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All posts tagged: Translation

The Old Dog

March 12, 2020 Fiction, Translation

Translated from the Spanish by RICHARD GWYN appears below in English and Spanish

I translated Inés Garland’s “The Old Dog” shortly after publishing one of her best-known stories, “A Perfect Queen,” in a special Argentine edition of the New Welsh Review, a few years back. I first came across Inés’ short stories on a visit to Buenos Aires in 2011, and was immediately drawn to her portrayal of individuals—almost always women—either at moments of self-realization brought about by the actions of others, or else struggling against an impending sense of loss or betrayal. But there is also a kind of detachment in her writing, as though her characters were teetering on the edge of some other, unknown revelation.

“The Old Dog” attracted me because of the tension between the two elderly human characters, and the way that the animal interloper seems to bring them together, however clumsily. The anecdote about the man’s former wife abandoning the family dog on the roadside—which, it is implied, has also been the fate of the dog in this story —is a horrible reminder of human cruelty, and helps us re-evaluate, perhaps, our initial lack of empathy for the male character.

Roya Zarrin: Three Persian Poems in Translation

February 13, 2020 Poetry, Translation

Poetry by ROYA ZARRIN

Translated from the Persian by KAVEH BASSIRI

Poems appear in both Persian and English.

Translator’s Note:

My interest in translating Persian poems began more than a decade ago, while spending six months in Tehran researching contemporary Iranian poetry. I met many poets and returned with hundreds of poetry books. The range of voices was amazing—their work ran the gamut from postmodern experimentations to traditional ghazals—yet very few of these poets were available or properly translated in English.

Marie-Andrée Gill: Poems in Translation from SPAWN

January 8, 2020 Poetry, Translation

Poetry by MARIE-ANDRÉE GILL
Translated from the French by KRISTEN RENEE MILLER

Poems appear in both French and English.

Translator’s Note

to lick the skin of the water / with a tongue I don’t speak

Marie-Andrée Gill’s Spawn is a surprising, colorful, virtuosic collection. Its brief, untitled poems span ’90s-kid nostalgia, the life cycle of fresh-water salmon, a coming of age, and the natural landscape of the Mashteuiatsh reserve, centered on Lake Piekuakami—a site of recreation and commerce, a reminder of conquest and ecological decline, a symbol of the ancient world, of sex, of the cycles of life. These poems are tightly interdependent, and Spawn could truly be read as a single, braided, book-length poem. But I want to focus here on a theme that became especially vital to my project of understanding and translating the book: recovery of language.

Rising Sap (La sève)

November 13, 2019 Fiction, Translation

By MARIE-CLAIRE DEWARRAT

Translated from the French (Switzerland) by MARGARET BESSER

Originally published in French in the collection En enfer, mon amour, Editions de l’Aire, 1990.

Story appears in both French and English.

Translator’s note

I first encountered the work of Marie-Claire Dewarrat when I read her novel Carême, the story of a grieving father which the author wrote following the death of her own daughter. I was entranced by the book’s sweet strangeness and the way it wove dark, violent realities into the slow rhythms of grief and healing. In the short story collection from which “Rising Sap” is drawn, that darkness often takes a fantastical, surreal turn. Dewarrat’s fiction is deeply tied to season and landscape, more specifically to the countryside of French-speaking Switzerland where much of her work is set. Her wise, often teasing narratorial voice playfully and skillfully blends poetic language with informal, local turns of phrase, vividly conjuring that particular place.

Mario Santiago Papasquiaro: Two Poems in Translation

October 16, 2019 Poetry, Translation

Poems by MARIO SANTIAGO PAPASQUIARO

Translated from the Spanish by COLE HEINOWITZ

Poems appear in both Spanish and English.

Translator’s Note

A, E, I, O, U. The rhythmic concatenation of these five vowels is the tachycardic pulse of Mario’s poetry, and it cannot be imitated in English. Feeling for correlative patterns in the jangle of our consonant-frontal idiom is something like transcribing the pitch values of a Max Roach drum solo for honkeytonk piano. I do what I can with alliteration but even the relatively long decay of the M or the out-hissing S does not match the multi-textured overtones of a hard O spilling through the rails of its word-cage when struck, trailing a foam of soft E’s across the rubble.

I Am the Fire Starter: an Interview with Haidar Haidar

September 30, 2019 Interviews, Translation

HISHAM BUSTANI interviews HAIDAR HAIDAR

Translated by RAED RAFEI

Nothing parallels the effect left by the nightmarish atmospheres in the writings of Haidar Haidar. His novels and stories drill deep into our illusory serenity: a serenity we often use to trick ourselves into continuing our lives even when surrounded by death, destruction and injustice. Despite changing times, Haidar has not been defeated by censorship—either imposed by others or himself. He has kept a fierce, critical distance from all sides: the dictatorship of the ruling regime in his country of Syria; the dictatorship of public taste and “conventions”; the oppression of dogmatic ideology and the ruling party; the tyranny of power derived from religion. The literary “School of Haidar Haidar” is not dystopian but one that considers our reality to be far more miserable than any dystopia. Art is realized through the transformation of this reality from inside out, and by directly confronting decay with creative and avant-garde writing forms.

Haidar Haidar was born in the village of Hussein al-Baher on the Syrian coast. He taught Arabic in Annaba, Algeria, then settled in Beirut where he worked in publishing. At the start of the Lebanese civil war he joined the Palestinian resistance movement—when the resistance left Beirut in 1982, he moved to Cyprus to work as a Culture Editor of Al Mawqef al-Arabi (The Arab Stance) and Sawt al Bilad (The Voice of the Homeland). In 1985, Haidar Haidar returned to his hometown, and has remained there since. He has written seventeen books of fiction, short fiction, essay, and biography. His short story “The Silence of Fire” appears in Issue 17 of The Common.

Hisham Bustani, Arabic Fiction Editor of The Common, spoke with Haidar this year about nightmare visions, Palestinian resistance, the migrations that have carried Haidar “through deserts, cities and seas” back to childhood, and “boldness… always boldness.” This interview is translated from the Arabic by Raed Rafei.

Poetry by Isabel Zapata in Translation

September 18, 2019 Poetry, Translation

Poems by ISABEL ZAPATA

Translated from the Spanish by ROBIN MYERS

Poems appear in both Spanish and English.

Translator’s Note

Like many translators, I grow weary of talking about “faithfulness” and “betrayal,” about whether it’s “possible” to translate poetry, about what gets “lost” in translation. These queries quickly become platitudes, and platitudes are tiresome. But what’s always relevant, always urgent, and always exhilarating to me about translation is the idea of respect. The practice of care. One of my favorite translators, Sophie Hughes, recently said in an interview: “I approach a text that is already complete, mature, sure of itself, and it’s my responsibility to look after it, to respect it for what it is (its nature or essence), whilst protecting it from linguistic butchery, from translationese, from too many mistakes or outlandish mis- and reinterpretations.” And how can we respect anything for what it is until we truly listen to what it has to say about itself and how it sees the world?

Translation as Art: Against Flattening

August 7, 2019 Essays, Translation

Essay by HISHAM BUSTANI

English translation by ROBIN MOGER

Essay appears in the original Arabic here.

An introductory essay to Stories from Syria, a portfolio published in English by The Common and in Arabic by Akhbar Al Adab (Egypt).

Today, in the second installment of a transatlantic literary collaboration which I hope will last for many years to come, Akhbar Al Adab publishes the original Arabic texts of stories by Syrian writers whose English translations appear in a special portfolio in Issue 17 of The Common, a literary magazine based at Amherst College. The first portfolio in the series contained stories by Jordanian writers and was published in Issue 15 of The Common, which followed the collaboration’s inaugural project: an issue of the magazine (Issue 11, Spring 2016) entirely dedicated to contemporary Arabic literature in translation entitled Tajdeed (Renewal), in which editor-in-chief Jennifer Acker and I selected stories and artworks by twenty-six writers and five artists from fifteen Arabic-speaking countries, with eighteen translators bringing the work into English.

Call for Submissions from and about the Lusosphere

June 22, 2019 News and Events

In fall 2020, The Common, in partnership with the DISQUIET International Literary Program in Lisbon, will publish a portfolio from the Lusosphere: Portugal and its colonial and linguistic diaspora. We hope to include writers from and works about the many countries and communities that make up this diverse diaspora. Writers need not speak Portuguese or live in a Portuguese-speaking country to submit.

We seek pieces in the genres of fiction, nonfiction, poetry, and hybrid works. Pieces may be written originally in English or Portuguese. If written originally in Portuguese, please provide an English-language sample of at least 30% of the piece.

Submissions open July 1 ~~and close on November 15, 2019.~~ ~~Early submissions are very much encouraged, as we will accept pieces until the portfolio is full.~~ Deadline extended to November 22nd, 2019!

Submit here via Submittable.

Immigrant Ditty

June 11, 2019 Poetry, Translation

By VLADIMIR GANDELSMAN

Translated from Russian by OLGA LIVSHIN and ANDREW JANCO

Poem appears in both Russian and English.

Translators’ Note:

Born in 1948, Vladimir Gandelsman is very much the literary child of the poets of the Russian Silver Age. He draws on their dramatic, spiritually intense version of modernism, the acme, or the highest point of expression, whether meditating on fleeting moments or on major historical events. His literary parents include Pasternak and Mandelstam. Proust and Wilde are his relatives: he draws on and develops their respective fascinations with the sensuous quality of everyday life. Gandelsman’s exquisite diction and surprising collages of words help us remember our own moments of heightened feeling.