une grande
tristesse au fait que mes ouvrages n’aient pas été traduits en persan et en
arabe. C’est le plus beau cadeau que je me souhaite, non seulement par désir
d’ériger des ponts et de nouer un dialogue politique, mais, d’un point de vue
sentimental, intime, il s’agit d’univers auxquels il m’importe de m’adresser.
Je lis des auteurs et des poètes persans et arabes ; je m’abreuve à ces
cultures et recherche la main tendue depuis ces mondes.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<b><i><span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">À
quoi vous fait penser spontanément le métier de traducteur/traductrice
littéraire ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span lang="FR" style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Les
traducteurs sont des écrivains qui assument le travail le plus ingrat. Ils
n’ont pas choisi la voix, elle n’émane pas d’eux, ils sont confinés dans les
limites innombrables que l’auteur d’origine leur impose. Peut-être
n’éprouvent-ils pas l’impulsion éthique ou politique qui me motive dans tel ou
tel roman. C’est pourquoi, quand un nouveau traducteur entre en scène, je me
contente de prier pour qu’il aime mon ton, faute de quoi sa tâche serait
vraiment infernale : rester prisonnier si longtemps de mon texte, sans
adhérer à mon propos.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-50361525583916774652016-09-15T02:20:00.003-07:002016-09-15T02:46:11.469-07:00BRUNO BERNI AND HIS AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8N2kJ_1yzh8h4_jmeR9_9ChSSEdmn3l1qR-HOx00TBW9DkepW1im4EiKqIOourIM4T02NJSsANaWk302TE71dNW1Y78n0Nc2zkgdeEuiLo7Jiu847sxVJzW48SyV3TWCKwwEsBVQ6G3E/s1600/Bruno+Berni+-+1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8N2kJ_1yzh8h4_jmeR9_9ChSSEdmn3l1qR-HOx00TBW9DkepW1im4EiKqIOourIM4T02NJSsANaWk302TE71dNW1Y78n0Nc2zkgdeEuiLo7Jiu847sxVJzW48SyV3TWCKwwEsBVQ6G3E/s640/Bruno+Berni+-+1.tiff" width="640" /></a></div>
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;"><br /></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;">“Once, during a panel on literary
translation, they tweeted something I said: “Translators are lazy writers”. Of
course those words were taken out of their context for media purposes, and
despite the negative connotation of laziness, the sense of my speech was positive
and ironic, really. I was saying that translators are often masters of the
language, unlike many writers (some of whom could actually use a little
translation), but they rarely venture into creation, choosing to recreate other
people’s works.”</span><o:p></o:p></span></i></b></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></b></span>
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Bruno Berni</span></b><span lang="EN-US" style="mso-ansi-language: EN-US;">
is an Italian literary translator. He speaks Danish, German and English. He
decided to answer to our questions in Italian.<o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Come
ti sei avvicinato al mestiere della traduzione letteraria? Quali autori traduci
e da quali lingue?<o:p></o:p></span></i></b></div>
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;">Avvicinarsi
alla traduzione ha rappresentato un percorso quasi scontato: lunghi soggiorni
in Danimarca, laurea in lingue, ancora Danimarca, e poi l’errata convinzione
che avendo studiato lingue fosse normale affrontare la traduzione e allo stesso
tempo la naturale sensazione – dopo un percorso di immersione in una cultura
che in Italia non era pane quotidiano – di avere il dovere di mediare le mie
scoperte letterarie nella lingua in cui ero nato. Se è vero che gli studi di
lingue non bastano per fare il traduttore, è vero anche che avvicinarsi a
culture la cui influenza sul canone italiano è a dir poco irrisoria crea il
desiderio di condividere le conoscenze acquisite e fornisce gli strumenti
linguistici e culturali per farlo. <o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;">Il
mio inizio è stato piuttosto banale, esattamente trent’anni fa, ovvero nel
1986: venticinque lettere ad altrettanti editori, ai quali mi proponevo come
traduttore. Una sola risposta, ma fu sufficiente per avviarmi alla professione,
che da allora di fatto non ho mai smesso, pur affiancandola ad altre attività,
soprattutto quella di ricercatore. Avevo cominciato studiando il Settecento
danese e tedesco, la traduzione mi ha avvicinato alla contemporaneità passando
per un Ottocento ineludibile, e nel tempo ho frequentato i generi più vari, dal
classico al giallo, dal saggio al teatro alla poesia, perché penso sia utile –
persino stimolante – affrontare registri diversi nel corso della carriera.
Perciò ho tradotto molti contemporanei, come <b style="mso-bidi-font-weight: normal;">Peter Høeg</b>, classici moderni come <b style="mso-bidi-font-weight: normal;">Karen Blixen</b>, autori dell’Ottocento come <b style="mso-bidi-font-weight: normal;">Andersen</b> o <b style="mso-bidi-font-weight: normal;">Jens Peter
Jacobsen</b>, del Settecento come <b style="mso-bidi-font-weight: normal;">Holberg</b>,
e diversi poeti nel Novecento, da <b style="mso-bidi-font-weight: normal;">Inger
Christensen</b> a <b style="mso-bidi-font-weight: normal;">Morten Søndergaard</b>.
Un centinaio di libri, più o meno.<o:p></o:p></span></div>
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<span style="font-size: large;">Traduco
prevalentemente dal danese, anche se mi capitato di affrontare l’inglese perché
quella era la lingua in cui si esprimeva l’autore, e persino il latino, dal
quale ho tradotto un intero romanzo settecentesco perché passare dalle pur
lodevoli traduzioni danesi sarebbe stato scorretto e inoltre mi avrebbe privato
del vantaggio di avere buona parte del lessico già pronto. Mi è capitato anche
di dover scrivere glossari in swahili o arabo, perché gli autori, danesi immersi
in ambienti culturali non danesi, facevano ricorso a tali lingue per colmare
carenze lessicali. Ma per quanto riguarda le lingue di lavoro, ho tradotto
anche – poco – dal tedesco, e a volte mi capita di tradurre da svedese e
norvegese. Soprattutto queste ultime lingue – chi si occupa di cose nordiche
affronta con una certa facilità le lingue sorelle – mi hanno portato a riflettere
sul problema dell’intercomprensione scandinava, che non luccica come sembra.
Personalmente nelle altre lingue nordiche cerco di non affrontare testi molto
recenti che potrebbero pormi problemi gergali che non ho assorbito, mentre mi
trovo più a mio agio con la lingua sedimentata dei classici.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Quali
sono secondo te i pregi e i difetti del mestiere di traduttore letterario?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">Credo
che tradurre sia uno strumento privilegiato di accesso alla letteratura, anche
se, per quanto mi riguarda, tradurre per mestiere e fare da consulente nel
tempo a molte case editrici mi ha portato a leggere per lavoro anche troppo,
generando una specie di rigetto. Soprattutto il giallo nordico ha creato un
vortice di letture non sempre volute, al punto che un giorno ho scoperto di
aver già letto un giallo solo quando ero a pagina 150. Ho smesso. Di leggerli e
di tradurli. Ultimamente ho ancora il comodino pieno e ogni spazio di casa
occupato dai libri, che continuo a comprare o a ricevere, ma alla bulimia di un
tempo – nella traduzione e nella lettura – si è sostituita la riflessione e poi
la scrittura, perciò spesso quella che leggo è più la letteratura critica, e
non è uno svantaggio per chi quotidianamente si occupa di ricerca. Ma ormai
anche lì sono molto orientato sulla traduzione, sulla storia editoriale e della
mediazione, sull’evoluzione della traduzione nel tempo, perciò la maturità mi
ha portato, si può dire, a rimettere insieme due anime facendole dialogare.
Avendo fatto così a lungo il traduttore non sono un teorico della traduzione,
anche se credo che a carriera avviata, anche da molto tempo, sia utile capire a
fondo ciò che si sta facendo. Ma oltre alla consapevolezza dell’aspetto tecnico
credo sia molto utile avere una profonda consapevolezza del ruolo, e su questo
sto riflettendo, sto scrivendo. Ma niente paura: sono rapido a tradurre, ma
lento a riflettere, lento a scrivere.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Qual
è stata l’esperienza più arricchente e perché?<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;">Non
vorrei sembrare banale se rispondo che la maggior parte dei libri che si
traducono finisce in qualche modo per arricchire, tanto più in un’area
linguistica di ‘minore diffusione’ come la mia, dove è quasi la norma che il
mediatore abbia gran parte della responsabilità delle scelte, cosa che è un
onere ma anche un piacere. Gli interlocutori – gli editori − non hanno accesso
all’originale, perciò devono fidarsi e affidarsi. Poi naturalmente ci sono
libri inseguiti a lungo e finalmente fatti, come le fiabe di Andersen, che
hanno rappresentato un’esperienza lunga e intensa, al punto che dopo, per un
po’ di tempo, qualsiasi altra cosa sembrava esile e poco interessante. Ma come
è naturale, poi ci si tuffa in nuovi progetti che per me, negli ultimi anni,
significano poca prosa e molta poesia. La mia ultima traduzione pubblicata è
appunto un testo di poesia brevissimo, appena quindici pagine, ma tecnicamente
molto complesso e coinvolgente: <i style="mso-bidi-font-style: normal;">La valle
delle farfalle</i> di <b style="mso-bidi-font-weight: normal;">Inger Christensen</b>,
una corona di sonetti (quindici sonetti concatenati). La iniziai credo nel
2007, l’ho terminata nel 2015. Naturalmente non ci ho lavorato a tempo pieno
per tutti questi anni, ma era un progetto che richiedeva tempi lunghi,
preparazione, tanta riflessione, numerosi passaggi di revisione, molto lavoro
tecnico per rispettare metro e rima senza allontanarmi troppo dai contenuti e
dalle atmosfere del testo. Molto arricchente.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Qual
è stata la cosa che più ti ha fatto sentire vicina a un autore?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">Forse
proprio la corona di sonetti di Inger Christensen. Una volta a una tavola
rotonda sulla traduzione fui twittato su una frase che alcuni colleghi criticarono,
ma della quale sono tuttora convinto: “Il traduttore è uno scrittore pigro”. I
mezzi moderni tendono a cancellare il contesto, isolando le frasi a effetto, ma
il senso, nonostante la connotazione negativa della pigrizia, era ironico e
positivo, e i presenti l’hanno capito: il traduttore ha spesso una padronanza
dello strumento linguistico che non tutti gli scrittori hanno (un po’ di
traduzione farebbe bene a molti autori), ma non si avventura nella creazione,
limitandosi a ricreare le opere altrui. Con grande perizia, ma senza la
scintilla creativa della creazione ex novo. Poi alla fine viene la voglia di
mettersi in gioco in prima persona, alcuni colleghi scrivono, ma quella appunto
non è più traduzione. Traducendo quei quindici sonetti ho avuto invece la
sensazione di avere a disposizione uno spazio creativo mio. Uno spazio creativo
che non riguardava solo l’atto di trasferire al meglio un’opera, ma, nelle
pieghe di un testo non mio e servendomi della strada usata dall’autrice, creare
un’opera nuova, fedele ma nuova, peraltro in un universo in cui il sonetto è
più di casa che in danese e attingendo perciò alla tradizione poetica della mia
lingua. Tradurre poesia è spesso così, a causa di quel percorso di interiorizzazione
necessario, a monte della traduzione vera e propria. Per questo motivo dico
spesso che posso produrre artigianalmente la traduzione di un testo in prosa
commissionato, che al limite non mi piace, ma non posso tradurre poesie che non
sento, che non ho fatto mie: quelle devo sceglierle io. Perciò alla fine nella traduzione
di poesia c’è quasi la sensazione di aver costruito un testo su esperienze
proprie, sebbene generate da stimoli altrui. Questo è ciò che più si avvicina
alla creazione autoriale, in traduzione. Credo. Ma senza dimenticare l’obbligo
di dire la stessa cosa − non ‘quasi’ − e perciò, nonostante tutto, traducendo
da lingue che pochi conoscono e avendo il testo a fronte rimane sempre un po’
di amarezza nel sapere che pochissimi lettori si renderanno conto che quella
poesia lì era già bella in originale, il poeta non sono io.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Le
pagine che più ti è stato difficile tradurre?<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;">Nonostante
la risposta precedente, sono convinto che il traduttore debba essere un
camaleonte in grado di rivestire nuovi panni ogni volta, accettando la sfida di
ogni nuovo testo. Però in generale amo le sfide stilistiche e i libri in cui la
lingua propone nuove frontiere, invece provo meno interesse nel tradurre opere
in cui il barometro del testo è troppo spostato verso i contenuti o il plot,
come spesso avviene in quei thriller dove la storia è al centro e il valore
letterario bah, tanto i lettori non lo chiedono. In questi casi, tradurre è più
difficile. Questo mi crea difficoltà e qualche virgola magari la sposto, perché
comunque poi devo metterci la faccia.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Le
pagine che più ti sono piaciute?<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;">Trovandomi
spesso, come ho detto, a portare la responsabilità delle scelte, va da sé che
molte cose che traduco mi piacciono, ma ci sono autori con cui mi trovo particolarmente
a mio agio e in genere sono quelli che mi mettono alla prova con una lingua che
impegna la traduzione in un corpo a corpo. Questo non significa necessariamente
che siano ‘difficili’, perché anzi spesso una scrittura complessa è segno di
maggiore soddisfazione, come seguire un percorso arduo ma ben delineato, in
fondo basta seguirlo, farsi camaleonte, entrare nei meccanismi. Peter <b style="mso-bidi-font-weight: normal;">Høeg</b>, per esempio − del quale ho
tradotto da poco l’ottava opera in italiano, <i style="mso-bidi-font-style: normal;">L'effetto Susan</i>, in uscita per Mondadori – viene definito difficile
dai lettori, cosa che mi strappa sempre un sorriso. Sarà che lo sento affine,
ma a me pare che la strada sia agevole: un buon testo di partenza genera una
buona traduzione.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Quale
autore vorresti tradurre?<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;">Oggi
la letteratura danese si traduce abbastanza e rapidamente, mentre in passato
arrivava solo qualche classico con grande ritardo, a Novecento inoltrato,
quando si sarebbe dovuto tradurre ciò che allora era contemporaneo. Costruire
un canone mancante significa attingere da tre grandi aree: quella dei classici,
che ogni tanto si riesce a fare, quella dei contemporanei, che è abbastanza
agevole collocare, e quella dei classici moderni, cui tuttora è più difficile
trovare un posto nell’editoria italiana. Ci manca molto Novecento danese,
vorrei fare Johannes V. Jensen, soprattutto <i style="mso-bidi-font-style: normal;">La
caduta del re</i>, che i danesi qualche anno fa hanno incoronato come il
migliore romanzo. Vorrei fare – ma forse è solo una mia fissa – Martin A.
Hansen, <i style="mso-bidi-font-style: normal;">Il mentitore</i>, che negli anni
Cinquanta fu un vero best seller in patria. Vorrei fare ancora tante cose.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;">Poi
ci sono le lacune di genere, per esempio la poesia. Ci sto lavorando molto, ma
in quel campo ci sono ancora tante, tante cose da fare.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;">E
poi un grande classico: trovo sconvolgente non essere mai riuscito a fare una
scelta di commedie di Holberg (autore sul quale ho scritto la tesi). Me ne
basterebbero sei o sette per colmare una lacuna che considero incomprensibile
per i lettori italiani. Vent’anni fa riuscii a fare per Adelphi il suo romanzo
fantastico, <i style="mso-bidi-font-style: normal;">Il viaggio sotterraneo di
Niels Klim</i>, che nelle altre lingue europee esisteva da un paio di secoli,
ma che ancora manchino le commedie...<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Se
non facessi il traduttore, che cosa faresti nella vita?<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;">Non
ne ho idea. Il traduttore (e il ricercatore) sono mestieri molto sedentari, ma
in fondo all’anima credo di non essere proprio così. Azzardo un’ipotesi: se non
facessi questi mestieri, forse mi comprerei una barca e me ne andrei in giro.
Credo che mi sentirei molto più a mio agio.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; mso-bidi-font-family: Helvetica; mso-themecolor: text1;"><span style="font-size: large;">Autori
tradotti (scelta):<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span style="color: black; mso-bidi-font-family: Helvetica; mso-themecolor: text1;">Karen
Blixen, Hans Christian Andersen, August Strindberg, Ludvig Holberg<span style="mso-font-kerning: .5pt;"><a href="https://it.wikipedia.org/wiki/Ludvig_Holberg"></a></span>, Peter H</span><span lang="DA" style="color: black; mso-ansi-language: DA; mso-bidi-font-family: Helvetica; mso-themecolor: text1;">øeg</span><span style="color: black; mso-bidi-font-family: Helvetica; mso-themecolor: text1;">, Jens Peter Jacobsen, Jens Christian
Grøndahl, Selma Lagerl</span><span lang="DE" style="color: black; mso-ansi-language: DE; mso-bidi-font-family: Helvetica; mso-themecolor: text1;">öf,</span><span lang="DE" style="color: black; mso-bidi-font-family: Helvetica; mso-themecolor: text1;"> </span><span style="color: black; mso-bidi-font-family: Helvetica; mso-themecolor: text1;">Morten
Søndergaard, Jonas T. Bengtsson, Knud Rasmussen, Herman Bang, Inger
Christensen, Michael Strunge, Yahya Hassan, Villy Sørensen, Helle Helle, Henrik
Nordbrandt </span><span style="color: black; mso-themecolor: text1;"><o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-85372470928525148102016-06-30T05:54:00.000-07:002016-06-30T05:54:56.170-07:00ELLEN ELIAS-BURSAC AND HER AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHZjbPK2HjGtYb6LLk2mRvf7no5xHMXEhxJtk-6kbD8CDRE0IRR_Q7YGH0pvQFj7OGkCP_CQN551RXCI40GI8JJMxONH3bFPcg2ZahyU4fPNfSWd8b2GN2-fjJ9dhlmnChT42lwJlW7Q/s1600/13480315_10208894054766998_819268877_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHZjbPK2HjGtYb6LLk2mRvf7no5xHMXEhxJtk-6kbD8CDRE0IRR_Q7YGH0pvQFj7OGkCP_CQN551RXCI40GI8JJMxONH3bFPcg2ZahyU4fPNfSWd8b2GN2-fjJ9dhlmnChT42lwJlW7Q/s640/13480315_10208894054766998_819268877_n.jpg" width="480" /></a></div>
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The picture I'm attaching was taken at the Edinburgh Book Festival in 2015 by a fellow Banff participant, <b>Monica de la Torre</b>.</div>
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<b><i><span style="font-size: x-large;">"There is a lively community of translators in Massachusetts (where I live), both in the Boston area and around Amherst. Our gatherings help in important ways to offset the sometimes numbing sense of isolation that can be a hard part of free-lancing."</span></i></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Ellen
Elias-Bursac</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> is a US literary translator. She speaks English and
Bosnian, Croatian, and Serbian. She decided to answer our questions in English.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">How did you start translating literature?
What are “your” authors and languages?</i></b><o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>I
started out as a community translator during the 16 years I lived in Zagreb
(then Yugoslavia, now Croatia), doing an array of different kinds of translations—from
forestry dendrology to the Eurovision song contest—and moved gradually from
there to translating fiction. <b style="mso-bidi-font-weight: normal;">David
Albahari</b> and <b style="mso-bidi-font-weight: normal;">Dubravka Ugrešić</b>
are the authors whose writing I've translated the most, Albahari from the
Serbian, Ugrešić from the Croatian. I've found the graphic-novel-inspired
wartime stories by <b style="mso-bidi-font-weight: normal;">Karim Zaimović</b> a
particular pleasure to translate from the Bosnian. Right now I'm translating a
mesmerizing novel by <b style="mso-bidi-font-weight: normal;">Igor Štiks</b>; I'd
find it hard to say whether it's written in a Bosnian-flavored Croatian or a
Croatian-flavored Bosnian. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">What do you like /dislike about your job as
a literary translator?</i></b><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>I love
working with language every day - translating, reading, editing, proofreading,
collaborating with authors. There is a lively community of translators in
Massachusetts (where I live), both in the Boston area and around Amherst. Our
gatherings help in important ways to offset the sometimes numbing sense of isolation
that can be a hard part of free-lancing.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What is the most enriching experience you
have had?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>More
than one: two stays at the Banff International Literary Translation Center, two
weeks at the Edinburgh Book Festival attending 30 book/translation events, the
annual ALTA meetings.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> <span style="mso-tab-count: 1;"> </span>The
back-and-forth exchanges that go on once the author has my translation in hand
and we can discuss the niceties.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you found most difficult to
translate? <o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Writing
that has no sense of humor.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you enjoyed most translating? <o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Writing
that has a sense of humor.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Which author would you love to translate? </i></b><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Tin
Ujević, the Croatian poet, if I were any good at translating poetry.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">If you were not a literary translator, what
would you do? </i></b><o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>As I
child I wanted to be an archeologist or a mystery writer (both inspired by
Agatha Christie), and later on, an astronomer or a singer. But ever since I
began my professional life it has always been translation and only translation.<o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">List of
Translated Authors:<o:p></o:p></span></span></i></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Dubravka Ugrešić, David Albahari, Karim Zaimović, Đurđa
Otržan, Daša Drndić, Tomica Šćavina, Ivana Bodrožić, Neda Miranda
Blažević-Kreitzman, Slobodan Selenić, Antun Šoljan<o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-9513330440726219832016-06-16T04:24:00.002-07:002016-06-16T04:24:26.819-07:00FULVIO FERRARI AND HIS AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;"><br /></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;">“The biggest perk? We get the inner structure
of texts way more than any other textual analysis will allow. Unfortunately, we
are basically isolated and miss a wider contest where we could exchange
opinions with fellow translators or literary critics in the language we are
translating from. However, this has more to do with the way work is organized
than with the role assigned to translators.”</span><o:p></o:p></span></i></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Fulvio Ferrari</span></b><span lang="EN-US" style="mso-ansi-language: EN-US;"> is an Italian<span style="mso-spacerun: yes;">
</span>literary translator. He speaks Italian, Swedish, Dutch, English, German.
</span>He decided to answer our questions in Italian.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Come ti sei avvicinato al mestiere della traduzione letteraria? Quali
autori traduci e da quali lingue?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">Ho cominciato a tradurre a venticinque anni: già da tempo
studiavo il tedesco ed ero un appassionato di quella letteratura. Un’amica mi
propose di tradurre a quattro mani un classico, il romanzo <i style="mso-bidi-font-style: normal;">Hyperion</i> di <b style="mso-bidi-font-weight: normal;">Friedrich
Hölderlin</b>, e da allora ha avuto inizio la mia attività di traduttore
letterario. Dopo qualche anno, tuttavia, mi sono dedicato alla traduzione di
testi appartenenti alle altre due tradizioni letterarie che studiavo – quella
nordica e quella nederlandese – e da allora sono stati questi gli ambiti da cui
ho tradotto. Tra gli autori ricorderei soprattutto i classici <b style="mso-bidi-font-weight: normal;">August Strindberg</b> e <b style="mso-bidi-font-weight: normal;">Knut Hamsun</b>, <b style="mso-bidi-font-weight: normal;">Nescio</b>, ma anche i contemporanei <b style="mso-bidi-font-weight: normal;">G</b><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Mangal;">öran Tunström, Stig Dagerman, Fredrik Sjöberg, Cees Nooteboom, Adriaan
van Dis, Hella Haasse</span></b><span style="mso-bidi-font-family: Mangal;">.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Quali sono secondo te i pregi e i difetti del mestiere di traduttore
letterario?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">Il pregio maggiore consiste per me in un confronto
approfondito con la scrittura e con la lingua dell’autore tradotto. Il lavoro
di traduzione permette una comprensione delle strategie di costruzione del
testo che difficilmente un’analisi testuale consente. Il difetto, forse, è
quello di svolgersi principalmente in modo isolato, senza un più ampio
confronto con colleghi, critici madre lingua ecc. Ma si tratta di un difetto di
organizzazione del lavoro conseguente al ruolo sociale attribuito al
traduttore, non di un difetto intrinseco all’attività di traduzione.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Qual è stata l’esperienza più arricchente e perché?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">Credo la traduzione di <i style="mso-bidi-font-style: normal;">Oratorio
di Natale</i> di Göran Tunström. Del libro mi ero innamorato durante i miei
studi in Svezia, avevo l’impressione di trovarmi di fronte a un testo che
imponeva una riflessione sulla propria esperienza, sul suo senso. E non era
solo un’impressione mia: la cosa più bella era che di quel libro si discuteva
appassionatamente tra ragazzi, e non solo. Tradurlo mi ha dato modo di
affrontare fin nei dettagli la questione del <i style="mso-bidi-font-style: normal;">senso</i> di ciò che veniva narrato e mi ha imposto di lavorare sulla
mia lingua perché nulla della profondità e delle ambiguità di quel senso
andasse perduto per il lettore italiano. Che poi io ci sia anche riuscito è
tutt’altra questione.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Qual è stata la cosa che più ti ha fatto sentire vicino a un autore?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">La passione politica, sconfitta e ormai senza speranza, di
Stig Dagerman. Un autore che ha saputo trasformare la consapevolezza di una
sconfitta storica in rigoroso impegno etico. Tra tutti gli autori che ho
tradotto, Dagerman è forse l’unico che sento sia come un maestro che come un
fratello.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Le pagine che più ti è stato difficile tradurre?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">Credo <i style="mso-bidi-font-style: normal;">Mare aperto</i>
di August Strindberg, un romanzo con una quasi maniacale attenzione alla
proprietà terminologica degli elementi naturali descritti: animali, piante,
rocce. Per almeno due motivi: all’epoca (metà anni Ottanta) le risorse informatiche
ancora non erano a disposizione e questo imponeva un estenuante lavoro in
biblioteca. Soprattutto, però, la precisione terminologica rischiava di
spezzare il ritmo narrativo e la visione d’insieme. Salvare esattezza, ritmo e
visionarietà del romanzo mi è costato un tempo e una fatica che, credo,
nessun’altra opera letteraria – finora – mi ha richiesto.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Le pagine che più ti sono piaciute?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">Difficile dire, molti dei testi che traduco li ho proposti io
stesso perché mi piacciono o perché trovo in loro un’urgenza culturale che
consiglia di proporli al pubblico italiano. Dal punto di vista più strettamente
letterario direi quegli autori che lavorano sul registro ironico – Nescio, ad
esempio, o Fredrik Sjöberg – un registro che pone sempre una sfida al traduttore.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Quale autore vorresti tradurre?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">Chissà, ci sono grandi classici che ho sempre sognato di
tradurre, o di ritradurre. Il <i style="mso-bidi-font-style: normal;">Nibelungenlied</i>,
per esempio. Ma anche autori più recenti, tra gli svedesi sicuramente Selma
Lagerlöf, o l’opera poetica di Stagnelius. In ambito nederlandese è stato
tradotto pochissimo di un grande autore come Slauerhoff. Vedremo.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;">Se non facessi il traduttore, che cosa faresti nella vita?<o:p></o:p></span></i></b></div>
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<span style="font-size: large;">In realtà la mia attività principale non è quella di
traduttore, ma quella di insegnante, che mi piace moltissimo.<o:p></o:p></span></div>
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<span style="font-size: large;">List of Authors:<o:p></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-35611755587887028562016-05-26T01:01:00.000-07:002016-05-26T01:01:19.851-07:00ABRAHAM B. YEHOSHUA AND HIS TRANSLATORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkhC9AMDWlT_kTE6XZ4ze7d7eT60oCFOD7CS3-rnfH_sn4H13DKPtXNBCgVGMozqdnfSdkHnm5pBLetwzac23rb0tmG8-ao7CduwBQsK7iOZ6_dq_lBMVb7gIb0dL_2woh18j1gyPCpUc/s1600/la-scena-perduta-di-abraham-yehoshua-la-paura-L-yjxBFL.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkhC9AMDWlT_kTE6XZ4ze7d7eT60oCFOD7CS3-rnfH_sn4H13DKPtXNBCgVGMozqdnfSdkHnm5pBLetwzac23rb0tmG8-ao7CduwBQsK7iOZ6_dq_lBMVb7gIb0dL_2woh18j1gyPCpUc/s640/la-scena-perduta-di-abraham-yehoshua-la-paura-L-yjxBFL.jpeg" width="640" /></a></div>
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<span style="font-size: large;"><br /></span></div>
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<i><b><span style="font-size: x-large;">"To my great regret, only three of my books have been translated into Arabic. […] I would’ve liked to have had many readers among the people of the Near East, in order to deepen our conversation.</span></b></i></div>
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<i><b><span style="font-size: x-large;"><br /></span></b></i></div>
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<i><b><span style="font-size: x-large;">Literary translation is an act of creation in every respect. And I feel very grateful to my translators."</span></b></i></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Thanks to <b>Jean-Luc Allouche</b> for this
interview<o:p></o:p></span></div>
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<span style="font-size: large;">Scroll down for the <b>English version</b><o:p></o:p></span></div>
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<span style="font-size: large;"><b>Avraham B. Yehoshua</b> est un écrivain israélien influent dans le
débat public de son pays. Auteur de romans, d’essais et de pièces de théâtre,
nombre de ses œuvres ont été traduites dans le monde. En français, son roman <i>Rétrospective</i>
(Grasset/Calmann-Lévy) a été lauréat du prix Médicis étranger et du prix du
Meilleur roman étranger en 2012. Dernier titre traduit, <i>La Figurante</i>
(Grasset, 2016).<o:p></o:p></span></div>
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<span style="font-size: large;"><b><i>Avraham Yehosuha, certains de vos livres ont
déjà été traduits dans quelles langues ?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Je crois que le nombre de langues dans
lesquelles quelques-unes de mes œuvres ont été traduites s’élève à 28.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>Avez-vous déjà eu l'occasion de rencontrer
votre traducteur/votre traductrice, ou de communiquer avec lui/elle ?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Je connais personnellement nombre de mes
traducteurs. Je n’en désigne, ici, que huit : <b>Ruth Achlama, Hillel
Halkin, Sylvie Cohen, Jean-Luc Allouche, Anna Bejarano, Sonia De Pedro,
Alexandra Shomroni et Ruben Verhasselt</b>.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>Comment s'est passée cette rencontre ?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Mes relations avec les traducteurs ont
toujours été excellentes.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>Ressentez-vous quelque appréhension à
confier votre œuvre à un traducteur/une traductrice, ou bien lui faites-vous
totalement confiance ?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Non, je ne vois aucun problème à confier mon
œuvre aux mains d’un traducteur, pour peu que l’éditeur le recommande − et
vérifie son travail.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>Avez-vous déjà assisté à des lectures de vos
textes dans une langue qui vous est étrangère ? Qu'avez-vous
ressenti ?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">J’ai écouté à plusieurs reprises la lecture
de mes ouvrages en langues étrangères. Je comprends deux langues, l’anglais et
le français, et j’ai ainsi la possibilité de suivre la lecture et le texte de
la traduction. Dans les autres langues, je ne peux que deviner où en est le
lecteur de la traduction de mon ouvrage.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>Pensez-vous pouvoir juger de la qualité
d'une traduction ?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Dans les langues que je connais, anglais et
français, je suis capable, dans une mesure raisonnable, de juger la précision
et le rythme de la phrase. Mais je ne suis pas assez expert pour vérifier si
tel ou tel mot représente le choix le plus judicieux.<o:p></o:p></span></div>
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<span style="font-size: large;">Néanmoins, je peux vérifier la précision
d’une traduction en fonction des questions que les traducteurs me posent. Autre
chose d’importance : les remarques qu’ils m’adressent quand ils repèrent
des imprécisions ou des contradictions dans mon propre texte. Selon le niveau
de leurs questions, je saisis le degré réel de sérieux du traducteur.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>Dans quelle langue préféreriez-vous que vos
livres soient traduits ? Pourquoi ?</i></b><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">L’arabe. À mon grand regret, seuls trois de
mes livres ont été traduits dans cette langue. Mais comme nous vivons au
Proche-Orient, entourés d’arabophones avec lesquels nous devons trouver les
moyens de vivre en bons voisins, j’aurais bien aimé avoir de nombreux lecteurs
parmi les habitants du Proche-Orient afin d’approfondir le dialogue avec eux.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>À quoi vous fait penser spontanément le
métier de traducteur/traductrice littéraire ?</i></b><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Je respecte beaucoup le travail du
traducteur littéraire. Moi-même, je ne me suis jamais essayé à cette tâche, de
crainte d’être incapable de comprendre en profondeur la langue, anglais ou
français, que je devrais traduire en hébreu. La traduction littéraire est une
création à tous égards. Et j’éprouve de la reconnaissance pour mes traducteurs.<o:p></o:p></span></div>
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<span style="font-size: large;">Thanks to <b>Edward Gauvin</b> for the English translation</span><span style="font-size: large;"> </span></div>
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<span style="font-size: large;"><b>Avraham B. Yehoshua</b> is an Israeli writer who has been
influential in public debate in his native country. He has written novels,
plays, and essays, many of which have been translated throughout the world. In
France, his novel <i>Rétrospective</i> (Grasset/Calmann-Lévy) won the Prix
Médicis étranger and the Prix du Meilleur roman étranger in 2012. His latest
book to be translated into French is <i>La Figurante</i> (Grasset, 2016).<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>Avraham Yehosuha, how many of your books
have been translated into other languages?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">I believe that, all in all, I have had works
translated into a total of 28 languages.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>Have you ever had the chance to meet one of
your translators, or communicate with him or her?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">I know a number of my translators
personally. Here are eight of them, off the top of my head: <b>Ruth Achlama,
Hillel Halkin, Sylvie Cohen, Jean-Luc Allouche, Anna Bejarano, Sonia De Pedro,
Alexandra Shomroni, </b>and<b> Ruben Verhasselt</b>.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>How did these meetings go?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">I’ve always had excellent relationships with
my translators.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: large;"><b><i>Do you ever feel any apprehension at
entrusting your work to a translator, or do you trust them completely?</i></b><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><b><i><br /></i></b></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;">No, I see no problem in entrusting my work
to translators, so long as the publisher has recommended them—and checks their
work.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><b><i>Have you ever been to a reading of your work
in a language unfamiliar to you? What did it make you feel?</i></b><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;">I’ve listened to my work in foreign
languages several times. I speak two foreign languages, English and French, and
so I can follow along with the work as it’s read in translation. With other
languages, I can only guess at what the reader’s saying.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><b><i>Do you think you can judge the quality of a
translation?</i></b><o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;">I</span><span style="font-size: large;">n the languages I know, I can to reasonable
extent judge the precision and rhythm of a sentence. But I’m not enough of an
expert to verify if a given word represents the most discerning choice.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;">Neverhtless, I can verify the precision of a
translation from the questions translators ask me. Another important thing: the
comments they send me when the spot inaccuracies or contradictions in my own
work. Based on the level of their questions, I can grasp just how reliable they
are.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><b><i>Into what language do you prefer your books
to be translated? Why?</i></b><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;">Arabic. To my great regret, only three of my
books have been translated into that language. But since we live in the Near
East, surrounded by Arabic speakers, and we must find ways of living with as good
neighbors, I would’ve liked to have had many readers among the people of the
Near East, in order to deepen our conversation.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><b><i>What’s the first thing that comes to mind
when you think of literary translation as a profession?</i></b><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;">I respect the work of literary translators a
great deal. I myself have never attempted it, from fear of being unable to
understand deeply enough the language I’d have to translated into Hebrew, be it
French or English. Literary translation is an act of creation in every respect.
And I feel very grateful to my translators.<o:p></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-6129933004514196952016-05-18T23:02:00.000-07:002016-05-18T23:02:01.540-07:00TINA KOVER AND HER AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0JxsmK5aqiUNAMCm6vFQkF9J75j_Jytm1DAbGdSU170X4G1P0e6joJV0_8cQKvALsZGZjY4z5Jkph6GKHXXE-B8Flj5rsU88ixTPjJChdG1PZW_TFBDVcfxyHlsHEXvpO7zUc8Pr1RAQ/s1600/Tina+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0JxsmK5aqiUNAMCm6vFQkF9J75j_Jytm1DAbGdSU170X4G1P0e6joJV0_8cQKvALsZGZjY4z5Jkph6GKHXXE-B8Flj5rsU88ixTPjJChdG1PZW_TFBDVcfxyHlsHEXvpO7zUc8Pr1RAQ/s640/Tina+photo.jpg" width="640" /></a></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<span lang="EN-US"><span style="font-size: x-large;"><b><i><br /></i></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<span lang="EN-US"><span style="font-size: x-large;"><b><i>"These books will still be here when I’m long gone."<o:p></o:p></i></b></span></span></div>
<div>
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Tina
Kover</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> is an American literary translator living in the
United Kingdom. She speaks French and some Italian and Spanish, along with a
smattering of German and Czech.<span style="mso-spacerun: yes;"> </span>She
decided to answer our questions in English. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">How did you start translating literature?
What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> I fell into it, really, which sounds ridiculous
but it truly is what happened.<span style="mso-spacerun: yes;"> </span>I had
been working as a translator for a few years and wanted to try my hand at
translating literature, so I self-published (!) a translation of <b style="mso-bidi-font-weight: normal;">George Sand</b>’s <i style="mso-bidi-font-style: normal;">La Ville Noire</i> [<i style="mso-bidi-font-style: normal;">The Black
City</i>].<span style="mso-spacerun: yes;"> </span>With that book in hand I set
out to find an agent, which I did in the person of the wonderful Sandra Choron,
and she promptly sold the book to Carroll & Graf.<span style="mso-spacerun: yes;"> </span>It took off from there and I feel privileged
every day to be able to do this work.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you’d asked me the question about “my” authors a
few years back I would have chosen the nineteenth-century ones, having
translated books by Sand, <b style="mso-bidi-font-weight: normal;">Alexandre
Dumas</b>, and the <b style="mso-bidi-font-weight: normal;">Goncourt</b>
brothers.<span style="mso-spacerun: yes;"> </span>But now, with everything from
cyberpunk to biography to crime fiction under my belt, I’m not even sure that’s
a question I can answer.<span style="mso-spacerun: yes;"> </span>Everything is
unique and wonderful in its own way; each book poses its own challenges and
comes with its own rewards. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What do you like /dislike about your job as
a literary translator?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> The only thing I’d change about this work is
that I’d like even more of it!<span style="mso-spacerun: yes;"> </span>I find
literary translation incredibly fulfilling in every sense. I feel like I’m
making a real contribution to society with it; building a bridge between
cultures in my own small way.<span style="mso-spacerun: yes;"> </span>These
books will still be here when I’m long gone.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What is the most enriching experience you
have had?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> Professionally speaking, it’s hard to top the
NEA fellowship I received in 2009.<span style="mso-spacerun: yes;"> </span>That
felt like a real validation.<span style="mso-spacerun: yes;"> </span>But each
new book opens up such a variety of intellectual and emotional experiences for
me that I always feel like I’ve grown as a person when I finish translating it.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
made you feel closest to an author?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> I don’t know that I can pinpoint a single
experience, but there are moments during the translation process where I almost
feel like I’ve managed to inhabit the same emotional space as the author did
when writing a certain dialogue or description.<span style="mso-spacerun: yes;">
</span>When this happens the words flow with very little effort and I really
feel a connection, which can be quite exhilarating in the case of “my”
nineteenth-century authors in particular.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you found most difficult to
translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> The first book that comes to mind is my most
recent one, Anna Gavalda’s <i style="mso-bidi-font-style: normal;">La vie en
mieux</i> [<i style="mso-bidi-font-style: normal;">Life, Only Better</i>].<span style="mso-spacerun: yes;"> </span>That book is full to the brim with slang and
it was a real challenge at times to find English phrases that flowed and
sounded natural.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you enjoyed most translating?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> Ah, that’s like asking me to choose my favorite
flavor of ice cream—all different but all delicious!<span style="mso-spacerun: yes;"> </span>I had a wonderful time translating Alexandre
Dumas’s <i style="mso-bidi-font-style: normal;">Georges</i>; there’s an
infectious joyousness and zest for life in his writing style.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Which author would you love to translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">There’s still a lot of George Sand’s work that remains
untranslated, which I would really like to rectify.<span style="mso-spacerun: yes;"> </span>I just recently read Catherine
Dousteyssier-Khoze’s novel <i style="mso-bidi-font-style: normal;">La logique de
l’amanite</i>; it’s absolutely brilliant and I would love to translate it.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you were not a literary translator, what would you do?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I’d probably be an archivist or a librarian—I’m
addicted to the scent of old paper—or maybe train as a chef.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Translated authors:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">George Sand, Alexandre Dumas, Maurice Dantec, Benoît
Peeters, Edmond and Jules de Goncourt, Mallock, Anna Gavalda<o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-54252443551181321472016-05-12T02:29:00.003-07:002016-05-12T02:29:58.297-07:00MOTOYUKI SHIBATA AND HIS AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<img height="640" src="webkit-fake-url://7835D6DB-6ED5-47DB-817F-DD3E6F0B8C78/image.tiff" width="533" /><br />
<i><span style="font-size: x-large;"><b><br /></b></span></i>
<i><span style="font-size: x-large;"><b>“</b></span></i><i><span style="font-size: x-large;"><b>It’s been all fun – I
never translate what I don’t like. You
are not creatively talented but you can translate works by those who have real
creativity, and they thank you for translating their work, and readers thank
you too – what more can you ask?”</b></span></i></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica;"><br /></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica;">Motoyuki Shibata</span></b><span style="mso-bidi-font-family: Helvetica;"> is a Japanese literary translator. He
speaks Japanese and English. He decided to answer our questions in English.<o:p></o:p></span></span></div>
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<br /></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">How
did you start translating literature? What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you teach English in Japan at college level editors sometimes ask
you to translate articles.<span style="mso-spacerun: yes;"> </span>Fortunately
some editors liked my work, and eventually invited me to translate books I
liked.<span style="mso-spacerun: yes;"> </span>That way I started in the late
1980s translating writers like <b style="mso-bidi-font-weight: normal;">Paul
Auster, Steven Millhauser, Stuart Dybek</b>, and <b style="mso-bidi-font-weight: normal;">Steve Erickson</b>.<span style="mso-spacerun: yes;"> </span>They are
“my” authors, and so are <b style="mso-bidi-font-weight: normal;">Rebecca Brown,
Laird Hunt, Barry Yourgrau, Kelly Link, Brian Evenson</b>, and <b style="mso-bidi-font-weight: normal;">Edward Gorey</b>.<span style="mso-spacerun: yes;"> </span>I have translated books by giants like <b style="mso-bidi-font-weight: normal;">Thomas Pynchon</b> and <b style="mso-bidi-font-weight: normal;">Philip Roth</b>, but I cannot claim they are “mine” because others have
translated them more extensively. <o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
do you like /dislike about your job as a literary translator?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">There’s nothing I dislike about it.<span style="mso-spacerun: yes;">
</span>For a long time I earned my living by teaching, so I never had to make
money by translation.<span style="mso-spacerun: yes;"> </span>It’s been all fun
– I never translate what I don’t like.<span style="mso-spacerun: yes;"> </span>You
are not creatively talented but you can translate works by those who have real
creativity, and they thank you for translating their work, and readers thank
you too – what more can you ask?<o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
is the most enriching experience you have had?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Sometimes a reader tells me that they had a rough time (mentally,
physically, or spiritually) but my translations helped her/him get through
it.<span style="mso-spacerun: yes;"> </span>Of course the credit should go to
the author, but in Japan readers are often generous enough to give part of the
credit to the translator.<o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">When we find out that we love the same author, perhaps.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
have you found most difficult to translate?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Broken English.<span style="mso-spacerun: yes;"> </span>Anything substandard is difficult.<span style="mso-spacerun: yes;"> </span>You try, but quite often it just looks
clumsy, sloppy Japanese.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
have you enjoyed most translating?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Impossible to answer.<span style="mso-spacerun: yes;"> </span>I only translate what I love so I enjoy
translating everything I translate.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Which
author would you love to translate?<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span style="mso-bidi-font-family: Helvetica;"><span style="mso-tab-count: 1;"> </span>I hope I’m allowed to twist your
question a little bit: the authors who I often wish had written in English so I
could translate them are: Borges, Calvino, and Garc</span><span style="font-family: "ms 明朝"; mso-bidi-font-family: Helvetica;">í</span><span style="mso-bidi-font-family: Helvetica;">a M</span><span style="font-family: "ms 明朝"; mso-bidi-font-family: Helvetica;">á</span><span style="mso-bidi-font-family: Helvetica;">rquez.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you were not a literary
translator, what would you do?<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span style="mso-bidi-font-family: Helvetica;"><span style="mso-tab-count: 1;"> </span></span><span style="mso-bidi-font-family: Helvetica; mso-fareast-language: JA;">I’m too</span><span style="mso-bidi-font-family: Helvetica;"> old to learn new tricks.<span style="mso-spacerun: yes;"> </span>I’d
try to get by somehow without working!<o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica; mso-fareast-language: JA;"><span style="font-size: large;">Authors
I have translated (only those whose whole book[s] I have translated):<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica; mso-fareast-language: JA;"><span style="font-size: large;">Paul Auster, L. Frank Baum, Malcom Bradbury, Rebecca Brown, Charles
Bukowski, Ethan Canin, Joseph Conrad, Linh Dinh, Stuart Dybek, Steve Erickson, Brian
Evenson, Edward Gorey, Ernest Hemingway, Laird Hunt, Denis Johnson, Ben Katchor,
Paul LaFarge, Kelly Link, Norman Lock, Jack London, Bernard Malamud, Steven
Millhauser, T. R. Pearson, Richard Powers, Roger Pulvers, Thomas Pynchon, Philip
Roth, J. D. Salinger, William Saroyan, Charles Simic, Mark Twain, Barry
Yourgrau<o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-5532451456415207522016-05-05T02:53:00.001-07:002016-05-26T01:08:11.414-07:00ZYGMUNT MILOSZEWSKI AND HIS TRANSLATORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3XZfkcTgGiX078pFVFqnuqsxLKKiCh7drXI6UYc9Ib2pOrECAHTouIEFs-m3g3v1elwOTRba9EX8EnxBnRSP2dZ5CpJgtDjC2Sq9-X8LOyH-wYe5MWtOIxWTdIpQ5wM2_wexT6tvQtGs/s1600/Z.Miloszewski_2014_1_1%25C2%25A9TishaMino+copy+copy.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3XZfkcTgGiX078pFVFqnuqsxLKKiCh7drXI6UYc9Ib2pOrECAHTouIEFs-m3g3v1elwOTRba9EX8EnxBnRSP2dZ5CpJgtDjC2Sq9-X8LOyH-wYe5MWtOIxWTdIpQ5wM2_wexT6tvQtGs/s640/Z.Miloszewski_2014_1_1%25C2%25A9TishaMino+copy+copy.jpeg" width="640" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: x-large;"><span style="font-family: "uictfonttextstylebody"; font-size: 17px;">Ph</span></span><span style="font-family: "uictfonttextstylebody"; font-size: 17px;">oto by </span><span style="font-family: "uictfonttextstylebody"; font-size: 17px;">Tisha Min</span><span style="font-family: "uictfonttextstylebody"; font-size: 17px;">ö</span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: x-large;"><b><i><span style="color: #1a1a1a;"><br /></span></i></b></span>
<span style="font-size: x-large;"><b><i><span style="color: #1a1a1a;">“</span><span style="color: #1a1a1a; text-align: left;">I have heard extracts from my work being read aloud in several languages. It’s funny, but it always sounds more interesting than in Polish.</span><span style="color: #1a1a1a; text-align: left;"> </span></i></b></span><b style="font-size: xx-large;"><i><span style="color: #1a1a1a;">In Polish, my own texts bore and irritate me, but in foreign languages I feel as if I’m listening to a text that was written by someone else. Which is actually the truth.</span></i></b></div>
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<br /></div>
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<span style="color: #1a1a1a;"><span style="font-size: x-large;"><b><i>Sometimes the translator’s name is a better guarantee of quality than the author’s.”</i></b></span></span></div>
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<b><span style="mso-bidi-font-family: Helvetica;"><br /></span></b></div>
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<span style="font-size: large;"><b><span style="mso-bidi-font-family: Helvetica;"><br /></span></b></span>
<span style="font-size: large;"><span style="mso-bidi-font-family: Helvetica;">Thanks to <b>Antonia Lloyd-Jones</b> for this interview and the English translation </span></span><br />
<span style="font-size: large;"><b><span style="mso-bidi-font-family: Helvetica;"><br /></span></b></span></div>
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<span style="font-size: large;"><b><span style="mso-bidi-font-family: Helvetica;">Zygmunt
Miłoszewski</span></b><span style="mso-bidi-font-family: Helvetica;"> (b. 1976)
is a Polish novelist and screenwriter. His first novel, <i>The Intercom</i>, was
published to high acclaim in 2005. His gritty thrillers <i>Entanglement</i> and <i>A
Grain of Truth</i> have received international recognition and have
made him the number-one bestselling author in Poland and one of the world’s
best-known contemporary Polish writers. He published his fourth
book, <i>Priceless</i>, in 2013, followed by <i>Rage</i>. Miłoszewski
has won the Polityka Passport for Literature. He’s also twice won the High
Calibre Award for the Best Polish Crime Novel, and earned two nominations
to the French Prix du Polar Européen for the Best European Crime Novel.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;">Have any of your books been translated?
If so, into which languages? </span></i></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;"><o:p></o:p></span></i></b></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">Sprawdziłem
i wygląda na to, że wszystkie moje książki (nie ma ich zbyt wiele, raptem sześć)
zostały przetłumaczone. W sumie na trzynaście języków.</span><span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">I’ve
checked, and it looks as if all my books have been translated – there aren’t
that many, only six in total – into thirteen languages.</span><i><span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;">Have you had an opportunity to meet your
translator personally or make contact with him or her? </span></i></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;"><o:p></o:p></span></i></b></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">Bardzo
różnie z tym bywa. Niektórzy tłumacze wychodzą z założenia, że wszystkich autorów
trzeba traktować jak nieżyjących i pierwszy kontakt z ich tłumaczeniem mam
taki, że stawiam wydaną książkę na półce. Z niektórymi się znam i lubię, to na
przykład Tereza Pogodova, która przekłada mnie na czeski i Bożena Antoniak, tłumaczka
na ukraiński. Dzięki przekładom poznałem też dwójkę bliskich przyjaciół: Antonię
Lloyd-Jones (angielski) i Kamila Barbarskiego (francuski).</span><span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">It
varies a great deal. Some translators seem to assume that all authors should be
treated as if they’re dead, and the first contact I have with them is when I place
a copy of the published translation on my bookshelf. But I know and like some
of them, such as </span><b style="mso-bidi-font-weight: normal;"><span style="color: #1a1a1a;">Tereza Pogodová</span></b><span style="color: #1a1a1a;">,
who translates my work into Czech, or </span><b style="mso-bidi-font-weight: normal;"><span style="color: #1a1a1a;">Bozhena Antonyak</span></b><span style="color: #1a1a1a;">, who translates it into Ukrainian. But thanks to
translation I have also made two close friends, </span><b style="mso-bidi-font-weight: normal;"><span style="color: #1a1a1a;">Antonia Lloyd-Jones</span></b><span style="color: #1a1a1a;"> (English) and </span><b style="mso-bidi-font-weight: normal;"><span style="color: #1a1a1a;">Kamil Barbarski</span></b><span style="color: #1a1a1a;"> (French).</span><i><span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;">How did the meeting or the contact go? </span></i></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;"><o:p></o:p></span></i></b></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">To
zawsze fascynująca przygoda. W zależności od kultury i języka każdy tłumacz
czyta książkę inaczej, co innego zauważa, co innego uważa za trudne w przekładzie.
Też tłumacze, przez to że są uważnymi i wnikliwymi czytelnikami, wyłapują błędy,
które potem poprawiam w polskim wydaniu. Same plusy.</span><span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">It’s
always a fascinating adventure. Depending on the culture and the language, each
translator reads the book in a different way, noticing something different, or
regarding different things as difficult to translate. As they are shrewd and
careful readers, translators also catch the mistakes which I then correct in
the next Polish edition. There are nothing but advantages.</span><i><span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;">Is it difficult for you to entrust your
literary work to a translator, or do you trust them blindly? </span></i></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;"><o:p></o:p></span></i></b></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">Nie
mam z tym żadnego problemu, żeby zaufać tłumaczowi. Po polsku książka jest
moja, w innych językach jest nasza. Wychodzę z założenia, że przekład literacki
to coś więcej niż tłumaczenie słów, to tak naprawdę rodzaj adaptacji powieści
na inną kulturę. Żeby wyszło, trzeba zaufać tłumaczowi, zostawić miejsce do twórczej
pracy.</span><span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">I
have no problem with trusting my translators. In Polish the book is mine, and
in other languages it’s ours. I follow the principle that a literary
translation involves more than just interpreting the words, but is actually a
sort of adaptation of the original novel into another culture. For it to work,
you have to have confidence in the translator and leave him or her the space to
be creative.</span><span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;">Have you ever heard someone reading
extracts from your books in another language? What was your reaction? </span></i></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;"><o:p></o:p></span></i></b></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">Tak,
słuchałem fragmentów swoich czytanych w kilku językach. Zabawne, że zawsze
wydaje mi się bardziej interesujące, niż po polsku. Po polsku własne teksty
mnie nudzą i drażnią, w obcych językach mam wrażenie, że słucham książki
napisanej przez kogoś innego. Co właściwie jest prawdą.</span><span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">Yes,
I have heard extracts from my work being read aloud in several languages. It’s
funny, but it always sounds more interesting than in Polish. In Polish, my own
texts bore and irritate me, but in foreign languages I feel as if I’m listening
to a text that was written by someone else. Which is actually the truth.</span><span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;">Do you feel you can assess the quality
of a translation? </span></i></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;"><o:p></o:p></span></i></b></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span style="font-size: large;"><span style="color: #1a1a1a;">Potrafię
przeczytać swoje książki po angielsku i francusku, ale droga od zrozumienia do
możliwości oceny tekstu literackiego jest bardzo, bardzo długa.</span><span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="color: #1a1a1a;">I can
read my books in English and French, but the road from understanding to being
able to appraise a literary text is a very long one indeed.</span><span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;">What languages would you most like to
see your books translated into, and why? </span></i></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;"><o:p></o:p></span></i></b></span></div>
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<span style="font-size: large;"><span style="color: #1a1a1a;">Jakieś
bardzo egzotyczne, azjatyckie na przykład. Stawiałbym je w najbardziej
eksponowanym miejscu, żeby koledzy pisarze zazdrościli, kiedy się spotykamy. “Nie
może być, naprawdę masz przekład na koreański!?” </span><span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="color: #1a1a1a;">Some
very exotic, Asian ones for example. I’d show them off as much as possible, to
make my writer friends jealous when we meet. “Wow, have you really been
translated into Korean?!”</span><i><span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><o:p></o:p></span></i></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;">What's the first thing that occurs to you when you think
of the profession of literary translator?</span></i></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: #1a1a1a;"><o:p></o:p></span></i></b></span></div>
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<span style="font-size: large;"><span style="color: #1a1a1a;">Podziw. Kiedyś tłumacze byli dla
mnie anonimowymi ludźmi, małym drukiem pod tytułem. Potem jak każdy czytelnik
nauczyłem się wybierać między tłumaczeniami, dowiedziałem się, że czasami
nazwisko tłumacza bywa lepszą gwarancją jakości tekstu, niż nazwisko autora. W
końcu poznałem ten fach od strony autora i mój podziw dla tego zawodu wzrósł jeszcze
bardziej. Świetnie rozumiem miejsca, w których nazwisko tłumacza publikuje się na
okładce. Bez nich Brytyjczycy nie znaliby Anny Kareniny, Niemcy Dżumy, a Polacy
Davida Copperfielda. Bez tłumaczy literackich nie istniałaby kultura
europejska, jaką dziś znamy.</span><span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="color: #1a1a1a;">Admiration. I used to think of
translators as anonymous people, in small print under the title. Then, like every
reader I learned to distinguish between translations, and found out that
sometimes the translator’s name is a better guarantee of quality than the
author’s. Finally I got to know this profession from the author’s point of
view, and my admiration for it grew even more. I fully understand the places
where they publish the translator’s name on the front cover. Without literary
translators the British would never have known </span><i style="mso-bidi-font-style: normal;"><span style="color: #1a1a1a;">Anna Karenina</span></i><span style="color: #1a1a1a;">, the Germans wouldn’t know </span><i style="mso-bidi-font-style: normal;"><span style="color: #1a1a1a;">The Plague</span></i><span style="color: #1a1a1a;">, and the Poles would be ignorant of </span><i style="mso-bidi-font-style: normal;"><span style="color: #1a1a1a;">David
Copperfield</span></i><span style="color: #1a1a1a;">. Without them European
culture as we know it today simply wouldn’t exist.</span><span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-58277560509069943502016-04-28T06:32:00.001-07:002016-04-28T06:32:06.806-07:00PIOTR GWIAZDA AND HIS AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: x-large;"><br /></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: x-large;">“I have
always been puzzled by translation as a pursuit and product. It is a thankless
task, yet it offers an intellectual and artistic challenge like no other. It is
a copy, always a copy, yet it eventually acquires its own life and meaning.”</span><o:p></o:p></span></i></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;">Piotr
Gwiazda</span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"> is a U.S.-based literary translator from
Polish. He is also a poet, critic, and associate professor of English at the
University of Maryland Baltimore County.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;"> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">How did you start translating literature?
What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">I first came to literary translation through
theory. While in graduate school in the late 1990s, I read two essays that made
a big impression on me: José Ortega y Gasset’s “The Misery and the Splendor of
Translation,” with its distinction between good and bad utopianism, and Walter
Benjamin’s “The Task of the Translator,” with its notion of translation as “a
mode of its own.” Around that time, I also became attracted to the poststructuralist
views on translation that further emphasize its generative function – Maurice Blanchot’s
idea of translation as “the quintessential literary act,” Jacques Derrida’s
view of it as “productive writing called forth by the original text.” Lastly, I
was also interested in literary translation from the standpoint of reader
response criticism; later, I published two articles on this topic in <i style="mso-bidi-font-style: normal;">XCP: Cross Cultural Poetics</i> and <i style="mso-bidi-font-style: normal;">Translation Review</i>. Both originated from
Derrida’s 1996 seminar on the concept of hospitality at NYU. <o:p></o:p></span></span></div>
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Even while reading theory, I was taking my first steps as a practitioner,
translating first from English into my native Polish, then (a somewhat riskier
proposition) from Polish into my adopted English. Specifically, I translated
some poems by <b style="mso-bidi-font-weight: normal;">Stanisław Grochowiak</b>
and <b style="mso-bidi-font-weight: normal;">Rafał Wojaczek</b>, two
twentieth-century poets whom I had been reading a lot in my youth, and <b style="mso-bidi-font-weight: normal;">Kazimierz Brakoniecki</b>, who was
something of a mentor to me when I lived in Poland. Later, around 2010, I discovered
the work of <b style="mso-bidi-font-weight: normal;">Grzegorz Wróblewski</b>, a
very unique poet who writes in Polish but lives in Denmark. I have been translating
his work ever since. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">What do you like/dislike about your job as a
literary translator?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">I’m mainly fascinated by its paradoxical
nature. It’s a type of work that can be viewed as secondary or derivative, but
also as enabling, if not essential. There is no doubt that literary texts lose a
great deal in translation. In spite of this, readers, cultures, and languages gain
much from translation; in this respect, translation perfectly represents Ortega
y Gasset’s concept of “good utopianism.” I have always been puzzled by
translation as a pursuit and product. It is a thankless task, yet it offers an intellectual
and artistic challenge like no other. It is a copy, always a copy, yet it eventually
acquires its own life and meaning.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">What have you found most difficult to
translate?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">Compared to many distinguished translators featured
on this website, my experience as a translator is limited. I translate texts
that are classified as “poems.” So, not surprisingly, the idea of translating poems
(preserving their form, tone, style) poses the greatest challenge. Poetry makes
the major problems of translation theory – the difference between “word-for-word”
and “sense-for-sense” translation or the degree of the translator’s visibility
– seem particularly acute. Poetry, of course, is also the basis of many clichés
about translation: translating poetry is impossible, poetry is precisely what
is lost in translation, translators of poetry should themselves be poets, etc. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">However, my dilemmas as a translator are not
always limited to questions of formal or verbal equivalence. They also concern
what in <i style="mso-bidi-font-style: normal;">The Scandals of Translation</i>
Lawrence Venuti calls “a process of inscription” of a foreign text into a
target language. By this he means the choices we make as translators, the
strategies we apply, the effects the translated text has on its audience, as
well as any additional issues of production, circulation, and reception. In
short, I view translation as a generative activity that undoubtedly requires a
great deal of craftsmanship and expertise, but also some deliberation and
strategizing. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">What have you enjoyed most translating?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">Grzegorz
Wróblewski’s <i style="mso-bidi-font-style: normal;">Kopenhaga</i>, which was
published by Zephyr Press in 2013. When I first read it in the original Polish,
I liked it a lot, maybe because it so vividly portrays what it means to inhabit
a space between societies, cultures, languages – the often tragicomic existence
of a transnational writer. (The book’s focus on European migration makes it
even more relevant today.) I also enjoyed my interactions with Wróblewski during
the process: our countless email exchanges about specific texts, words, figures
of speech, allusions and references, idiomatic expressions, etc. I am now
translating his next book of poems, <i style="mso-bidi-font-style: normal;">Zero
Visibility</i>, which will be published in the United States in 2017. Last
summer I visited him in Copenhagen, where he showed me around his adopted city
including Amager Strand, the beach park not far from his apartment where many
of his recent poems are set. Thanks to that visit, I was able to see Copenhagen
through Wróblewski’s eyes. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">If you were not a literary translator, what
would you do?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">I’m already doing other things
professionally: creative writing, scholarship. I also teach U.S. literature at
the University of Maryland Baltimore County. A few years ago, I was telling my
colleague, a scholar, about how much I was enjoying the process of translating literature
vis-à-vis other more typically academic pursuits, to which he replied: “Of
course you’re enjoying it. You don’t have to come up with any ideas!” In some
respects my colleague was right. Translators are expected to operate with <i style="mso-bidi-font-style: normal;">words</i>, not ideas. As they convert
literary texts from one language into another, they should refrain from having
too many ideas – especially ideas of their own. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"><span style="font-size: large;">But, on reflection, it seems that while
translators make all kinds of lexical, syntactic, and other choices, they must
also entertain <i style="mso-bidi-font-style: normal;">ideas</i> – before,
during, and after the process. As John Felstiner said in his preface to <i style="mso-bidi-font-style: normal;">Translating Neruda</i>, translation is “an
essential act and art of literary criticism.” Ultimately, then, while all my professional
activities may seem distinct, I do not necessarily view them as such. Even my
own creative work <span style="mso-bidi-font-style: italic;">originates in a
space between two languages – Polish and English – and in this respect can be
said to be an exercise in self-translation.<o:p></o:p></span></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;">Translated authors:</span></i></b><span lang="EN-US" style="color: black; font-family: "Times New Roman"; mso-themecolor: text1;"> Stanisław
Grochowiak, Rafał Wojaczek, Kazimierz Brakoniecki, Grzegorz Wróblewski<o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-76404828019806330652016-04-21T02:45:00.003-07:002016-04-21T02:45:49.051-07:00ALLISON MARKIN POWELL AND HER AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKfjhZG5yrpkhSMkaZx44FwWyfjkkiOot3NCeTsTYFlnzs38r-XYIEJDX5fEFLE2oqAZh8En-25bFWbRTzN3e8dqt9pPlQEHUk80O_VZ-Py0WCd2H9BD693mQGU7kk92JJISjz3TSiZvU/s1600/AMP2_armstrong_bw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKfjhZG5yrpkhSMkaZx44FwWyfjkkiOot3NCeTsTYFlnzs38r-XYIEJDX5fEFLE2oqAZh8En-25bFWbRTzN3e8dqt9pPlQEHUk80O_VZ-Py0WCd2H9BD693mQGU7kk92JJISjz3TSiZvU/s640/AMP2_armstrong_bw.jpg" width="426" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;"><br /></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;">“Serving
as cochair of PEN America’s Translation Committee, there is a whole new level
of promotion and advocacy for translators.<span style="mso-spacerun: yes;">
</span>It’s been tremendously helpful for me to emerge from working in solitude
at home to engaging with other translators about the issues that are important
to us—in recent years, my circle has really been blown wide open, and it’s very
exciting and gratifying.”</span><o:p></o:p></span></i></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><br /></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Allison
Markin Powell</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> is an American literary translator. She speaks English,
Japanese, and French. She decided to answer our questions in English.</span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">How did you start translating literature?
What are “your” authors and languages?</span></i></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Well, the first books I was hired to translate—here I
should mention that I translate from Japanese to English—were manga (graphic
novels), which as a freelance translator was a great gig since it was an
ongoing series.<span style="mso-spacerun: yes;"> </span>But I was always
interested in translating literature, and had worked on a story by Yasuko
Harada as part of my master’s thesis.<span style="mso-spacerun: yes;">
</span>“My” authors (although I do share them) are <b style="mso-bidi-font-weight: normal;">Hiromi Kawakami</b>, <b style="mso-bidi-font-weight: normal;">Fuminori
Nakamura</b>, and most recently (and the one I’m not sharing yet), <b style="mso-bidi-font-weight: normal;">Kanako Nishi</b>.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">What do you like /dislike about your job as
a literary translator?</span></i></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I work full time as a freelance translator,
translating all sorts of books—novels and stories, essays, biography, art and
architecture, crafts, illustrated books, and so on.<span style="mso-spacerun: yes;"> </span>I feel very lucky because this is exactly the
job I want to have, so I don’t have much to complain about (not the work
itself, at least).<span style="mso-spacerun: yes;"> </span>And what I love about
literary translation is that it feels like the perfect channel for my
creativity—I get to use my language and writing skills to produce something new
yet there is already something to work with—I am never faced with “the tyranny
of the blank page.”<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What I don’t love is the way we still must fight for
intangible things like respect and credit for our work, as well as very
tangible things like reasonable pay for our work, royalties, copyright, among
other things.<span style="mso-spacerun: yes;"> </span>At least now that I’m
serving as cochair PEN America’s Translation Committee, it gives me a platform
to discuss these issues with other translators, and to engage with editors and
publishers as well.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">What is the most enriching experience you
have had?</span></i></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">There aren’t a lot of channels available to Japanese
authors for their work to appear in translation.<span style="mso-spacerun: yes;"> </span>I have worked in publishing for many years,
and through the network of editors, agents, and publishers whom I’ve gotten to
know, I do my best to promote authors and to foster relationships between Japan
and America (and lately the U.K. as well).<span style="mso-spacerun: yes;">
</span>Publishing a book in translation can be like catching lightning in a
bottle—there are so many things that need to fall into place at just the right
moment.<span style="mso-spacerun: yes;"> </span>So even when the work is not my
own translation, I can still feel that I have contributed to making a book or a
story available to more readers.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">And again, serving as cochair of PEN America’s Translation
Committee, there is a whole new level of promotion and advocacy for
translators.<span style="mso-spacerun: yes;"> </span>It’s been tremendously
helpful for me to emerge from working in solitude at home to engaging with
other translators about the issues that are important to us—in recent years, my
circle has really been blown wide open, and it’s very exciting and gratifying.<o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Translation is such an intimate level of reading—just
the process alone can make me feel close to an author.<span style="mso-spacerun: yes;"> </span>But I suppose what has made me feel the
closest is when I have internalized an author’s words to the extent that,
whenever I experience what the author is describing in my own life, I think of
the passage that I translated.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you found most difficult to translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Two things come to mind, both from the same writer,
Hiromi Kawakami.<span style="mso-spacerun: yes;"> </span>She often describes
food in her books, and it can be very challenging to translate the names of
dishes or the ingredients without too much digression, and while still making them
sound as delicious as in the original.<span style="mso-spacerun: yes;">
</span>The other thing is verbal tics.<span style="mso-spacerun: yes;">
</span>In a novel that I recently translated, two of the characters had very
distinct mannerisms in the way that they spoke that were very challenging to
bring into English.<span style="mso-spacerun: yes;"> </span>I had to be quite
inventive!<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you enjoyed most translating?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">This sounds like a trick question, like which is your
favorite child.<span style="mso-spacerun: yes;"> </span>I suppose one of my
favorite things is the novella <i style="mso-bidi-font-style: normal;">Schoolgirl</i>
by <b style="mso-bidi-font-weight: normal;">Osamu Dazai</b>.<span style="mso-spacerun: yes;"> </span>Dazai is a beloved figure in Japanese
literature, and it was a privilege to have the opportunity to translate a well
known work that was not really available in English.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Which author would you love to translate? <o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I often feel like it’s the next author I’m going to
translate, you know?<span style="mso-spacerun: yes;"> </span>Right now I am
preparing a sample from Kanako Nishi’s novel, <i style="mso-bidi-font-style: normal;">Saraba!</i>, which is over 700 pages.<span style="mso-spacerun: yes;">
</span>It’s a masterpiece of contemporary Japanese literature, and I cannot
wait to immerse myself in Nishi’s world and language.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you were not a literary translator, what
would you do? <o:p></o:p></span></span></i></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">This may sound random but in an alternate life, I
think I would like to be a textile designer or a textile design historian.<span style="mso-spacerun: yes;"> </span>I go mad for vintage kimono or Liberty of
London fabric.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Japanese
Literature in English <a href="http://www.japaneseliteratureinenglish.com/"><span style="color: #084de6;">http://www.japaneseliteratureinenglish.com</span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;">Tools for
Translators </span><a href="http://www.pen.org/translation" style="font-size: x-large;"><span style="color: #084de6;">http://www.pen.org/translation</span></a></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Translated
Authors:<o:p></o:p></span></span></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Osamu Dazai, Shizuka Ijuin, Keita Jin, Hiromi
Kawakami, Mayuko Makita, Fuminori Nakamura, Kaho Nakayama, Kanako Nishi,
Motoyuki Shibata</span><o:p></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-89352794097956862632016-04-15T03:17:00.001-07:002016-04-15T03:17:22.802-07:00TEGAN RALEIGH AND HER AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-22CFeIw4xB0ph0muvgJHcB9wWChX-ZLgl1rzBFhHsTDMfQLkdCSk6-9OxLSlQHIHrG6oH8RG3iOH7Ez77qd0qsgmcRZK8rtPkbNUyWJq7KNP_6EA_Ms_TvwQE1hEmHBVaVA_YQutF7M/s1600/Tegan+Seine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-22CFeIw4xB0ph0muvgJHcB9wWChX-ZLgl1rzBFhHsTDMfQLkdCSk6-9OxLSlQHIHrG6oH8RG3iOH7Ez77qd0qsgmcRZK8rtPkbNUyWJq7KNP_6EA_Ms_TvwQE1hEmHBVaVA_YQutF7M/s640/Tegan+Seine.jpg" width="318" /></a></div>
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<span style="font-size: x-large;"><b><i><br /></i></b></span></div>
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<span style="font-size: x-large;"><b><i>"Translating literature is much like wandering the streets in Paris. Most of the time I just keep a regular pace. Every so often I get drawn into something that is especially beautiful or unusual and that can become emblematic of the moment and the place.</i></b></span></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<span style="font-size: x-large;"><b><i>When I met Assia Djebar it became clear to me how much I had internalized her voice over the course of spending so many days and nights with her stories. It was really the voice, both on the page and off, that made me feel so close to her, as well as her faith in me." </i></b></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Tegan
Raleigh</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> is a literary translator from the United States. She
speaks English, French, and German, and has also studied Modern Standard Arabic
in the United States, Morocco, and France. She decided to answer our questions
in English.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">How did you start translating literature?
What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Baudelaire was my gateway author. I was about nineteen
and wanted to share some of my favorite prose poems with a friend, and I liked
the idea of creating my own versions of them. I even supplemented them with
illustrations. Soon after this initial experiment in translation, I spent a
year in France as an exchange student and one afternoon at a restaurant I
struck up a conversation with a translator from Algeria. She invited me and my
friend for tea and <i style="mso-bidi-font-style: normal;">makroutes</i>. As she
described her job to us, I imagined her swashbuckling her way through the tangles
of different languages with her pen. Because the first literary translator I
ever met was Algerian, it makes sense to me that I’ve gravitated especially
towards Francophone authors from North Africa. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What do you like /dislike about your job as
a literary translator?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I often have an instantaneous connection with other
literary translators, a breed that often delights in the absurdities of
language and appreciates literature in a way that is both scholarly and
creative. This is one of my favorite elements of the profession, apart from the
work itself. Everyone has their metaphors for translation. I’ve been living in
Paris for just over a year and a half, and my current working metaphor is that translating
literature is much like wandering the streets here. Most of the time I just
keep a regular pace. Every so often I get drawn into something that is especially
beautiful or unusual and that can become emblematic of the moment and the place.
This is how I approach the texts I translate, each one its own ever-changing
neighborhood.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I believe most translators from the United States have
reason to complain that the reading public for works in translation is rather
minimal, though I think that this state of affairs is changing, for the better.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What is the most enriching experience you
have had?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">The most enriching experience that I’ve had as a
translator was when I realized that you really just have to be bold. Initially,
I would cling to the wording of the originals while at other times I was too
quick to smooth over idioms that would come out awkward in English. There’s
usually a middle road, a way to convey the specificity of a description or an
idiom without completely alienating your reader, but the solution is rarely an
obvious one.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">It took me around eighteen months to translate <b style="mso-bidi-font-weight: normal;">Assia Djebar</b>’s <i style="mso-bidi-font-style: normal;">Oran, langue morte</i>, which began as my MFA thesis.<span style="mso-spacerun: yes;"> </span>I had finished approximately the first half
when I went to an American Literary Translators Conference at which she was the
plenary speaker. It was in Las Vegas. Early in the morning, I saw her sitting
alone in the hotel lobby. I hovered in the hallway with a dear friend and
fellow translator who gave me a gentle shove forward. I stumbled into the lobby
and had no other choice but to introduce myself. She was so thoughtful and kind
and as we spoke it became clear to me how much I had internalized her voice over
the course of spending so many days and nights with her stories. It was really
the voice, both on the page and off, that made me feel so close to her, as well
as her faith in me.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you found most difficult to
translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">There are two very different books that are always negotiating
for space on my desk: <b style="mso-bidi-font-weight: normal;">Kateb Yacine</b>’s
<i style="mso-bidi-font-style: normal;">Le Polygone étoilé </i>and <b style="mso-bidi-font-weight: normal;">Jacques Jouet</b>’s <i style="mso-bidi-font-style: normal;">Poèmes de métro</i>. I’m currently a lecturer at the Université de
Paris-8 and am writing a dissertation in Comparative Literature, so I don’t have
the time to fully dedicate myself to these demanding and complex texts. I hope
to translate them eventually so I can understand them from the inside out. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Which author would you love to translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">One day, perhaps I’ll have the time for these books by
Kateb and Jouet. I’d also love to translate Ben Jelloun’s <i style="mso-bidi-font-style: normal;">Mes Contes de Perrault</i>, as my dissertation is about rewritings of
fairy tales and this would implicate me in the very process that is the subject
of my research.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have
you enjoyed most translating?<o:p></o:p></span></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">One of my current projects is a translation of <i style="mso-bidi-font-style: normal;">La Fille du Métro</i> by <b style="mso-bidi-font-weight: normal;">Leïla Sebbar</b>, which is primarily a
monologue – a rant, even. I’ve enjoyed inhabiting the character of the narrator,
playing her American double, with an awareness that her anguish is culturally
specific but also universally relatable. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you were not a literary translator, what would you do?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">In another life, perhaps I would have been a
photographer. Maybe an herbalist. Or a fire lookout somewhere in Oregon. As a
translator, I’ve taken on so many different characters. Everything from a
teenage junky in Paris to a girl in rural Vietnam who swaps stolen papayas for
reading lessons. It’s like being an actor, except I get to stay in my slippers.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Translated authors (published)</span></i></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Assia Djebar, Gauz, Matthias Göritz, Leïla Sebbar</span><o:p></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-46937877264769706322016-04-07T03:08:00.004-07:002016-04-07T03:08:54.399-07:00LIONEL DAVOUST AND HIS AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjec__D9OhVxudcS4BF2FPXgRNBdR3Ls6nqBufmWIpoofleDeLdMAq4_CQRFT4L2J-Gy5glmXvGK9eBUKPPu7-4t6QkGhUWfu6x9x2y3LE49xr1AtP4aEEtLBjz8FkfdyDbA2IEBwSAMlQ/s1600/ld_2013_by_melaniefazi_MED.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjec__D9OhVxudcS4BF2FPXgRNBdR3Ls6nqBufmWIpoofleDeLdMAq4_CQRFT4L2J-Gy5glmXvGK9eBUKPPu7-4t6QkGhUWfu6x9x2y3LE49xr1AtP4aEEtLBjz8FkfdyDbA2IEBwSAMlQ/s640/ld_2013_by_melaniefazi_MED.jpg" width="596" /></a></div>
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<b><i>Photo Mélanie Fazi</i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;"><b><i>“Writing (and translating) are lonely activities. We
write, pretending we do it solely for ourselves, apparently not caring if it
reaches or speaks to anyone, but in truth (or at least it is my case), we also
write to bond with other humans, to ask of the void: “is there someone out
there who shares the same fears, the same anger, the same wonder about the
world, about life?”</i></b></span><b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><br /></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Lionel
Davoust</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> is a French literary translator. He speaks French,
English, understands Spanish and has some basic smatterings of Japanese. He
decided to answer our questions in English.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">How did you start translating literature?
What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I have a somewhat strange background, but I guess that
is the norm in literature! I was originally a marine biologist, concerned with
dolphins and whales, but I had always been passionate about science fiction,
fantasy, gaming. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">My very first contact with a somewhat serious attempt
at translation was in my teenage years, when the <i style="mso-bidi-font-style: normal;">Amber</i> roleplaying game (based on Roger Zelazny’s novels) came out
in English. I absolutely loved that series (still do) and I really wanted to
play the RPG with my French friends, so I undertook an amateur translation
during the holidays. I never actually finished, although I made good progress
(it was partly playable), and it introduced me to the unique questions
translation poses. I was intrigued.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">When I got my degree, and had to decide what to do
with my life, I dearly wanted to try and give some life to all the stories I
had been thinking about for years (even though I love ocean research as well) –
that is, to write my own books. Trying to make a living out of that is
perilous, to say the least, but I did not mind – I wanted to learn as much as
possible about the world of literature and view it from every angle. I tried my
hand at translation under the benevolent guidance of translator <i style="mso-bidi-font-style: normal;">extraordinaire</i> <b style="mso-bidi-font-weight: normal;">Jean-Daniel Brèque</b>, in the <i style="mso-bidi-font-style: normal;">Galaxies
</i>magazine, then responsible for selecting the stories to translate from
English. He thought I did a decent job, enough to teach me further and make me
a regular – and I deeply thank him for that. Through the years, I earned the
trust of publishers, like we all do when we start a career. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I work solely from English to French. I strongly
believe that, barring a truly bilingual upbringing, you have a mother tongue
that you know better than all others and you should translate to that one. So that
is what I do. As for authors, I have been fortunate to contribute to the <i style="mso-bidi-font-style: normal;">Discworld</i> series through the sub-series <i style="mso-bidi-font-style: normal;">Science of Discworld </i>– I dealt with the
scientific chapters while <b style="mso-bidi-font-weight: normal;">Patrick Couton</b>,
<b style="mso-bidi-font-weight: normal;">Terry Pratchett’s</b> regular translator,
dealt with the purely discal parts. Among many other things, I also worked on
the Farrland quarter by <b style="mso-bidi-font-weight: normal;">Sean Russell</b>,
and just started on the <i style="mso-bidi-font-style: normal;">Magic Ex Libris</i>
series by <b style="mso-bidi-font-weight: normal;">Jim C. Hines</b>. I have
translated short stories by <b style="mso-bidi-font-weight: normal;">Kristin
Kathryn Rusch, Brian Stableford, Kelly Link, Elizabeth Haydon, Robin Hobb</b>…
and many, many by <b style="mso-bidi-font-weight: normal;">Bruce Holland Rogers</b>,
whom I think is a wonderfully inventive and clever writer. I also teach some
university classes in translation as a guest lecturer. I have not translated
full-time for several years now, because I write a lot more now and do some
work in the independent video game industry as a composer and sound designer,
but I still do a book a year. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What do you like /dislike about your job as
a literary translator?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I absolutely love that translating is the deepest
level of reading there is. Even a writer does not dive that deeply into his own
work. Breaking down the mechanics of story, of style, to analyze your feeling
and then reconstructing those in another language almost seems like an exercice
in teleportation between languages – a teleportation of meaning…! The craft is
fascinating. I also love that you learn new things all the time – you never
know when you might have to do some precise research on a small fact and
discover treasures of knowledge and inspiration in the process. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What I dislike is when a book lacks precision in its
writing – when it commits micro-mistakes such a slightly fuzzy details or a
slippery point of view. That is nothing that a regular reader will notice but
these are landmines to the translator because, if you are not extremely
careful, these little imperfections can get magnified through translation and,
from imprecision, blow up to full-size blunders. Treacherous writing like this
is difficult to translate because you cannot fully trust the original narrative.
You have to second guess everything. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What is the most enriching experience you
have had?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Gosh, there are so many. As I said, you learn so much
in that job, and I love that. Also, meeting in person a writer whose works you
have translated, sometimes for years, is a very moving experience. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">But I would say the most enriching and humbling
experience at the same time was working on the scientific parts of the <i style="mso-bidi-font-style: normal;">Science of Discworld</i> sub-series. The
books do not speak only of science, but reach to the workings of the human
mind, of religion, of reason as a tool to navigate the world. In those times
where backwards notions mean to battle individual freedoms, intelligence as a
whole and human rights, I am deeply happy and honored to have contributed to bringing
to my language books that promote reason and constructive thought as a general mental
framework. And they’re fun!<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">That usually happens when I encounter some work that,
even though it is told in a voice or form that I would never have used or
thought of, I find sentences and wordings close to some of mine, ideas that deeply
resonate with how I function or think. That is truly amazing because, as you
know, writing (and translating) are lonely activities. We write, pretending we
do it solely for ourselves, apparently not caring if it reaches or speaks to
anyone, but in truth (or at least it is my case), we also write to bond with
other humans, to ask of the void: “is there someone out there who shares the
same fears, the same anger, the same wonder about the world, about life?” When
you find that – and you then have the luck to be the person bringing those
ideas to your language – that’s wonderfully seredenpitous and humbling at the
same time. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have
you found most difficult to translate?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Queen
City Jazz</span></i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">, by <b style="mso-bidi-font-weight: normal;">Kathleen
Ann Goonan</b>, a very profound book set on a post-apocalyptic Earth after
nanotechnology overwhelmed human society and a pulsar jammed all radio
transmissions. It is packed full of references to the American culture and
especially jazz, something that is near impossible to convey to a French audience
that, on average, does not have that kind of background. It was a very
difficult challenge. I agonized for months about how best to bring that flavor
to the French readership and how to balance the fluidity of reading with the
cultural references – mulling for a very long time over how much I would be
accepting to lose in the translation so as to avoid disrupting the narrative
with constant notes. I still had to make a few. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you enjoyed most translating?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Ah, there are different kinds of enjoyment. There is
the pleasure of finding the exact cultural reference you need and conveying it
as best as you can. There is the joy of translating humorous stories and
finding matching jokes that secretly make you laugh. Currently, I am having a
total blast on Jim C. Hines’ <i style="mso-bidi-font-style: normal;">Magic Ex
Libris</i> series. It’s witty, packed with action, smart, and it is a genuine
love letter to literature, reading and SF&F. The voice is incisive (which
means I get to be too!), I trace all the geeky references back to movie quotes
and books to find the matches, and I have a lot of fun with the dialogue.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Which author would you love to translate?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">As I said, I am a huge Roger Zelazny and <i style="mso-bidi-font-style: normal;">Amber</i> fan. I would love to build one day
a definite <i style="mso-bidi-font-style: normal;">Amber</i> French edition, translating
the short stories that have never been published in France and homogenizing the
existing translations that have been done by different people. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you were not a literary translator, what would you do?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Well, I am cheating on that one, because I already do lots
of other stuff: mostly writing my own books, composing music for video games
(under the alias “Wildphinn”). I am quite happy with that balance. But if I had
not taken the literary road, I guess I would have stayed on the scientific path…
Maybe I’d be gallivanting around the oceans like some modern-day Cousteau? That
was my dream as a kid – that, but also I dreamt of writing SF&F. So, I am
very happy with where I am. Writing is the father of all crafts. I still
occasionally volunteer on scientific expeditions. I can go in any direction I
wish to explore… provided I have a publisher interested in what I have to say,
of course!<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Full translation
bibliography: please see the following pages under the heading “Traducteur”<o:p></o:p></span></span></b></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-13277794063779868592016-03-31T03:06:00.003-07:002016-03-31T03:06:39.634-07:00ANNE-SYLVIE HOMASSEL AND HER AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXhUq5z7goKbRGZbI7u2v8WKsJJYkApzA_2vjIpO2OAfv2UJrlRVj2QBToO51cMLwpH89080_mbDH80aUhtd80ozd8hs0VzHu7WSwQjZULB68BbS01E3w3ZrRwLHb-2Gc0qFTnxZaVvvQ/s1600/IMG_9463.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXhUq5z7goKbRGZbI7u2v8WKsJJYkApzA_2vjIpO2OAfv2UJrlRVj2QBToO51cMLwpH89080_mbDH80aUhtd80ozd8hs0VzHu7WSwQjZULB68BbS01E3w3ZrRwLHb-2Gc0qFTnxZaVvvQ/s640/IMG_9463.JPG" width="480" /></a></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;"><b><i><br /></i></b></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;"><b><i>"This I love: being possessed by a
snaky string of words, processing them and spouting them out in another
language."</i></b></span><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Anne-Sylvie Homassel</span></b><span lang="EN-US" style="mso-ansi-language: EN-US;"> is a literary translator, English to French. In addition, she is
currently learning Japanese. She decided to answer <a href="" name="GoBack"></a>our
questions in English.<o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">How did you start translating
literature? What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">In my early twenties, I found myself
trapped in an academic curriculum--philosophy, an obvious cul-de-sac for all
concerned, except myself. I should have studied English, really. Eventually I
saw the light and decided to put an end to my academical misery by translating
an essay by <b style="mso-bidi-font-weight: normal;">George Berkeley</b>, <i style="mso-bidi-font-style: normal;">The Querist</i>. This was my parting shot at
university (the French philosophy professors, I felt, despising these two
things, English philosophy and translating in lieu of writing a proper
dissertation). And then I met with Xavier Legrand-Ferronnière, who at the time
was editing a fanzine specialized in ghost stories and weird literature. I was
an avid reader of Wilkie Collins and other Victorians. The gap was not too wide
between these and the authors Xavier publishes and I started translating short
stories for <i style="mso-bidi-font-style: normal;">Le Visage vert</i>, the
quarterly Xavier created in 1995. <i style="mso-bidi-font-style: normal;">Le
Visage vert</i> provided me with quite a few wonderful encounters, such as <b style="mso-bidi-font-weight: normal;">Max Beerbohm, Mary Shelley, Lord Dunsany,
Rhoda Broughton, Arthur Machen, Ernest Bramah, M. P. Shiel, Ethel Mannin</b>
among others. These are not <i style="mso-bidi-font-style: normal;">my</i>
authors though--a relation you could hardly expect from writers of the past,
who most of the time have been already, if too rarely, translated. But I
certainly have a soft spot for them all. And beside <i style="mso-bidi-font-style: normal;">Le Visage vert</i>, I have now a full-fledged activity as a free-lance
literary translator, which includes personal projects (for instance, <i style="mso-bidi-font-style: normal;">Chants du cauchemar et de la nuit</i>, by <b style="mso-bidi-font-weight: normal;">Thomas Ligotti</b>, <i style="mso-bidi-font-style: normal;">La Bombe</i>, by <b style="mso-bidi-font-weight: normal;">Frank Harris</b>
and <i style="mso-bidi-font-style: normal;">Insectes</i>, by <b style="mso-bidi-font-weight: normal;">Lafcadio Hearn</b>) and commissions from publishers (among others,
these two wonderful novels by <b style="mso-bidi-font-weight: normal;">Iain (M)
Banks</b>, <i style="mso-bidi-font-style: normal;">Efroyabl Ange1</i> and <i style="mso-bidi-font-style: normal;">Un chant de pierre</i>). In between is Henry
Darger, whose colossal work I started to explore with the support of the French
publishing house Aux forges de Vulcain.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>In addition, I have been dragged --joyfully--
into an other small press venture and am translating poetry and short stories
for <i style="mso-bidi-font-style: normal;">The Black Herald</i>, a bilingual
venture created in 2010 by Blandine Longre and Paul Stubbs. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What do you like /dislike about your
job as a literary translator?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Obviously there’s the thrill of
transferring--or is it transposing?-- meanings and rhythms from one language to
another. There is always a moment in the translating process when I get, erm,
sort of high with the sheer physical excitement of producing a text. Most of
the time, I have to speak it loud. I’m at the keyboard, the book on one side
and the text on the screen and I do chant. This I love: being possessed by a
snaky string of words, processing them and spouting them out in another
language. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What is the most enriching
experience you have had?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Translating <b style="mso-bidi-font-weight: normal;">Max Beerbohm</b>’s <i style="mso-bidi-font-style: normal;">Seven Men</i>
(<i style="mso-bidi-font-style: normal;">Sept personnages</i>) was a blessing and
it came very early in my life as a translator. Then I had an other of those
epiphanic moments with Iain M Banks’ <i style="mso-bidi-font-style: normal;">Feersum
Endjinn</i> (<i style="mso-bidi-font-style: normal;">Efroyabl Ange1</i>) and with
<b style="mso-bidi-font-weight: normal;">W. S. Graham</b>’s poetry, which I
translated with Blandine Longre (<i style="mso-bidi-font-style: normal;">The Dark
Dialogues</i> / <i style="mso-bidi-font-style: normal;">Les Dialogues obscurs</i>).
Each of these writers was providing me with a perfect structure, so close-knit,
so achingly harmonious I really had to get into my best trance to get the
point. These processes have also nurtured my own processes as a writer. You
cannot get so intimately into contact with this kind of writing without being
affected by it. It certainly making you far more self-critical of your own
production.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What made you feel closest to an
author?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"> Her or his own closeness to
words, if that means anything. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What have you found most difficult
to translate?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"> Erm--badly edited YA
literature. But that happened only once. And YA can be great fun.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What have you enjoyed most
translating?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Besides Beerbohm, Banks and Graham,
Mary Shelley, <b style="mso-bidi-font-weight: normal;">Vanessa Veselka</b> whose
first novel, <i style="mso-bidi-font-style: normal;">Zazen</i>, I was lucky to
translate. And <b style="mso-bidi-font-weight: normal;">Lord Dunsany</b> (but I’d
like to be able to amend my translations, which I think might not be exactly
what Dunsany deserves). And <b style="mso-bidi-font-weight: normal;">Lafcadio
Hearn</b>, who is my current infatuation, if I may say so.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">On a slightly different plan, may I
add that I greatly enjoy translating essays? That might be the legacy of <i style="mso-bidi-font-style: normal;">The Querist</i>. <i style="mso-bidi-font-style: normal;">Pour la santé de la terre</i>, <b style="mso-bidi-font-weight: normal;">Aldo
Leopold</b>’s collection of essays for José Corti was a pleasure to assemble
and translate. A well-written essay, such as <b style="mso-bidi-font-weight: normal;">Harvey Sachs</b>’s <i style="mso-bidi-font-style: normal;">Reflexions on
Toscanini </i>(<i style="mso-bidi-font-style: normal;">Réflexions sur Toscanini</i>),
will provide the translator with an other sort of excitement. One is becoming
more clever. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Which author would you love to
translate?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">I have quite a few projects in my
drawers. For instance, Siegfried Sassoon’s <i style="mso-bidi-font-style: normal;">War
Diaries</i>. But when I’m old, I for sure will translate for my own pleasure
Brontë’s <i style="mso-bidi-font-style: normal;">Wuthering Heights</i> and Hogg’s
<i style="mso-bidi-font-style: normal;">Confessions of a Justified Sinner</i>. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">If you were not a literary
translator, what would you do?<o:p></o:p></span></span></i></b></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">I would tend a tiny bar in Golden
Gai. <o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-size: large;"><i><br /></i></span></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><i>Translated novels, essays and collections by</i>:<o:p></o:p></span></span></div>
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<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">Fritz Leiber, Max Beerbohm, Lord Dunsany,
Arthur Conan Doyle, Arthur Machen, W. Wilkie Collins, Ernest Bramah, Thorne
Smith, Sax Rohmer, Jean Collier, Kris Saknussemm, Robert Freeman Wexler, Jim
Shepard, Mark Twain, Kate Morton, Tod Robbins, Anne de Jong, Mark Walden,
Frederick Treves, Jenn Ashworth, Willa Cather, Jamie James, Linwood Barclay, L.
Frank Baum, Vanessa Veselka, Iain (M) Banks, Lisa Ballantyne, Cate Tiernan,
Michael Arlen, Herman Melville, W. S. Graham, Robert Crais, Jack London,
Gillian Weiss, Henry Darger, Catherine Jinks, Klara Kiss, Aldo Leopold, Dexter
Palmer, Thomas Ligotti, Harvey Sachs, Hector Tobar, Frank Harris, Donald
Richie, Lafcadio Hearn, Stephen Kiernan. Currently working on a novel by John
Freeman Gill.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;"><i>Stories and poetry by:</i><o:p></o:p></span></span></div>
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<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">Mary Shelley, H. G. Wells, Bram Stoker, M.
P. Shiel, Roger Dobson, H. Rider Haggard, Oliver Onions, Edward Heron-Allen,
Rhoda Broughton, A.N.L. Munby, William Charlton, Stephen Leacock, Bret Harte,
E. F. Benson, R. A. Cram, John Buchan, Jessica Amanda Salmonson, Howard Pyle,
H. V. Chao, William Page, Valeria Melchioretto, Mark Wilson, Andrew Fentham,
Alistair Noon, Sadie Hoagland, Allan Graubard, Steve Ely, Desmond Kon, Alistair
Ian Blyth, David Spittle, Olive Moore, Divya Victor. Currently working on a
short story by Livia Llewellyn (wip). <o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-77500319915096095412016-03-24T00:56:00.002-07:002016-03-24T00:56:59.817-07:00KAN NOZAKI AND HIS AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw9T62K9IUYjid-SYVQKKMR3tbGaKgA8kPd_oQ14nVadxHh9RsUBnYOGWAD36nzBzIPZ16uU-wUZ6xpLQXadPS4kyPrUmK2PHI9eTiPOtdxV4tHsrjm-JUrk4y-R3-6ApKZBEcesy6os4/s1600/2015.4.30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw9T62K9IUYjid-SYVQKKMR3tbGaKgA8kPd_oQ14nVadxHh9RsUBnYOGWAD36nzBzIPZ16uU-wUZ6xpLQXadPS4kyPrUmK2PHI9eTiPOtdxV4tHsrjm-JUrk4y-R3-6ApKZBEcesy6os4/s640/2015.4.30.jpg" width="640" /></a></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;"><i><b><br /></b></i></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;"><i><b>“Translators and authors are considered much the same
in Japan. Therefore, it can happen that after publishing a translation someone
will ask you to write something yourself, which is exactly what happened to me.
Thanks to a translation, I had the opportunity to publish my own books.” </b></i></span><b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><br /></span></b></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">Kan Nozaki</span></b><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> est
traducteur littéraire japonais. Il parle fran</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">ç</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">ais. Il a décidé de répondre à nos questions en fran</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">çais</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Comment avez-vous commencé à traduire la
littérature ? Qui sont « vos auteurs » et quelles sont
« vos » langues ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">Avant de commencer </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">à</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> traduire, j’ai beaucoup lu dans ma jeunesse la litt</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">rature </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">trang</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">è</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">re en traduction japon</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">aise et découvert ainsi l’immense domaine de la <i style="mso-bidi-font-style: normal;">Weltliteratur</i>. C’est donc l</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">a lecture enthousiasmante
de mon adolescence qui m’a donn</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> une
vocation. <span style="mso-spacerun: yes;"> </span>Les </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">crivains et les po</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">è</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">tes fran</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">ç</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">ais
(Baudelaire, Balzac, Stendhal, Rimbaud, Breton, Sartre…) ont jou</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> un r</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">ôle décisif. Désormais,
« mes auteurs » sont français ou francophones et ma langue est le
français (et le japonais, bien évidemment). Permettez-moi d’ajouter qu’en tant
que chercheur universitaire, je suis spécialiste de Gérard de Nerval et le
romantisme.</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Qu’est-ce que vous aimez/n’aimez pas de votre
travail de traducteur littéraire ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> J’aime le sentiment de se d</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">vouer </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">à</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> l’</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">œ</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">uvre que j’adore. L’id</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">e de l’accueillir, de la transplanter dans ma propre langue
me passionne. Ce que je n’aime pas, c’est la correction des </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">preuves, travail p</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">nible et indispensable.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Quelle est
l’expérience la plus enrichissante que vous ayez eue ?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">La traduction elle-même est fort enrichissante, car elle me
permet de d</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">couvrir des
aspects insoup</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">ç</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">onn</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">s du texte que je traduis. En plus elle a </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">t</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> tr</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">è</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">s enrichissante pour ma carri</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">è</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">re : les traducteurs sont consid</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">r</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">s plus ou
moins comme un </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">crivain au
Japon, de sorte qu’apr</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">è</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">s avoir publi</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> une traduction, on peut être sollicit</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> d’</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">crire
soi-même quelque chose, ce qui a </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">t</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> mon cas. La traduction m’a donn</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> la chance de publier mes propres livres.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Qu’est-ce qui vous a fait sentir plus proche
d’un auteur ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">Quand je r</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">ussis –ou
je crois r</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">ussir- </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">à traduire un passage le plus fidèlement possible, alors il m’arrive de me
sentir plus proche de l’auteur.</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Qu’avez-vous trouvé particulièrement difficile
à traduire ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">En principe, traduire l’alphabet en kanji, hiragana et
katakana : bref, traduire en japonais. A chaque tentative je ne peux pas
ne pas me demander, ne serait-ce que passag</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">è</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">rement : « est-ce que c’est possible ?
est-ce que c’est pardonnable ? » <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Qu’avez-vous aimé
le plus traduire?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">Impossible </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">à choisir parmi
tous ces livres, que j’ai eu le plaisir de traduire et auxquels j’ai voué une amitié
éternelle ! </span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Quel auteur
aimeriez-vous traduire?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">Chateaubriand. Camus. Et d’autres romanciers </span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">à venir…</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Si vous n’étiez pas
traducteur littéraire, que feriez-vous?<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica; mso-fareast-language: JA;"><span style="font-size: large;">Enseignant (je le suis,
d’ailleurs).<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Liste d’auteurs
traduits (non exhaustive) :<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">Abb</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> Pr</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">vost, Stendhal, Balzac, Nerval, Saint-Exup</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">ry, Ir</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">è</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">ne N</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";">é</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">mirovsky, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Boris Vian</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Jean Renoir,</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Andr</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: JA;">é</span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;"> Bazin</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Michel Foucauld</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Rolland Barthes</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Philippe Sollers</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Serge Daney</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Herv</span><span lang="FR" style="font-family: "Times New Roman"; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: JA;">é</span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;"> Guibert,</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"> </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Philippe Grimbert</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Jean-Philippe
Toussaint</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Patrick Deville</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Christian Gailly</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;">, </span><span lang="FR" style="mso-ansi-language: FR; mso-fareast-language: JA;">Michel Houellebecq</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-65217976323646147102016-03-17T03:12:00.002-07:002016-03-17T03:12:45.230-07:00JOHN LAMBERT AND LITERARY TRANSLATION<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht2kskCTl4FwUMsahXQwJ3ITHU_ro6FbfKX9hi8r_kWmJhZjIgds-EdzKvzdSg0FTl6iAKp80PRo6opMCpB2TQgyfBMvthSuyCHA8HsfqnDrHbq2rE6LbPs2FcpCJAf2REHusa6niQuC8/s1600/John+and+Le%25CC%2581o+Lambert.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht2kskCTl4FwUMsahXQwJ3ITHU_ro6FbfKX9hi8r_kWmJhZjIgds-EdzKvzdSg0FTl6iAKp80PRo6opMCpB2TQgyfBMvthSuyCHA8HsfqnDrHbq2rE6LbPs2FcpCJAf2REHusa6niQuC8/s640/John+and+Le%25CC%2581o+Lambert.jpg" width="640" /></a></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;"><br /></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;">"You
sit down, you create. That’s hugely enjoyable."<o:p></o:p></span></span></i></b></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica;">John Lambert</span></b><span style="mso-bidi-font-family: Helvetica;"> is a Canadian literary translator. He
speaks English, French and German. He decided to answer our questions in English.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">How
did you start translating literature? What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">That was
in 1989, when I was studying in Paris. I walked by a bookstore at the Gare
Saint Lazare and saw a copy of <i style="mso-bidi-font-style: normal;">La salle
de bain </i>(<i style="mso-bidi-font-style: normal;">The Bathroom</i>) by <b style="mso-bidi-font-weight: normal;">Jean-Philipe Toussaint</b>. I like small
books, so I wrote Marion Boyars, the publisher who had bought the rights, and
she asked me to translate Toussaint’s second novel <i style="mso-bidi-font-style: normal;">Monsieur</i>. Aside from Toussaint I’ve translated <i style="mso-bidi-font-style: normal;">Limonov</i> by <b style="mso-bidi-font-weight: normal;">Emmanuel Carrère</b>,
and I’m now working on his <i style="mso-bidi-font-style: normal;">Le Royaume </i>(<i style="mso-bidi-font-style: normal;">The Kingdom</i>).<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
do you like /dislike about your job as a literary translator?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">You sit
down, you create. That’s hugely enjoyable. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
is the most enriching experience you have had?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">My wife
and I have had two children and we’re expecting a third: that’s hard to top.
But as a translator, maybe the times when you feel you’ve really nailed it.
This sentence from Carrère’s <i style="mso-bidi-font-style: normal;">Limonov</i>
comes to mind: “When the director gets out of his Volga and sees you shoveling
in the courtyard, he’s the one who feels vaguely like a douchebag.”<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Working
together, definitely. For example Jean-Philippe Toussaint is Belgian, and the
European College of Literary Translation, headed by Françoise Wuilmart, has
organised several summer sessions with his translators in the Walloon town of
Seneffe. One memorable morning session , for example, Jean-Philippe
demonstrated on the gravel courtyard the culminating action of the story <i style="mso-bidi-font-style: normal;">cap corse</i> (<i style="mso-bidi-font-style: normal;">the best day of my life</i>), in <i style="mso-bidi-font-style: normal;">Autoportrait
(à l’étranger)</i>, translated as <i style="mso-bidi-font-style: normal;">self-portrait
(abroad)</i>. It all climaxes with a “<i style="mso-bidi-font-style: normal;">carreau
sur place</i>”, which is every bit as racy as it sounds. I refer you to page 44
of the original and page 31 of my translation to find out how it’s done. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
have you found most difficult to translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">This
sentence from Toussaint’s <i style="mso-bidi-font-style: normal;">Monsieur</i> definitely
took the most time, several months. In the end I stuck all the possible words
for the the final oxymoron “<i style="mso-bidi-font-style: normal;">mol
acharnement</i>” on my wall and shifted them around until I got it right. I
love the tectonic feel of it, we’re in geological time here: “Yes, Monsieur
displayed in all things a listless drive.”<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What
have you enjoyed most translating?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">In fact
the book I’ve most enjoyed translating is my own first novel <i style="mso-bidi-font-style: normal;">This Season’s Concerts</i>. I’m working on a
French translation with Jean-Philippe Toussaint. That’s highly rewarding, and Toussaint
has this terrific energy and inspiration. Together we took my “absolutely
apeshit” and came up with “<i style="mso-bidi-font-style: normal;">un vrai truc
de malades</i>”, for example. Even better, Toussaint suggested translating my
“damn it” by the French anglicism “<i style="mso-bidi-font-style: normal;">damnèd</i>”.
That’s pretty hard to beat. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Which
author would you love to translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Claude
Cahun wrote some interesting texts. If the opportunity arose I’d certainly look
in that direction.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you were not a literary
translator, what would you do?<o:p></o:p></span></span></i></b></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Well, I like to
hike, maybe a tour guide: a mountain tour guide.<o:p></o:p></span></span></div>
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<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Translated
authors:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Jean-Philippe
Toussaint, Emmanuel Carrère<o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-26616535651565164882016-03-10T03:40:00.000-08:002016-03-10T03:40:34.667-08:00JEAN-PHILIPPE TOUSSAINT ET SES TRADUCTEURS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_nxNpXgvcCJ3EChR0RnXf3d4xK8N4c3P8Lna3oezd0khfy4zoWADxv2y1wkhiBg-AqWxQaQ_gBDMa1CM1qb_XtNpyYqlMX68kAF_ww6XE0umaF7HjpqRXBX4Ce3bdU6pIyvzcD4Q4T5w/s1600/JPT+Roland+Allard+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="542" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_nxNpXgvcCJ3EChR0RnXf3d4xK8N4c3P8Lna3oezd0khfy4zoWADxv2y1wkhiBg-AqWxQaQ_gBDMa1CM1qb_XtNpyYqlMX68kAF_ww6XE0umaF7HjpqRXBX4Ce3bdU6pIyvzcD4Q4T5w/s640/JPT+Roland+Allard+2.jpg" width="640" /></a></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="color: #141413; line-height: 115%;"><br /></span></b></span>
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<span style="font-size: x-large;"><b><i><span style="line-height: 36px;"> "J</span><span style="line-height: 36px; text-align: left;">’ai ouvert quelques fichiers et j’ai retrouvé une photo que j’avais prise à Tokyo en juin dernier :</span></i></b></span></div>
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="color: #141413; line-height: 115%;"></span></b></span><br />
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<span lang="FR" style="font-family: "cambria";"><span style="font-size: x-large;"><b><i>Voilà, c’est ça, des caissons lumineux, ai-je dit (et c’est ça aussi la traduction assistée par ordinateur, ai-je pensé). Tout de même, me suis-je dit, n’est-ce pas curieux de passer ainsi par l’image pour traduire un roman ? Et pour l’écrire ? Mais, dans le fond, ne le fais-je pas constamment, cela, quand j’écris, de m’inspirer de photos pour vérifier des vétilles et cueillir des détails, de me soulever de ma chaise pour mimer le geste que je suis en train de décrire, de le décomposer encore et encore jusqu’à je parvienne à le mettre en mots."</i></b></span></span><br />
<span lang="FR" style="font-family: "cambria";"><span style="font-size: x-large;"><b><i><br /></i></b></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="color: #141413; line-height: 115%;">Jean-Philippe Toussaint</span></b><span lang="FR" style="color: #141413; line-height: 115%;"> est écrivain, cinéaste et photographe. En 1986, il obtient le prix
littéraire de la Vocation pour son premier roman : <i style="mso-bidi-font-style: normal;">La Salle de bain</i>. En 2002, il commence « Le Cycle de Marie»,
intitulé Marie Madeleine Marguerite de Montalte, en quatre volets : <i style="mso-bidi-font-style: normal;">Faire l’amour</i>, en 2002 ; <i style="mso-bidi-font-style: normal;">Fuir</i> en 2005 (Prix Médicis) ; <i style="mso-bidi-font-style: normal;">La Vérité sur Marie</i> en 2009 (Prix
Décembre) ; et le quatrième volet, <i style="mso-bidi-font-style: normal;">Nue</i>,
en 2013. Ses romans sont traduits en plus de vingt langues. Il a réalisé quatre
longs métrages pour le cinéma et a présenté des expositions de photos dans le
monde entier. En 2012, il a présenté au Musée du Louvre à Paris l’exposition
LIVRE/LOUVRE. En septembre 2015, il publie <i style="mso-bidi-font-style: normal;">Football,</i>
aux Éditions de Minuit.</span><span lang="FR" style="line-height: 115%;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="line-height: 115%;"><span style="font-size: large;">Dans quelles langues ont été traduits vos
livres?<o:p></o:p></span></span></i></b></div>
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<span lang="FR" style="line-height: 115%;"><span style="font-size: large;">Dans de très nombreuses langues. Je vous
renvoie à la page de mon </span></span></div>
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<span style="font-size: large; line-height: 115%;">site Internet consacrée à la traduction :</span></div>
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<span style="font-size: large;"><span lang="FR" style="line-height: 115%;"><span style="mso-bidi-font-family: Helvetica;"><a href="http://www.jptoussaint.com/traductions.html">http://www.jptoussaint.com/traductions.html</a></span></span><span lang="FR" style="line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="FR" style="line-height: 115%;"><br /></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Avez-vous
déjà eu l'occasion de rencontrer votre traducteur/votre traductrice, ou de
communiquer avec lui/elle ? <o:p></o:p></span></span></i></b></div>
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<span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Depuis 2000, au <b style="mso-bidi-font-weight: normal;">Collège des traducteurs de Seneffe</b>, il
y a des sessions de travail avec mes traducteurs. On peut trouve sur mon site
des compte-rendus écrits et vidéo de ces rencontres. Il y aura une nouvelle
session l’été prochain, du 25 juilet au 3 août 2016. <o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="FR" style="line-height: 150%;"><a href="http://www.jptoussaint.com/traductions.html"><span style="mso-bidi-font-family: Helvetica;">http://www.jptoussaint.com/traductions.html</span></a></span><span lang="FR" style="line-height: 150%;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Comment se
passent ces rencontres ? <o:p></o:p></span></span></i></b></div>
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<span lang="FR" style="line-height: 150%;"><span style="font-size: large;">C’est,
à chaque fois, une expérience exceptionnelle.</span></span><span lang="FR" style="line-height: 150%;"><span style="font-size: large;"> Je l’évoque
dans un texte qui s’appelle </span><i><span style="font-size: large;">Le jour où
j’ai découvert la traduction assistée par ordinateur (une expérience
technologique) :</span><span style="font-size: 11pt;"><o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: large;"><span lang="FR" style="line-height: 115%;"><o:p> </o:p></span><span style="line-height: 150%;">Je travaillais à Seneffe sous un
grand parasol blanc avec quelques-uns de mes traducteurs, </span><span style="line-height: 150%;">des lunettes de soleil sur le nez et
les pieds nus dans le gravier. Nous étions au calme dans la cour carrée du
Collège des traducteurs de Seneffe, il y avait là </span><b style="line-height: 150%;">John Lambert</b><span style="line-height: 150%;">, </span><b style="line-height: 150%;">Marianne Kaas</b><span style="line-height: 150%;">,
</span><b style="line-height: 150%;">Jovanka Sotolova</b><span style="line-height: 150%;">, </span><b style="line-height: 150%;">Mirko Schmidt</b><span style="line-height: 150%;"> et </span><b style="line-height: 150%;">Yu Zhongxian</b><span style="line-height: 150%;">, il y aurait pu y avoir aussi bien </span><b style="line-height: 150%;">Kan Nozaki</b><span style="line-height: 150%;">, </span><b style="line-height: 150%;">Bernd Schwibs</b><span style="line-height: 150%;">,
</span><b style="line-height: 150%;">Zeng Xiaoyang </b><span style="line-height: 150%;">et </span><b style="line-height: 150%;">Roberto Ferrucci</b><span style="line-height: 150%;"> (je pourrais
d’ailleurs leur dédier ce texte, même s’il est à peine commencé et que je ne sais
pas encore très bien où je veux en venir, mais c’est fait </span><b style="line-height: 150%;">: <i>je
dédie ce texte à mes traducteurs</i></b><span style="line-height: 150%;">, même si l’endroit — en toute fin de
parenthèse — n’est peut-être pas très bien choisi). Bah... Je travaillais ainsi
tranquillement avec mes traducteurs sur mon dernier livre, </span><i style="line-height: 150%;">Faire l’amour</i><span style="line-height: 150%;">, et nous étions en train d’évoquer certaines
difficultés du texte quand Marianne Kaas m’a demandé de préciser ce qu’étaient
des caissons lumineux (dans la phrase « une colonne de lumière qui montait
à la verticale le long de la façade, composée de sept ou huit </span><i style="line-height: 150%;">caissons lumineux</i><span style="line-height: 150%;"> superposés qui annonçaient
la présence de bars à chaque étage du bâtiment »). Yu Zhongxian s’est
soulevé au-dessus la table et a ouvert le guide du Japon que Marianne Kaas avait
acheté spécialement à Amsterdam pour cette traduction (excellente initiative,
de se munir d’une documentation spécialisée dans sa langue pour traduire un
roman qui se passe au Japon), tandis que, sans un mot, je me levais et
regagnais ma chambre. Je suis revenu presque aussitôt, mon petit ordinateur
portable blanc à la main, que je venais de mettre sous tension, et, d’un doigt
souple glissant sur le trackpad, j’ai ouvert quelques fichiers et j’ai retrouvé
une photo que j’avais prise à Tokyo en juin dernier :</span></span></div>
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<span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Voilà, c’est ça, des
caissons lumineux, ai-je dit (et c’est ça aussi la traduction assistée par ordinateur,
ai-je pensé). Tout de même, me suis-je dit, n’est-ce pas curieux de passer
ainsi par l’image pour traduire un
roman ? Et pour l’écrire ? Mais, dans le fond, ne le fais-je pas constamment,
cela, quand j’écris, de m’inspirer de
photos pour vérifier des vétilles et cueillir des détails, de me soulever de ma
chaise pour mimer le geste que je suis en train de décrire, de le décomposer encore et encore jusqu’à
je parvienne à le mettre en mots. Déjà, il y a quelques années, dans cette même
paisible cour du Collège des traducteurs de Seneffe, non content de m’aider de
l’image (le dessin, l’esquisse ou la photo), j’avais eu recours au geste — que
dis-je, au mime, à la pantomime —, pour préciser quelque épisode ardu
d’une partie de boules. A la demande d’un de mes traducteurs qui me demandait
quelques éclaircissements sur le mouvement exact du narrateur à certain moment
crucial de la partie de
pétanque, je m’étais levé dans le gravier et j’avais commencé à mimer un
passage particulièrement osé (non pas en termes <i>stricto-sensu </i>sexuels d’ailleurs, mais qui, en guise de
contorsions, n’avait sans doute rien à envier à <i>Faire l’amour</i>). Jugez vous-même<i>.
Fixant une dernière fois la donnée, légèrement à gauche de l’axe naturel de la
pente, refaisant une ultime fois mentalement tout le parcours de la boule, je
finissais par me soulever presque au ralenti dans le rond, et, dans le même
mouvement synchrone, enveloppant, j’élevais le bras et lâchais la boule en lui
donnant un ultime petit effet rotatif du poignet</i>. Voilà ce que j’étais en
train de mimer à mes traducteurs, qui me regardaient pensivement autour de la
table en prenant des notes (qu’est-ce qu’il ne faut pas faire pour la
traduction). </span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
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<b><i><span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Ressentez-vous
quelque appréhension à confier votre oeuvre à un traducteur/une traductrice, ou
bien lui faites vous totalement confiance ? <o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Non, je fais
confiance aux traducteurs. Ce qui m’importe, c’est que les traducteurs fassent leur
travail avec précision et passion.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b><i><span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Avez-vous
déjà assisté à des lectures de vos textes dans une langue qui vous est
étrangère ? Qu'avez-vous ressenti ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Oui, cela m’est souvent
arrivé. Ce qui peut éventuellement me perturber, c’est que mes textes soient
lus par quelqu’un d’autre, par un acteur ou une actrice, pas qu’ils soient lus
dans une langue étrangère.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b><i><span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Pensez-vous pouvoir juger de la qualité d'une
traduction ?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
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<span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Non. Je ne porte pas de jugement sur la langue
d’arrivée. Ma contribution se borne à expliquer ce que j’ai voulu dire en
français. <o:p></o:p></span></span></div>
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<b><i><span lang="FR" style="line-height: 150%;"><span style="font-size: large;">Dans quelle langue préféreriez-vous que vos
livres soient traduits ? Pourquoi ?<o:p></o:p></span></span></i></b></div>
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<span lang="FR" style="line-height: 150%;"><span style="font-size: large;">C’est une grande chance, et une grande fierté,
que tous mes livres soient traduits au Japon et en Chine, et non seulement
traduits, mais également étudiés et appréciés :
<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="FR" style="line-height: 150%;"><a href="http://www.jptoussaint.com/japon.html">http://www.jptoussaint.com/japon.html</a></span><span lang="FR" style="line-height: 150%;"><o:p></o:p></span></span></div>
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<span lang="FR" style="line-height: 150%;"><a href="http://www.jptoussaint.com/chine.html"><span style="font-size: large;">http://www.jptoussaint.com/chine.html</span></a></span><span lang="FR" style="font-size: 11.0pt; line-height: 150%; mso-ansi-language: FR; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-70009447334798773732016-03-03T02:55:00.002-08:002016-03-03T02:55:41.163-08:00LAURA SGARIOTO AND HER AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXtPZMpudFp6dBgM89yzgkHtYT4-ys47hFs_-KTXRbmY-5LLPGZ61QA71qMPSQHKHBh8r9fgVKLZaj7peiUC4JX3eCuc2v_gWx3In5CjJhO9QleX46WDCm2d7GyYpN6D9a1m4F5tv98QM/s1600/Szentendre+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXtPZMpudFp6dBgM89yzgkHtYT4-ys47hFs_-KTXRbmY-5LLPGZ61QA71qMPSQHKHBh8r9fgVKLZaj7peiUC4JX3eCuc2v_gWx3In5CjJhO9QleX46WDCm2d7GyYpN6D9a1m4F5tv98QM/s640/Szentendre+1.jpg" width="490" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: x-large;"><br /></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: x-large;">“I always feel a very strong affinity with writers
showing a brutally honest and genuinely ironic stance toward life, authors who
dare call things by their right name and never take anything too seriously.<o:p></o:p></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: x-large;">I hate pretentious and insincere prose, that is my
worst nightmare. When the original is hopelessly awkward and you cannot afford
the luxury of being faithful to it, because eventually the fault of that mess
will be yours.”</span></span></i></b><span lang="EN-GB" style="font-family: "Book Antiqua"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Book Antiqua";"><o:p></o:p></span></div>
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<span style="color: #333333; font-family: Book Antiqua; font-size: large;"><b>Laura Sgarioto</b> is an Italian literary translator. She speaks Hungarian, English and French. She decided to answer our questions in English.</span></div>
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<span style="color: #333333; font-family: Book Antiqua; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';">How did you start translating
literature? What are “your” authors and languages?</span></i></b><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: 'Book Antiqua';"><o:p></o:p></span></i></span></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;"><br />
Everything started quite by chance in the late summer of 1999, in the staircase
of a building in the 5<sup>th</sup> district of Budapest. I was helping a
friend moving from the flat she had rent during her university years. While I
was carrying down a box, the landlord, a teacher at the University of Szeged,
realized I could speak Hungarian and asked me whether I would fancy translating
an esoteric fantasy novel for a friend of his, a small Italian publisher. I
accepted and then, after getting in contact with the publisher and having
signed my first contract, I spent the following six months of my life working
on <i>A vörös oroszlán</i> (Il leone rosso, Tre Editore; in English: The Red
Lion, translated by László Vermes, edited by Ardi Lawrence) by <b style="mso-bidi-font-weight: normal;">Mária Szepes</b>, four hundred pages about
alchemy and the elixir of eternal life, one of the most popular bestsellers in
Hungary. It was a pleasant and exciting first experience, but I consider my
second assignment as my real debut as a literary translator, on one hand
because it came from Adelphi and it was a novel by <b style="mso-bidi-font-weight: normal;">Sándor Márai</b>, on the other hand because it meant the beginning of a
fruitful and enjoyable collaboration that lasts till today.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;">My authors, besides the already mentioned Márai, are
20<sup>th</sup> century prose writers as <b style="mso-bidi-font-weight: normal;">Ferenc
Karinthy</b>, <b style="mso-bidi-font-weight: normal;">Margit Kaffka</b>, <b style="mso-bidi-font-weight: normal;">Péter Nádas</b>, but I also had the chance
of translating works created in our century by <b style="mso-bidi-font-weight: normal;">Zsuzsa Rakovszky</b>, <b style="mso-bidi-font-weight: normal;">Noémi
Szécsi</b> and <b style="mso-bidi-font-weight: normal;">Vilmos Kondor</b>. <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;">Besides Hungarian, I speak English and French, but I
have never thought of working in these languages. Well, to tell the truth, when
I was 25 and my level of Hungarian was still quite elementary, I did translate something
from English for an Italian review called “Lapis”: <b style="mso-bidi-font-weight: normal;">Toni Morrison</b>'s Nobel Prize acceptance speech, a very limpid and
powerful text.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';"><span style="font-size: large;">What do you like /dislike about your job
as a literary translator?<o:p></o:p></span></span></i></b></div>
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<br /></div>
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<span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';"><span style="font-size: large;">I must admit that I really enjoy my job
and I would enjoy it even better if I would get more of it: the main problem
with translating Hungarian literature in Italian is that the Italian publishing
market has not discovered the real potential of Hungarian authors yet. Very few
of them have become popular in Italy. Maybe it is also our fault, and by “our”
I mean mine and other colleagues', probably we do not make enough efforts to
promote them: I think this problem affects many other foreign literatures that
for some reason are not considered “mainstream”, but it is also true that the
recent crisis afflicting the vast majority of Italian publishers makes things
much harder. <o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';">There is another thing that bothers me
about the diffusion of Hungarian literature in Italy. Somehow, some Italian
publishers seem to disregard what is otherwise considered a golden rule for
literary translation, namely that only mother-tongue translators of the target
language should be hired for this task. Sometimes they do so nurturing the
delusion that the work of a mother-tongue of the source language needs not to
be revised against the original text by someone competent in that particular
language, so they can avoid looking for an expert reviser (they suppose it is
difficult to find one for less widespread languages) and paying for that
service – they think: “Come on, boys, s/he's mother-tongue, who better than
s/he can understand what the author wrote!”. But they seem unable to grasp the
fact that no matter how long someone has been living abroad, no matter how
fluently s/he speaks that language (in this case, the target language of a
translation), his/her control of it and of its various registers cannot be
compared with the one of a mother-tongue. Literary translation requires someone
with a perfect command of the target language because s/he must be able to use
it to convey the author's intentions as best as possible, while someone lacking
this perfect command will inevitably subordinate them to his/her expressive
limits. And very sadly, the latter is exactly what we observe in some recently
published books.</span><span lang="EN-GB" style="font-family: 'Book Antiqua';"><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';">What is the most enriching experience
you have had?</span></i></b><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: 'Book Antiqua';"><o:p></o:p></span></i></span></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;"><br />
I cannot think of just one episode. I would rather say that the everyday
practice of translating literature is itself an amazing sequence of enriching
moments, because no other job allows you to explore so many different worlds
and learn things you could hardly imagine until you met them on the pages of
some book. You may say “Well, this happens also when you read”. Yes, but when
you translate you are also forced to find the right words to bridge the
distance between that world and that of the readers in your language, which
requires a much deeper understanding of and involvement in that universe. This
can be exhausting, as we all know, but is also so rewarding when you succeed in
doing it.<o:p></o:p></span></span></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';">What made you feel closest to an author?</span></i></b><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: 'Book Antiqua';"><o:p></o:p></span></i></span></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;"><br />
I always feel a very strong affinity with writers showing a brutally honest and
genuinely ironic stance toward life, authors who dare call things by their
right name and never take anything too seriously. That is why I adored
translating Péter Nádas, Ferenc Karinthy and Noémi Szécsi.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';">What have you found most difficult to
translate?</span></i></b><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: 'Book Antiqua';"><o:p></o:p></span></i></span></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;"><br />
Pretentious and insincere prose, that is my worst nightmare. Every time an
author tries to amaze the reader with vacuous grandiloquence, redundant
adjectivation, abstruse metaphors and so on. When the original is hopelessly
awkward and you cannot afford the luxury of being faithful to it, because
eventually the fault of that mess will be yours.<b style="mso-bidi-font-weight: normal;"><span style="color: #333333;"><o:p></o:p></span></b></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';">What have you enjoyed most translating?</span></i></b><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: 'Book Antiqua';"><o:p></o:p></span></i></span></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;"><br />
I had the privilege and bliss of working on two novels by Péter Nádas, <i>Egy
családregény vége </i>(Fine di un romanzo familiare; in English: The End of a
Family Story, translated by Imre Goldstein) and <i>Emlékiratok könyve</i>
(Libro di memorie; in English: A Book of Memories, translated by Ivan Sanders
and Imre Goldstein). The greatness of his prose resides in the marvelous
balance between the complexity of his long sentences and the crystalline
precision and clarity of his exposition. It was quite challenging, at the
beginning I had to struggle with a serious feeling of inadequacy, but then I
learned to “listen” to the sheer beauty of his writing and simply let myself go
along with it. I cannot describe it otherwise, but I am sure that many colleagues
will recognize this kind of experience.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;">Another author I had a great time at translating is
Ferenc Karinthy. His <i>Epepe</i> (in English: Metropole, translated by George
Szirtes) is such a masterpiece of dystopian literature with a touch of grace
and humour which makes it so unique. I feel really lucky that I could work on
it.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';">Which author would you love to
translate?</span></i></b><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: 'Book Antiqua';"><o:p></o:p></span></i></span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;">My wish list would be so long! I will try to restrict
it to my main dreams.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: 'Book Antiqua';">So I will mention Magda Szabó, Dezs</span><span lang="EN-GB">ő</span><span lang="EN-GB" style="font-family: 'Book Antiqua';"> Kosztolányi, György Spiró, Miklós
Mészöly, Ádám Bodor and, since I have already had the pleasure of translating
his son, I would love to get acquainted with Frigyes Karinthy, too.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;"><br />
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #333333;">If you were not a literary translator, what would you do?</span></i></b><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;">I would be a
wildlife photographer and/or filmmaker. It would be nice to do this job in my
next life, just to compensate all the hours I had to spend indoors during this
one.<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="color: #333333; font-family: 'Book Antiqua';">Translated
authors:</span></u></b><span lang="EN-GB" style="font-family: 'Book Antiqua';"><o:p></o:p></span></span></div>
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<br /></div>
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<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: 'Book Antiqua';"><span style="font-size: large;">Margit Kaffka, Ferenc Karinthy, Vilmos Kondor, Sándor
Márai, Péter Nádas, Zsuzsa Rakovszky, Noémi Szécsi. </span></span><o:p></o:p></div>
</div>
Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-65868183140129764662016-02-25T06:21:00.001-08:002016-02-25T06:21:22.748-08:00CLAUDIO MAGRIS, PAOLO GIORDANO AND GIUSEPPE CATOZZELLA IN CONVERSATION WITH THEIR TRANSLATOR ANNE MILANO APPEL<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3AOKQkB2Pl5RjFMSn1DHKyRS2hYMEYGv40HK0HjNRq4NicX9fwvqPkuhJOv6CscZGhwS_dk39PHlPfJyJctnNgHBKt09-BcNDo8uKKaWG68UneFpY_HZd2QbAuq4cN4AbsFFVag8FZRg/s1600/IMG_9234.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3AOKQkB2Pl5RjFMSn1DHKyRS2hYMEYGv40HK0HjNRq4NicX9fwvqPkuhJOv6CscZGhwS_dk39PHlPfJyJctnNgHBKt09-BcNDo8uKKaWG68UneFpY_HZd2QbAuq4cN4AbsFFVag8FZRg/s640/IMG_9234.JPG" width="640" /></a></div>
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<br /></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: x-large;"><b><i>When I present the
translation of one of my books in another country, I start by holding up my
Italian text and saying “This one I wrote myself,” then I show the translated
volume and say “This one we wrote." (Claudio Magris) <o:p></o:p></i></b></span></span></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: x-large;"><b><i><br /></i></b></span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: x-large;"><b><i>“I experience an almost perverse pleasure by stepping into my
stories wearing different clothes.<span style="mso-spacerun: yes;"> </span>It
distances you.” </i></b></span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: x-large;"><b><i>(Giuseppe Catozzella)<o:p></o:p></i></b></span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: x-large;"><b><i><br /></i></b></span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: x-large;"><b><i> “I have found in my
translators the most meticulous, rigorous and perceptive readers by far. Oftentimes the translation process turned
into a further editing of the book. And
today my translators are the ones whose response I await with greater
trepidation to anything new that I have written.” </i></b></span></span></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: x-large;"><b><i>(Paolo Giordano)</i></b></span><span style="font-size: small;"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cambria;"><b><span style="font-size: x-large;">Part Two</span></b><span style="font-size: large;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Cambria;">Anne Milano
Appel</span></b><span lang="EN-US" style="font-family: Cambria;">, a literary translator from the Italian, has answered our questions
in her native English. Anne decided to share this interview with a few of her
authors – <b style="mso-bidi-font-weight: normal;">Claudio Magris</b>, <b style="mso-bidi-font-weight: normal;">Paolo Giordano</b> and <b style="mso-bidi-font-weight: normal;">Giuseppe Catozzella</b> – and has translated their responses into
English as well.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">How do your
authors feel about being translated? Is it difficult for them to entrust their
literary work to a translator?<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span lang="EN-US" style="font-family: Cambria;">As I mentioned in Part One, I posed this question to the three a</span><span lang="EN-US" style="font-family: Cambria;">uthors
I’ve worked with most recently, keeping my fingers crossed that they would not
come up with something like Vladimir Nabokov’s “On a platter/A poet's pale and
glaring head…”</span><a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Cambria;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Cambria;">[i]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: Cambria;">
They did not disappoint me. <o:p></o:p></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Cambria;">Magris</span></b><span lang="EN-US" style="font-family: Cambria;"> said he is “</span><span lang="EN-US" style="font-family: Cambria;">fascinated by the idea that my book will
become something else while at the same time remaining itself,” and for that
reason he is very pleased when one of his books is translated.<span style="mso-spacerun: yes;"> </span><b style="mso-bidi-font-weight: normal;">Catozzella</b>
echoed the notion of transformation and re-creation: “when an author relies on
translators with long experience and recognized literary sensibility, he knows
that that translator will rewrite his novel inside her own head, thereby
recreating it in a new language. … A good translator is an author’s alter ego
and his ferryman, transporting him into a culture and a language with which he
is unfamiliar.” The alter ego comparison dovetails with <b style="mso-bidi-font-weight: normal;">Magris’</b> often-cited view of the translator as
“co-author-accomplice, maybe at times rival.” <b style="mso-bidi-font-weight: normal;">Magris</b> notes: “When I present the translation of one of my books in
another country, I start by holding up my Italian text and saying “This one I
wrote myself,” then I show the translated volume and say “This one <i style="mso-bidi-font-style: normal;">we</i> wrote.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">In response to the question of trust, <b style="mso-bidi-font-weight: normal;">Catozzella</b> also suggests that translation is a necessary “short
circuit,” an interference, which the author can’t help but accept: “Literary
writing is staked entirely on language, which is its medium, its soul, and it
is there that everything is put on the line.<span style="mso-spacerun: yes;">
</span>A literary work is therefore untranslatable, in the sense that, as we
all know, “<i style="mso-bidi-font-style: normal;">tradurre è tradire</i>,” to
translate is to betray.<span style="mso-spacerun: yes;"> </span>Yet that
“betrayal” is the only way to cause a work to come into being.<span style="mso-spacerun: yes;"> </span>A writer’s works, in fact, “betray” reality
and imagination by the very fact that they give them form and cause them to
exist.” <o:p></o:p></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Cambria;">Giordano</span></b><span lang="EN-US" style="font-family: Cambria;"> said he “tends to have great
faith.<span style="mso-spacerun: yes;"> </span>Maybe because as a reader I was
largely brought up on translated books.” As a result, he views translation “as
an almost natural process.<span style="mso-spacerun: yes;"> </span>Not a
modification of the book, but a further step in its life.” He observes that his
contact with the translators of his novels has reinforced this faith:<span style="mso-spacerun: yes;"> </span>“I have found in them the most meticulous,
rigorous and perceptive readers by far.<span style="mso-spacerun: yes;">
</span>Oftentimes the translation process turned into a further editing of the
book.<span style="mso-spacerun: yes;"> </span>And today my translators are the
ones whose response I await with greater trepidation to anything new that I
have written.”<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">Do your
authors feel they can assess the quality of a translation?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">As might be
expected, each of the authors I asked felt confident that they could appreciate
and gauge the quality of the translation in languages with which they were
familiar. <b style="mso-bidi-font-weight: normal;">Magris</b> feels he is able to
judge the merit of the work by the rhythm of the prose: <span style="mso-spacerun: yes;"> </span>“The key thing is the rhythm, the music of a
text, because that is where everything lies.<span style="mso-spacerun: yes;">
</span>Once in a seminar on literary translation my translator in Croatian, a
language that unfortunately I do not know (<b style="mso-bidi-font-weight: normal;">Ljiljana
Avirović</b>, who has translated nearly all of my books in Croatian),
challenged me to recognize a short passage from a text which she was preparing
to read aloud (which obviously did not contain any names or any specific
references that would immediately make clear which work it was).<span style="mso-spacerun: yes;"> </span>She said that if she had translated the book
well and if I had a sense of the language, I should be able to recognize the
passage.<span style="mso-spacerun: yes;"> </span>And in fact I recognized it
right away; even without understanding the text, I recognized the music of the
story (it was a page from <i style="mso-bidi-font-style: normal;">A Different Sea</i>).<span style="mso-spacerun: yes;"> </span>Of course this is more difficult in languages
which structurally have a rhythm, a music that is different.” <o:p></o:p></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Cambria;">Magris</span></b><span lang="EN-US" style="font-family: Cambria;"> also says that he can gauge the quality of
the translation, indirectly, by the questions his translators ask him: “From
their questions I can generally perceive whether they have understood and
discerned the deeper meaning of what I’ve written.<span style="mso-spacerun: yes;"> </span>Often I can tell from their questions whether
they have grasped the breadth, the essence of my text and consequently whether
they will translate it well or not…” <b style="mso-bidi-font-weight: normal;">Giordano</b>
also talks about grasping the essence or substance of a text: “If an author has
even a modicum of familiarity with the foreign language, I think it is easy for
him to recognize if what he was trying to achieve in his story, in the
construction and in the language has actually come through.<span style="mso-spacerun: yes;"> </span>It is something that goes beyond the precise
transposition of the words, an essentiality that the writer knows and that the
translator grasps.” <b style="mso-bidi-font-weight: normal;">Catozzella</b>
alluded to the detachment a translation offers an author, saying that he enjoys
reading the translations of his books in the languages he knows:<span style="mso-spacerun: yes;"> </span>“I experience an almost perverse pleasure by
stepping into my stories wearing different clothes.<span style="mso-spacerun: yes;"> </span>It distances you.”<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">What strikes
your authors the most about the profession of literary translator?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">What <b style="mso-bidi-font-weight: normal;">Magris</b> says strikes him the most is the
translators’ “extraordinary generosity in applying their intelligence, their
individual style, their own creativity to the service of another.” <b style="mso-bidi-font-weight: normal;">Giordano</b> has a similar view: “The
dedication, I think.<span style="mso-spacerun: yes;"> </span>The deep respect
for the intentions of the one who wrote the original text, even when those
intentions are not shared or turn out to be, in some measure, a failure.” <b style="mso-bidi-font-weight: normal;">Catozzella</b> cited the “tenacity, determination,
patience, thoroughness and respect for the book, which is also respect for
literature in general and for a craft, writing, in particular.” He
elaborated:<span style="mso-spacerun: yes;"> </span>“The almost loving act of
placing the novel to be translated on a bookstand and steadily immersing
herself in every single word and every single sentence, with a heart divided in
two – two different languages – as, in a kind of painful, sweet blood
transfusion, life is slowly infused into a work that is being born.” (A
stirring image, leaving aside the fact that none of us use a <i style="mso-bidi-font-style: normal;">leggio</i> or bookstand anymore!)<o:p></o:p></span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Cambria;">Giordano</span></b><span lang="EN-US" style="font-family: Cambria;"> further noted that what he admires most in a
translator is “the ability to resist, out of respect and professionalism, the
temptation to correct, rectify or improve, even where it would be of benefit.
Resisting the temptation to explain is a view that is shared by <b style="mso-bidi-font-weight: normal;">Magris</b>.<span style="mso-spacerun: yes;">
</span>Though he tells his translators “to feel absolutely free, to risk what
they feel they must risk, even perhaps to be unfaithful in order to achieve a
higher, more meaningful fidelity,” he also suggests that they not explain, not
simplify the text, not think that, for a book to work and be truly alive, the
reader must be given a roadmap.”<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">The question
of improving a text would seem to work against the translator's own artistic
license.<span style="mso-spacerun: yes;"> </span>As Rosamund Bartlett put it in
a recent article on <i style="mso-bidi-font-style: normal;">Anna Karenina</i>,
“translators have the potential to allow the author to speak more clearly.”<a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Cambria;">[ii]</span></span><!--[endif]--></span></span></a>
And there is Magris’ observation that “Goethe said that the French translation
of his <i style="mso-bidi-font-style: normal;">Faust</i> by Nerval was better
than his original.” But this is a topic for another time…<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">Returning to you, Anne, what made you feel
closest to an author?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">Not too long ago an author whose novel I had translated wrote to ask
a favor of me: He was writing something for a project and had drafted a brief
summary in Italian, which the project director had then had someone translate
into English. The result didn’t sound like <i style="mso-bidi-font-style: normal;">him</i>,
my author said.<span style="mso-spacerun: yes;"> </span>Would I translate it for
him?<span style="mso-spacerun: yes;"> </span>Of course I did, and when he read
my version he wrote back happily: “now I recognize myself!”<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">If you were not a literary translator, what would you do?<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span lang="EN-US" style="font-family: Cambria;">I can’t imagine! I think I would probably have to “roll myself up in
a big ball” just like Ol' <span style="mso-bidi-font-weight: bold;">Blue Eyes</span>
sings in “That’s Life.” </span><span lang="EN-US" style="font-family: Cambria;">Nina
Schuyler’s description of her protagonist,</span><span lang="EN-US" style="font-family: Cambria;"> translator
Hanne Schubert, would seem an apt fit for me: </span><span lang="EN-US" style="font-family: Cambria;">“She has found no other way to be in
the world, only the movement of words from one language to another.”<a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Cambria;">[iii]</span></span><!--[endif]--></span></span></a>
</span><span lang="EN-US" style="font-family: Cambria;"><o:p></o:p></span></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Calibri; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: IT; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> Vladimir Nabokov, “On Translating Eugene Onegin”: “What is
translation? On a platter / A poet's pale and glaring head, / A parrot's
screech, a monkey's chatter, / And profanation of the dead.”<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Calibri; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: IT; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[ii]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> Rosamund Bartlett, “Anna Karenina – the devil in the details. Do we
need another translation of Anna Karenina?,” <i style="mso-bidi-font-style: normal;">The Guardian</i>, September 5, 2014. <a href="http://www.theguardian.com/books/2014/sep/05/anna-karenina-tolstoy-translation">http://www.theguardian.com/books/2014/sep/05/anna-karenina-tolstoy-translation</a><o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Calibri; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: IT; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "Times New Roman"; mso-fareast-font-family: "MS Mincho";">Nina Schuyler, <i style="mso-bidi-font-style: normal;">The Translator</i>, Pegasus, 2013, p. 23.</span><span lang="EN-US"><o:p></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-57436286339983468702016-02-18T02:01:00.001-08:002016-02-18T02:01:31.864-08:00ANNE MILANO APPEL AND SOME OF HER AUTHORS - PART ONE<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: x-large;"><br /></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: x-large;">“‘My’ authors,
yes, I always think of them that way. I often consider how unfair it is to be
the author: I get to climb inside their heads, I know the nuances of their
thinking and the way that thought is transformed into words. It is a very
intimate rapport, though largely one-way since the author never has the
opportunity to see inside my head, to know me in quite the same way. It is a
process in which the author is revealed, exposed.”</span><span style="font-size: small;"><o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Cambria;">Anne Milano
Appel</span></b><span lang="EN-US" style="font-family: Cambria;">, a literary translator from the Italian, has answered our questions
in her native English. Anne decided to share this interview with a few of her
authors – <b style="mso-bidi-font-weight: normal;">Claudio Magris</b>, <b style="mso-bidi-font-weight: normal;">Paolo Giordano</b> and <b style="mso-bidi-font-weight: normal;">Giuseppe Catozzella</b> – and has translated their responses into
English as well.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">How did you start translating literature? Who
are “your” authors?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">Literature, books, have always been the <i style="mso-bidi-font-style: normal;">filo rosso</i>, the prevailing thread running through my life. In a
way, I suppose I started “translating” as a child (maybe only unconsciously, in
my head, of course) when my <i style="mso-bidi-font-style: normal;">nonna</i>
spoke to me in her quirky mix of Sicilian dialect, Italian and quasi-English. I
probably started translating literature in graduate school – or even before
that, as an undergrad at UCLA – since it was an essential (though often
unmentioned) part of researching and composing the various papers (and ultimately
a dissertation) that were part of my journey through Italian literature.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">“My” authors, yes, I always think of them that way. I often consider
how unfair it is to be the author: I get to climb inside their heads, I know
the nuances of their thinking and the way that thought is transformed into
words. It is a very intimate rapport, though largely one-way since the author
never has the opportunity to see inside my head, to know me in quite the same
way. It is a process in which the author is revealed, exposed. Claudio Magris
says that his translators know all his tics: “Translation, Schlegel said, is
the first form of criticism, because it immediately identifies the strengths
and weaknesses of a text; it is difficult to fool a translator.”<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>Authors I’ve worked with most
recently include <b style="mso-bidi-font-weight: normal;">Paolo Giordano</b>
(whose most recent book, <i style="mso-bidi-font-style: normal;">Like Family</i>,
came out in December 2015), <b style="mso-bidi-font-weight: normal;">Giuseppe
Catozzella</b> (whose novel <i style="mso-bidi-font-style: normal;">Don’t Tell Me
You’re Afraid</i> is forthcoming later this year), and <b style="mso-bidi-font-weight: normal;">Claudio Magris</b> (whose latest work, <i style="mso-bidi-font-style: normal;">Non luogo a procedere</i>, is my current project). Most of the authors
I’ve translated are living writers and I like the possibility of communing with
them, of asking questions when their intent isn’t totally clear to me, to turn
things over in our collective minds where a notion can sometimes transform into
something else. Translating the work of a non-living writer (for example, <b style="mso-bidi-font-weight: normal;">Giovanni Arpino</b> or <b style="mso-bidi-font-weight: normal;">Goliarda Sapienza</b>) lacks that prospect of interaction, the
immediacy of being able to consult and exchange ideas, so the experience is
quite different, more solitary, though the connection can still be strong. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">A few years ago as I was translating <i style="mso-bidi-font-style: normal;">The Art of Joy</i> by the Sicilian writer Sapienza (who died in 1996),
I found myself thinking how wonderful it would have been to be her friend Pilù
or her doorman Peppino, about whom her husband Angelo Pellegrino wrote: “Her
workday often ended with a hot bath. In the late afternoon a much younger
friend, Pilù – reddish-brown hair with delicate freckles on her face and big
eyeglasses – would ring the doorbell. They smoked and drank together, but most
of all Goliarda read her what she had written that morning. I think the
regularity of Pilù’s listening ear was critical … Pilù listened with interest –
not the attention of a professional, but that of a well-read, avid reader. On
the other hand, Goliarda sometimes also let Peppino read what she wrote: he was
the refined and sensitive, much-loved doorkeeper of the building on Via
Denza.”<span style="color: blue;"><o:p></o:p></span></span></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">What do you like/dislike about your job as a
literary translator?<o:p></o:p></span></span></i></b></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">I suppose I should be diplomatic and say I love everything
about it. And I do love the craft itself (I don’t consider it a job). I love
the challenge of finding words to “say almost the same thing,” as Umberto Eco
put it; I love getting to know “my” authors and understanding what drives their
writing; I love the editors I’ve been fortunate to work with, more invisible
than us translators, with whom a different kind of communing can be promising
to the final outcome; I love the flexibility of being able to work when and
where I want; I love the new things I learn from the books I translate; I could
go on and on. As an aside to the last point, Eric M. B. Becker recently
commented on Twitter about “the vicissitudes of #translation: one moment you're
researching Courbet, the next you're looking for the right synonym for penis.”
Indeed it is amusing to think what conclusions anyone might draw by looking at
our Google History!<o:p></o:p></span></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">Happily there are fewer things I don’t love about being a literary
translator. For example, reviewers and others who sometimes have to be reminded
to credit the translator. Or worse yet, publishers who try to force a
translator give up his/her copyright as a condition of getting a contract.<o:p></o:p></span></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span lang="EN-US" style="font-family: Cambria;">On a broader level, there is a concern that Magris expanded on, the
insufficient regard for the craft and therefore for the translator: “</span><span lang="EN-US" style="font-family: Cambria;">Today, unfortunately, we have
lost the high regard in which translation had been held in past centuries, when
it was considered a true literary genre.<span style="mso-spacerun: yes;">
</span>Vincenzo Monti is more valued in Italian literature for his translation
of the Iliad, which influenced poetic meter and language, than for his own
works; John Dryden considered his translation of the Aeneid to be his
masterpiece.<span style="mso-spacerun: yes;"> </span>Borges, in the story
“Averroës’s Search,” made translation a metaphor for the search for the
absolute.” <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">What is the most enriching experience you have
had?<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span lang="EN-US" style="font-family: Cambria;">Earlier I mentioned getting inside my author’s heads and
understanding what drives their work.<span style="mso-spacerun: yes;">
</span>Magris, who </span><span lang="EN-US" style="font-family: Cambria;">works
closely with his translators and is always available to answer their questions,
</span><span lang="EN-US" style="font-family: Cambria;">offered
an illuminating example of this</span><span lang="EN-US" style="font-family: Cambria;">:
“Sometimes the dialogue with a translator is not limited to a single word or to
a single clarification.<span style="mso-spacerun: yes;"> </span>For instance –
though it is just one case among many – the Dutch translator of <i style="mso-bidi-font-style: normal;">Danube</i>, Anton Haakman, asked me:<span style="mso-spacerun: yes;"> </span>‘What do you mean by “uncertainty of the
evening?,”’ referring to a phrase in the book.<span style="mso-spacerun: yes;">
</span>And I wrote him a page or two, as though to let him follow along and
experience with me the feeling of that evening, that particular sense of
disquiet or uncertainty ...” This “following along” and experiencing an
author’s thought process and feelings is extremely enriching.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">How do your
authors feel about being translated? Is it difficult for them to entrust their
literary work to a translator?<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span lang="EN-US" style="font-family: Cambria;">I asked this
question of the three a</span><span lang="EN-US" style="font-family: Cambria;">uthors I’ve worked with most recently, hoping
that they would not come up with something like Vladimir Nabokov’s “On a
platter/A poet's pale and glaring head…”</span><a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Cambria;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Cambria;">[i]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: Cambria;">
They did not disappoint me.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cambria;"><span style="font-size: large;">(continued in Part Two)</span></span><span lang="EN-US" style="color: blue; font-family: Cambria; font-size: 12.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5263918221007441454#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: Calibri; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: IT; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> Vladimir Nabokov, “On Translating Eugene Onegin”: “What is
translation? On a platter / A poet's pale and glaring head, / A parrot's
screech, a monkey's chatter, / And profanation of the dead.”<o:p></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-14502653934683129732016-02-11T04:52:00.000-08:002016-02-11T04:52:52.793-08:00EDWARD GAUVIN AND HIS AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcMmTXkpPgyVM5vOdkso0Ojv3-fg4m-KacXLosnd9XidrC6DMmIn1WlFpDrHx9QD2F1NC0fUW5gDljz04uXkYDvjDv4wbn0KKQSHMlsUy5YabKcQ4G53DYXPH6ud0sclplt7FQljeCedY/s1600/Author+photo+Credit+Vince+Passaro.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcMmTXkpPgyVM5vOdkso0Ojv3-fg4m-KacXLosnd9XidrC6DMmIn1WlFpDrHx9QD2F1NC0fUW5gDljz04uXkYDvjDv4wbn0KKQSHMlsUy5YabKcQ4G53DYXPH6ud0sclplt7FQljeCedY/s640/Author+photo+Credit+Vince+Passaro.jpg" width="478" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Photo by Vince Passaro</span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;">“I tend
to be forgetful, or shall we say forgiving, of difficulty. The problem that
tormented me for days fades away once a solution, however provisional, allows
me to move forward, and further choices often inform or reinforce that choice.<o:p></o:p></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;">In
some sense I am only half a literary translator, and half a writer of fiction.
Though since the two are hardly mutually exclusive, I would rather say that I
am completely a literary translator, and completely a writer of fiction.”<o:p></o:p></span></span></i></b></div>
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<br /></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Edward
Gauvin</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> is an American literary translator. He speaks French
and Mandarin fluently, but translates only from the former, as his reading
level in the latter is lamentable. He decided to answer our questions in English.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">How did you start translating literature?
What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">I
confess I somehow picked up the notion, I don’t know where, that this was a fit
pastime for a young man alone in a garret, with nothing to show for his dreams
of literature but the certainty of his opinions. I thought it was the kind of
job you could grow old doing, while your clothes—you couldn’t afford new
ones—gently frayed and fell from fashion. Perhaps you had stayed too long in a foreign
city, yet somehow failed to make of it a home. Of course, whatever you
translated was beneath you: cheap paperbacks tucked in the pockets of your
raincoat, it was precisely their mediocrity that reassured. Days of
remonstrating with your editor, of forgetting to shave, of forgetting to notice.
Your breath, which you could see at your desk on winter days, sours...<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">But
seriously, many translators I’ve met speak of an “Hey, I can do this” moment,
which as we know, is the beginning of ignorance. I am no exception. I began
translating in order to share stories I’d read with friends, dared to send a
few out, and lucked into publications whose fledgling mistakes would mortify me
scant years later. The ever-lovely Susan Harris at <i style="mso-bidi-font-style: normal;">Words Without Borders</i> was the first to believe in me, and two years
after Georges-Olivier Châteaureynaud’s “Delaunay the Broker” appeared at <i style="mso-bidi-font-style: normal;">Words Without Borders</i>, I was an ALTA
fellow.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">At the same time, I got my first paid gigs from
hanging around comic-cons. In the mid-aughts, graphic novels were a boom sector
in publishing; major houses were all launching their own comics imprints, and
the success of Marjane Satrapi’s <i style="mso-bidi-font-style: normal;">Persepolis</i>
had turned heads, making a certain kind of French graphic import fashionable.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I tend to avoid jostling for “hot” authors, literary
or otherwise, from a dislike of competition; Lord knows there are enough to go
around. It is not about making a star of any one author, or just desserts for
the long-neglected, but something more intimate, like matchmaking, I think:
connecting writers with the readers who’ve been waiting to hear from them. I
admit to a proclivity for obscurity—hardly rare in literary circles—that is
easily satisfied in international literature, where even authors who are stars
in their own countries are too often nobodies in English. There are a number of
authors I’d like to translate but have no more claim to than a few published
short stories and a few abortive attempts to interest publishers. Translator
etiquette and the tricky politics of “owning” an author merit their own essay.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What do you like/dislike about your job as a
literary translator?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I’d like to think all unhappy translators unhappy in
their own way, but I suppose my bugbears are fairly standard. Many of them—the
petty ones that routinely frustrate me—have more to do with being a freelancer
than a translator per se; for instance, I detest such necessary administrative
evils as invoicing. (Perhaps the fact that I don’t yet earn enough to justify,
in my mind, outsourcing this task, makes this a more uniquely translatorial
problem?) It follows, then, that low wages are loathesome, as are offers that
fail to reflect the real cost in time of any assignment, the hours frittered
blithely away on pitching, rights chasing, correspondence, promotion,
spokesmanship—in short, everything but the honest deskwork of translating. But surely
this persistent fiscal undervaluation stems from a more deeply rooted problem,
one all translators must face—namely, widespread misperception of what our task
entails, the process: the leeway, the rewriting, the adaptation, the
localizing... all the changes we make that amount to a new text masquerading as
an old. A certain segment of French publishing believes the more you pay a
translator, the better translation you’ll get. The people I tell this
to—Americans and translators alike—will roll their eyes: <i style="mso-bidi-font-style: normal;">it’s a nice idea</i>. But I choose to see in it less quixotry or easily
suckered idealism than the sort of principled stand, like championing independent
bookstores, that humanist, Vitruvian Europe tends to make a matter of course.
That some things just take people to do right is a mindset very alien to
pragmatic America’s better living through automation, a cult that won’t admit
it is one. Like Soylent Green, Google Translate is <i style="mso-bidi-font-style: normal;">people</i>.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">More recently, I’ve disliked being pressed for time; rather,
disliked when a tight deadline wrings all the pleasure from a piece’s
challenges, turning what might have been fun puzzles into panic to beat the
clock. Ingenuity in the form of <i style="mso-bidi-font-style: normal;">le mot
juste</i> is often an emergent property of leisure, yoga, or a brisk walk. Time
constraints may be something professional translators face more often than
their otherwise-funded colleagues: professors, etc.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What is the most enriching experience you
have had?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I tend to feel close not so much to authors as texts.
Then again, I tend to like recordings, not concerts. With what I think
deliberate, yet likely quite sincere perverseness, William Gass called a
fictional character “any linguistic location of a book toward which a great
part of the rest of the text stands as a modifier.” To enter into a
relationship with a work of fiction is to make of its author a figment. The
engagement is with the page, not its demiurge.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">There are pleasures the work affords—the endless
process, the finished product—and opportunities the work opens up, sometimes
only tangentially related. Sleeping over in one author’s guest bedroom, gabbing
movies with another, applauding this one’s<span style="mso-spacerun: yes;">
</span>virtuosic gypsy guitar playing, or witnessing that one at death’s
door—these are not experiences I would trade, but it is difficult to trace how
they inform my work on their work.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Anton Kuh, friend and rival of Karl Kraus, advised,
“If an author disappoints you as a person, it is because you have overestimated
his work.” Like many things said ironically, or by an unreliable narrator, this
is almost exactly half true. Meeting an author stands to one side of the work
in question, much as translation does, though not in equal and opposite ways,
as if authors were in some sense their own work adapted to the mortal medium of
life. A surprising number of authors, having voided their expressive needs in
their works, are spectacularly ill-equipped to discuss them with any insight,
which is why we tolerate critics. Never trust the teller, trust the tale.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">On Friday, November 13, 2015, I was in San Francisco
with author Jérémie Guez and our editor Olivia Taylor Smith, doing signing
rounds at indie bookstores for his English debut, the contemporary Parisian
noir </span><span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="http://unnamedpress.com/books/book?title=Eyes+Full+of+Empty"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;">Eyes
Full of Empty</span></i></a></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">. The night before, at dinner after an event
in Mountain View, we had been discussing 9/11, with which his book opens. At
the time, I was in New York, awaiting the visa that would let me leave for
France, and from an N train platform in Queens, I watched the towers fall.
Jérémie’s protagonist, Idir, had been in jail. Though the novel’s main action
takes place ten years later, the long shadow of that day still darkens it.<o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">We were in the Haight when the world went to shit. It
was </span><span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="http://rebeccarubenstein.com/"><span style="mso-bidi-font-family: Helvetica;">Rebecca
Rubinstein</span></a></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> at the Booksmith who first heard. When I think of
that afternoon, I think of Jérémie swinging between short bursts of surfing headlines
on a borrowed phone, brief texts and calls on his own, and flipping the radio
dial. The news was split between the Paris attacks and a cyclist hit by a bus
in Union Square. Jérémie’s office was close to Le Petit Cambodge, where he had
often lunched. </span><span lang="EN-US" style="mso-ansi-language: EN-US;">San
Francisco became slightly unreal, a theater for our anxiety: the slow build of
dread in the car embodied in traffic mounting outside. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Halfway through
the Broadway Tunnel, the news cut out in the middle of a sentence I no longer
remember. I want to say it was the latest victim estimate, but any interruption
then would have been suspenseful. That I was expecting the radio to go,
wondering when it would happen, did not make it any less abrupt. The headlight
streaks and halos on the yellow tunnel tile echoed back disbelief, a faint
hysteria. We drove the rest of the way in silence.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you found most difficult to
translate?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Truly, the categories of difficulty are infinite. It’s
common to hear bad writing and good writing are equally hard to translate, in
different ways: the good because it is so exacting, the bad because it is so
vague. There are also times when what is “good” in one language would be “bad”
in another; the politics of appropriate foreignization rears its Hydra head. I
find fiction generally easier than non-fiction, taken in hand as I am by an
author’s idiolect. I also tend to be forgetful, or shall we say forgiving, of
difficulty. The problem that tormented me for days fades away once a solution,
however provisional, allows me to move forward, and further choices often
inform or reinforce that choice.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you enjoyed most translating?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I have heard writers, architects, and translators,
when asked to name a favorite from their works, sometimes say, “The next one.” I
prefer to translate that which surprises me, or which I’ve never seen before—a
task for which I am often, by definition and intention, ill-equipped.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Most recently, there was a one-page strip from a 1993
collection of <i style="mso-bidi-font-style: normal;">Agrippine</i>, Claire
Brétécher’s long-running comic about the existential trials of a spoiled
bourgeois teen. A mainstay in books and newspapers since 1988, <i style="mso-bidi-font-style: normal;">Agrippine</i> is known chiefly for its
author’s inventive use of slang, both current and confabulated—what critics have
called its “linguistic velocity.” The strip in question had dialogue of deliberate
gibberish. Translating almost pure nonsense gives a kind of giddy joy.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Which author would you love to translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Just as I have a hard time naming my favorite authors to
read in English, so I have difficulty picking out just one to translate from French.
In both tongues, mother and learned, I tend to cotton not to authors, but to individual
works. A recent shortlist, in no order: Eugène Savitzkaya’s <i style="mso-bidi-font-style: normal;">Marin mon coeur</i> and <i style="mso-bidi-font-style: normal;">Exquise Louise</i>, Céline Minard’s <i style="mso-bidi-font-style: normal;">Bastard
Battle</i>, André Hardellet’s <i style="mso-bidi-font-style: normal;">Le seuil du
jardin</i>, Georges-Olivier Châteaureynaud’s <i style="mso-bidi-font-style: normal;">Les Messagers</i>, Frédéric Tristan’s <i style="mso-bidi-font-style: normal;">Dieu, l’univers, et Madame Berthe</i>.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you were not a literary translator, what would you do?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I would starve, but not on principle.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I would have liked to make music boxes by hand. Manual
details, often unremunerative, soothe and absorb me.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">In some sense I am only half a literary translator,
and half a writer of fiction. Though since the two are hardly mutually
exclusive, I would rather say that I am completely a literary translator, and
completely a writer of fiction.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Published only;
no drawer translations:<o:p></o:p></span></span></u></b></div>
<div class="MsoNormal">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Prose books:</span></b><span lang="EN-US" style="mso-ansi-language: EN-US;"> <a href="http://smallbeerpress.com/books/2010/05/25/a-life-on-paper-stories/">Georges-Olivier
Châteaureynaud</a>, <a href="http://wakefieldpress.com/ferry_conductor.html">Jean
Ferry</a>, <a href="http://www.dalkeyarchive.com/product/urgency-and-patience/">Jean-Philippe
Toussaint</a>, Jérémie Guez, <a href="http://www.mhpbooks.com/books/the-deep-sea-divers-syndrome/">Serge
Brussolo</a>, Paul Willems<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Stories & Essays (in periodicals): </span></b><span lang="EN-US" style="mso-ansi-language: EN-US;">Patrick Modiano, Guy de Maupassant,
Bernard Quiriny, Xavier Mauméjean, Laurent Queyssi, Patrick Besson, André
Pieyre de Mandiargues, Roland Topor, Anne Richter, Yves and Ada Rémy, Jean
Muno, Thomas Owen, Maurice Pons, Eugène Savitzkaya, Jean-Christophe
Duchon-Doris, Éric Faye, André-Marcel Adamek, Jean-Yves Masson, Thierry
Horguelin, Sylvain Jouty, Yann Coridian, Jacques Gélat, Mercedes Deambrosis,
Fatou Diomé, Marcel Béalu, Marie-Hélène Lafon, Nicole Malinconi, Atiq Rahimi,
Anouar Benmalek, Carles Torner, Roland Jaccard, Lionel Davoust, François
Chiado, Noël Devaulx, Thomas Gunzig, Pierre Cendors, Pierre Bettencourt, Pierre
Mertens, Christophe Honoré<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Selected comics: </span></span></b><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Frédérik Peeters, Marjane Satrapi, Gébé, Abel
Lanzac, Toppi, David B., Lewis Trondheim, Joann Sfar, Blutch, Zeina Abirached, Olivier
Morel, Ludovic Debeurme, Fabian Vehlmann, Serge Lehmann, Enki Bilal, Guillaume
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-60411557948126872132016-02-04T03:39:00.002-08:002016-02-04T03:39:40.487-08:00MARGARET CARSON - LITERARY TRANSLATOR (AND FORMER COCHAIR OF THE PEN TRANSLATION COMMITTEE)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;"><br /></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;">“Before my academic duties began to
pile up, I was fortunate to cochair the PEN Translation Committee for a time
with Alex Zucker. Among other things, […] we created a more visible translator
culture by running several panels at popular literary events such as PEN World
Voices and the Brooklyn Book Festival. I also proudly support WiT (Women in
Translation) activism.<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<span style="font-size: x-large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Reviewers and bloggers: if nothing
else, how about adding a parenthetical “as translated by X” or “in X’s translation”
in your reviews?”</span></i></b><b><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: center;">
<span style="font-size: large;"><b><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></b></span></div>
<div class="MsoNormal" style="margin-bottom: 14pt; text-align: left;">
<span style="font-size: large;"><b><span lang="EN-US" style="mso-ansi-language: EN-US;">Margaret Carson</span></b><span lang="EN-US" style="mso-ansi-language: EN-US;"> is a literary translator from the
United States. She’s a longtime member of the PEN Translation Committee and
recently served as cochair. She speaks English and Spanish. She decided to
answer our questions in English<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<b><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><br /></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<b><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">How did you start translating
literature?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Spanish was always a special passion
of mine from high school on. Literary translation entered the picture when I
began to read literature in Spanish — what would an English version be like? I
remember one popular dual reader with short stories by Borges, García Márquez,
Rulfo and others in the original on one side and in English translation on the
other. It was fascinating to look back and forth and compare the two sides.
Later on when I was living in Spain I began translating passages from stories I
liked just out of curiosity, not intending to publish anything. Eventually,
back in New York, I met other translators and took a few writing and
translation workshops. That led to requests from magazine and anthology editors
to do translations. For a time I pretty much did anything I was asked to do to
build up a publication record. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<b><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What do you like /dislike about being
a literary translator?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">I like being part of the community
of literary translators that has come together on the Internet and on social
media. Before my academic duties began to pile up, I was also fortunate to
cochair the PEN Translation Committee for a time with Alex Zucker, who
continues as cochair with Allison Markin Powell. Among other things, we
enthusiastically spread the word to fellow translators, especially younger
ones, about the PEN Translation Model Contract and Translation FAQs. That’s the
best advocacy for an all-volunteer committee: outreach, education and creating
a space where translators can meet and talk about the practical side of what we
do.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Dislikes? The perennial issues:
compensation, copyright, and translator visibility, especially in reviews
(Reviewers and bloggers: if nothing else, how about adding a parenthetical “as
translated by X” or “in X’s translation” in your reviews?).<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<b><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What is the most enriching
experience you have had?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Again, speaking as a former cochair:
we created a more visible translator culture by running several panels at
popular literary events such as PEN World Voices and the Brooklyn Book
Festival. I also proudly support WiT (Women in Translation) activism, which is
calling attention to the fact that a significantly higher percentage of titles
in translation are by men (It’s 70% male authors vs. 30% female authors,
according to data in the 2014 Three Percent database). <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<b><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What made you feel closest to an
author?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">I’ve recently been translating letters
and miscellaneous writings by the Spanish surrealist artist, <b style="mso-bidi-font-weight: normal;">Remedios Varo</b>. In one letter she
describes how a solar system of objects on her worktable was thrown into chaos
by an unexpected meteor—her cat! That warmed my cat-loving heart. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<b><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What have you found most difficult
to translate?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Plenty. In my current translation of
Varo I’m struggling with a faux scholarly monograph by Hälikcio von Fuhrängschmidt
about a number of surprising (and very surreal-like) archeological finds. It’s
hard to get the right deadpan tone to subvert von Fuhrängschmidt’s stodgy
erudition. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">What have you enjoyed most translating?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Remedios Varo, of course, and also a
book by <b style="mso-bidi-font-weight: normal;">Sergio Chejfec</b>, <i>Baroni: A
Journey</i>, which is a kind of road novel set in Venezuela. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<b><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Which author would you love to
translate?<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-pagination: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Next project: an author who’s off
the radar in his or her literary culture. Someone I discover by paging through
old issues of an obscure Latin American or Spanish literary journal. Memoirs,
diaries or letters by women artists or writers. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">If you
were not a literary translator, what would you do?<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">I’d be a
Guerrilla Girl! <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Translated
authors:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Remedios
Varo, Sergio Chejfec, Mercedes Roffé, Teresa Ralli, Antonio José Ponte, Nancy
Morejón, Alberto Rodríguez Tosca, Griselda Gambaro, Virgilio Piñera, Petrona de
la Cruz Cruz and Isabel Juárez Espinosa, Roberto Bolaño, Carmen Boullosa, José Tomás
de Cuéllar.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Links:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Women in
Translation<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><a href="http://womenintranslation.tumblr.com/"><span class="Hyperlink0">http://womenintranslation.tumblr.com/</span></a><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">A Model
Contract for Literary Translations<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><a href="http://www.pen.org/model-contract-literary-translations"><span class="Hyperlink0">http://www.pen.org/model-contract-literary-translations</span></a><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Translation
FAQs<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><a href="http://www.pen.org/translation-faqs"><span class="Hyperlink0">http://www.pen.org/translation-faqs</span></a><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">PEN
Translation Committee<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><a href="http://www.pen.org/translation"><span class="Hyperlink0">http://www.pen.org/translation</span></a><o:p></o:p></span></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-68156030802733402752016-01-28T05:08:00.003-08:002016-01-28T05:08:37.829-08:00MELISSA MARCUS AND HER AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;"><i><b><br /></b></i></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;"><i><b>“I like to think that, in even a
small way, I’m contributing to an understanding of different cultures, and to the
knowledge of foreign literature, by making world literature available to
Anglophone audiences.”</b></i></span></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><br /></span></b></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Melissa
Marcus</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> is an American literary translator. She speaks French
and English fluently, and some Arabic. She decided to answer our questions in
English.<o:p></o:p></span></span></div>
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<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">How did you start translating literature?
What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">While doing my Ph.D. in French literature at Stanford
University, some thirty years ago, I realized that I was not entirely keen
about literary theory. While still a student, I earned pocket money by doing a
few short non-literary translations for companies in the area. I had grown up
around a number of languages: my mother and her mother spoke Finnish, my
father, his stepmother, father, and father’s half-siblings all spoke Spanish,
and I heard a smattering of Yiddish from my paternal grandmother. Then I began
studying French when I was eleven years old. I excelled in it, more than any
other subject, until I graduated from high school. In graduate school I finally
realized that I was much more interested in French language itself, rather than
theory. After I finished my Ph.D., I decided to become a literary translator
rather than continue to publish in the field of literary theory. One summer in
Paris, I came upon <b style="mso-bidi-font-weight: normal;">Nina Bouraoui</b>’s <u>La
voyeuse interdite</u>, completely by accident, while poking around bookstores,
and I fell in love with it, and decided to translate it. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Since then, most of the authors I have translated are
Francophone women who write in French, but who are bilingual in Arabic and
French. I translate from French, but the texts of all of these writers are peppered
with Arabic words, and the authors include glossaries to explain their meanings.
Thus I decided to study Arabic, and knowledge of the language has helped me
understand the texts better and allowed me to clarify the Arabic to English
word glossaries.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What do you like /dislike about your job as
a literary translator?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">At the most
basic level, I love to look up words in the dictionary. I enjoy that simple
process; it’s a lot of fun, and I do it every day when I’m reading, not just
when I’m translating. It’s a lifelong habit that may have influenced my choice
to become a translator. Of course, translation is much more than a matter of
finding equivalent words. However, this is where one must start, and this is
particularly the case if a text is full of special words concerning, for
example, as in my Eberhardt translations, words and terms about the desert,
words that I barely know in English, much less in French or Arabic. When I
begin translating a text, I make a list of all the words I don’t know, or that
I do know but which might present some challenges. The real work begins when a
French word has several meanings, and I must choose the best word equivalent in
English. Knowing the etymology of a word can often influence the choice of
words, too. For me, deciding upon the right word and weighing all the
possibilities, is like playing a puzzle or a word game. In addition, every time
I translate a passage, I read it aloud to make sure that it sounds smoothly
readable in English. I enjoy and love the whole process.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">I also like
translation because I learn a lot about different subjects, in addition to
learning new vocabulary. For example, if I am translating a novel that takes
place in a particular city, I need to know something about that city. If I am
translating stories that take place in the desert, then I need to know as much
about the desert as I can. So there is always interesting background reading to
do at the same time as I translate. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Beyond
my love of the translation work itself, I enjoy translating because I want to share
some of the beautiful literature of the world that many people otherwise would
not be able to read, were it not in translation. So, I like to think that, in
even a small way, I’m contributing to an understanding of different cultures,
and to the knowledge of foreign literature, by making world literature
available to Anglophone audiences.</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">The pay for literary translation is terrible. It’s
more often a token, symbolic payment, rather than payment for skill, talent and
the immense amount of time necessary to translate well. This is because, at
least in part, many of the presses publishing translations are small and
underfunded, or they are university presses that also suffer from underfunding.
Also, translators have been somewhat invisible. Readers forget that a foreign
work was once in another language and that someone spent thousands of hours
translating it!<span style="mso-spacerun: yes;"> </span>But I think this is
dramatically changing now, and translators are getting the recognition due to
them.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What is the most enriching experience you
have had?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> Without a doubt, my most enriching experience
was translating the complete works of <b style="mso-bidi-font-weight: normal;">Isabelle
Eberhardt</b> (1877-1904), published in 2012 and 2014 by the University of
Nebraska Press.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Given that she has been dead for over 100 years, it is
somewhat ironic that I feel the closest to Isabelle Eberhardt, because of the
depth of her expression, and her passion for North Africa, through which she
travelled, dressed in a man’s clothes. She communicated all of her passion to
me.<o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><i>What
have you found most difficult to translate?</i><o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I found Eberhardt the most difficult to translate for
a number of reasons. I could not contact her with questions, as I could the
living authors whom I’ve translated! She is essentially a 19th century writer,
so I had to succeed in adapting my modern English to her style, enough that I
could convey her meaning, and keep her style, but not so much that I would
“lose” my modern audience. There were countless translation dilemmas to
resolve. I had decisions to make about how many archaic words to keep in
English, or to find more familiar synonyms for. The one word that still comes
to mind, and makes me chuckle, is “pulverulent” (dusty), about which I argued
with one of the proofreaders.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>There were also words in Arab dialect that I
simply could not find in any dictionaries, and that my Arabic speaking friends
did not know. Some of the results of my research were serendipitous, and for
other words, I could only give approximate meanings, based on context and experience.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you enjoyed most translating?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">Again, Isabelle Eberhardt. It was the longest translation
I have ever done (the two volumes are each around 600 pages long). I was able
to immerse myself in the fascinating worlds of North Africa, at the end of the
19th and beginning of the 20th centuries. I learned about desert geography,
camels, desert towns, jewelry, clothing, weaponry, mysticism, Islam, magic, a
multitude of colorful love affairs (many illicit), French colonialism, food,
Jewish ghettoes, horse races, village herbal teas… and the list could go on for
pages.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><i>Which
author would you love to translate?</i><o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I would love to translate other 19th century explorers
of North Africa, such as Eugène Fromentin; or Eberhardt’s biographer, Edmonde
Charles-Roux, but alas, her biography of Isabelle is over 1000 pages long, and
a translation would be a monumental task!<o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><i>If you were not
a literary translator, what would you do?</i><o:p></o:p></span></span></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I would be an international human rights lawyer or a
professional chef in NYC.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><i>T</i></span><i style="font-size: x-large;">ranslated authors</i><span style="font-size: large;">:</span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p><span style="font-size: large;"><br /></span></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p><span style="font-size: large;">Nina Bouraoui, Isabelle Eberhardt, Malika Mokeddem, Fawzia Assaad, Ghania Hammadou.</span></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-16955292391856090372016-01-21T02:58:00.004-08:002016-01-21T02:58:50.024-08:00CYNTHIA HOGUE AND HER AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaeZW2Qu6jDAHgp4vXYV6lxeX9cZlWUeRP_wOQpsJiYUFk3ug5aG6waWth2c7X8TIG3YyuCu2EcJhBusv9_rgjs5qw2-7L3IghlHyDdOUPXVcYLWEjRPSVzn8cphlPuJbr6QVFiVkwx0E/s1600/Cynthia+Hogue-Wp-M.Music-MACD-08%252C+091%252C%2523170+small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaeZW2Qu6jDAHgp4vXYV6lxeX9cZlWUeRP_wOQpsJiYUFk3ug5aG6waWth2c7X8TIG3YyuCu2EcJhBusv9_rgjs5qw2-7L3IghlHyDdOUPXVcYLWEjRPSVzn8cphlPuJbr6QVFiVkwx0E/s640/Cynthia+Hogue-Wp-M.Music-MACD-08%252C+091%252C%2523170+small.jpg" width="604" /></a></div>
<div align="center" class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-size: x-small;">Photo by Joanna Eldridge Morrissey</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-large;">“Because I am Scandinavian American,
the Scandinavian languages and cultures are more closely a part of me than
French, so I did not feel, translating poems from Swedish and Icelandic, so
foreign to works as I do with French, for I understood the culture and language
on even unconscious levels. <o:p></o:p></span></span></i></b><span style="text-align: left;"><span style="font-size: x-large;"><b><i>With French, it is always a challenging stretch, but I appreciate that, too, though in different ways.</i></b></span></span></div>
<div align="center" class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: x-large;">A
young Navajo student who was not raised speaking Navajo decided that she wanted
to learn the language of her ancestors, in order to preserve the oral poetry
she’d only heard in translation growing up. […] <span style="mso-spacerun: yes;"> </span>I’m proud to have taught a class that
catalyzed such a transformation of attitude.”<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Cynthia
Hogue</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"> is an American literary translator, who works with
her co-translator, <b style="mso-bidi-font-weight: normal;">Sylvain Gallais</b>. <span style="mso-spacerun: yes;"> </span>She speaks (English, French, and a long time
ago, fluent Icelandic and Swedish, but relies on Gallais fully as co-translator
of all French translations they’ve done). She decided to answer our questions
in English .<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">How did you start translating literature?
What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">I wandered into
translation projects as a college student learning German (a language I never
mastered ever).<span style="mso-spacerun: yes;"> </span>I worked hard learning
German, translating the poet <b style="mso-bidi-font-weight: normal;">Ilse
Aichinger</b> over some years, because I wanted to read Rilke in the original,
which I can say that I did.<span style="mso-spacerun: yes;"> </span>Some years
later, as a young poet living in Iceland, I learned fluent Icelandic and translated
(but never published) <b style="mso-bidi-font-weight: normal;">Stein Steinarr</b>’s
great modernist sequence <i style="mso-bidi-font-style: normal;">Time and Water.<span style="mso-spacerun: yes;"> </span></i>I worked with a Swedish poet at that time
translating <b style="mso-bidi-font-weight: normal;">Göran Sonnevi</b>’s sonnets,
also never published, although we did publish quite a few of his longer poems
from <i style="mso-bidi-font-style: normal;">The Impossible. </i><span style="mso-spacerun: yes;"> </span>In the last decade, Sylvain Gallais and I have
published a book-length experimental collaboration between emerging French poet
<b style="mso-bidi-font-weight: normal;">Virginie Lalucq</b> and the philosopher <b style="mso-bidi-font-weight: normal;">Jean-Luc Nancy</b>, </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Fortino S</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Times;">á</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">m</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Times;">a</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">no (The overflowing of the poem).<span style="mso-spacerun: yes;">
</span></span></i><span lang="EN-US" style="mso-ansi-language: EN-US;">Currently,
we’re at work on a new book-length sequence, <i style="mso-bidi-font-style: normal;">Jeanne darc, </i>by avant-garde poet <b style="mso-bidi-font-weight: normal;">Nathalie Quintane</b>.<span style="mso-spacerun: yes;"> </span>French is
the language I translate from now.<o:p></o:p></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What do you like /dislike about your job as
a literary translator?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">I teach Literary Translation, theory and praxis, in an MFA (Masters of
Fine Arts) program at Arizona State University.<span style="mso-spacerun: yes;">
</span>My students are young poets.<span style="mso-spacerun: yes;"> </span>I
don’t have a job as a literary translator, but as part of my job teaching
poetry, I developed this course with my team teacher, the writer Paul Morris,
about a decade ago.<span style="mso-spacerun: yes;"> </span>I’ve loved teaching
this course.<span style="mso-spacerun: yes;"> </span>I’ve had students happen
upon the course and be so inspired by the practice that it has changed the path
of their studies and their careers.<span style="mso-spacerun: yes;"> </span>One
currently is deeply immersed in learning Korean, because she wants to research
the lively gay and lesbian underground in South Korea.<span style="mso-spacerun: yes;"> </span>She was inspired by a visit some years ago,
and is now applying for a Fulbright with a very ambitious project to
anthologize these poets.<span style="mso-spacerun: yes;"> </span>That kind of
serious commitment is something I love about this work, seeing that dialogue
between two languages, two so different cultures.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What is the most enriching experience you
have had?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> There have been several, but one has stayed with me: a young
Navajo student who was not raised speaking Navajo decided that she wanted to
learn the language of her ancestors, in order to preserve the oral poetry she’d
only heard in translation growing up.<span style="mso-spacerun: yes;">
</span>She had never expressed the desire to learn the language before to her
parents, so it was extremely moving to see her begin to draw on their knowledge
as she worked on her final translation project (which turned out to be a primer
for children).<span style="mso-spacerun: yes;"> </span>I imagine it was moving
for the whole family.<span style="mso-spacerun: yes;"> </span>That was a
profound change of heart that would have lasting impact on her life in the
tribe.<span style="mso-spacerun: yes;"> </span>I’m proud to have taught a class
that catalyzed such a transformation of attitude.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Sylvain and I got very close to Virginie Lalucq, on whose collaborative
book we worked for four years.<span style="mso-spacerun: yes;"> </span>During
that time, she had her son, we lost our aging parents, the Iraq War, the
beginning of which is registered in </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Fortino S</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Times;">á</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">m</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Times;">a</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">no, </span></i><span lang="EN-US" style="mso-ansi-language: EN-US;">dragged on.<span style="mso-spacerun: yes;">
</span>We got to know each other well, though we live far away from each other
and all have busy careers.<span style="mso-spacerun: yes;"> </span>We gave a
reading with Virginie and Jean-Luc at the House of Poetry in Paris two years
ago—and for me, it was such a “dream come true.”<span style="mso-spacerun: yes;"> </span>For Sylvain, much less so—he’s an economist,
albeit classically trained in French poetry.<span style="mso-spacerun: yes;">
</span>He took it all in stride, but we had a full house, standing room
only.<span style="mso-spacerun: yes;"> </span>It was heady stuff for me!</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you found most difficult to
translate?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> <i style="mso-bidi-font-style: normal;">Jeanne darc </i>is very
challenging.<span style="mso-spacerun: yes;"> </span>I was recently a panelist
on a panel discussing what is easy and what is hard in our experience of translating.<span style="mso-spacerun: yes;"> </span>The ambiguity of grammar and syntax in
experimental poems, the pronoun and verb tense shifts—very difficult to make
work well in English without risking sounding illiterate.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">What have you enjoyed most translating?<o:p></o:p></span></span></i></b></div>
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<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">I loved translating </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Fortino S</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Times;">á</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">m</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Times;">a</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">no.<span style="mso-spacerun: yes;"> </span></span></i><span lang="EN-US" style="mso-ansi-language: EN-US;">It’s a very playful and cerebral
poem, paying such careful attention to sound patterns and wordplay that it was
a deep pleasure finding ways to get the poem and its commentary into
English.<span style="mso-spacerun: yes;"> </span>I never tired of working on
that translation in 4 years.<span style="mso-spacerun: yes;"> </span>We worked
on a short series by the Québecoise poet Nicole Brossard, and I enjoyed that
very much as well.<span style="mso-spacerun: yes;"> </span>In many ways, because
I am Scandinavian American, the Scandinavian languages and cultures are more
closely a part of me than French, so I did not feel, translating poems from
Swedish and Icelandic, so foreign to works as I do with French, for I
understood the culture and language on even unconscious levels.<span style="mso-spacerun: yes;"> </span>With French, it is always a challenging
stretch, but I appreciate that, too, but in different ways.</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> Which author would you love to
translate?<o:p></o:p></span></span></i></b></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"> I love the poetry of Tomas Tranströmer, and Francis Ponge.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;">If you were not a literary translator, what would you do?<o:p></o:p></span></span></i></b></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>To be
honest, I consider myself first and foremost a poet. <span style="mso-spacerun: yes;"> </span>I have 8 collections of poetry.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><u><span lang="EN-US" style="mso-ansi-language: EN-US;">List of translated authors</span></u><span lang="EN-US" style="mso-ansi-language: EN-US;">:<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;">Nathalie Quintane, </span></span><span style="font-size: large; text-indent: 36pt;">Virginie Lalucq and Jean-Luc Nancy, </span><span lang="EN-US" style="text-indent: 36pt;"><span style="font-size: large;">Nicole Brossard, </span></span><span style="font-size: large;">Ilse Aichinger, </span><span lang="EN-US"><span style="font-size: large;">Goran Sonnevi.</span></span></div>
</div>
Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0tag:blogger.com,1999:blog-5263918221007441454.post-72644013318032408982016-01-14T04:16:00.001-08:002016-01-14T04:16:55.580-08:00NANCY NAOMI CARLSON AND HER AUTHORS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsofnX4jBHlwpWzsJXD0lr-u6FCj9fDDwNBoCuirsbVdL4pB7ie_6xFYnNCqOF9UjtvorNAgF6FnQpk7qFuLxKRJwbsqj0QJLhIdDiE6KawKrqNchXIXD-yiXnH8TuZFE_NzIikB3LFGM/s1600/Mom%2527s+Art+Show_Bethesda+Library_Nancy.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsofnX4jBHlwpWzsJXD0lr-u6FCj9fDDwNBoCuirsbVdL4pB7ie_6xFYnNCqOF9UjtvorNAgF6FnQpk7qFuLxKRJwbsqj0QJLhIdDiE6KawKrqNchXIXD-yiXnH8TuZFE_NzIikB3LFGM/s640/Mom%2527s+Art+Show_Bethesda+Library_Nancy.JPG" width="640" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: x-large;"><br /></span></span></i></b></div>
<div align="center" class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: x-large;">“Translation is the link between who I was and who I have become.<o:p></o:p></span></span></i></b></div>
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<span style="font-size: x-large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;">I love, love, love the fact that I never have writer’s block when I
translate.”</span></i></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="background: white; color: black; font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></i></b></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;">Nancy Naomi Carlson</span></b><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"> is an American literary translator, poet,
and editor. She speaks French and Spanish.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">How did you start translating literature?
What are “your” authors and languages?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">I came to translation through the
convergence of three interests that came together in “a perfect storm”: music,
French, and poetry. When I majored in French Language and Literature in college
and grad school, I had no interest in creative writing. I could only hear the
call of the Muse of Music, and was consumed by playing the piano, flute, and
violin. For several years, I worked as a French and Spanish teacher.<span style="mso-spacerun: yes;"> </span>Years later, when I became a school
counselor, I started writing poetry. I took a poetry class at the University of
Maryland with Michael Collier, who suggested I try my hand at translating,
“because of your background in foreign languages.” However, it wasn’t until attending
a few sessions on translation at AWP in Vancouver that I decided to take the
translation plunge, choosing source texts infused with music which I tried to
bring into my translations. Translation is the link between who I was and who I
have become.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">I developed a love for poetry from reading
French poems ...not English!...especially for the rich sounds of Verlaine,
Baudelaire, and Apollinaire. I can still recite lines from these poems by
heart, though I can never memorize my translations, nor my non-translated
poems. I also enjoyed the simplicity and poignancy of Jacques Prévert; I used his
poems to teach the passé composé to my high school French students. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">What do you like /dislike about your job as
a literary translator?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">I love, love, love the fact that I never
have writer’s block when I translate. Yes, I can be blocked on the best way to
translate a particular word or phrase (usually one that fits a particular sound
pattern), but it’s just not the same as writing my “own” poems. I also love
working with living authors and seeing the world through their eyes. I have
gained life-long friends from these relationships.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">I’m not especially fond of the bureaucracy
that sometimes is involved in obtaining the rights to translate a particular
piece of work...especially when the rights are owned by big publishing houses
which sometimes demand hundreds of dollars in royalties.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">What is the most enriching experience you
have had?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">There have been several, but what stands out
is my trip to Martinique on an Arts & Humanities grant from Montgomery
County to meet with the brilliant <b style="mso-bidi-font-weight: normal;">Suzanne
Dracius</b>, as well as to see the physical landscape of her poems, including
the infamous volcano that erupted in 1902, destroying the entire town of
Saint-Pierre. There it was, still steaming with malice, with people once again living
in its foothills, still in harm’s way. Suzanne drove me around the entire
island, where I got to see beaches, lush forests, Fort-de-France with its
decapitated statue of Empress Josephine, and drink “ti-punch” (rum and sugar
syrup) at our midday meals. Suzanne took me to a concert where I met the
President of Martinique; another day we delivered a two-hour symposium, in
French, on her writing and the translation process at the bibliothèque Schoelcher,
in Fort-de-France. We even got interviewed for a TV program that aired that
day.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">What made you feel closest to an author?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">I had never heard of <b style="mso-bidi-font-weight: normal;">Abdourahman Waberi</b>, the world-famous writer from Djibouti, until I
came across one of his poems on the internet—part of an anthology of
francophone literature. I had to look up the location of Djibouti, which turned
out to be nestled among Ethiopia, Somalia, and Eritrea, on the East coast of
Africa. I sent a Facebook message to Abdou, asking if his collection of poetry
had ever been translated into English, and he quickly sent a response. It
turned out that he was not living in Djibouti, but was actually teaching at
George Washington University, only a few Metro stops from where I teach at the
University of the District of Columbia! We met for coffee at the Van Ness metro
stop, and the rest is history...Since Abdou is “local,” we were able to work
together on the manuscript, be interviewed together for an article in <i style="mso-bidi-font-style: normal;">NEA Arts</i>, enjoy a Thanksgiving Day meal
together, and present bilingual readings of <i style="mso-bidi-font-style: normal;">My
Brothers, the Nomads, Go Out to Drink from the Big Dipper.</i><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">What have you found most difficult to
translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">Neologisms are pretty difficult, not to
mention word play, the introduction of another language into the mix of English
and French (like Creole or Arabic), exact sound patterns (especially difficult
when the sound in question doesn’t even exist in English!), and slang. Probably
the most challenging was translating the dialect of Man Cidalise (a character
in Suzanne Dracius’s novel, <i style="mso-bidi-font-style: normal;">The Dancing
Other</i>—an uneducated woman from Martinique who slurs together words because
she is missing most of her teeth).<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;"> What have you enjoyed most
translating?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">I love translating texts that are knee-deep
in music—alliteration, assonance, and rhythm. I create a “sound map” of the
source text, highlighting sound patterns, and try to reproduce these patterns
in the translation...or get as close as possible to these patterns. It’s a joy
when I am able to get close to the sound patterns without having to sacrifice
meaning.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;"> Which author would you love to
translate?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">I’d love to translate essays of Montaigne,
as well as bring to English the voice of a contemporary Spanish-speaking woman
poet I’ve yet to meet!<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;"> If you were not a literary translator,
what would you do?<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">Since I only translate part time, I am
already doing other things. I am an assistant professor in counselor education
at the University of the District of Columbia, where I coordinate the graduate
school counseling program. I study voice and practice yoga. If I didn’t
translate, I’d be writing more non-translated poems, as well as more essays. Maybe
join a gym. Maybe join a choir.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">List of translated authors<o:p></o:p></span></span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><span style="font-size: large;">René Char, Suzanne Dracius, Khal Torabully,
Abdourahman Waberi<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="background: white; color: black; font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Nancy Naomi Carlson</span></b><span lang="EN-AU" style="background: white; color: black; font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;"> is a poet, translator, and editor,
as well as a recipient of a literature translation fellowship from the National
Endowment for the Arts; she has also received grants from the Maryland Arts
Council and the Arts & Humanities Council of Montgomery County. Author of
three prize-winning non-translated titles, her first collection of poetry,<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Kings Highway</span></em>, was a co-winner for the Washington Writers’
Publishing House competition.<span class="apple-converted-space"> </span></span><em><span lang="EN-AU" style="background: white; color: #2a2a2a; font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Complications of the Heart</span></em><span class="apple-converted-space"><span lang="EN-AU" style="background: white; color: #2a2a2a; font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;"> </span></span><span lang="EN-AU" style="background: white; color: #2a2a2a; font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">won the Texas Review Press’ Robert
Phillips Poetry Chapbook Prize and<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Imperfect Seal of Lips</span></em><span class="apple-converted-space"> </span>was selected for the Tennessee
Chapbook Prize.<span class="apple-converted-space"> </span></span><span lang="EN-AU" style="background: white; color: #8e8e8e; font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;"><br />
<br />
</span><span lang="EN-AU" style="background: white; color: #2a2a2a; font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Carlson has published three
collections of poetry translations, most recently<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Calazaza's Delicious Dereliction</span></em><span class="apple-converted-space"> </span>(Tupelo Press), translations of
Suzanne Dracius, from Martinique. <em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">The Nomads, My Brothers, Go Out to Drink from the Big Dipper</span></em><span class="apple-converted-space"> </span>(Seagull Books, distributed by the
University of Chicago Press), translations of Abdourahman Waberi, from
Djibouti, was also published in 2015, and was named one of 10 "Best Books
of 2015" by<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Beltway Poetry Quarterly</span></em>. <em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Stone Lyre: Poems of René Char</span></em><span class="apple-converted-space"> </span>was published by Tupelo Press (2010).<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Hammer Without a Master</span></em>, more Char translations, is
forthcoming from Tupelo Press.<br />
<br />
Carlson’s translations and non-translated work have appeared in such journals
as<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">The American Poetry Review</span></em>, <em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">AGNI, Crazyhorse, Denver Quarterly,
FIELD, Five Points, The Georgia Review, The Iowa Review, Kenyon Review Online,</span></em><span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">The Massachusetts Review, Poetry</span></em>,<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Prairie Schooner,</span></em><span class="apple-converted-space"> </span>and<em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Shenandoah;</span></em><span class="apple-converted-space"> </span>work is forthcoming in<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Boulevard. </span></em></span><span lang="EN-AU" style="background: white; color: black; font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">She
is a senior translation editor for<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Tupelo Quarterly</span></em><span class="apple-converted-space"> </span>and translation editor for<span class="apple-converted-space"> </span><em><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Blue Lyra Review</span></em>. She directs the CACREP-accredited graduate
school counseling program at the University of the District of Columbia, and
has earned doctorates in foreign language methodology and counselor education.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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www.nancynaomicarlson.com</span></span><span lang="EN-AU" style="font-family: Calibri; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Helvetica; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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Cristina Vezzarohttp://www.blogger.com/profile/01882379169772599047noreply@blogger.com0