Call for submissions: Portuguese Interpreting/Translation Conference

The Translation Center and the Masters Program in Translation Studies at UMass Amherst will be hosting a conference on Portuguese translation in Amherst, MA on April 18-19, 2009.

The organizers are looking for presentations on a wide range of topics within the field of interpreting, translation and the Portuguese language. Their especial interest is the connection between professionals and academics in the field.

The conference will have a special student panel for graduate students to present their work.

Proposals may be sent to Elena Langdon, treasurer of the Portuguese Language Division of the American Translators Association: elena.langdon@gmail.com.

eXchanges, Icelandish, Freeman on -eth

CALL FOR SUBMISSIONS
eXchanges, the University of Iowa’s online journal of literary translation, will be accepting variations on the theme MIRRORS & MASKS for their spring 2009 issue until March 20, 2009. Short stories, novel excerpts, literary nonfiction, and poetry are all welcome, as well as critical essays on translation.

To be considered, submissions must include the original source text as well as the translation; biographies and photos of both author and translator; a short note on the process of translation; and permission for online publication for both languages. Submissions should total no more than ten pages in length. Electronic submissions -- which are strongly preferred -- should be send as .doc attachments to exchanges@iowa.uiowa.edu. Direct paper submissions to eXchanges, Bowman House, 230 N. Clinton St., Iowa City, IA, 52242, U.S.A. The editors do accept simultaneous submissions; however, they ask that submitters inform them if work is under consideration elsewhere.

HELLO, COUSINS
The Fall 2008 issue, ROOTS & BRANCHES, is online at the journal's website. Browsing through, I saw work from Japanese, Italian, Chinese, and Hindi, but, having recently fallen in with the writing of Halldór Laxness, decided to check out the Icelandic poem "morðsaga" by Sigurbjörg Þrastardóttir, given in German as "moritat" by Kristof Magnusson and as "murder story" by Þrastardóttir's English translator Bernard Scudder.

The title phrase "morð-saga" can be easily seen to mean "murder story," without having to clean off much of that phonetic and orthographic grime that accumulates over time on cognates, in much the same way that that sea corrosion builds up on cannons sunk with a ship-wreck. Oh, but let us be cautious of cognates -- I have in mind the admonition of translator Cola Franzen: that when rely on cognate meaning, we run the risk of ruining the tone of our version. Good advice indeed; but as readers of parallel texts we should be able to relax our vigilance against seeming sameness and faux amis, and have a little fun picking out the connections. As we can with the triplet wafer-thin / hauchdünn / næfurþunnt . Apparently "næfur" corresponds to "wafer" -- that's neat!.

It is thrilling to see clean kinship between English, German, and Icelandic, to feel part (as a native speaker of English) of an extended family of lexical relations. English: Don’t you think? German: Findest du nicht? Icelandic: Finnst þér ekki?

FREEMAN IN THE SUNDAY GLOBE
In today's Globe, Jan Freeman picks up the theme of linguistic cousins in a related (!) way: "Same for run the gantlet instead of gauntlet: The word was gattlopp in Swedish, but it was mangled the moment we borrowed it, almost 400 years ago. Does it really matter which spelling of the French word for "glove" we use to represent it today?" Ha, I laughed aloud; a point for Freeman again literary pedantry. Precision can be pretentious as well as useful. (Finnst þér ekki?) Elsewhere in the same column, Freeman expresses admirable irritation, admirably restrained, toward the use of verbs incorrectly conjugated in the Elizabethan way. She uses the occasion to preacheth tolerance of linguistic change, a cause we would all do well to support with our various energies. While not forgetting that there is a difference between change and degeneration, and that tolerance of the former should not admit comfort with the latter. Ah, but, like, who shall judgeth?

Abusive tendencies of translation

'Translation is something akin to vivisecting a ghost,' James Stotts tells us in the new issue of the literary journal Reconfigurations. "An analysis of translation, then, would be like the shadow cast by a ghost—pale indeed." Not in this case; Stotts is erudite and informative in this account of reading a clutch of dense lyrics (on the theme of goldfinches) by Osip Mandelstam. Stotts writes:

The problem with translation is that both decent and opportunist professors, both earnest poets and career hackwriters conventionally approach the translation of a body of work as some conquerable task, as if the poetic achievement of Mandelstam could be taken on and achieved again by proxy. Even good writers usually seem to be at their worst as translators. Mandelstam’s own appraisal of translation seems fairer: translations should be tools for approaching the original poem in its original language. The other half of the equation is the use of translations as an alternative mode of poetic production: simply a plagiaristic method for writing poetry. That would allow for the abusive tendencies of all translation, in a way that exposes and counters the apologetics of bad translators. It would also demand the same kind of struggle toward linguistic mastery in English that Mandelstam concerned himself with in Russian. A poem not only draws on its language, but creates new possibilities for it as well, and so a translation must also have that creative, dynamic feature to be worthwhile.

Stotts, a writer and photographer, is translating for a selected poems of Marina Tsvetaeva forthcoming from Whale and Star Press. His "invisible shotgun anthology" of Russian writing" includes such masters as Afanasy Fet, Sergei Esenin, Joseph Brodsky, and, yes, Mandelstam.

Love of Translation

I'd like to follow-up on Nora's post last month about the NPR featurette on translation, by directing readers to a more extended commentary on the conclusion of that show over at the blog of translator Erica Mena. Over at her Beneath Sense blog, Mena elevates the discussion of translation out of taxonomy and into urgent necessity:

[Translation] is both a science, in the sense of languages being a science, and an art in the sense of creative writing. This bridge that literary translation creates between the critical and the creative, the objective and the subjective, is what perhaps initially drew me into its practice. But it is more than a science and an art, it is and has to be a love.

Emphasis mine. In the same port, Mena recalls her burgeoning devotion to this lovely artful science:

I was told in one of my first translation workshops with renowned poet and translator Martha Collins that there aren't very many young literary translators. It seemed odd to me at the time that any craft would have much to do with the age of its practitioners. But it occurs to me that perhaps it has something to do with that requirement of love. As a creative writer, the love I hold for my own work is somewhat selfish - it's hard to get real distance from it, to separate it from my intentions and emotions. As a translator, the love I bear for the work I'm translating is significantly different. It's not that I don't feel intimately attached to the work - I certainly do - possessive sometimes, proprietary over the original. But that to devote yourself, your creative energies, entirely to someone else's work requires a kind of selfless love that comes with perspective and time.

Too often, in seminars and in discussion with publishers, is lost the vital urges, the devotion and passion, which brings us to literature and which we in turn take from it. My appreciation to Erica for reinforcing the heated feeling beneath the cool surfaces of les belles-lettres.

Pat Holt, with a wail: Where's all the translation?

Pat Holt, long-time book critic for The San Francisco Chronicle and publisher since 1998 of the estimable book industry column Holt Uncensored, is gobsmacked that more works in translation aren’t published in America. Among the results we suffer, she observes, are a culture a-wither in the confines of literary imprisonment (my paraphrase – but you can see that she’d agree), and a publishing industry suffering by cutting themselves off from an obvious source of new talent:

Wouldn’t any publisher consider it a plus if a prospective assistant editor came to the job interview with a reading fluency in at least one foreign language? During college the candidate could have studied the classics in that language, traveled in that country and read all the promising modern authors. If hired, the new editorial assistant could comb through the foreign country’s publishing lists, acquire advance copies, investigate the U.S. market for prospective works in translation and write up Readers Reports that would be reviewed by a senior editor. This would be good training for the editorial assistant and it would sure breathe new life into an industry struggling to match the literary demands of the world.

Incisive criticism and insightful advice. An example of how this advice can succeed in application is the good idea David Godine had when he picked up Chercheur D’or at a foreign book fair, commissioned a translation, released it on the English-language market at The Prospector, and enjoyed a healthy kick in sales when Le Clézio won the Nobel Prize this year.

To acknowledge the other obvious example at the moment: Farrar, Straus and Giroux can't have any complaints as it keeps on publishing best-selling translations of what seems like Roberto Bolaño's entire ouevre, one after the other, in a feverish single-file congo line of doorstop opus epics of Latin American literary imagination. In Spain, in Germany, in Brazil, in Russia, lurk all kinds of authors, some as accomplished as any of the laurelled Anglo-American set, others as talented as Bolaño and as unknown as he was ten years ago. The oil's there, publishers, so why ain't ya drillin'? As we have learned is important in such endeavors, you better get there before someone drinks your milkshake. Not everyone's asleep: Dalkey, Godine, Open Letter, and Tameme have all got their bendy straws in place.

Holt goes on in some detail highlighting the benefits to be gained if American publishers were to engage a larger portion of international literature; her post is well worth reading in its entirety, as the first of three things she’d love to see (that is, that she’d love to see occur in American publishing). We wait, breath bated, for the third.

Among the many noteworthy points Holt relates in the making of her case:
-a Nobel Prize judge observes that American writers and publishers are too insular
-the NEA literature director describes the decline of published books in translation “a national crisis”
-the chair of PEN’s translation committee concludes that such monoglot practices “prevent authors from reaching readers anywhere outside their own country”

Many thanks to C.M. Mayo for pointing out Holt’s return to commentary on the ALTA mailing list. Mayo is the founder of Tameme, Inc., a California-based nonprofit devoted to the promotion of Spanish-English and English-Spanish translation. You can learn more about that outfit and about Mayo herself at her blog, or by checking out this recent interview in Saint Ann’s Review.

NPR Feature on Translation

This weekend on NPR's All Things Considered, Rick Kleffel briefly discussed the difficulties and pleasures of translation. Kleffel focuses particularly on the difficulties of translating cultural elements from one time and place to another. For example, on translating 18th century Italian playwright Carlo Goldoni into English for the first time, Italian translator Bea Basso realized: "All of a sudden I was a translator of gestures, traditions, customs, ways of behaving even — how many kisses do you give to people when you enter a room." In translating Gargantua and Pantagruel, Burton Raffel met the same difficulties: "Rabelais, the author of this very strange book, ends the chapter with a sputtering iteration. I believe it's something like 43 different words in French for s- - -," says Raffel. "My problem was finding 43 different words because English is not so plentiful in these things."

Listen to a clip of the radio piece or compare different translations of Victor Hugo's Les Miserables.

Translating Procedural Poetry

When K. Silem Mohammad came to read with Christian Bök at the De Young Museum, we discussed at length how one could possibly translate his sonnegrams. If you recall, KSM's sonnegrams are more or less line by line anagrammatic poems written from Shakespeare's sonnets. I had been somewhat dismayed by some Italian translations of Google-sculpted poems by Gary Sullivan, which were just reproducing the meaning of the poems in question (mind you, I can read Italian, but I don't really know the language). The translator had basically worked from an artifact, rather than try to recreate a certain moment of writing. Of course, had the translator written the translation by simply entering the translation of the search terms into the Italian version of Google, he would have gotten a wildly different poem. But is it that bad?

My problem with such translation is that it treats more or less the poem as a communicative object. The poem as artifact has something to say. As Walter Benjamin wrote in "The Task of the Translator," translations will always be read under the shadow of their originals, but it does not entail that shadows have to be dull. And so, what is interesting about procedural poetry (Oulipo, flarf, some Language poetry) is not so much what they have to say but rather their gestures and their mechanics. The semantic acrobatics are icing on the cake.

What I proposed to KSM was to take a translation of Shakespeare (in French) and apply to it similar permutations to the one KSM operated on the English text. As KSM put it, it's writing a new poem out of a constraint/procedure. Which in itself is what poetic translation tends to be anyway, writing a new poem within the constraints of a foreign-language text. (Note that I am not planning right now to translate Kasey's sonnegrams)

KSM thought this was somewhat of a novel way of translating, but it's not really. In The Yale Anthology of Twentieth-Century French Poetry (ed. Mary Ann Caws), we find the following poem by Michelle Grangaud, "Isidore Ducasse comte de Lautréamont" (at least the first stanza):

méduse l'auditoire mets sac à côté nord
et mise du crocodile dans ta mare ouest
démode du croissant au court à demi est
toast à taire consomme le décideur sud
sors ta mince camelote du désert oui-da
monte maturité à la corde cuisse de dos

If we had just translated the poem word for word, sentence by sentence (the way Georges Hugnet translated The Making of Americans), this is what we would have gotten:

mystify the audience place bag on the north side
and stake of the crocodile in your western puddle
old-fashioned croissant on the eastern court and a half
toast to shut drink the southern decider
show your narrow crap from the oui-da desert
increase maturity to the rope thigh of back

Like the French, it's still funny and nonsensical, but Grangaud is an Oulipian and the poem is a repeated anagram of its title coupled with the structure of sestina. Here is the translation that Paul and Rosemary Lloyd did:

I am more cursed at close a dent outside
a sluice meet roused a distracted moon
some toadies direct moat clause under
o I must care seamed a rose tinted cloud
lo our coast master educated me inside
so tailed mouse can't deem dour ice star

The translation here in term of gesture is more faithful to the original. Nevermind meaning, there wasn't any to begin with. However, I am not saying this should necessarily be the way to translate procedural poems. This translation is still problematic, in that it is syntactically more correct than its original, for example (there is almost no syntax in the original).

Another interesting translation of procedural poetry is Cole Swensen's work on Pierre Alferi's Kub Or. The original text:

au lieu de moquer marquise
me font vos yeux beaux mourir
penser images secondes
arrangement d'étourneaux
qui vont à la ligne haute
tension battre le flip-book
et revoir le mouvement

cinéma

And as translated in OXO:

rather than mocking marquise
of your eyes so beautiful
die i think frames per second
the arrangement of starlings
aligned on the high tension
wire shuffles the flip-book
and revises the motion

cinéma

Alféri's original is 7 syllables in 7 lines in conversation with 7 photographs by Suzanne Doppelt. What is so admirable about Swensen's translation is that she manages to keep both the structural constraints of the original, but also the dialogue it establishes with the photographs.

The fundamental problem of truth.

Once, during rehearsals, Stanislavsky told an actor: "You can act well. You can act badly. Act, as you please. I am not interested. It is important to me that you act veraciously."

The problem of truth is primary in the perilous business of translation. There are ever-present battles between those, who argue that a translator should be as close as possible to the original, and those, who say that literary translation is not all that literary if it does not alter the original. Frequently, both fall into pits of their own creation – the former produce unreadable transmissions and the latter create something that resembles the original only in name. Literary translation, as acting, should be veracious, and thus cannot be either/or, it has to be both, literary and honest to the original.

Sarah Glazer in her 2001 essay "Lost in Translation" implicitly makes a strong case for such translation by evaluating the current English version of "The Second Sex” by Simone de Beauvoir. The “founding text of modern feminism” has been inaccurately translated, to the point of distortion, by a person who was least qualified for such an exercise - a biologist with no background in either feminism or philosophy. Albeit a result of a misunderstanding, this work gave English readers a wrong impression of the author, whom they now see as an “incoherent” and “sloppy” thinker, and destroyed the philosophical merit of the treatise. More disheartening is the fact that the publisher refused a request by Beauvoir's literary heir, Sylvie Le Bon de Beauvoir, to re-translate the work. Thus, the book will remain in its current version and those who wish to read the actual written word of the founding feminist will need to learn French. Perhaps, the argument for verity in “The Second Sex” has more merit – it is crucial to be precise in a work that operates with philosophical concepts, which don’t appreciate misinterpretation. However, Sarah Glazer, addresses a very prominent problem in translation as a whole - frequently, translators are either not part of the world of writing, or confuse the exercise of translating with that of creative writing, or both.

Recently, I have been trying to find “Master and Margarita” for a friend of mine. As you know, there are currently 3 versions of the novel available. I have done my research, and have to admit that Pevear and Volokhonsky’s translation is the best. I know, they are accused of monopolizing the market of Russian translation, but the other two versions took liberties with the text that I cannot forgive. I think this team has the fundamentals for "veracious translating" – a native speaker of Russian, a native speaker of English (both literary gifted) and a degree of honesty to the original that is rare.

It is a truth universally acknowledged that... Americans don't read international authors.

As Jane Austen famously--wryly--wrote, "It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife." Mimicking Austen's syntax--and perhaps her dry irony--Motoko Rich of the New York Times writes "It is a commonly held assumption that Americans don’t like to read authors who write in languages they don’t understand."

Fortunately, as Rich notes, some Americans do read authors who write in languages they don't understand. Or, at least, some small American publishers like Boston's David R. Godine--who published Nobel Prize winner Le Clézio--put the work out there for us to read.

In her article "Translation is Foreign to U.S. Publishers," Rich cites Horace Engdahl, the permanent secretary of the Swedish Academy, who observes, quite rightly, that the "U.S. is too isolated, too insular. They don’t translate enough and don’t really participate in the big dialogue of literature.”

Similarly, Anne-Solange Noble, the foreign-rights director at Gallimard-- Le Clézio's French publisher--is at turns baffled and aggravated by American literary isolationism. She explains that “American publishers are depriving the American readership of the cultural diversity through translation to which they are entitled. It is what I call the poverty of the rich.”

Three cheers then for the small publishers like Godine, Dalkey Archive, Archipelago, Graywolf, Zephyr Press and Open Letter, who heroically publish works in translation, despite small budgets, poor promotion, and little attention from the American media and reading public.

2008 Nobel to French Author

Today's New York Times reports that the 2008 winner of the Nobel Prize in Literature is French author J.M.G. Le Clézio. His 1985 novel Le Chercheur d'or was translated into English by Carol Marks, and published this year under the title The Prospector by Boston's own David R. Godine publishers. Boston translation FTW.

Americana in Arabic

Juan Cole, at the Dept. of History at the University of Michigan, is developing a non-profit project to translate classic works of American thought and history into Arabic. Such editions rarely appear; when they do, they are often abridged or not long available before going out of print. A poor distribution system for Arabic books and the scarcity of public libraries compounds the problem, the project website reports. The project authors write:

We have therefore begun a project to translate important books by great Americans and about America into Arabic, and to subsidize their publication so that they can be bought inexpensively. We are also subventing their distribution. We seek funding from the general public as well as from foundations. [...] Among our main goals, which we think are distinctive, is the formation of a large corpus of Americana in Middle Eastern languages, maintaining them in print and available inexpensively, and ensuring continued distribution and availability.

Interested persons may join an e-mail announcement list.

The image shown is the cover of a bilingual edition of The Declaration of Independent and the Constitution of the United States, published by the Cato Institute. Many nations have certification standards for translators and intepreters whose work involves legal documents. Who is responsible for translating the foundational texts of government? When we consider the vasty oceans of legal ink spilled by pols, pundits, and attorneys as various interests dispute the compacted meaning of, say, the privacy clause, we have to wonder what standards are in place to ensure that the vagaries of translation don't proliferate constitutional confusions.

Bord na Gaidhlig

The Herald reported a few months back on the resignation of Scotland's Bord na Gaidhlig chief of development, Kenneth Murray. The Bord na Gaidhlig is the Scottish cultural organ charged with the continued life of Gaelic, the native language of the area and on of a family of languages that includes Irish, Welsh, and several more minor – oh, how could they possibly be more minor? – continental tongues. It would be a taxing position for those deeply and fully committed to the language, never mind an outsider in the field as Murray apparently was.

Commissions such as these work to avoid the complete death of a given naturally learned language (learned from being spoken in the home) and to stop it from becoming an inactive language (meaning that it would be known, but only in the way that Latin is now known). According to UNESCO, ten languages die out every year, a recently-arrived-at and alarmingly high rate: 'Europe’s colonial conquests caused a sharp decline in linguistic diversity, eliminating at least 15 per cent of all languages spoken at the time. Over the last 300 years, Europe has lost a dozen, and Australia has only 20 left of the 250 spoken at the end of the 18th century. In Brazil, about 540 (three-quarters of the total) have died out since Portuguese colonization began in 1530.'

Is it a (write it!) disaster that these languages go extinct? Or maybe it is better to ask, what is the implication of their demise for the rest of humanity? There are those who would argue – I might be among them – that greater pluralities of languages allow for a greater variety of conceptions, that implicit in a language is the structure of a culture's conceptual thinking. More practically, we lose what there was of humanity contained in the texts of these languages: historical texts, myths, verse, and what might be called theosophy. This is why translation is so important.

Comp Lit Roundtable and Lecture at Boston University

Dr. Haun Saussy, Bird White Housum Professor of Comparative Literature at Yale University, will be presenting a lecture entitled "Of Course It’s Not Strictly 'Comparing,' But Does It Matter What We 'Compare'?", on
Thursday September 25, 2008, from 5:30 – 7:30 pm in room 326 of the College of Arts and Sciences classroom building at 685 Commonwealth Avenue in Boston.

The next day, Friday September 26th, the Boston University Department of Modern Languages and Comparative Literature will be hosting a roundtable discussion on comparative literature, featuring Bonnie Costello; Laurence Breiner; Margaret Litvin; Jeffrey Mehlman; Stephen Scully; J. Keith Vincent; and Haun Saussy. The discussion will be held from 2 – 4 pm, in room 106 of the Kenmore Classroom Building at 565 Commonwealth Avenue.

Both events are co-sponsored by the Humanities Foundation at Boston University.

E.g., "Dimplings Warmed in Water Gas "

Dan Pritchard, of The Wooden Spoon and The Hub, directs our attention to what is either a moment of richly reflexive ironic commentary on our pig-idiot monoglossia or a simple error in machine translation. Dan's nota bene itself begs for translation: "Flarf is like motorcycles, they're everywhere!"

The scenario. A restaurant in China, anticipating a large potential dinership with the arrival of the Olympics in Beijing, seems to have used a software program to translate its name into English. The result: a lime-green banner above their entrances, with their Chinese name on the left, and on the right, the words "Translate server error."

Perhaps they mean "server" here to mean "waitperson," and are simply highlighting the ability of their staff to transform mistakes in table service into amazing dining experiences. Perhaps not. The photo shown here comes from the collection of Flickr user tenz1225.

Similar gaffes can be found at the Flickr group Bad translations -- mauvaises traductions -- traduzioi brutte. Through BT-MT-TB, I came across a link to an altruistic outfit operating under the name Signs In China. According to their About Us page, this group of volunteers comprises "some professors, students, and friends of the Beijing Foreign Studies University." They "invite every English-speaking visitor, expatriate, and Chinese-English bilingual to join us in correcting mangled English signs and improving the use of English in China."

Theirs is a laudable linguistic mission, but it brings them into direct conflict with clubby groups like Chinglish that curate a Flickr gallery of confused signage. Who shall prevail? The pure-hearted pedants with their pails of white-out and sense of purpose? Or the snickering connoisseurs of corrupt marquees and menus? The ancient battle continues.

The Rub: To Sub or to Dub?

Professor Abe Mark Nornes of the University of Michigan has recently published a book that examines the confounding dynamics of film translation, called "Cinema Babel: Translating Foreign Cinema". Donald Richie's review of the book opens the door for some productive questions. For example, are audiences best served by translations that follow the rules of the original language (and all of its cultural implications) or should a translator's aim be to make a film accessible to his target audience by employing the rules of their language? 

My question is, how much is lost when one chooses one method of translation over another? I frequently encounter translations that do not do the original film justice. Many times the problems of translating are closely tied to the culture associated with the target language. I have a very specific example in mind from the "Shrek" movie.  I have watched this film in the original English and in two versions of Spanish: Spain-Spanish and Mexican-Spanish.  In the original there is a scene where Donkey is excitedly rambling on to Shrek about having a sleep-over, he says, "...and in the morning, we'll make waffles!" In the Mexican-Spanish version there is a bizzare translation, that makes any native speaker laugh: "...y por la mañana, haremos tamales!" For those of you that do not know, tamales are corn cakes that are usually filled with meat and cooked while wrapped in either corn or plantain leaves. I assure you that they have nothing to do with waffles. I don't think that they are usually a breakfast item either. Why that particular translator chose "tamales" I will never know, but it does add a significant layer of comedy in Spanish, that previously did not exist. The Spain-Spanish version is much more faithful to the original idea: "y por la mañana, haremos gofres". Gofres are definitely waffles, but I assure you that they are never a breakfast item in Spain, as they are usually sold in the street covered in chocolate syrup and whipped cream. Had I to translate for Spain, I would have said churros, which are basically crunchy fried donut sticks that you dip in coffee, and are universally loved by all in the early hours of the morning. 

I am an avid watcher of foreign cinema, and I must say that, personally, I prefer subtitles to dubbing. I feel that subtitles are less intrusive, and afford you the singular opportunity of experiencing a film in the richness of its original language. It's not everyday that I can hear a sustained conversation in Farsi, or Finnish, and I relish those opportunities (especially if I can get an inkling of what is being said through some well-placed subtitles). I recently had a conversation with a Spanish friend about dubbing. For a very long time, dubbing has been the order of the day with foreign films and TV programs in Spain, though, happily, that is now changing. She felt really cheated of the opportunity to learn English through TV, like so many of her friends had in other European nations that do not commonly dub. 

Really, so much is lost when things are dubbed, from the opportunity to know a specific actor's voice and intonation, to the experience of hearing the cadences of a language that is not your own. 

eXchanges, the University of Iowa's translation e-journal, is seeking submissions

CALL FOR SUBMISSIONS
Tradition and innovation, introversion and extraversion, osmosis and photosynthesis, phylogeny and divination, family and friendship...

eXchanges will be accepting variations on the theme ROOTS & BRANCHES for our fall 2008 issue until October 24, 2008. Short stories, novel excerpts, literary nonfiction, and poetry are all welcome, as well as critical essays on translation.

SUBMISSION GUIDELINES:

To be considered, submissions must include:
Both the original and the translation
Biographies and photos of both author and translator
A short note on the process of translation
Permission for online publication for both languages
Submissions should total no more than ten pages in length.

Electronic submissions are preferred.

Please send both original and translation as .doc attachments to exchangesjournal@gmail.com.

Direct paper submissions to eXchanges, Bowman House, 230 N. Clinton St., Iowa City, IA, 52242, U.S.A.

We do accept simultaneous submissions; however, please inform us if your work is under consideration elsewhere.

For more information please visit eXchanges at www.uiowa.edu/~xchanges or email exchangesjournal@gmail.com.

Adam Zagajewski wins the 2008 Milosz Prize

Polskie Radio news reports that Adam Zagajewski, a Polish poet, novelist and essayist who teaches at the University of Chicago has won the 2008 Milosz Prize. The prize, established by the United States Embassy in Poland is "given to persons who have made outstanding contributions to the development of the Polish-US cultural dialogue and contacts".

Below: Zagajewski's poem "Autumn"


Autumn

Autumn is always too early.
The peonies are still blooming, bees
are still working out ideal states,
and the cold bayonets of autumn
suddenly glint in the fields and the wind
rages.

What is its origin? Why should it destroy
dreams, arbors, memories?
The alien enters the hushed woods,
anger advancing, insinuating plague;
woodsmoke, the raucous howls
of Tatars.

Autumn rips away leaves, names,
fruit, it covers the borders and paths,
extinguishes lamps and tapers; young
autumn, lips purpled, embraces
mortal creatures, stealing
their existence.

Sap flows, sacrificed blood,
wine, oil, wild rivers,
yellow rivers swollen with corpses,
the curse flowing on: mud, lava, avalanche,
gush.

Breathless autumn, racing, blue
knives glinting in her glance.
She scythes names like herbs with her keen
sickle, merciless in her blaze
and her breath. Anonymous letter, terror,
Red Army.



In other Polish poetry news, Valparaiso Poetry Review features an essay on Zbigniew Herbert's Collected Poems.

Chinese Literature reviewed in the New York Times Sunday Book Review

My last blog post concerned the cult figure Li Yang, advocate of "Crazy English". To rectify somewhat that focus on the idiosyncratic and bizarre, I'd like to mention a few new works by Chinese authors mentioned in this week's New York Times Sunday Book Review.

Jonathan Spence reviews Mo Yan's Life and Death are Wearing Me Out, published by Arcade and translated by Howard Goldblatt. Spence writes:

"At one level [...] “Life and Death” is a kind of documentary,
carrying the reader across time from the land reform at the end of the Chinese Civil War, through the establishment of mutual-aid teams and lower-level cooperatives in the early and mid-1950s, into the extreme years of the Great Leap Forward and the famine of the late ’50s and early ’60s, and on to the steady erosion of the collective economy in the new era of largely unregulated “capitalism with socialist characteristics.” At the novel’s close, some of the characters are driving BMWs, while others are dyeing their hair blond and wearing gold rings in their noses.

Yet although one can say that the political dramas narrated by Mo Yan are historically faithful to the currently known record, “Life and Death” remains a wildly visionary and creative novel, constantly mocking and rearranging itself and jolting the reader with its own internal commentary. This is politics as pathology. From the start, the reader must be willing to share with Mo Yan the novel’s central conceit: that the five main narrators are not
humans but animals, albeit ones who speak with sharply modulated human voices. Each of the successive narrators — a donkey, an ox, a pig, a dog, a monkey — are the sequential reincarnations of a man named Ximen Nao, as determined by Yama, lord of the underworld."

Meanwhile, Aventurina King writes on loved / reviled Chinese pop novelist Guo Jingming. King writes:

Thousands of teenagers — his readers are rarely over 20 — flock to Guo’s signing sessions. Some post frenzied declarations of love on his blog: “Little Four, I will always be with you!” (Guo’s nickname comes from “fourth dimension war,” a random quotation he found in a magazine.) Alongside adoring letters
addressed to “Big Brother Guo,” the author posts pictures of himself half-naked in the shower, in his underwear or swathed in Dolce & Gabbana accessories and Louis XIV-style shirts.

Guo is hardly universally beloved. Last fall, he was voted China’s most hated male celebrity for the third year in a row on Tianya, one of the country’s biggest online forums. Yet three of his four novels have sold over a million copies each, and last year he had the highest income of any Chinese author: $1.4
million.

The most critically acclaimed Chinese novels of recent years — “Wolf Totem” (a parable about the death of Mongolian culture and a veiled critique of the Cultural Revolution), Yu Hua’s “To Live,” Mo Yan’s “Republic of Wine” — generally use their characters as vessels for broad social and political commentary. But Guo’s novels focus on the tortured psyches of his adolescent characters, who either nurse their melancholy by sitting alone for long hours under trees and on rooftops, or try to blunt it with drinking, fighting and karaoke.

In addition, Liesl Schillinger writes on Yan Lianke's Serve the People! translated by Julia Lovel, which she describes as a "bluntly drawn, mildly erotic fable" banned in China. Francine Prose reviews Wang Anyi's The Song of Everlasting Sorrow, and Pankaj Mishra discusses Jiang Rong's Wolf Totem.

China's Elvis of English

In a recent article, the New Yorker reports on cult figure Li Yang whose "Crazy English" -- a bizarre blend of ideology and slick marketing scheme -- has set itself loose upon China in preparation for the 2008 Olympics.

Evan Osnos writes: "China intends to teach itself as much English as possible by the time the guests arrive, and Li has been brought in by the Beijing Organizing Committee to make that happen. He is China’s Elvis of English, perhaps the world’s only language teacher known to bring students to tears of excitement. He has built an empire out of his country’s deepening devotion to a language it once derided as the tongue of barbarians and capitalists. His philosophy, captured by one of his many slogans, is flamboyantly patriotic: “Conquer English to Make China Stronger!”"

Li's idea of English is a strange one, to say the least, inextricably linked to ideology; the implication is that with the power of English you can gain prowess in the workplace, attract a trophy mate, and excel in all kinds of ways. These tantalizing promises have their appeal, of course. Osnos writes that "Li’s cosmology ties the ability to speak English to personal strength, and personal strength to national power. It’s a combination that produces intense, sometimes desperate adoration." Thousands flock to his sessions and, according to publisher's statistics, millions of his books and audio products have sold.

Unsurprisingly, Li's pedagogical methods are unconventional at best and bolster this myth of English as a uniquely powerful tool. His 'Crazy English' involved yelling. (Osnos provides the example of doctors brushing up on their English for the Olympic Games shouting after Li: "I! Would! Like! To! Take! Your! Tem! Per! Ture!" to what Osnos images would be the consternation of their patients.)

The fees Li charges for arena-filled sessions and private group meetings are extortionate and all his commercial efforts reveal the work of a savvy marketeer and demagogue. As Osnos writes, "Li’s name adorns more than a hundred books, videos, audio boxed sets, and software packages, such as the “Li Yang Crazy English Blurt Out MP3 Collection,” which sells for sixty-six yuan—a little more than nine dollars—and his motivational memoir, which costs twenty yuan." Osnos playfully adds that the original title of Li's memoir, I Am Crazy, I Succeed "used a word that implied “I Am Psychotic, I Succeed,” but the publishing house rejected it."

Polish author Magdalena Tulli reading at BU

The Polish novelist and translator Magdalena Tulli will be reading at Boston University's School of Management on May 1st at 7 PM. Her novels include Dreams and Stones and Moving Parts. The American novelist Lawrence Weschler will also read, and the two writers will discuss their work. Following the reading and discussion, there will be a release party for the new issue of Agni literary magazine.