The title of the new book Translation in Practice, edited by Gill Paul and published by Dalkey Archive Press, is a misnomer. It is a very short (70 pages) book that seems – judging by the title and some of the topics mentioned – to want to be an introduction to various issues on translation but actually is mostly on the process of editing and the relationship between translator and editor. It would have been better called The Role of Editors in Translation or The Relationship between Translators and Editors, or something along those lines. A book on that subject would be interesting and worthwhile and if one focuses on that aspect of Translation in Practice, then one gets something out of it.
This books briefly introduces information about issues such as the role of the outside reader, picking a translator, what a sample translation is and if a translator should get paid for it, what it means for two translators to collaborate on a topic, contracts (both in terms of money and also in terms of relationships, such as establishing boundaries between translators and writers), schedules, publicity (though just one paragraph on this), style, particular challenges such as swear words or humor, what it means to be edited, the use of UK vs. US English, and so on. The issues have generally been discussed in more detail in other texts. It also offers ideas that it doesn’t really explain, such as by defining a bad translation as a “flat” one (69), which is a definition that needs more exploration, or by saying that translators should be paid if their work is used in a relay translation (53), which in fact is something that rarely happens, although Translation in Practice doesn’t analyze why that is the case or how to change it.
But the main part of the text, as already mentioned, explores the jobs of and relationship between the translator and the editor. It offers lists of dos and don’ts for translators and editors. For example, translators should “keep careful notes of changes and decisions made in the process of translating” and “carefully recreate the nuances of the original language” (this last point is one of the major difficulties of translation!), but not “take major liberties with the author’s text without reference to both editor and author” (what is a “major liberty”?) or “anglicize a book beyond recognition” (where is the border here?) (57-8). An editor should “approach the text as an original book rather than a translation” (a debatable point, I’d say) and not “rewrite the text in their own voice, changing the vocabulary choices that the translator has made.” (70-1) The book assumes that English is the target language, so it does not look into issues relevant to the publishing industry elsewhere, though the process of working with editors and publishers in other countries would be fascinating to learn about. Still, what it does discuss regarding the editing process in English-language publishing companies is interesting.
One other comment on the Dalkey book is that oddly, a couple of times a translator is quoted but not named or a translation is mentioned but the name of the translator is not provided (such as on pages 2 and 42-3), so the translator remains invisible. Of course, if this person chose to be anonymous, that should be stated. But if not, this shows how far translators still have to go in terms of visibility.
Translation in Practice tries to cover a lot of ground, but not in any great detail. So it is a good overview, but definitely not the final word.
Wednesday, February 10, 2010
Friday, February 05, 2010
Links on Children’s Literature
My last post discussed what it means to study children’s literature, so here I want to offer a few links that might be useful or interesting.
Outside In is about children’s literature and translation and Deborah Hallford and Edgardo Zaghini, who run the site, edited a collection of articles about and summaries of children’s literature in translation.
Write Away has many reviews of children’s literature and runs a conference and other activities.
Two organizations dedicated to the study and promotion of children’s literature are IRSCL and IBBY (note that I’ve given the link to IBBY in the UK, but there are branches all over the world).
Here are some major academic journals on children’s lit:
IRCL, which is run by IRSCL
Barnboken
Looking Glass
Papers
New Review of Children's Literature and Librarianship
Write4Children
If you know of any other useful links, let me know!
Outside In is about children’s literature and translation and Deborah Hallford and Edgardo Zaghini, who run the site, edited a collection of articles about and summaries of children’s literature in translation.
Write Away has many reviews of children’s literature and runs a conference and other activities.
Two organizations dedicated to the study and promotion of children’s literature are IRSCL and IBBY (note that I’ve given the link to IBBY in the UK, but there are branches all over the world).
Here are some major academic journals on children’s lit:
IRCL, which is run by IRSCL
Barnboken
Looking Glass
Papers
New Review of Children's Literature and Librarianship
Write4Children
If you know of any other useful links, let me know!
Monday, February 01, 2010
Studying Children’s Literature
As some of you may know, my PhD dissertation was on the translation of children’s literature and I do a lot of research on children’s lit. I have to deal with a lot of misconceptions about what this means:
-People ask me if I sit around, reading children’s books, and they assume that this must be easy. No, actually, I don’t spend hours reading Laura Ingalls Wilder and Judy Blume and Lewis Carroll and Lemony Snicket and nothing else. I do read them, and I read them very closely, but I also have to read around them, which means studying literary theory, psychology, anthropology, reception theory, translation theory, and much more. I don’t just read books and then summarize them, as you might do in grammar school. I have to analyze them and what they mean and what effect they have on the reader, among other things. It is not easy to study children’s literature.
-People often assume I must be an expert on fairy tales. Actually, no, I’m not. The field of children’s literature is much larger than just fairy tales, and fairy tales are not my area of expertise, even though of course I need to understand them in order to be able to understand the history of children’s literature.
-One of the most common questions I get asked is what I think of Harry Potter. I’ll be honest: I’ve never read any of the Harry Potter books. I don’t study them. It’s very frustrating when I give a talk at a conference and then during the question session people ask me about J.K. Rowling and Harry Potter, even though I never mentioned her and her books once during my presentation. There is more to children’s literature than Harry Potter.
-One of the other most common issues people often ask about is in regards to tv shows and films. First of all, I study literature, not tv. Second of all, I don’t even own a tv. While some people study the transition of children’s books from literature to film, most of us in the field don’t. Again, there is much more to the subject than tv.
-Finally, people tend to think it is a ridiculous, non-serious field and they mock me for choosing such a “simple” topic. It seems to me essential that we understand what ideas are behind children’s literature and how they affect the next generation. How could this possibly be unimportant?
In the next post, I will offer some links on children’s literature.
-People ask me if I sit around, reading children’s books, and they assume that this must be easy. No, actually, I don’t spend hours reading Laura Ingalls Wilder and Judy Blume and Lewis Carroll and Lemony Snicket and nothing else. I do read them, and I read them very closely, but I also have to read around them, which means studying literary theory, psychology, anthropology, reception theory, translation theory, and much more. I don’t just read books and then summarize them, as you might do in grammar school. I have to analyze them and what they mean and what effect they have on the reader, among other things. It is not easy to study children’s literature.
-People often assume I must be an expert on fairy tales. Actually, no, I’m not. The field of children’s literature is much larger than just fairy tales, and fairy tales are not my area of expertise, even though of course I need to understand them in order to be able to understand the history of children’s literature.
-One of the most common questions I get asked is what I think of Harry Potter. I’ll be honest: I’ve never read any of the Harry Potter books. I don’t study them. It’s very frustrating when I give a talk at a conference and then during the question session people ask me about J.K. Rowling and Harry Potter, even though I never mentioned her and her books once during my presentation. There is more to children’s literature than Harry Potter.
-One of the other most common issues people often ask about is in regards to tv shows and films. First of all, I study literature, not tv. Second of all, I don’t even own a tv. While some people study the transition of children’s books from literature to film, most of us in the field don’t. Again, there is much more to the subject than tv.
-Finally, people tend to think it is a ridiculous, non-serious field and they mock me for choosing such a “simple” topic. It seems to me essential that we understand what ideas are behind children’s literature and how they affect the next generation. How could this possibly be unimportant?
In the next post, I will offer some links on children’s literature.
Thursday, January 28, 2010
Translation as a Profession
I am always quite excited when it seems that more attention is paid to translation and to translators. Our profession needs more understanding and recognition. And it needs more talented people. I encourage people to learn more about translation. But sometimes I wonder about some of the people who join the field, or who attempt to join it, or who show interest in it.
I get many emails asking for advice about how to become a translator. In the past year or so, perhaps along with the economic crisis, I’ve been disturbed to see an increase to the number of messages I get where people tell me that they need a job and think their language skills are pretty good, or that they’ve lived in a certain country and believe they could translate that country’s literature, or that they really would rather do something else, but this is a good option because they could do it from home, in between taking their kids to school, and so on.
Translation is not an easy profession. It’s a satisfying and thrilling and stimulating one, in my opinion, but it isn’t right for everyone. Nor is everyone right for translation. It is not a job to do because you happen to know a particular language sort of well. It’s not a field you can just break into by deciding that it’s the best option. It’s not something you can do while waiting for something better to come along, or even while waiting for your kids at their sports events or dance classes. It’s a profession, which means translators must be professional. Ideally, they’d also be passionate.
So if you are unsure about translation as a career and you think it is a fast and simple way of earning money, let me assure you that you are wrong. It isn’t and you’d be better off picking another job. However, if you are truly linguistically talented and knowledgeable about languages and cultures, this might be the right career for you.
I get many emails asking for advice about how to become a translator. In the past year or so, perhaps along with the economic crisis, I’ve been disturbed to see an increase to the number of messages I get where people tell me that they need a job and think their language skills are pretty good, or that they’ve lived in a certain country and believe they could translate that country’s literature, or that they really would rather do something else, but this is a good option because they could do it from home, in between taking their kids to school, and so on.
Translation is not an easy profession. It’s a satisfying and thrilling and stimulating one, in my opinion, but it isn’t right for everyone. Nor is everyone right for translation. It is not a job to do because you happen to know a particular language sort of well. It’s not a field you can just break into by deciding that it’s the best option. It’s not something you can do while waiting for something better to come along, or even while waiting for your kids at their sports events or dance classes. It’s a profession, which means translators must be professional. Ideally, they’d also be passionate.
So if you are unsure about translation as a career and you think it is a fast and simple way of earning money, let me assure you that you are wrong. It isn’t and you’d be better off picking another job. However, if you are truly linguistically talented and knowledgeable about languages and cultures, this might be the right career for you.
Saturday, January 23, 2010
Dryden Translation Competition
You might want to submit work for the Dryden Competition, which is run by the British Comparative Literature Association and administered here at the University of East Anglia, in part by yours truly. You can find more details on the BCLA site or on the Dryden's Facebook page.
Tuesday, January 19, 2010
Books on Language
Last year, Brave New Words had our first giveaway. As part of this, we asked readers for suggestions for books on language. Here is the compiled book list:
Maya wrote: There was a classic book on language called The Mother Tongue. It must be out of print by now, but it was what started my passion for language and its history, way back in the early seventies.
Pennifer suggested: How about Horace Lunt's "Old Church Slavonic Grammar" one of my bibles when I took an OCS graduate seminar back in the day?
From Debs: I recommend David Crystal's "Cambridge Encyclopedia of the English Language". Covering everything from gender issues to regional variations, this gold mine of information is a definite asset on anyone's bookshelf.
S. Borei wrote: With a library full of books on language with some dating back to the early 1700s it is no easy task to choose just one or even two. So instead of picking an out-and-out reference work, let me recommend one that has given me both insights and pleasure - the latter a somewhat rare commodity for someone who struggles constantly with language. So for that then, I recommend Karen Elizabeth Gordon's "The Deluxe Transvestite Vampire – the ultimate handbook of grammar for the innocent, the eager and the doomed." It's a wondrous window on the winsome, winning ways of words.
Susan King recommended: I grew up in a house filled with books. I don't remember the exact title but I loved browsing through Menken's American Language when I was in Junior High. I didn't understand much of it, but it was fun.
Jaax suggested: My bible for paper-writing: The Little, Brown Handbook by H. Ramsey Fowler and Jane E. Aaron.
Nina wrote: _In the Land of Invented Languages_ by Akira Okrent discusses non-naturally occuring languages like Esperanto, Klingon, Bliss Symbols (an early communication system for people with disabilities who are nonverbal. This is perhaps an unconventional choice, but I read it some time ago, and found it interesting.
A. Argandona recommended: I recently bought in France 'Le Pourquoi des Choses' by Anne Pouget. It is a very entertaining read about word origins, expressions and curiosities.
From Liz Nutting: One of my favorites is Sin and Syntax, by Constance Hale. She gives the grammar and syntax rules--then tells you how to break them for more effective prose!
From Luella Goodman: I still think "Eats, Roots and Leaves" by Lynne Truss is a winner in terms of presenting idiosyncracies of English punctuation in an entertaining read that appeals to both professional and lay linguists. Its tongue-in-cheek style dares any wannabe writer to flex their punctuation muscles!
Stephen wrote: Words and Rules: The Ingredients of Language by Steven Pinker. Steven Pinker examines a rather narrow topic (irregular and regular verbs) and the cognitive processes behind these verbs. In it, Pinker explores how language is stored, produced, learned, etc. The book is more technical than his more famous work, The Language Instinct, but for anyone who wants to understand regular and irregular verbs and the many language oddities that come along with these verbs, it is a wonderful read. It will teach you more about language processes than almost any other mainstream book on the market.
Ben Boblis recommended: I love Native Tongues by Charles Berlitz. I can read it over and over and always find something new and interesting. It has a little bit about a lot. :)
Lauren Redman wrote: I'd like to recommend a fairly new book titled 'The Secret Life of Words' by Henry Hitchings. It's about the 'promiscuous' English language and how it came to have so many words - and synonyms - from over 350 other languages! It's entertainingly written and includes a bit of history too. Lots of interesting tidbits to drop into the dinner conversation!
Mehregan suggested: Halliday's An Introduction to Functional Grammar is a quite fruitful book. It is the basis of My M.A. thesis. I found wonderful notions about different languages especially English. I am not an English native speaker but this book took me to the depth of English.
From Prof Adam: I would recommend Bill Bryson'a book, "mother tongue" as it is a truly fascinating book about the Development and history of the English Language. I would also recommend "Troublesome Words" by the same author as it highlights interesting uses and misuses of modern English.
Maya wrote: There was a classic book on language called The Mother Tongue. It must be out of print by now, but it was what started my passion for language and its history, way back in the early seventies.
Pennifer suggested: How about Horace Lunt's "Old Church Slavonic Grammar" one of my bibles when I took an OCS graduate seminar back in the day?
From Debs: I recommend David Crystal's "Cambridge Encyclopedia of the English Language". Covering everything from gender issues to regional variations, this gold mine of information is a definite asset on anyone's bookshelf.
S. Borei wrote: With a library full of books on language with some dating back to the early 1700s it is no easy task to choose just one or even two. So instead of picking an out-and-out reference work, let me recommend one that has given me both insights and pleasure - the latter a somewhat rare commodity for someone who struggles constantly with language. So for that then, I recommend Karen Elizabeth Gordon's "The Deluxe Transvestite Vampire – the ultimate handbook of grammar for the innocent, the eager and the doomed." It's a wondrous window on the winsome, winning ways of words.
Susan King recommended: I grew up in a house filled with books. I don't remember the exact title but I loved browsing through Menken's American Language when I was in Junior High. I didn't understand much of it, but it was fun.
Jaax suggested: My bible for paper-writing: The Little, Brown Handbook by H. Ramsey Fowler and Jane E. Aaron.
Nina wrote: _In the Land of Invented Languages_ by Akira Okrent discusses non-naturally occuring languages like Esperanto, Klingon, Bliss Symbols (an early communication system for people with disabilities who are nonverbal. This is perhaps an unconventional choice, but I read it some time ago, and found it interesting.
A. Argandona recommended: I recently bought in France 'Le Pourquoi des Choses' by Anne Pouget. It is a very entertaining read about word origins, expressions and curiosities.
From Liz Nutting: One of my favorites is Sin and Syntax, by Constance Hale. She gives the grammar and syntax rules--then tells you how to break them for more effective prose!
From Luella Goodman: I still think "Eats, Roots and Leaves" by Lynne Truss is a winner in terms of presenting idiosyncracies of English punctuation in an entertaining read that appeals to both professional and lay linguists. Its tongue-in-cheek style dares any wannabe writer to flex their punctuation muscles!
Stephen wrote: Words and Rules: The Ingredients of Language by Steven Pinker. Steven Pinker examines a rather narrow topic (irregular and regular verbs) and the cognitive processes behind these verbs. In it, Pinker explores how language is stored, produced, learned, etc. The book is more technical than his more famous work, The Language Instinct, but for anyone who wants to understand regular and irregular verbs and the many language oddities that come along with these verbs, it is a wonderful read. It will teach you more about language processes than almost any other mainstream book on the market.
Ben Boblis recommended: I love Native Tongues by Charles Berlitz. I can read it over and over and always find something new and interesting. It has a little bit about a lot. :)
Lauren Redman wrote: I'd like to recommend a fairly new book titled 'The Secret Life of Words' by Henry Hitchings. It's about the 'promiscuous' English language and how it came to have so many words - and synonyms - from over 350 other languages! It's entertainingly written and includes a bit of history too. Lots of interesting tidbits to drop into the dinner conversation!
Mehregan suggested: Halliday's An Introduction to Functional Grammar is a quite fruitful book. It is the basis of My M.A. thesis. I found wonderful notions about different languages especially English. I am not an English native speaker but this book took me to the depth of English.
From Prof Adam: I would recommend Bill Bryson'a book, "mother tongue" as it is a truly fascinating book about the Development and history of the English Language. I would also recommend "Troublesome Words" by the same author as it highlights interesting uses and misuses of modern English.
Thursday, January 14, 2010
Banff Translation Residency Program
The Banff Translation Residency Program is well-regarded and in a lovely setting, so readers may want to apply to attend it.
Saturday, January 09, 2010
The Sontag Prize
Some readers may be interested in applying for the Sontag Prize. Here is the information:
This $5,000 grant will be awarded to a proposed work of literary translation from Swedish, Norwegian, Danish or Icelandic into English and is open to anyone under the age of 30. The translation must fall under the category of fiction or letters, and the applicant will propose his or her own translation project. The project should be manageable for a five-month period of work, as the grant will be awarded in May 2010, and the translation must be completed by October 2010.
Acceptable proposals include a novella, a play, a collection of short stories or poems, or a collection of letters that have literary import. Preference will be given to works that have not been previously translated. (Previously translated works will be considered, however applicants should include an explanation for why they are proposing a new translation.) Applicants wishing to translate significantly longer works should contact the Foundation before sending in their applications so that supplementary materials can be included. The prizewinner will be notified on May 14, 2010 and results will be announced online at www.susansontag.org.
The recipient will be expected to participate in symposia on literary translation with established writers and translators, as well as public readings of their work once the translation has been completed.
This $5,000 grant will be awarded to a proposed work of literary translation from Swedish, Norwegian, Danish or Icelandic into English and is open to anyone under the age of 30. The translation must fall under the category of fiction or letters, and the applicant will propose his or her own translation project. The project should be manageable for a five-month period of work, as the grant will be awarded in May 2010, and the translation must be completed by October 2010.
Acceptable proposals include a novella, a play, a collection of short stories or poems, or a collection of letters that have literary import. Preference will be given to works that have not been previously translated. (Previously translated works will be considered, however applicants should include an explanation for why they are proposing a new translation.) Applicants wishing to translate significantly longer works should contact the Foundation before sending in their applications so that supplementary materials can be included. The prizewinner will be notified on May 14, 2010 and results will be announced online at www.susansontag.org.
The recipient will be expected to participate in symposia on literary translation with established writers and translators, as well as public readings of their work once the translation has been completed.
Monday, January 04, 2010
Happy 2010, and a Holiday Peeve
Ah, the holidays! Personally, I'm glad the season is over now, but I hope all you readers had a good time, and that 2010 is wonderful year for you, filled with translation and literature!
As is my custom, I recently donated money to a charity run by a major organization for the holiday season. I received a card in thanks and this card had grammar and punctuation errors! It's enough to make me not want to donate to this organization again. I've also chosen not to go to restaurants whose signs or menus have errors or to shop at stores that use apostrophes incorrectly, and so on.
This is a lesson to all of us who work with language -- we must make sure all our materials (business cards, websites, pamphlets, emails, etc) are impeccable! Otherwise, clients may choose someone else to take on the assignments.
As is my custom, I recently donated money to a charity run by a major organization for the holiday season. I received a card in thanks and this card had grammar and punctuation errors! It's enough to make me not want to donate to this organization again. I've also chosen not to go to restaurants whose signs or menus have errors or to shop at stores that use apostrophes incorrectly, and so on.
This is a lesson to all of us who work with language -- we must make sure all our materials (business cards, websites, pamphlets, emails, etc) are impeccable! Otherwise, clients may choose someone else to take on the assignments.
Wednesday, December 30, 2009
100 Best Blogs for the Literati
In case you are having a cozy New Year’s Eve at home and want even more reading material than I listed in my last post, check out this list of the top 100 blogs for the “literati.” It includes yours truly, Brave New Words, and many other blogs that may interest you.
Happy New Year!
Happy New Year!
Thursday, December 24, 2009
A Round-Up of Articles
Here is some material for you to read during the holiday season, in between any festivities you are hosting or attending.
First, here is an article on the death of many Canadian languages.
Next, a piece on the basic question of what language is.
Third, an article on how the sounds babies make are influenced by the sounds they hear when in the womb.
Thanks to Jens Hillman for sending me this, about lexicography.
Thanks to Erika Dreifus, for mentioning this article on Yiddish on her blog.
Here, Swedish author Kerstin Ekman discusses translation.
And finally, this article, which is in Swedish, is about the team-translation effort, if it can be called that, in which Dan Brown’s latest book was divided into sections and translated by a number of different people. Doesn’t say much for the quality, probably, but does reveal some of the challenges involved in translating fiction. English-language publishers don't want foreign-language authors to have access to manuscripts, because naturally they want to sell as many copies in English as possible. So they hope that by having English-language books, such as by best-selling authors J.K. Rowling and Dan Brown, only available in English initially, readers around the world will buy the books, even if they would be more comfortable reading in their native tongue. This then puts pressure on foreign-language publishers to get translations out as quickly as possible and as soon as they finally get access to the source texts, and this leads to team-translations and other time-cutting maneuvers.
First, here is an article on the death of many Canadian languages.
Next, a piece on the basic question of what language is.
Third, an article on how the sounds babies make are influenced by the sounds they hear when in the womb.
Thanks to Jens Hillman for sending me this, about lexicography.
Thanks to Erika Dreifus, for mentioning this article on Yiddish on her blog.
Here, Swedish author Kerstin Ekman discusses translation.
And finally, this article, which is in Swedish, is about the team-translation effort, if it can be called that, in which Dan Brown’s latest book was divided into sections and translated by a number of different people. Doesn’t say much for the quality, probably, but does reveal some of the challenges involved in translating fiction. English-language publishers don't want foreign-language authors to have access to manuscripts, because naturally they want to sell as many copies in English as possible. So they hope that by having English-language books, such as by best-selling authors J.K. Rowling and Dan Brown, only available in English initially, readers around the world will buy the books, even if they would be more comfortable reading in their native tongue. This then puts pressure on foreign-language publishers to get translations out as quickly as possible and as soon as they finally get access to the source texts, and this leads to team-translations and other time-cutting maneuvers.
Saturday, December 19, 2009
Useful References and Links
Now that I’ve changed the look of the blog, I no longer have the blog and reference list running down the side of the page. Instead, I will keep this post updated with useful links for you.
Translator Associations
Sveriges Facköversättarförening/ Swedish Association of Professional Translations
American Literary Translators Association
American Translators Association
Föreningen Auktoriserade Translatorer/ Federation of Authorized Translators
International Federation of Translators
Institute of Translation and Interpreting
The Translators and Interpreters Guild
Reference
Dictionary and Thesaurus
Merriam-Webster Dictionary and Thesaurus
Swedish-English Dictionary
Svenska Akademiens Ordbok/Swedish Academy's Dictionary
Scandinavian Dictionary
Online Etymology Dictionary
Fact Index
Library Spot
Online Conversion
World Wide Words
Bartleby
Other Blogs
Practicing Writing
Ur språkens tunnlar
Översättarbloggen
Translation Times
Nordic Voices
Three Percent
Poems Found in Translation
Beyond Words
ALTalk Blog
Language Log
David Crystal's Blog
Language Hat
Omniglot
From Our Lips
Web Translations
Word du Jour
Life In Translation
Translating is an Art
Masked Translator
About Translation
if:book
Separated by a Common Language
Other Translation-Related Links
Swansea University Translation Links
Inttranews Translation News
PEN's Guidelines for Reviewing Translations
Center for the Art of Translation
Translator Associations
Reference
Other Blogs
Other Translation-Related Links
Monday, December 14, 2009
Online Certificate in Applied Literary Translation
I learned that Dalkey Archive Press, at the University of Illinois (Urbana-Champaign), will be offering an online certificate in Applied Literary Translation beginning in January 2010. Here is the information I received:
ONLINE CERTIFICATE IN
APPLIED LITERARY TRANSLATION
AT THE UNIVERSITY OF ILLINOIS URBANA-CHAMPAIGN
Beginning in January of 2010, Dalkey Archive Press at the University of Illinois in Urbana-Champaign will initiate a new and ambitious certificate program designed to help translators at any point in their early careers, and that will result in the publication of their first book-length translation. This program represents a unique opportunity for young translators to gain invaluable experience as well as produce a translation that will aid them in gaining future work with Dalkey Archive and other publishers.
Program Goals
1. Provide practical, invaluable translation and editorial experience to beginning translators who have not yet published a book-length translation.
2. Result in one book-length translation per enrollee to be published by Dalkey Archive Press.
3. Gain broad-based experience in various areas of translation and publishing.
Who is this program intended for?
The program is intended for translators who are at a point in their careers where they are ready to undertake professional translation work but do not know where to go next, and especially for those who need a flexible schedule because of geographical limitations and other commitments.
Program Description
During the course of the yearlong program, translators will:
* Do sample translations of books that Dalkey should consider acquiring, and learn how to write readers’ reports, cover letters to editors, queries to publishers and agents, grant proposals, and other secondary documents necessary to professional translators.
* Have the opportunity to complete one book-length literary translation to be published by Dalkey Archive Press, with an emphasis on literary fiction; books to be translated will be selected by Dalkey Archive Press in consultation with the translator.
* Receive frequent and individualized feedback from Dalkey editors on translation work.
* Gain experience in editing translations.
* Will work directly with authors as well as other translators.
Editors at Dalkey Archive Press will be assigned to train applicants via email on a one-to-one basis. Occasional meetings at Dalkey Archive Press’s offices or videoconferences may also be organized.
The program is highly competitive and is intended for promising translators who are at an early point in their careers, but who have already achieved the skill level to undertake professional translation work. Ten students will be selected based on the strength of their application materials, and the relevance of their background to the kind of literature that Dalkey Archive publishes.
Application process
1) Translators interested in applying should send the following to onlineapp@dalkeyarchive.com as early as possible; though start-dates may be flexible, no more than ten students will be accepted:
* Curriculum Vitae, including employment history
* A letter of intent detailing:
- Qualifications, with an eye toward demonstrating that the applicant has the necessary translation skills to benefit from this program
- An in-depth knowledge of the historical roots of the literary aesthetic represented in Dalkey Archive book
- A brief list of the applicants favorite authors and authors most interested in translating
- Evidence of a substantial reading background in the applicants’ chosen language(s)
* 3 sample translations of fiction from the applicant’s language(s) of specialization (translations of poetry or nonfiction may not be included in place of a fiction sample)
2) Applicants should follow the guidelines below very carefully:
* Samples should consist of the first pages of a published novel or short story only.
* Samples should not be from books that have already been translated and published in English.
* Each sample should be 5 to 10 pages long.
* Do not include the original-language versions of your samples.
* Complete applications, including all abovementioned materials, should be sent via email as a single .pdf file only (no other formats will be read) labeled with the applicant’s name (i.e., lastnamefirstname.pdf).
* Within this file, application materials should be ordered as follows: CV, letter of intent, 3 samples, 3 letters of recommendation.
* Letters of intent should not be sent in the body of the email, but should be part of the application file. No substantial information should be included in the body of the email.
The admissions process will quite likely include an interview.
Emphasis will be placed on readiness to benefit from this online program rather than on academic experience or degrees.
Applicants who have in-depth knowledge of Dalkey Archive’s books and general aesthetic will be given preference.
Fees
$5,000 at the time of acceptance. This fee will be partially or fully offset by grants awarded by funding agencies for enrollees who complete a publishable translation.
Announcement of Results
Admissions announcements will be made within two weeks of receipt of applications.
Any questions or requests concerning the application process and program should be sent to Jeremy Davies at davies@dalkeyarchive.com
ONLINE CERTIFICATE IN
APPLIED LITERARY TRANSLATION
AT THE UNIVERSITY OF ILLINOIS URBANA-CHAMPAIGN
Beginning in January of 2010, Dalkey Archive Press at the University of Illinois in Urbana-Champaign will initiate a new and ambitious certificate program designed to help translators at any point in their early careers, and that will result in the publication of their first book-length translation. This program represents a unique opportunity for young translators to gain invaluable experience as well as produce a translation that will aid them in gaining future work with Dalkey Archive and other publishers.
Program Goals
1. Provide practical, invaluable translation and editorial experience to beginning translators who have not yet published a book-length translation.
2. Result in one book-length translation per enrollee to be published by Dalkey Archive Press.
3. Gain broad-based experience in various areas of translation and publishing.
Who is this program intended for?
The program is intended for translators who are at a point in their careers where they are ready to undertake professional translation work but do not know where to go next, and especially for those who need a flexible schedule because of geographical limitations and other commitments.
Program Description
During the course of the yearlong program, translators will:
* Do sample translations of books that Dalkey should consider acquiring, and learn how to write readers’ reports, cover letters to editors, queries to publishers and agents, grant proposals, and other secondary documents necessary to professional translators.
* Have the opportunity to complete one book-length literary translation to be published by Dalkey Archive Press, with an emphasis on literary fiction; books to be translated will be selected by Dalkey Archive Press in consultation with the translator.
* Receive frequent and individualized feedback from Dalkey editors on translation work.
* Gain experience in editing translations.
* Will work directly with authors as well as other translators.
Editors at Dalkey Archive Press will be assigned to train applicants via email on a one-to-one basis. Occasional meetings at Dalkey Archive Press’s offices or videoconferences may also be organized.
The program is highly competitive and is intended for promising translators who are at an early point in their careers, but who have already achieved the skill level to undertake professional translation work. Ten students will be selected based on the strength of their application materials, and the relevance of their background to the kind of literature that Dalkey Archive publishes.
Application process
1) Translators interested in applying should send the following to onlineapp@dalkeyarchive.com as early as possible; though start-dates may be flexible, no more than ten students will be accepted:
* Curriculum Vitae, including employment history
* A letter of intent detailing:
- Qualifications, with an eye toward demonstrating that the applicant has the necessary translation skills to benefit from this program
- An in-depth knowledge of the historical roots of the literary aesthetic represented in Dalkey Archive book
- A brief list of the applicants favorite authors and authors most interested in translating
- Evidence of a substantial reading background in the applicants’ chosen language(s)
* 3 sample translations of fiction from the applicant’s language(s) of specialization (translations of poetry or nonfiction may not be included in place of a fiction sample)
2) Applicants should follow the guidelines below very carefully:
* Samples should consist of the first pages of a published novel or short story only.
* Samples should not be from books that have already been translated and published in English.
* Each sample should be 5 to 10 pages long.
* Do not include the original-language versions of your samples.
* Complete applications, including all abovementioned materials, should be sent via email as a single .pdf file only (no other formats will be read) labeled with the applicant’s name (i.e., lastnamefirstname.pdf).
* Within this file, application materials should be ordered as follows: CV, letter of intent, 3 samples, 3 letters of recommendation.
* Letters of intent should not be sent in the body of the email, but should be part of the application file. No substantial information should be included in the body of the email.
The admissions process will quite likely include an interview.
Emphasis will be placed on readiness to benefit from this online program rather than on academic experience or degrees.
Applicants who have in-depth knowledge of Dalkey Archive’s books and general aesthetic will be given preference.
Fees
$5,000 at the time of acceptance. This fee will be partially or fully offset by grants awarded by funding agencies for enrollees who complete a publishable translation.
Announcement of Results
Admissions announcements will be made within two weeks of receipt of applications.
Any questions or requests concerning the application process and program should be sent to Jeremy Davies at davies@dalkeyarchive.com
Wednesday, December 09, 2009
FAQ # 3: Research Means Just That
This FAQ is going to sound very obvious, but the number of emails I get on this makes it worth repeating.
Research means just that, i.e. research. If you want to do an MA or a PhD in translation studies, you need to be an independent and active researcher. You have to take responsibility for your own work (this is true for any subject, of course, and not just translation studies or literature). I get many emails from readers asking me for research topics, book lists, literature reviews, and other information that, if they are truly serious about doing research, they should be doing themselves.
So: if you want to be a researcher, take responsibility for your own work and do your research.
Research means just that, i.e. research. If you want to do an MA or a PhD in translation studies, you need to be an independent and active researcher. You have to take responsibility for your own work (this is true for any subject, of course, and not just translation studies or literature). I get many emails from readers asking me for research topics, book lists, literature reviews, and other information that, if they are truly serious about doing research, they should be doing themselves.
So: if you want to be a researcher, take responsibility for your own work and do your research.
Friday, December 04, 2009
Language Courses Online
I've posted a number of short lists of online resources for various languages, so I was pleased when I was sent this list of 100 open courses online. The list certainly tempts me and makes me want to learn lots of languages!
Sunday, November 29, 2009
Learn Cornish
I just had a great brief holiday in Cornwall, so I thought I would post a couple of Cornish language resources.
The BBC Cornish site
Learn Cornish
Chons da! (Good luck!)
The BBC Cornish site
Learn Cornish
Chons da! (Good luck!)
Tuesday, November 24, 2009
Fun Foreign Vocabulary Words
I recently mentioned The Wonder of Whiffling website and now want to also mention its sister site, The Meaning of Tingo. I love books and websites on unusual words.
Thursday, November 19, 2009
Translating Hebrew Literature
I learned about this website and newsletter on translating Hebrew literature from Erika Dreifus, who learned about it from the Jewish Council Book Blog.
Saturday, November 14, 2009
Call for Papers
There is a conference here at the University of East Anglia in the spring and you can still submit a paper proposal. Here is the information:
DISORDERING THE DISCIPLINES: TRANSLATION AND INTERDISCIPLINARITY
Graduate Symposium in Translation Studies Friday 26th and Saturday 27th March 2010
Elizabeth Fry Building
University of East Anglia
This postgraduate symposium, the fourth in a biannual series hosted by
the School of Literature and Creative Writing at the University of
East Anglia, aims to advance the state of knowledge in the academic
study of translation. Its objective is to facilitate the exchange of
expertise in the theory and practice of translation within and without
the discipline based on the thesis that translation is a fluid concept
that crosses and penetrates into several disciplines.
KEYNOTE SPEAKERS: Dr. Karin Littau, University of Essex; Dr. Thomas
Greaves, School of Philosophy, University of East Anglia; Dr. George
Szirtes, School of Literature and Creative Writing, University of East
Anglia; Professor Jean Boase-Beier, School of Literature and
Creative Writing, University of East Anglia.
Extended deadline for receipt of abstracts: Friday 20th November 2009
Please send to: translation.interdisciplinarity@uea.ac.uk
Or by post to: Translation and Interdisciplinarity Symposium, School
of Literature and Creative Writing, Faculty of Arts and Humanities,
University of East Anglia, Norwich, NR4 7TJ, England.
DISORDERING THE DISCIPLINES: TRANSLATION AND INTERDISCIPLINARITY
Graduate Symposium in Translation Studies Friday 26th and Saturday 27th March 2010
Elizabeth Fry Building
University of East Anglia
This postgraduate symposium, the fourth in a biannual series hosted by
the School of Literature and Creative Writing at the University of
East Anglia, aims to advance the state of knowledge in the academic
study of translation. Its objective is to facilitate the exchange of
expertise in the theory and practice of translation within and without
the discipline based on the thesis that translation is a fluid concept
that crosses and penetrates into several disciplines.
KEYNOTE SPEAKERS: Dr. Karin Littau, University of Essex; Dr. Thomas
Greaves, School of Philosophy, University of East Anglia; Dr. George
Szirtes, School of Literature and Creative Writing, University of East
Anglia; Professor Jean Boase-Beier, School of Literature and
Creative Writing, University of East Anglia.
Extended deadline for receipt of abstracts: Friday 20th November 2009
Please send to: translation.interdisciplinarity@uea.ac.uk
Or by post to: Translation and Interdisciplinarity Symposium, School
of Literature and Creative Writing, Faculty of Arts and Humanities,
University of East Anglia, Norwich, NR4 7TJ, England.
Tuesday, November 10, 2009
And We Have a Winner
The winner of our first give-away is Nina, who wrote:
"_In the Land of Invented Languages_ by Akira Okrent discusses non-naturally occuring languages like Esperanto, Klingon, Bliss Symbols (an early communication system for people with disabilities who are nonverbal. This is perhaps an unconventional choice, but I read it some time ago, and found it interesting."
Nina, please email me with your contact details so I can pass them on to the publisher.
Thank you all for your comments and recommendations! Check back soon for a compiled list of suggestions and also for another give-away!
"_In the Land of Invented Languages_ by Akira Okrent discusses non-naturally occuring languages like Esperanto, Klingon, Bliss Symbols (an early communication system for people with disabilities who are nonverbal. This is perhaps an unconventional choice, but I read it some time ago, and found it interesting."
Nina, please email me with your contact details so I can pass them on to the publisher.
Thank you all for your comments and recommendations! Check back soon for a compiled list of suggestions and also for another give-away!
Friday, November 06, 2009
A Magnificent Give-Away
Brave New Words is pleased to present our first give-away. In order to win a copy of John McWhorter’s book Our Magnificent Bastard Tongue: The Untold History of English, all you have to do is leave a comment on this post.
In your comment, please recommend a book about a language. Give the name of the book and its author, and write a couple of sentences about why this is a book worth reading.
You do not have to use your real name and you should definitely not post your address, but you do need to include your e-mail address, so I can contact you, and you have to be prepared to give me your real name and your address so I can make sure the book reaches you. Your personal information will not be used for any other reason.
Post your comment by midnight (GMT) on November 9 and I will randomly pick a winner the following day.
Good luck!
In your comment, please recommend a book about a language. Give the name of the book and its author, and write a couple of sentences about why this is a book worth reading.
You do not have to use your real name and you should definitely not post your address, but you do need to include your e-mail address, so I can contact you, and you have to be prepared to give me your real name and your address so I can make sure the book reaches you. Your personal information will not be used for any other reason.
Post your comment by midnight (GMT) on November 9 and I will randomly pick a winner the following day.
Good luck!
Tuesday, November 03, 2009
A Magnificent Book Told in a Magnificent Bastard Tongue
This past weekend, I read what I quickly realized was my favorite language book of the year, John McWhorter’s Our Magnificent Bastard Tongue: The Untold History of English.
This fascinating book is not about words, as interesting as they are. Instead, it is about grammar. Why is English grammar different from that of the other Germanic languages? As Mr. McWhorter puts it:
“English’s Germanic relatives are like assorted varieties of deer-antelopes, springboks, kudu, and so on-antlered, fleet-footed, big-brown-eyed variations on a theme. English is some dolphin swooping around underwater, all but hairless, echolocating and holding its breath. Dolphins are mammals like deer: they give birth to live young and are warm-blooded. But clearly the dolphin has strayed from the basic mammalian game plan to an extent that no deer has.” (p. xx)
Mr. McWhorter explores how English came to be the dolphin it is and, as you can tell from the quote, he does so in an entertaining, easy-to-understand way (he also calls English “kinky…(with) a predilection for dressing up like Welsh on lonely nights.” (1))
So what exactly happened to make English so deviant? Why do we have the “meaningless ‘do’” in negatives and in question sentences? Why do we employ verb-noun progressives to express the present tense (i.e. “I am walking to my office”)? Why do we have certain sounds that other Indo-European languages don’t? Why are there no genders in English? And why do linguists not discuss these issues or, if they do, why do they fall into certain assumptions about language and in particular about the English language? Why do linguistics mostly look at how contact with other cultures and languages influenced vocabulary but not grammar?
Mr. McWhorter, a senior fellow at the Manhattan Institute and a columnist for The Sun, reviews the evidence for and against the ways that the following tongues influenced and bastardized English grammar: the Celtic languages via Welsh and Cornish, Old Norse thanks to the invading Vikings, and the Semitic languages Akkadian and Aramaic. He makes very solid and persuasive cases for all these language groups, which I will not summarize here because I’d rather you just read his hard-to-put-down book.
My one complaint was that the sources weren’t more detailed, but I have to keep in mind that Mr. McWhorter wanted this book to be popular and not scientific, and that’s why there aren’t long footnotes and bibliographical lists.
I highly recommend this book to anyone who knows and uses the English language. English is unique and if you want to know why it is the way it is – and if you use it, you should want to understand it – this book will offer you insight into its grammar. A magnificent bastard tongue indeed.
P.S. Check back later in the week for Brave New Words’ first give-away – a copy of John McWhorter’s magnificent book, courtesy of his publisher, Gotham.
This fascinating book is not about words, as interesting as they are. Instead, it is about grammar. Why is English grammar different from that of the other Germanic languages? As Mr. McWhorter puts it:
“English’s Germanic relatives are like assorted varieties of deer-antelopes, springboks, kudu, and so on-antlered, fleet-footed, big-brown-eyed variations on a theme. English is some dolphin swooping around underwater, all but hairless, echolocating and holding its breath. Dolphins are mammals like deer: they give birth to live young and are warm-blooded. But clearly the dolphin has strayed from the basic mammalian game plan to an extent that no deer has.” (p. xx)
Mr. McWhorter explores how English came to be the dolphin it is and, as you can tell from the quote, he does so in an entertaining, easy-to-understand way (he also calls English “kinky…(with) a predilection for dressing up like Welsh on lonely nights.” (1))
So what exactly happened to make English so deviant? Why do we have the “meaningless ‘do’” in negatives and in question sentences? Why do we employ verb-noun progressives to express the present tense (i.e. “I am walking to my office”)? Why do we have certain sounds that other Indo-European languages don’t? Why are there no genders in English? And why do linguists not discuss these issues or, if they do, why do they fall into certain assumptions about language and in particular about the English language? Why do linguistics mostly look at how contact with other cultures and languages influenced vocabulary but not grammar?
Mr. McWhorter, a senior fellow at the Manhattan Institute and a columnist for The Sun, reviews the evidence for and against the ways that the following tongues influenced and bastardized English grammar: the Celtic languages via Welsh and Cornish, Old Norse thanks to the invading Vikings, and the Semitic languages Akkadian and Aramaic. He makes very solid and persuasive cases for all these language groups, which I will not summarize here because I’d rather you just read his hard-to-put-down book.
My one complaint was that the sources weren’t more detailed, but I have to keep in mind that Mr. McWhorter wanted this book to be popular and not scientific, and that’s why there aren’t long footnotes and bibliographical lists.
I highly recommend this book to anyone who knows and uses the English language. English is unique and if you want to know why it is the way it is – and if you use it, you should want to understand it – this book will offer you insight into its grammar. A magnificent bastard tongue indeed.
P.S. Check back later in the week for Brave New Words’ first give-away – a copy of John McWhorter’s magnificent book, courtesy of his publisher, Gotham.
Sunday, November 01, 2009
Translations by Cedric Barfoot
I saw the poem "Translations" by Cedric Barfoot featured in the book Drama Translation and Theatre Practice, edited by Sabine Coelsch-Foisner and Holger Klein:
Glosses, interpretations, versions,
adaptations, reversions – we
translate ourselves from one
place to another, from one
thought to another, from one
self to another. Furnishing
an equivalent of self, abbreviating,
burnishing, augmenting or abandoning
its bawdy, to authenticate our selves
as glosses on interpretations
or creative plagiarisms of self,
versions and reversions of self.
Selves adapted to different companies,
in different places to trip over
and different tongues to trip off,
to drip off, adapt, wrapped on self,
randomly, raptly, translated.
Glosses, interpretations, versions,
adaptations, reversions – we
translate ourselves from one
place to another, from one
thought to another, from one
self to another. Furnishing
an equivalent of self, abbreviating,
burnishing, augmenting or abandoning
its bawdy, to authenticate our selves
as glosses on interpretations
or creative plagiarisms of self,
versions and reversions of self.
Selves adapted to different companies,
in different places to trip over
and different tongues to trip off,
to drip off, adapt, wrapped on self,
randomly, raptly, translated.
Monday, October 26, 2009
A Collection of Pseudotranslations
During my last holiday (a busman’s holiday, but never mind), I read The Beijing of Possibilities by Jonathan Tel. It’s a collection of short stories with an interesting premise.
His preface talks about how he was in touch with the Chinese poet Helan Xiao and then lost touch. But then she contacted him “to assist with the translation of her acclaimed collection of stories set in contemporary Beijing…Helan has contributed a foreword to this edition, and I have taken the liberty of adding a concluding chapter, narrating certain episodes in her life. For any misrepresentations, and for any errors that may have crept into my adaptation of her work, I alone, of course, am wholly responsible.” Helan’s foreword is a short two-page introduction to Beijing.
Yet, surprisingly, only Tel’s name appears on the book. If it is a true translation, shouldn’t Helan Xiao’s name also be there? So is this translation or adaptation? Well, in fact, it is even more complicated than that. The Beijing of Possibilities is not a translation or an adaptation; it is a pseudotranslation. This is to say that there is no Helan Xiao and Tel had no contact with such a Chinese poet. He is the sole writer.
Such a framework could make a collection of stories a lot of fun – reviewers have compared Tel to Calvino or Sebald, though I personally didn’t see such connections. My final opinion was that not enough was done to play with the idea of translation and adaptation and cultural exchange. People often discuss whether someone from outside a given country have the ability or the right to write about that country and culture, and this book could have been a good intersection point for such a conversation, if only the quality were higher.
His preface talks about how he was in touch with the Chinese poet Helan Xiao and then lost touch. But then she contacted him “to assist with the translation of her acclaimed collection of stories set in contemporary Beijing…Helan has contributed a foreword to this edition, and I have taken the liberty of adding a concluding chapter, narrating certain episodes in her life. For any misrepresentations, and for any errors that may have crept into my adaptation of her work, I alone, of course, am wholly responsible.” Helan’s foreword is a short two-page introduction to Beijing.
Yet, surprisingly, only Tel’s name appears on the book. If it is a true translation, shouldn’t Helan Xiao’s name also be there? So is this translation or adaptation? Well, in fact, it is even more complicated than that. The Beijing of Possibilities is not a translation or an adaptation; it is a pseudotranslation. This is to say that there is no Helan Xiao and Tel had no contact with such a Chinese poet. He is the sole writer.
Such a framework could make a collection of stories a lot of fun – reviewers have compared Tel to Calvino or Sebald, though I personally didn’t see such connections. My final opinion was that not enough was done to play with the idea of translation and adaptation and cultural exchange. People often discuss whether someone from outside a given country have the ability or the right to write about that country and culture, and this book could have been a good intersection point for such a conversation, if only the quality were higher.
Tuesday, October 20, 2009
Wednesday, October 14, 2009
Right Words
You may be interested in Right Words, a competition for children to write about a human rights issue.
Wednesday, October 07, 2009
Thursday, October 01, 2009
MultiLingual Magazine
I have started receiving MultiLingual, a magazine on language, technology, and business. It is practical rather than theoretical and seems to have a focus on localization versus on translation proper, but it has some nice features, such as a list of terminology for each issue, a focus on a particular industry aspect (for example, medical translations), short news items, and a calendar of upcoming events. A recent issue had an interesting column by geographer and geostrategic content manager (a job I’d never heard of before) Tom Edwards on the country list used when we sign up for services or place an order online. I’d never even considered all the linguistic and political implications of this before, such as how certain countries do not recognize others or how some names are still up for debate. So such localization issues were new for me. This same issue had an article on global information management systems and another on “incorporating local regulations and culture into translations” and a more business-related piece on how “capitalizing on trends reduces translation costs.”
Friday, September 25, 2009
Taking a Break
I will be posting less frequently for a few weeks, because I am in the process of moving to a new city (technically to a new country, too -- from Wales to England). I am moving in order to take up a post as a lecturer in literature and translation, so I will have plenty of new ideas for posts in the near future. See you back here soon!
Monday, September 21, 2009
Learn Icelandic
Wednesday, September 16, 2009
Learn Yiddish
I’m always interested in online resources for learning languages, so I found Erika Dreifus’ post on a new online course learning Yiddish useful.
Friday, September 11, 2009
Automated Translation
I’ve heard through the translation grapevine that some translators are using this new site as a source for translation help or initial translations. I still avoid all machine translation, but I’d be curious to learn whether other translators use such things as tools for their work.
Sunday, September 06, 2009
Point of Contact
Earlier this summer, I read Point of Contact, a journal/book from Syracuse University. This issue is about Saúl Yurkievich and his translator Cola Franzen and is a bilingual edition of their letters, as well as a few essays and art, with an introduction by and an interview with Franzen. The book also comes with a CD of a dual-language reading of Saúl’s work. And, it has some previously unpublished poems by Yurkievich but, oddly, they were not translated by Franzen.
It is fascinating to get to see how the translator and her writer correspond, how they discuss and negotiate, how they doubt, clarify, explain, how they work through the publishing process and receive awards, and how, over the years of their correspondence (1982-2003) they become closer, which ultimately helps the translation work.
Some messages are rows of corrections (such as pp. 96-97), while others are about who to submit to and when (41-43), and still others use metaphors to describe the translation process. For example, Cola writes “My feeling about the poem is that it is like a soap bubble, and that my task is to launch it, get it spinning, not let it land or break until the last word when it just blinks out.” (44) and “…the poems are yours, no matter what linguistic clothes they are wearing. It must be strange for you to see your poems turn up in new skins…” (49)
Most interesting of all are the explanations, from Saúl about what he meant in his originals and from Cola about how she has chosen certain translations. For example, she writes “for el gran ovillo se engalleta, I have decided on the enormous skein becomes knotted. We don’t use jamming, jam up for hair, or threads, or fiber. Those are tangled, snarled or knotted. A mechanical part that sticks is jammed; traffic is jammed, etc. I played with the idea of snarl, ensnarled, but it’s such an ugly sounding word, and engalleta is so nice, with the cookie embedded in it. And then animals snarl…it’s a sound-word as well. Knotted is in a way harsher than snarled, and the poem is turning more serious at that line…” (36-7)
The correspondence clearly reveals the attention paid to each poem, each word. I noticed some typos and errors in the book/journal issue, but if one can overlook that, it is worth reading to get insight into the translator-writer relationship.
It is fascinating to get to see how the translator and her writer correspond, how they discuss and negotiate, how they doubt, clarify, explain, how they work through the publishing process and receive awards, and how, over the years of their correspondence (1982-2003) they become closer, which ultimately helps the translation work.
Some messages are rows of corrections (such as pp. 96-97), while others are about who to submit to and when (41-43), and still others use metaphors to describe the translation process. For example, Cola writes “My feeling about the poem is that it is like a soap bubble, and that my task is to launch it, get it spinning, not let it land or break until the last word when it just blinks out.” (44) and “…the poems are yours, no matter what linguistic clothes they are wearing. It must be strange for you to see your poems turn up in new skins…” (49)
Most interesting of all are the explanations, from Saúl about what he meant in his originals and from Cola about how she has chosen certain translations. For example, she writes “for el gran ovillo se engalleta, I have decided on the enormous skein becomes knotted. We don’t use jamming, jam up for hair, or threads, or fiber. Those are tangled, snarled or knotted. A mechanical part that sticks is jammed; traffic is jammed, etc. I played with the idea of snarl, ensnarled, but it’s such an ugly sounding word, and engalleta is so nice, with the cookie embedded in it. And then animals snarl…it’s a sound-word as well. Knotted is in a way harsher than snarled, and the poem is turning more serious at that line…” (36-7)
The correspondence clearly reveals the attention paid to each poem, each word. I noticed some typos and errors in the book/journal issue, but if one can overlook that, it is worth reading to get insight into the translator-writer relationship.
Monday, August 31, 2009
FAQ #2: On Research Topics
I get many questions regarding possible research topics for people who are writing theses or dissertations on translation studies. Since you spend a lot of time and energy on your research, you need to choose something that you actually find interesting and worth looking into, not just something you think sounds good. It’s true that there are quite a few underresearched areas out there (children’s literature, for example, or subtitling, or certain language pairs), but you shouldn’t choose a topic based on that alone.
So I am sorry to say that I can’t offer readers lists of potential subjects for their research. All I can suggest is that you think carefully about what languages you know, what you have studied or excelled at in school thus far, and what your hobbies and interests are, and then try to find a way to combine them. In my case, for example, I learned Swedish by reading children’s books and that led to me falling for children’s literature in Scandinavia and making its translation the subject matter for my research.
So I am sorry to say that I can’t offer readers lists of potential subjects for their research. All I can suggest is that you think carefully about what languages you know, what you have studied or excelled at in school thus far, and what your hobbies and interests are, and then try to find a way to combine them. In my case, for example, I learned Swedish by reading children’s books and that led to me falling for children’s literature in Scandinavia and making its translation the subject matter for my research.
Wednesday, August 26, 2009
A Reading Round-Up
Here are a couple of articles, sites, and blogs for you to check out.
This article is on the Cherokee script.
This article is on linguist Tucker Childs and his work in Africa.
The next piece was sent to me by BNW guest blogger Theo Halladay and is on a small translation business.
Here’s a great list of blogs, which will provide plenty of reading pleasure.
Here’s a language news site.
And just for fun, check out this picture.
This article is on the Cherokee script.
This article is on linguist Tucker Childs and his work in Africa.
The next piece was sent to me by BNW guest blogger Theo Halladay and is on a small translation business.
Here’s a great list of blogs, which will provide plenty of reading pleasure.
Here’s a language news site.
And just for fun, check out this picture.
Friday, August 21, 2009
What’s Cooking
The most recent issue of the Translation Journal has an article by me about translating food.
What's Cooking:
Translating Food
by Brett Jocelyn Epstein
I have translated or edited a number of cookbooks and while such work is a lot of fun (and can make you hungry, especially if there are accompanying pictures), there are certain challenges involved. Here, I want to mention the top four difficulties and possible solutions.
1) Availability of ingredients
Despite the growing popularity of cooking these days and the new trendiness of certain ethnic ingredients, the fact remains that not all items are available in all countries (and in some cases, they are only available at exorbitant costs). For example, a couple of years ago, I was the project manager for the translation to Swedish of two cookbooks that were written in Australia. Naturally, the recipes included many ingredients that were specific to Australia or to Asian countries much closer to Australia than to Sweden. Some of these ingredients were not possible to find in Sweden, so the publisher suggested simply substituting them, without any notice to the target reader. I disagreed with this approach. Substitution can definitely be an appropriate solution in some cases, but if it is used regularly throughout an entire cookbook, it seems to me that the recipes are being changed much more than a translation warrants. Therefore, my suggestion was to include the original ingredients and a list of possible substitutes. As I reminded the publisher, food trends change so rapidly that what once was only available in just one country can suddenly be available all around the world, and if we don't want the translations to date too quickly, we have to be aware of this fact. The final translations of these books included a glossary of terms and suggestions for possible substitutions.
Here, I must also point out that it is not enough for a translator to simply think, "This recipe calls for lobster, but that is too expensive and not so easily available, so I'll write shrimp instead." For recipes, translators ought to stick as closely to the original as possible and if ideas for substitutions are being offered, the translator must explain why. Also, the translator or another person connected to the project should try to cook recipes both in their original form and in the version with substitutions, to make sure that the tastes, appearances, smells, and other salient features are preserved.
2) Cuts of meat
Related somewhat to challenge 1), cuts of meat are not necessarily the same in different countries. Translators who are not "foodies" themselves or those who, like me, do not eat meat, must be aware of this fact. Here, asking experts and using reference materials is a great help. There are cuts of meat charts that are easily found on Google or you can get acquainted with chefs or others interested in food and ask for their advice. Many translators either do not think about asking for help or they get nervous about doing so. In my experience, however, experts are glad to help, and some professional translators build up a "little black book" of experts to call when they need advice on botanical, architectural, culinary, or any other matters. I'll give an example of this below. In any case, do not make assumptions about cuts of meat being the same, even if the terminology is the same or similar. Always check on this or a recipe might not turn out well.
3) Measurements
Cups or grams? Tablespoons or ounces? As is well known, there are different measurement systems around the world and it is not enough to, say, go to http://www.onlineconversion.com/, type in the numbers from the source text and write down what the website has offered you. If you did that, 2 cups would be 4.7317 dl, and when have you ever seen a recipe that calls for 4.7317 dl flour? In cases where measurements have to be changed, there are two major possible strategies. The first is that the publisher simply retains the measurements and then offers a conversion table at the back of the book. This can be quite irritating for a reader, however, because then she or he has to keep flipping from the recipe to the table. If the cookbook is more of the coffee table type, however, which is to say one that people read and look at, but don't really plan to cook from, this solution is fine. But for a cookbook that is meant for real use, it is just not practical. In this situation, new measurements based on the target culture's system must be used. This can be done either via complete replacement or replacement and retention. Complete replacement means that either the translator or another expert tests all the recipes and shifts the measurements so that instead of 4.7317 dl flour, the recipe calls for 5 dl flour. The translator must be careful here to ensure that all the new measurements make sense in the context of the recipe and that all have been converted. A recipe may not work if even one measurement is off, especially for baked goods. Replacement and retention is a combination strategy that means both changing the recipe so it reads 5 dl flour and also keeping 2 cups flour in parenthesis. This can, however, confuse readers, so it is a rare book that will use this strategy.
4) Implements, pots, and pans
As with ingredients, some countries have different implements, pots, pans, and other essential cooking items, or they may use drastically different words for a similar tool. For example, I was working on translating a cookbook from Swedish to English and was stuck on one word that kept appearing in recipes. It referred to a specific kitchen tool that does not exist in English (and, frankly, is one of those tools that don't need to exist either): a "potatissticka," or a "potato stick," which you use to check if the potatoes you are boiling are ready. I always use a fork myself, but I thought I should make sure that there really was no such item in English-speaking nations. First, I asked some other people I know who like to cook; no one had anything like it. Then, I went to a store that sold only kitchen tools and cookbooks. I said to the woman behind the counter, "I'm sure this sounds a little odd, but I'm a translator working on a cookbook and I wonder if you can help me with something." She confirmed that there is no "potato stick" in English-speaking countries, but that people use cake testers, skewers, forks, toothpicks, or meat thermometers instead. In this case, I was able to rewrite the sentence, but for other implements, there may actually be a proper word for it. It is important to find out, so ask an expert when you are not sure.
In summary, I am suggesting 1) that you have sources (whether chefs, other translators, people who enjoy cooking, shop-owners, or anyone else) who can offer ideas, 2) that you not be afraid of recommending substitutions, where appropriate, 3) that you be willing to test and compare original recipes and your translations, and 4) that you include glossaries, translators' notes, substitution lists, or other extratextual material where necessary.
I hope that this advice will offer you a recipe for success when it comes to translating cookbooks!
What's Cooking:
Translating Food
by Brett Jocelyn Epstein
I have translated or edited a number of cookbooks and while such work is a lot of fun (and can make you hungry, especially if there are accompanying pictures), there are certain challenges involved. Here, I want to mention the top four difficulties and possible solutions.
1) Availability of ingredients
Despite the growing popularity of cooking these days and the new trendiness of certain ethnic ingredients, the fact remains that not all items are available in all countries (and in some cases, they are only available at exorbitant costs). For example, a couple of years ago, I was the project manager for the translation to Swedish of two cookbooks that were written in Australia. Naturally, the recipes included many ingredients that were specific to Australia or to Asian countries much closer to Australia than to Sweden. Some of these ingredients were not possible to find in Sweden, so the publisher suggested simply substituting them, without any notice to the target reader. I disagreed with this approach. Substitution can definitely be an appropriate solution in some cases, but if it is used regularly throughout an entire cookbook, it seems to me that the recipes are being changed much more than a translation warrants. Therefore, my suggestion was to include the original ingredients and a list of possible substitutes. As I reminded the publisher, food trends change so rapidly that what once was only available in just one country can suddenly be available all around the world, and if we don't want the translations to date too quickly, we have to be aware of this fact. The final translations of these books included a glossary of terms and suggestions for possible substitutions.
Here, I must also point out that it is not enough for a translator to simply think, "This recipe calls for lobster, but that is too expensive and not so easily available, so I'll write shrimp instead." For recipes, translators ought to stick as closely to the original as possible and if ideas for substitutions are being offered, the translator must explain why. Also, the translator or another person connected to the project should try to cook recipes both in their original form and in the version with substitutions, to make sure that the tastes, appearances, smells, and other salient features are preserved.
2) Cuts of meat
Related somewhat to challenge 1), cuts of meat are not necessarily the same in different countries. Translators who are not "foodies" themselves or those who, like me, do not eat meat, must be aware of this fact. Here, asking experts and using reference materials is a great help. There are cuts of meat charts that are easily found on Google or you can get acquainted with chefs or others interested in food and ask for their advice. Many translators either do not think about asking for help or they get nervous about doing so. In my experience, however, experts are glad to help, and some professional translators build up a "little black book" of experts to call when they need advice on botanical, architectural, culinary, or any other matters. I'll give an example of this below. In any case, do not make assumptions about cuts of meat being the same, even if the terminology is the same or similar. Always check on this or a recipe might not turn out well.
3) Measurements
Cups or grams? Tablespoons or ounces? As is well known, there are different measurement systems around the world and it is not enough to, say, go to http://www.onlineconversion.com/, type in the numbers from the source text and write down what the website has offered you. If you did that, 2 cups would be 4.7317 dl, and when have you ever seen a recipe that calls for 4.7317 dl flour? In cases where measurements have to be changed, there are two major possible strategies. The first is that the publisher simply retains the measurements and then offers a conversion table at the back of the book. This can be quite irritating for a reader, however, because then she or he has to keep flipping from the recipe to the table. If the cookbook is more of the coffee table type, however, which is to say one that people read and look at, but don't really plan to cook from, this solution is fine. But for a cookbook that is meant for real use, it is just not practical. In this situation, new measurements based on the target culture's system must be used. This can be done either via complete replacement or replacement and retention. Complete replacement means that either the translator or another expert tests all the recipes and shifts the measurements so that instead of 4.7317 dl flour, the recipe calls for 5 dl flour. The translator must be careful here to ensure that all the new measurements make sense in the context of the recipe and that all have been converted. A recipe may not work if even one measurement is off, especially for baked goods. Replacement and retention is a combination strategy that means both changing the recipe so it reads 5 dl flour and also keeping 2 cups flour in parenthesis. This can, however, confuse readers, so it is a rare book that will use this strategy.
4) Implements, pots, and pans
As with ingredients, some countries have different implements, pots, pans, and other essential cooking items, or they may use drastically different words for a similar tool. For example, I was working on translating a cookbook from Swedish to English and was stuck on one word that kept appearing in recipes. It referred to a specific kitchen tool that does not exist in English (and, frankly, is one of those tools that don't need to exist either): a "potatissticka," or a "potato stick," which you use to check if the potatoes you are boiling are ready. I always use a fork myself, but I thought I should make sure that there really was no such item in English-speaking nations. First, I asked some other people I know who like to cook; no one had anything like it. Then, I went to a store that sold only kitchen tools and cookbooks. I said to the woman behind the counter, "I'm sure this sounds a little odd, but I'm a translator working on a cookbook and I wonder if you can help me with something." She confirmed that there is no "potato stick" in English-speaking countries, but that people use cake testers, skewers, forks, toothpicks, or meat thermometers instead. In this case, I was able to rewrite the sentence, but for other implements, there may actually be a proper word for it. It is important to find out, so ask an expert when you are not sure.
In summary, I am suggesting 1) that you have sources (whether chefs, other translators, people who enjoy cooking, shop-owners, or anyone else) who can offer ideas, 2) that you not be afraid of recommending substitutions, where appropriate, 3) that you be willing to test and compare original recipes and your translations, and 4) that you include glossaries, translators' notes, substitution lists, or other extratextual material where necessary.
I hope that this advice will offer you a recipe for success when it comes to translating cookbooks!
Sunday, August 16, 2009
How Language Works
My summer reading included David Crystal’s book How Language Works. It’s an easy-to-understand explanation of many aspects of language, including how we physically are able to speak and to understand language, how and when children learn languages, different writing systems, sign language, what dialects are, pidgins and creoles, and teaching languages. In short, this book is a good introduction to what language is and does.
There’s even a brief section on translation and interpretation. This section includes the following paragraph that defines what translators do and are:
“Translators aim to produce a text that is as faithful to the original as circumstances require or permit, and yet that reads as if it were written originally in the target language. They aim to be ‘invisible people’ – transferring content without drawing attention to the considerable artistic and technical skills involved in the process. The complexity of the task is apparent, but its importance is often underestimated, and its practitioners’ social status and legal rights undervalued. Some countries view translation as a menial, clerical task, and pay their translators accordingly. Others (such as the Japanese) regard it as a major intellectual discipline in its own right. The question of status is currently much debated.”
There’s even a brief section on translation and interpretation. This section includes the following paragraph that defines what translators do and are:
“Translators aim to produce a text that is as faithful to the original as circumstances require or permit, and yet that reads as if it were written originally in the target language. They aim to be ‘invisible people’ – transferring content without drawing attention to the considerable artistic and technical skills involved in the process. The complexity of the task is apparent, but its importance is often underestimated, and its practitioners’ social status and legal rights undervalued. Some countries view translation as a menial, clerical task, and pay their translators accordingly. Others (such as the Japanese) regard it as a major intellectual discipline in its own right. The question of status is currently much debated.”
Tuesday, August 11, 2009
More on Endangered Languages
This Unesco site is worth looking at for more information and articles on endangered languages.
Thursday, August 06, 2009
FAQ #1: On Hiring
I regularly get questions via email from readers of this blog, so it occurred to me that instead of me constantly writing individual responses to them, I could collate some of the regular questions and answers here. Therefore, I’ll write a series of FAQ posts.
First of all, I’ll start with the easiest answer: no, except in very particular circumstances, I am not hiring. When I do need someone’s help on a project, I have contacts that I work with. So while I appreciate all the cover letters and CVs you send me, I am sorry to say that nothing will come of them.
In general, you should do more research before approaching a potential employer. I get a lot of emails from people who work with Arabic, but if you would carefully study my website, you’d see that I never work with Arabic and thus have no jobs to offer in that area. The same goes for most other languages and for subject matters such as engineering or medicine. You should always review someone’s website and materials before wasting your time contacting someone who doesn’t have work for you.
Stay tuned for more FAQ!
First of all, I’ll start with the easiest answer: no, except in very particular circumstances, I am not hiring. When I do need someone’s help on a project, I have contacts that I work with. So while I appreciate all the cover letters and CVs you send me, I am sorry to say that nothing will come of them.
In general, you should do more research before approaching a potential employer. I get a lot of emails from people who work with Arabic, but if you would carefully study my website, you’d see that I never work with Arabic and thus have no jobs to offer in that area. The same goes for most other languages and for subject matters such as engineering or medicine. You should always review someone’s website and materials before wasting your time contacting someone who doesn’t have work for you.
Stay tuned for more FAQ!
Saturday, August 01, 2009
Call for Papers
The following information is from Swansea University, where I just finished my Ph.D. I hope to see some of you at this conference!
Call for Papers
The Author-Translator in the European Literary Tradition
Swansea University, 28 June – 1 July 2010
Confirmed keynote speakers include:
Susan Bassnett, David Constantine, Lawrence Venuti
The recent ‘creative turn’ in translation studies has challenged notions of translation as a derivative and uncreative activity which is inferior to ‘original’ writing. Commentators have drawn attention to the creative processes involved in the translation of texts, and suggested a rethinking of translation as a form of creative writing. Hence there is growing critical and theoretical interest in translations undertaken by literary authors.
This conference focuses on acts of translation by creative writers. Literary scholarship has tended to overlook this aspect of an author’s output, yet since the time of Cicero, authors across Europe have been engaged not only in composing their own works but in rendering texts from one language into another. Indeed, many of Europe’s greatest writers have devoted time to translation – from Chaucer to Heaney, from Diderot and Goethe to Seferis and Pasternak – and have produced some remarkable texts. Others (Beckett, Joyce, Nabokov) have translated their own work from one language into another. As attentive readers and skilful wordsmiths, writers may be particularly well equipped to meet the creative demands of literary translation; many translations of poetry are, after all, undertaken by poets themselves. Moreover, translation can have a major impact on an author’s own writing and on the development of native literary traditions.
The conference seeks to reassess the importance of translation for European writers – both well-known and less familiar – from antiquity to the present day. It will explore why authors translate, what they translate, and how they translate, as well as the links between an author’s translation work and his or her own writing. It will bring together scholars in English studies and modern languages, classics and medieval studies, comparative literature and translation studies. Possible topics include:
· individual author-translators: motivations, career trajectories, comparative thematics and stylistics
· the author-translator in context: literary societies, movements, national traditions
· the problematic creativity of the author-translator
· self-reflective pronouncements and manifestos
· the author-translator as critic of others’ translations
· self-translation: strengths and weaknesses
· authors, adaptations, re-translation and relay translation
· the reception and influence of the work of author-translators
· theoretical interfaces
Proposals are invited for individual papers (max. 20 minutes) or panels (of 3 speakers). The conference language is English. It is anticipated that selected papers from the conference will be published. Please send a 250-word abstract by 30 September 2009 to the organisers, Hilary Brown and Duncan Large (author-translator@swan.ac.uk):
Author-Translator Conference
Department of Modern Languages
Swansea University
GB-Swansea SA2 8PP
http://www.author-translator.net/
Call for Papers
The Author-Translator in the European Literary Tradition
Swansea University, 28 June – 1 July 2010
Confirmed keynote speakers include:
Susan Bassnett, David Constantine, Lawrence Venuti
The recent ‘creative turn’ in translation studies has challenged notions of translation as a derivative and uncreative activity which is inferior to ‘original’ writing. Commentators have drawn attention to the creative processes involved in the translation of texts, and suggested a rethinking of translation as a form of creative writing. Hence there is growing critical and theoretical interest in translations undertaken by literary authors.
This conference focuses on acts of translation by creative writers. Literary scholarship has tended to overlook this aspect of an author’s output, yet since the time of Cicero, authors across Europe have been engaged not only in composing their own works but in rendering texts from one language into another. Indeed, many of Europe’s greatest writers have devoted time to translation – from Chaucer to Heaney, from Diderot and Goethe to Seferis and Pasternak – and have produced some remarkable texts. Others (Beckett, Joyce, Nabokov) have translated their own work from one language into another. As attentive readers and skilful wordsmiths, writers may be particularly well equipped to meet the creative demands of literary translation; many translations of poetry are, after all, undertaken by poets themselves. Moreover, translation can have a major impact on an author’s own writing and on the development of native literary traditions.
The conference seeks to reassess the importance of translation for European writers – both well-known and less familiar – from antiquity to the present day. It will explore why authors translate, what they translate, and how they translate, as well as the links between an author’s translation work and his or her own writing. It will bring together scholars in English studies and modern languages, classics and medieval studies, comparative literature and translation studies. Possible topics include:
· individual author-translators: motivations, career trajectories, comparative thematics and stylistics
· the author-translator in context: literary societies, movements, national traditions
· the problematic creativity of the author-translator
· self-reflective pronouncements and manifestos
· the author-translator as critic of others’ translations
· self-translation: strengths and weaknesses
· authors, adaptations, re-translation and relay translation
· the reception and influence of the work of author-translators
· theoretical interfaces
Proposals are invited for individual papers (max. 20 minutes) or panels (of 3 speakers). The conference language is English. It is anticipated that selected papers from the conference will be published. Please send a 250-word abstract by 30 September 2009 to the organisers, Hilary Brown and Duncan Large (author-translator@swan.ac.uk):
Author-Translator Conference
Department of Modern Languages
Swansea University
GB-Swansea SA2 8PP
http://www.author-translator.net/
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