New South Africa & Argentinian theater in translation

Proyecto 34ºS’s Theatre in Translation/Teatro en Traducción project, an artistic exchange between African and Latin American theatre, has recently released its first book: Theatre in Translation Vol 1, collecting five plays from South Africa and five from Argentina. The plays selected for the anthology – along with others not in the collection – can be downloaded for free from Proyecto 34ºS’s website in both English and Spanish. The book, according to the Argentina Independent, is available upon request.

South African literature blog Books LIVE, reporting on the book’s release, describes the process involved in translating the plays as challenging but rewarding:

At one point we thought about how to translate the name of a town that had a lot of meaning in Afrikaans, but that might lose its subtlety and humour when translated to Spanish for example,” [Proyecto 34ºS founder and director Nikki] Froneman told Books LIVE. “We had many discussions like that, where we were very careful to try not to lose the nuances of each language. With some plays we were translating from the Afrikaans, to English. And then from English to Spanish. It was quite a task, but we made it through and are so happy with the results.

We imagine readers of the plays are likely to be happy with the results, as well. - KA

Coetzee on tender passions, Corngold's Werther

In his introduction [to his new translation of The Sorrows of Young Werther] Stanley Corngold spells out some of the procedures he follows. He does each page "cold," then checks it against extant translations (he lists the seven he has principally used). He follows Goethe's German closely, even at the risk of sometimes sounding foreign. He takes pains not to use words that were not part of the English language by 1787. [...] Corngold's scholarly concern about anachronism raises a wider issue: With works from the past, how should the language of the translation relate to the language of the original? Should a twenty-first-century translation into English of a novel from the 1770s read like a twenty-first-century English novel or like an English novel from the era of the original? [...]

I cite one telling instance. In his very first letter Werther mentions a former woman friend, and asks rhetorically: "Was it my fault . . . passion formed in her poor heart?" (Corngold's translation). [Daniel] Malthus [in his version of 1779] renders these words as: "Am I to be blamed for the tenderness which took possession of her heart . . .?"

We are in the sphere of the tender passions, and the word at issue is eine Leidenschaft. Leidenschaft is, in every sense of the word, "passion"; but what is "passion"? Why does Malthus mute "passion" to "tenderness" [...] where we, observing the tender passions at work, see passion predominating, an educated Englishman of the 1770s saw tenderness. A translation of Werther that is true to our twenty-first-century understanding of Goethe, yet in which readers from the 1770s would have felt at home, is an unattainable ideal.

[Nonetheless!] Corngold's new translation is of the very highest quality, punctiliously faithful to Goethe's German and sensitive to gradations of style in this extraordinary, trail-blazing first novel. 

-- J. M. Coetzee in The New York Review of Books (V.LIX, No.7, p.21), reviewing The Sorrows of Young Werther by Johann Wolfgang von Goethe, translated from the German by Stanley Corngold (Norton, 2011).
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The afterlife of translational error

In the translation of political communications, the bungling of a single idiom can upset state relations, disrupt negotiations, or risk international… incident. In 2005,  news agencies reported that Iranian president Mahmoud Ahmadinejad, speaking at a “World Without Zionism” conference, claimed that the nation of Israel should be “wiped off the map” – in fact, on closer scrutiny, this seemed to be an example of inaccurate translation. (See this 2006 article in The Guardian, in which Jonathan Steele succinctly explains the facts and interpretations involved: “So there we have it. Starting with Juan Cole, and going via the New York Times' experts through MEMRI to the BBC's monitors, the consensus is that Ahmadinejad did not talk about any maps. He was, as I insisted in my original piece, offering a vague wish for the future.” See also this WashPo fact-checker analysis.)

The matter of the map-wiping misunderstanding would simply be a cautionary tale, if at the time it hadn’t led to hostile rhetoric on all sides of Iran-Israel (-US) relations… and if it didn’t continue to make the rounds as an unquestioned piece of historical evidence, proving that Iran’s intentions have always been bellicose. Most recently:

• April 25, 2012: Carlo Strenger in the Huffington Post: "Iran's clerical regime makes sure to promise every other week that Israel will be wiped off the map"
• May 16, 2012: Myron Kaplan, in a piece concerning disinformation and "C-SPAN's Israel/Jewish Problem": “For example, on Oct. 26, 2005… [Ahmadinejad] vowed that ‘Israel must be wiped off the map’” (published on the website of  CAMERA: the Committee for Accuracy in Middle East Reporting in America)
• May 17, 2012: A wire piece from AFP, hosted on Google News: “Ahmadinejad has repeatedly stated in recent years that Israel will one day be ‘wiped off the map’ and cast doubt on the magnitude or actual occurrence of the Holocaust.”  

Even when a journalist acknowledges that “Iran’s leaders have sometimes been quoted inaccurately or out of context,” it is hard to know to what extent this translational error has poisoned the well – as when the just-quoted author, Shmuel Rosner writing in the NYTimes Latitude blog earlier this month, goes on to note: “[T]hey’ve had plenty of opportunities to set the record straight and haven’t seemed to want to.”

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In most literary acts of translation, the stakes of a wonky rendering are aesthetic. As in, for example, this discussion in The New Yorker of L'Etranger; should the first sentence "Aujourd'hui, maman est morte" be brought into English as "Today, Maman died", or, "Momma died today"? It matters, a bit, beyond the simple matter of the meaning, because we are to understand something about cultural and colonial tensions in Algeria at that historical moment, given  the characterization of the protagonist as more or less estranged from feeling. There is, however, a significant difference between "politics of translation" and "the translation of politics", to the end that you don’t often see a book reviewer arguing on the grounds of a translation of Camus that war between (e.g.) France and America is inevitable.

When the words being translated are uttered by the heads of state, the potential outcomes of an error can be frightening. And the possibilities are especially fraught when, an error in translation being noted and corrected, the original mistranslation continues to circulate in the culture, where it continues to insinuate all the wrong things to people who are looking for translated evidence to corroborate their prejudices and pet fears.

- KA/ZB

Groundbreaking Spanish translations from Salt

Salt Publishing’s recent blog post draws our attention to its many recently published, never-before-translated poetry collections from Latin America, titles which encompass an eclectic crew of late twentieth-century poets:

• Blue Coyote with Guitar, Juan Bañuelos (Mexican); trans. Katherine M. Hedeen & Víctor Rodríguez Núñez. “ ... creates an alternative poetics that rejects individualism, defies nationalism, and opts for the alterity of the most marginalized social subjects in modern Mexico, the Indigenous population, whose cultures increasingly determine this poetry’s vision of the world.”
• Journal with No Subject, Juan Calzadilla (Venezuelan); trans. Katherine M. Hedeen & Víctor Rodríguez Núñez. “This poetry denounces the dehumanization of modernity, appropriates surrealistic language, questions identity and poetry itself, and dissolves the coherent, autonomous subject. Uniting political and aesthetic radicalism, Calzadilla ultimately reestablishes faith in poetry.”
• Friday in Jerusalem and Other Poems, Marco Antonio Campos (Mexican); trans. not listed. “[I]n Campos’s poems ... morality is given priority over politics, feeling over reason, plain style over experimentation. In his case, a displacement from time history and biography toward space city and home is carried out, and poetry becomes chronicle.”
• Reasons for Writing Poetry, Eduardo Chirinos (Peruvian); trans. G.J. Racz. “Chirinos’s poetry is marked by a wry tone and simple lyric eloquence. Accessible, ironic, and always entertaining, the poems in Reasons for Writing Poetry treat time and again Chirinos’s favourite subjects and themes: the return to childhood, the vagaries of memory, the alternative reality of dream, a fascination with animals, the utility of seeing and hearing, the writer’s place in poetic tradition, and the never-ending search for originality through innovative expression.”
• The Poems of Sidney West, Juan Gelman (Argentinean); trans. Katherine M. Hedeen & Víctor Rodríguez Núñez. Presented in both Spanish and English. “This translation offers to English readers for the first time the splendid verse of imaginary American author Sidney West, created by Juan Gelman, one of the greatest living poets of the Hispanic world. These laments question Western assumptions surrounding death, erase boundaries between poetry and narrative, privilege the magical as a vital aspect of reality and seek the transformation of the lyric persona.”
• The Bridges, Fayad Jamís (Cuban); trans. Katherine M. Hedeen & Víctor Rodríguez Núñez. Presented in both Spanish and English. “Jamís constructs a subject excluded from modernity who, once aware of his subordinate condition, becomes an agent of decolonization. His main task is nothing less than a conquest of the power of representation.... It is the result of an appropriation, the poet’s adaptation of the European avant-garde’s achievements to his own expressive needs. ... a poetry that is decolonizing in its content and decolonized in its form, by one of the great Cuban artists of the twentieth century.” 
• The Trees, Eugenio Montejo (Venezuelan); trans. Peter Boyle. Presented in both Spanish and English. “Covering Montejo’s work from the 1960s to 2004[,] this major selection deals with universal themes of loss, death, family and love as well as reflecting on humanity’s relationship to nature in an ever more materialistic and urbanized world. Montejo’s poetry would be of special interest to all readers of poetry as well as to those interested in understanding a Latin American perspective on modernization and globalization.” 
• Garden of Silica, Ida Vitale (Uruguayan); trans. Katherine M. Hedeen & Víctor Rodríguez Núñez. “Her work seeks a balance between subjectivity and objectivity, privileges intellectual capacity above that of sentimentality, and requires an active reader. Placing the intellectual subject at the forefront, Vitale's poetry offers one of the most provocative representations of women's subjectivity in the Spanish language.” 

- KA

Tim Parks on fear and translation

Apropos of fear, this still shows Ingrid Bergman and Mathas Wieman in the 1954 Rossellini film, "La Paura"

At the New York Review of Books blog, novelist and translator Tim Parks reaches into the space between fear and literature.  Observing that "in the world of literature there is a predominance of people whose approach to life is structured around issues of fear and courage and who find it difficult to find a stable position in relation to those values," he notes the split between writers who are drawn to the bookish, uncelebrated work of translation:

That certain vocations attract a particular character type is evident enough. At the university where I work in Milan, we have two post-grad courses for language students, one in interpreting and one in translation. With some exceptions the difference in attitude and character between members of the two groups is evident. The students who come to translation are not looking to be out there in the fray of the conference, under the spotlights; they like the withdrawn, intellectual aspect of translation. Often their problem as they begin their careers is not so much the work itself, but the self-marketing required to find the work.

Even when a translator can overcome his or her natural (ostensible) aversion to self-promotion, they are not helped much by standard practices in publishing or book-selling which fail to spotlight, or in some cases even to acknowledge, the translator's role in bringing a book to a new language market.

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Parks is Associate Professor of Literature and Translation at IULM University in Milan. Among his many translations is The Marriage of Cadmus and Harmony by Roberto Calasso -- a book I own, enjoy, and consider indispensable. Parks's latest novel, The Server, translates the experience of a Vipassana retreat into terms explicable to a Western skeptic (wherein, as well, 'man meets woman'.)" - ZWB

Victor Golyshev at the BU Castle

On Tuesday, April 17, at 7:00 PM in the BU Castle, 225 Bay State Road, Boston, Victor Golyshev will deliver a lecture titled "Two Forms of Hell: The Utopias of Platonov and Orwell", as the first annual Ha Jin Visiting Lecturer.


Golyshev is one of Russia's best known English-to-Russian translators. His translations include William Faulkner's Light in August, Ken Kesey's One Flew Over the Cuckoo's Nest, Robert Penn Warren's All the King's Men, Thornton Wilder's Theophilus North, George Orwell's 1984, Truman Capote's Other Voices, Other Rooms, William Styron's Set This House on Fire, and others, many of which were completed during the Cold War. He has won the Foreign Literature and Illuminator awards.

This free lecture is open to the public, and sponsored by the Boston University Creative Writing Program. 


           

The Art of Translation panel at Emerson

The Department of Writing, Literature and Publishing at Emerson College invites the public to attend an event titled "The Art of Translation" on Wednesday, March 21, at 6:00 p.m., featuring David Ferry, Peter Filkins, Sheila Fisher and Michael Palma, co-hosted by Maria Koundoura and Yu-jin Chang.

This event will be held in Bright Family Screening Room at the Paramount Center, 559 Washington Street, Boston (near the Boylston stop on the Green Line, or the Downtown Crossing stop on the Orange Line).

About the speakers...

DAVID FERRY is a poet and translator. His new selected poems, On This Side of the River, will be published in autumn of 2012. His books of poems and translations include Of No Country I Know: New and Selected Poems and Translations, Gilgamesh: A New Rendering in English Verse, and The Odes of Horace: A Translation. He is at work on a translation of Virgil’s Aeneid.

PETER FILKINS is the author of four books of poems, and translator of Ingeborg Bachmann’s collected poems, Darkness Spoken, as well as H.G. Adler’s novels The Journey and Panorama. He is a recipient of a Berlin Prize Fellowship from the American Academy in Berlin, and an Outstanding Translation Award from the American Literary Translators Association. His poems and translations have appeared in numerous publications.

SHEILA FISHER is the author of Chaucer’s Poetic Alchemy: A Study of Value and Its Transformation in The Canterbury Tales, co-editor of Seeking the Woman in Late Medieval and Renaissance Writings: Essays in Feminist Contextual Criticism, and has written essays on the Gawain-poet and gender roles in medieval romance. Her latest publication is The Selected Canterbury Tales: A New Verse Translation.

MICHAEL PALMA has published two poetry chapbooks and two full-length collections, A Fortune in Gold and Begin in Gladness. His twelve translations of Italian poets include prize-winning volumes of Guido Gozzano and Diego Valeri with Princeton University Press.  His fully rhymed translation of Dante’s Inferno was published by Norton in 2002 and reissued as a Norton Critical Edition in 2007.

Submissions call: Alchemy

Alchemy, a new journal of translation out of the UCSD Literature Department, is now accepting student submissions for its first issue. The editors are looking for work that engages translation in both traditional and innovative ways.To submit, you must currently be a student, and are asked to include the name of your school and, if applicable, your program of study. When submitting, send the source text along with your translations -- up to five pages of poetry or ten pages of prose -- to alchemythejournal@gmail.com with a subject line indicating the genre: Poetry, Fiction, Cover Art, etc. Submissions received by December 5, 2011 will receive priority for the first issue and any submissions thereafter will be accepted on a rolling basis.

Submissions: Ozone Park

The literary journal Ozone Park is looking for submissions in translation, to be reviewed up to the end of the reading period, December 8. The editors accept electronic submissions in the categories of fiction, poetry, creative nonfiction, short plays and play excerpts, literary translation, and comics. All submissions to Ozone Park must be original, previously unpublished work in English, should include a cover letter, and should consist of up to three poems, one ten-page short play or play excerpt, or no more than 7500 words. Manuscripts should be sent as a single .doc or .rtf file. Send comics as .jpg, .gif, .tif, or .png image files, and should be submitted electronically to translation@ozoneparkjournal.org. For all other inquiries, please send an email to editor@ozoneparkjournal.org. Translated work should include both an English translation and a copy of the work in the original language. Although Ozone Park Journal is responsible for securing foreign rights for translations, translators should determine that rights ar available.

McCrum on the surge

The dream of a true universal language is in the end dependent on perfect translation. Aside from the lessons of Babel, the history of the Bible istelf [sic] offers other cautionary tales, particularly this year – the 400th anniversary of that great cathedral of language, the King James Bible. The anniversary has proved to be both a cause for celebration and for reflection on whether there can ever be an ideal or final version of such a work. Isn't every new rendering bound to reflect the social and cultural context in which its translator works?

-- Emphasis added. To answer his question -- well, yes; though for "bound to" read "privileged to", with all the implications thereof. This quote is taken from Robert McCrum's essay reflecting on the "worldwide upsurge in demand for English versions of foreign bestsellers" in The Guardian. The word "surge" in my ear has a distinctly liquid register, as in the . Maybe this is a proscriptive metaphor, since I'd much rather see the flow of literature be cyclical -- as in the hydrological cycle, where the medium (here, letters) is by rounds gathered and distributed, homogenized and partitioned, made liquid and made vapor -- rather than linear, with texts flowing only ever down from their sources (in the different mountains of various homelands) into the ocean, sinking, until the source peters out. Pardon the flight of fancy; this contributor was reading The Agony and the Ecstasy all this holiday weekend, and he is now sodden with sentimentality.

Announcing an official Tranströmer website

We're pleased to publicize an announcement by Peter Last: "On October 6, 2011, Tomas Tranströmer of Stockholm was announced by the Swedish Nobel Academy as the winner of the 2011 Nobel Prize for Literature. His books have been translated into more than 60 languages, and he is among the most widely read poets of the present time. I am pleased to announce the launch of http://tomastranstromer.net, a new website devoted to the life and poetry of Tranströmer, following more than a year of development. This site has his blessing; plans are coming together for a Swedish language mirror site to the current English language site to launch in 2012."

The site seems to be going well so far! According to Last,  "On October 6, the day of the Nobel Prize announcement, the website received 35,000 hits from all over the world. There have been 65,000 unique visitors in ten days to the Tranströmer website from Australia, Brazil, China, Egypt, India, Japan, Pakistan, Russia, Spain, etc."

Last recommends the following books to those interested in the work of this Nobel Prizer-winning poet:

• Friends, You Drank Some Darkness: Three Swedish Poets – Harry Martinson, Gunnar Ekelof, and Tomas Tranströmer, tr. Robert Bly, Beacon Press, 1975 
• The Half-Finished Heaven, tr. Robert Bly, Graywolf Press, 2001 
• The Sorrow Gondola, Michael McGriff and Mikaela Grassl, Green Integer, 2010 
• New Collected Poems, tr. Robin Fulton, Bloodaxe Books, 2011
• Microgramas ("Micrograms"), by  Jorge Carrera Andrade, with translations by J. Enrique Ojeda & Steven Ford Brown, Orogenia, 2007

Tranströmer cites Carrera Andrade as a major influence on his own work; here is a sample from Microgramas, "OSTIÓN" ("Oyster"):

Ostión de dos tapas:
tu cofre de calcio
guarda el manuscrito
de algún buque náufrago.

Oyster with two covers:
your calcium jewel case
guards the manuscript
of some wrecked ship.

Last has provided a small e-book, in English and Swedish, of poems by Tranströmer, published in 1987. Email Pusteblume if you'd like us to send you a copy.

Submissions open for Toad Press chapbook series

Toad Press reads submissions of chapbook-length translations each year between October 1 and December 31. The editors accept online submissions only. Submissions should be consist of 14-24 pages of poetry or prose, cover sheet with name and contact information, table of contents (if applicable), and acknowledgments via their Submishmash system. Toad Press publishes between 1 and 3 chapbooks a year. Chapbooks accepted for publication will appear the following Summer/Fall. Payment is in copies only. There is no reading fee.

Questions? Take a look at their Frequently Asked Questions. If you still have questions, the editors can be reached via email.

Transtromer Squabble

Tomas Transtromer was awarded the Nobel Prize in Literature this month. In recognition of the event, the editors of the Times Literary Supplement dredged out of their archives an interesting dispute which followed their publication (in 2007) of a review by Alan Brownjohn of Robin Robertson's versions of Transtromer's poems. Two weeks after the review appeared, a the Scottish poet Robin Fulton accused Robinson of doing a manqué job, and what's worse, of borrowing "excessively" from his own translations: "An excessively large number of Robertson's lines are identical to mine in my Transtromer translations... His versions are neither dependable translations nor independent imitations: they show a cavalier disregard for Transtromer's texts and I have yet to see a reviewer able or willing to say so." The exchange which ensued touches on many touchy topics -- whether a poet should translate work from a language she or he does not know, or know well; whether the use of another's work constitutes allusion, appropriation or theft; and so on.

"The Matter with Words", a talk with Tim Parks

If you're near Kenmore Square in Boston tomorrow, the ASLCW invites you to claim at seat in library conference room of the BU Editorial Institute at 5:15 for a talk with novelist and translator Tim Parks.

Born in Manchester in 1954, Tim Parks studied at Cambridge and Harvard before moving permanently to Italy in 1981. Author of three bestselling books on Italy, plus a dozen novels, including the Booker short-listed Europa, he has translated works by Moravia, Calvino, Calasso and, most recently, Machiavelli. While running a post-graduate degree course in translation at IULM University, Milan, he writes regularly for the LRB and the NYRB. His non-fiction works include Translating Style, a literary approach to translation problems; Medici Money, an account of the relation between banking, the Church and art in the 15th century; and, most recently, Teach Us to Sit Still.

That's 5:15 p.m., The Editorial Institute, 143 Bay State Road, Boston University.

Eugene Nida, Bible translator: 1914-2011

Eugene Nida passed away last Thursday, August 23rd, at the age of 96. As founder of the Eugene Institute for Biblical Scholarship, and overseer of translations for the American Bible Society, Mr. Nida coordinated the work of hundreds of translators all over the world and helped to make the world's most-published book accessible to the speakers of many of the world's languages.

Mr. Nida, a linguist, is given credit for developing and promoting a theory of "dynamic" or functional equivalence, which he reasoned was a more effective means of providing access to the Biblical text than literal translations which transmit Biblical concepts -- a camel through the eye of a needle, my father's mansions, nothing new under the sun -- into the new language without taking cultural and idiomatic differences. In a remembrance titled "Spreading the Word in Hundreds of Tongues", Stephen Miller writing for The Wall Street Journal notes "The results [of functional equivalence] often worked better than literal translation but can sound odd when translated back into English. For instance 'Love the Lord with all your heart' became 'with all your liver' in some west African languages." ... "But in Japan Mr. Nida encountered resistance to introducing cultural clarity [by using idioms belonging to the target language, rather than importing the idioms of the Biblical source]. They said, 'If we made the Bible that clear, what would preachers have to do?'"

The Cliff Becker Book Prize in Translation

Translation is the medium through which American readers gain greater access to the world. By providing us with as direct a connection as possible to the individual voice of the author, translation provides a window into the heart of a culture.

— Cliff Becker, May 16, 2005

In collaboration with White Pine Press and the Cliff Becker Endowment for the Literary Arts, the has launched an annual publication prize in translation. The Cliff Becker Book Prize in Translation will produce one volume of literary translation in English, annually, beginning in the fall of 2012. These volumes initially will be bi-lingual editions of poetry, but as the endowment grows we will begin to include literary fiction and nonfiction in the prize rotation.
This year's judge is Willis Barnstone.

Requirements:

• 80-140 pp., bi-lingual manuscripts in original, English translations of poetry.
• TWO title pages—ONE bearing only the title of the work and name of the non-English poet, and ONE bearing as well the name and contact information of the English translator.
• A current listing of acknowledgments, indicating permission of the original poet or his/her estate, as applicable, and indicating any previous publication of individual poems.
• No other indication of the translator's identity may appear anywhere in the submitted manuscript.
• $20 submission fee made payable to The University of Missouri, with Cliff Becker Endowment for the Literary Arts written on the "memo" line.
• Manuscripts will not be returned, but you must include a letter-sized SASE for notification of results.

The translator of the winning manuscript will receive a standard publication contract with White Pine Press yielding a bi-lingual edition of 1000 copies of approximately 128 pages. In lieu of an advance against royalties, the translator will receive a prize of $500. Submissions packets should be sent to: The Cliff Becker Book Prize, Department of English, Tate Hall 107, University of Missouri, Columbia, MO 65211. Postmark Deadline: October 1, 2011.

A bit about collaborative translation at Tufts

Classicist Marie-Claire A. Beaulieu has conscripted undergraduate and graduate students -- now over a dozen of them -- to identify and translate orphan texts in the Tisch Library Miscellany Collection from Latin to English. According to a "five-minute" interview with her at Chronicle.com, she has turned these students into "historical sleuths, opening the cold case of the centuries-old texts." From the interview:

Q. Do you think such "crowd" translation, in which the participants aren't experts but just students interested in the subject, is the future in your field?

A. Definitely. With the humanities becoming so digitized, we're working with larger and larger collections. Someone doesn't need to be an absolute expert on a manuscript to translate it. If you give an undergraduate the proper tools, they can do a fantastic job. This is something my colleagues in the sciences have realized for a very long time. Undergraduates frequently work in labs on major projects. So, absolutely, I think in the humanities that is the future as well.

Funding available for French author visits

The French Embassy is reviewing applications for "French Authors on Tour", a program which provides financial aid to American institutions wishing to invite and play host to French authors for book signings, and symposia. Contact: Authors on Tour, Book Department, Cultural Services of the French Embassy, 972 Fifth Avenue, New York, NY, 10021.

Award announcement for translations from Japanese

Translations of Japanese literature to English may be submitted for consideration for the Japan-U.S. Friendship Committee Prize for the Translation of Japanese Literature. Contact: Donald Keene Center of
Japanese Culture, Columbia University, 116th Street and Broadway, New York, NY, 10027, or by phone, 212-854-5036.

Translate in the Catskills: August 12-14, 2011

Over at Translate in the Catskills, Corinne McKayreports: "It’s official! Translate in the Catskills (a.k.a. 'Style in Translation'”) is back by popular demand, from August 12-14, 2011.Like Translate in the Catskills 2009, the 2011 session will be held at the beautiful and historic Sugar Maples Center for Creative Arts in the hamlet of Maplecrest, New York." 

2009 participants said…
"The company was the best, the atmosphere unbeatable, and it was so deeply satisfying and energizing to work together – although it felt more like calm, focused play in that comfortable, casual setup, with natural beauty all around us. I’ve never experienced anything like it."

"Thanks to my fellow speakers, I have explored new ways to do just that – even in the seemingly “dry” world of financial translation. Que demander de plus ? Many thanks to all."

"Since I attended Translate in the Catskills 2009, my clients have complimented my writing more than they did in the previous six years combined."