Readings Reflection for 1/31

Esther Allen writes, “As I adapted the novel from Spanish to English, though, what I struggled with most were not words but silences: the imperative that the translation not say what the original leaves unsaid.” This idea of the silence or translating in a way that leaves salient ideas left without being expressly explained is one I’ve heard explored by other translators such as Robert Alter and recently by Berman. Alter deplores the new Bible translations which explain the reader into exhaustion, foregoing any sense of the need for room for interpretation let alone for the beauty of language. We have recently read Berman’s thoughts on expansion, and how translators can fall into the trap of adding extraneously to a piece. Allen seems to ascribe to this line of thought based on her writings about her work with Di Benedetto’s novels. It’s one thing for a translator to overinflate the ideas and wordage in a piece, but it’s another in cases like this where the style of the original piece highlights especially the use of empty space or silence.

This concept comes up in other mediums as well. Chinese premodern landscape art for instance featured this kind of consideration for the (ma 間) or “negative space.” It was a major consideration when crafting a work and I’m sure still is today. As Esther Allen points out, it’s hard to say what an author felt when writing the text, but it’s clear Allen had her finger on the pulse of Di Benedetto’s style. It’s a closeness of reading I think we can all aspire to as translators. We too should have the foresight to pick out not just those things that are universally important, but those that are important to our pieces specifically. 

Lecture with Page-Fort

Beyond gaining new books for my must-read list, I felt I got vital information about the publishing world from Friday’s lecture. It’s valuable I think, to hear from someone on that side of the process and Gabriella Page-Fort graciously offered us her perspective. I’ve been reflecting on her words, that Amazon Crossing seeks to make translated works “wildly accessible.” With that in mind, it’s easy to feel optimistic about the future of translation readership. Page-Fort described a rosy future where readers might speak one language to each other to discuss a book read in two separate languages. That’s the level of accessibility she is aiming for. Is this where the translation publishing industry is headed? Or is this simply a mind frame needed to work in an industry which can sometimes feel like running uphill?

Valuable too was her practical advice on how to approach potential publishers. And it was encouraging to hear that the best way to sell a piece, is to be enthusiastic about it yourself. It seems as if there are a few ways a project can get off the ground. Page-Fort mentioned agents around the world seeking new and exciting texts. A translator may be sought for specific projects and end up translating that way. Whether through an email pitch or recognition of previous work, it’s clear the literary translation world depends on the opinions of the publisher.

-Cheyenne Bolt